AFTER SPEING MONTHS IN DEVELOPMENT FOR AN HBO THAT Ultimately Fell Apart, FX and One of the Biggest TV Producers Around in Ryan Murphy Are in Early Development on an Adaptation of Breton Ellis’ Semi-AutobiOrPHical Book, “The Shards,” An Individual Knowled Project Told Indiewire.
While it is early days and there’s no Writer Attailed JUST YET, The Series adaptation does have kaia Gerber (“Bottoms,” “Saturday Night”) Meant to Star and Max Winkler, WHO HAS WORKED ON MURPHY’ Series.
20th Century Television is Production The Series Alongside Ryan Murphy Television. Executive Producers Are Murphy, Ellis, Winkler, Nick Hall, Kathleen McCaffrey, and Brian Young.
FX and 20TH Century TV Had No Comment.
“The Shards” is an unusual piece of source material as it is 600-page, u shallittted transcript drawn away from Ellis’ Patreon serial that is far-so-” nihilistic, bisexual, prep-school Teen. The Book Also Follows the Murders of a Serial Killer Known as the Trawler, but the Whole Book is Pulpy and Sprawling in a way that it has made it difficult to adapt.
Originally, Ellis Himself Was Going to Write the Series Adaptation when it was set at HBO, Including with “Dream Scenario” director Christoffer borgli attailed to direct, but the project didn’t following creative differences. Murphy Meanwhile has been circling the project alongside ellis Sine February, but it is Only Nowed at FX with Both Gerber and Winkler Invovled.
Gerber Most Recently appeared in an episode of “hacks,” on “Overcompensing,” and on the Apple TV+ Series “Palm Royale.”
Murphy has deals with Netflix and with 20th Century. For the former he work on the next season of “monster,” this time focused on ed gein charlie hunnam, and he also at work on “9-1-1 Nashville,” “All’s Fair” with Kim Kardashian, “The Beauty,” and the Next SEASON of “America.
General he film dave clark has tried “every tool under the sun” for MAKING HIS artificially Intelligent Movies, Most Famously for His Viral Short “Battalion.” But in the year year sylla and the video relaxation, the technology around gen-ai has been consisible, and he believes that what was consider innovative that cann now be pushed even.
On Tuesday, Google at its I/O Event Unveiled Flow, A Generation-Ai Video Generation Tool Powered by Google Latest He Model, Veo 3. Clark was one of the movie he collaborates with Google Labs on the Functionality and Interface of the New Tools That IT WAS DESSIGNED MILMERS AND creaters in mind. Suffice It to Say, He’s Impressed by the Results.
“My mind is Still Blown by the Level of Control,” Clark Told Indiewire ahead of the Launch of Flow. “This is for me as a filmmaker, this is what i’ve ben waiting for. You put in the 10,000 hours, you struggle through these prompts, and you use these different systems. Coming for Being So Early in It. ”
FLOW HAS CAMERA CONTROLS THAT ALLOW FILMMERS TO SPECIFICALLY THE Movement and Visual Angle They Want to Create for a Shot As Though they’re Directing a cinematographer. It has a feature Called scnenebuilder that allows filmmakers to generate a schene, and then extend it while keping all of their character designs and locations consistent and intact. Creators Can Upload and Combine Multiple Reference Images that Will Match Things Like Faces, Clothing, and Locations, Doing SO with Hyper-Specific Detail.
Flow Also Allows for More Natural Language in Prompt Writing, Such that it is underestands Visual Language of Screenwriting and Granular Technical Details Like Choices, Lighting Conditions, Focal Lengths, Or Film Grain. ITSE CAPABLE OF GENERATING SOUND IN REAL TIME with the video Generation, Including Sound Effects, Background Music, and Dialogue.
Clark and His He Production Banner Promise Are Using Flow to Create a New AI-GENERATED SHORT CALLED “FreeLancers” About Two Adopted Brothers who each, Through Separate Paths, Become International Spies and Hitmen. He Described One Skene and Generated in Who His Two Protagonists are sitting in a diner, Complete with an Establishing Shot with a Slow Dolly in. Hen Promptted the model to use a dynamic, handheld camera motion, followed by a tracking shot of the two characters running.
“And it did it! To see the way that the camera was shaking, it is this exact Same way I was to be if I was in the restaurant.
It wasn’t that long ago that that unveiled it sora video model; That filmmakers we spoke to say were stunned that it has “prompt adherence,” Where you can articulate one thing to open and have some superstitious figure with the same sequence. Flow and Veo 3 Demonstrated An Eve More Advanced Capability, In Which a Skene Creators have Generated Can That Be Dragged and Extended on a Timeline to Effectively Continue the Action and Detecting the Datation of 6 – 8 Seconds The Model Waully Normally.
Clark Likened it to virtually being able to create his own “1917” style “oner” should be want to, with the action extending from location to the character remains the Same.
“Let’s Say’s a Guy Driving A Car Around the Amalfi Coast. With Scenenebuilder Inside Flow, the Director in me was able to block the rest of the scnene,” Clark explained. “So Maybe It Starts off Inside The Car with the Guy Driving, then iTi pov, then i could switch to a wide shot, and the way flowing it is actually knows all of the information that was put in, all the prompts, the way the character looks, the way coast and the road Looks, the road LOOKs, the way and the road. The Car.
Clark Said he got as specific as articulating the scnene to look as though it was shot with a 50mm lens all the way up to a 135mm long long, and flow not only underestands, but cann that marry that specific blocking.
An ai-geened image Created with Google’s Imagen 4Courtesy of Google Labs
Matthieu kim lorrain, Creative Lead at Google Deepmind, and Thomas Iljic, Product Lead at Google Labs, Spoke with Indiewire About Underestanding Someone Clark in Order to How Flow Operations, Thought was, at the time, bars-bones functionality.
“Show and tell is important. They don’t want to type Text,” Iljic Said. “They want to bring in these elements, these ingredients. They want consisencycy acroSs. They have been to have project managing the structure, ITE MANY Files, Wondering How AM i Going This Together?”
Lorrain Added that the Key Word for he filmmakers is “Customization,” and Five Different he Might Have Five Different Workflows, ORTH FILMAKER MIGHT HAVE A DIFFERENT FOR A DIFFERENT PROJECT, and THAT’S ALL BUILT INTO FLOW.
“SOMESTEMES YOU NEED IMAGE TO VIDEO BECAUS ACTUALLY YOU WANT TO START FROM “SOMESTEMES IT’S WORLD-BUILDING. AND IN THE CASE OF WORLD-BUILDING, THAT WHY WE HAVE THE UNGRDIENTS SO YOU CAN DEFINE YOUR CHARACTERS, FIND YOUR ENVIRONMENT, AND THEY WANT THAT. Control on how they can design the creation process for EACH Project. ”
Clark’s Promise Earlier Today Announced Additional Funding From Google AI Future End, As Well As CrossBeam Venture Partners, Kivu Ventures, and Saga Ventures. But Google is also partnering with two Other filmmakers on the launch of Flow, Including Henry Daubrez and Junie Lau. Flow is Also Avilaable Now to Subscribers of Google AI Pro and Google he ultra plans in the us, with more customs coming soon.
Clark isn’t sura what the specific nextr is with the rapidly evolving technology, but he does Believe that as the tools become more acresible, it”s incumbent on creators to at Least Understand it.
“I Always Reference The James Camerons and the George Lucases, some of the Top Filmmakers were Always Technologists, and I Feel Like We’re Going to Next Level, that Next School Lucas, that are going to be inherently technologists,” Clarkti. “You’re going to have to undertand Technology, whether or not you use it.”
Darren aronofsky has launched a new generating he storytelling venture in which he will part partner with Google deepmind to produce Films with Gen-Ai and Some of Google Announched Tools.
The Venture is Titled Primordial Soup, and Its Research Team, Along with Three Filmmakers, Will Produce Short Films Integrating New Tech and Storytelling and Has the Mission of Creating Frameworks for AI Role in FilmMakking and Putting Artists in the Driver’s Seat Seat.
“Filmmking Has Always Been Drive by Technology. After the Lumiere Brothers and Edison’s Ground-Breaking Invention, Filmmakers Unleashed The Hidden Storytelling Power of Cameras. that couludn’t be told before.
The news was announed alongside google i/o event, in which the tech giant also unveiled its latest video model Called veo 3, as well as an Advanced New Gen-Ai Editing Tool Called Flow. Google Deepmind Will Provide Primordial Soup’s Team Early Access to These Tools.
The first film produced under the partnership is calmed “ancestra” and is directly by Eliza Mcnitt. Her movie Will Premiere at the Tribeca Film Festival on June 13, and it will be followed by a panel featuring the filmmakers and moderated by Aronofsky. The movie Blends Live-Action Filmmaking and Performance with Generation Visuals and is described as a deeply personal narrative inspired by the day mcnitt was Born. Mcnitt trained the he models on her baby baby pictures and other Photos taken by her lat father in order to generate a newborn infant with a story is shaped by her biography.
‘With’ ancestra, ‘i was able to visualizes the unseen, transforming family archives, emotions, and science into a cinematic experience that intimate and expansive, “Said Mcnitt.
Mcnitt is KNOWN FOR A Previous VR Experience that was executive produced by aronofsky that Featured the voices of millie bobby brown, Jessica chastain, and patti smith as the voices of the cosmos. It was the first vr Project to Ever Be Acquired Out of Sundance.
Two Additional Films, Yet to be Announced, Will Explore Other New Applications of Veo, Google Deepmind’s Video Generation Model.
Watch the first teaser for “Ancestra” Above, and Learn more About this strategic partnership at the Google Deepmind Blog.
Oscar Winner Cillian Murphy and Daniel Craig are in negotiations to start in the next film from director damien, an individual with the project told indiewire.
The film is untitled, and while the “la la land” and “Whiplash” Filmmaker has weighed options Such as an Evel Knievel Biopic, Several Media Reports Say Chazelle’s Follow-Up to “Babylon” is set inside a prison. Leonardo Dicaprio Had Been Circling the Knievel Film, But A Deal Didn’t Close.
Paramount Pictures is distributing the next chazelle feature as part of his deal with the studio. Chazelle Wrote and Will Produce the Movie Under HIS Banner Wild Chickens Productions Alongside Olivia Hamilton.
Chazelle’s “Babylon” from 2022 bombed at the Box Office but was ambitiously Old Hollywood Epic Starring Margot Robbie and Brad Pitt. With an $ 80 million Budget and 3+ Hour Runtime, The Film Fizzled with Just $ 65.2 Million Worldwide. But Chazelle Can Continue to Demand A-List Casts and Presumably The Budget That Goes Along With It. He previously admonted “Babylon” didn’t work financially and feared where his next project would get made, but we have faith.
MURPHY SINCE WINNING THE OSCAR FOR “OPPENHEIMER” WAS SEEN IN THE DRAMA “SMALL THINGS LIKE THESE,” AND HIS FIRST PROJECT he took on after winning the Oscar was “Peaky Blinders” Follow-up “The Immortal Man.” The Chazelle Film Represents His First Original Project Since HIS Best Actor Turn.
Craig was Most Recently Seen in Luca Guadagno’s “Queer” and Will Next Be Seen Reuniting With Rian Johnson on the Third “Knives Out” Film, “Wake Up Dead Man.” He’s Also Reportedly been in the mix for Greta Gerwig’s “Narnia” Movie.
Craig and Murphy Are Each Represented by CaA. Chazelle is Represented by Wme.
Julianne Moore Celebrated the Premiere of Her Next Project, “Sirens” on Netflix, on Tuesday, May 20 at the Plaza Hotel in New York City. The Limited Series Features Moore Alongside Meghann Fahy, Milly Alcock, Kevin Bacon, and Glenn Howerton in the Margot Robbie-Produced Project from “Maid” Creator Molly Metzler.
On the carpet, indouwire caught up with Moore About Jesse Eisenberg’s UpComing A24 Musical Film. AS WHAT WHAT SHE CAN TEASE, MOORE TOLD US THAT I WILL INDEED BE SHOWING OFF HER VOCAL CHOPS, A FOLLOW-UP TO SINGING A LITTLE BIT IN 2021’S “Dear Evan Hansen”: “YES, I.
“Jesse Eisenberg is just the most extraordinary person,” she continued. “He’i’s so incredibly creation. I feed so fortunate to be able to work with Him. This is very different, but think that he can have sort of a satirical world. Last Week, Last Thicksday. ”
Eisenberg’s movie Follows A Shy Woman Who Is Unexpectly Cast in a Community Theater Musical Production, Going to Extremes As She Loes Herself in the Role. It is an original comedy Starring Moore and Paul Giamatti, with Eisenberg Also taching on a roles in the film. Addictionally, The Cast Includes Halle Bailey, Havana Rose Liu, Bernadette Peters, Eldar Isgandarov, Bonnie Milligan, Colton Ryan, Lilli Cooper, and Maulik Pancholy.
One of Moore’s Frequent Collaborators, Todd Haynes, is in the midst of working on his next project. “We’re very excitedly moving forward on this adaptation of Hernan Diaz’s ‘Trust,’ He Told The Hollywood Reporter in february. “That’s what i’m focus on right now with kate winslet at HBO.”
As for Whether Moore Knows Anything About Haynes’ Project, She Told US Has Has “No Idea.
“Sirens” Showrunner Metzler Previously was a Writer on “Shameless,” and Told Indiewire that Being a Playwright is Very “Similar” to Tv Writing, As Both the “Very, Very Collaborative.”
Metzler Said, “When You’re Playwriting You’re Usually With the Whole Team, with Someone Designing the Set and the Director and Actors. You all MAKING THIS THINGETHER, but the person who has to speak for the Vision of the Playwrit and You JUST. Your Relationship with your Director is a true partnership.
“Sirens” Premieres May 22 on Netflix. Check out the trailer here.
Audienges Around The Work Agrement The Work of Thing Thrumming Anticipation Anticipation Anticipation Anticipation Anticipation Anticipation Anticipation Anticipation Anticipation Anticipation Anticipation Anticipation Anticipation Anticipation Mission: IMPOSSIBLE – THE FINAL RECKONINGEight and Ultimate Installment In The LONG-Running Spy Thriller Franchise. ◆ MOVie Promisees The Bar of DEATH-DEELY STUNT-DEATH-DEELSE AS THE INDESTRUCTILE Hunt, WHICHTELF FEELS LIKE STARTS BY THE INDESTRUCTSIBLE MISSION. BUT IF ANYONONEONONEON CAN DO IT, ITTATT A-LISTER WHITE WOUS INTO ARE ARGUEF, and the Excitation Whitement-Knucle-Knucle-Knuckle Action iontEally with a bopCorn in your bp.
THAT’S NOT AUGGESTION. For Cruise, IT SEEMS A NECESSARY PARICS OF MOVIE Magic, He HASN’t LT ANYONONE FET IT. AS AS AS AS MUCH AS HIS 30-YEAR Run of Skydiving, Motorcycling, and Free Solo Rock: entelint.
One Surprising Fact, AS REVALED BY WRCELM RAKEY POPCRATE X THISHEK, IS THE ASKCCORN CRAISE CLAIMS TO CONCSE’S TO CONCSE OF THE FILM. In a PRE-SCREEING APPEARRANCE FOR AN Advance Showing of The Final Reckoningshe Wrote“FIRST, HE ASKED US ALTO HIME IF We Had PoopCorn (I SHOWED HIM MY BUCKETS MYSELF DURING A MYSELF DURING AMOVIE.” IT’S A STAGGERING ADMISSE NOTMAINE WHO HARTLETIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONDITTIC CONTRACTION ARE FROMING ARE FROMING Fraaction AS Much POPCORN.
YET CRUIEVES THIS IS THE OPTIMUMS AMOUNTGE FOR SNACKBUSTER EXPERIEE. WHEN HE TOOK The Stage Atone Recent Screening, HE WAS Filmed Pointing OUT THAT A MAN IN THE FRONT ROW HAD forinished HIS BUCKET OF POPCORN bevie Steartd. RATHER THE TEASE HIM, AS Might Expect, Cruise WAS THEN THEHED TO SAY: “You Gotta Go GO GETSMEME.” For Mr. HOLLYWOOD HIMSELF, IT ‘TWO BUCCCCCCCCCCCCCCCcketers or Notting Dowen, WELL, THATE, WELL, THAT’S CONVENTION FOR FORENCE FOR FIRSTS.
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Peplerave also been ticklent How CRUISE EATS HATS HIS POPCORN, AS Show Portles Point AS HEBIA Screen AS HE OF THE ORGANUCATION. Here, Cruisee CRADLES MEDUMUMUMUMUMUMUMUM-SIZED POPCORNNER ALONG WITH HIS MICOPhone, Using HAND TO TESING HAN VIGHTINGS (THE Gesture isoe IT). ^^ The IMPESION THAT, WELL AWARE OF THE THE CAMERASS ON HIM, CRUISE IS Action HIS PASSION FOR POPCORN, OR DEVUING IT IN CHARACTER, WIT A INTENSITY BEFITTING HIS Mission: imposible Aid ego. “I HAVE GOT TO CHANGE THE WAY IAT POPCORN,” ONE AMAZED X USER Commented.
CRUISE ALSO STOPPEDED BY THEMCSEER IN NEW YORK’S LINCOLN SPEPCORN: HE STAYED AND CHATTED WITH THE FRA Good Long WhiteAccord to BYSTANS, COURSE WHILE Feasting From A BUCKET OF HIS OWN. (NotAbly, He Appear Traditional Fitnic-Direct Method of Portion remarked“I’M GONNA GRAB A COUSE BUCKETS OF POPCORN.” Reacting to the Video, A ViewER OBSERVED THAT “ONE OF THE BEST PARTS OF NEW M: i Dropping is Tom EMERGES Fromo Chamber and Intercots For of DAYS. ” Another Repli“He Feeds On HIS WIGHT IN POPCORN BEFORE GOST INTO STASIS.”
Whitement this PoopCorn Fixation May Neews to Some, Commitated Cruiseheads Houve Docentified IT FOR YECMENTS. In A 2023 promotional Video Mission: imposible Installing, Cruise ENJOYED A SUBSTANTIAL TUB OF IT IN BETWEEN Media APPPEA APPEPEJECANS DURING AMULTI-CITY SCREEing Tour. “I love my POPCORN,” HE SAYS BEFORE SAVRING A BITE. “Movies. POPCORN,” HE Concycorn Could More Onced Art and Junk Food and Junk Food
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The fololowing year, Cruise Hit Theater to Celebrate of TwisttersLED BY HIS Top Gun: Maverick Co-Star, Glen Powell. TRUE PROFESSIONAL, HE KNOW JUST WOW TO HOLD UP HIS Twistters-BRanded Bag of POPCORN for Maximum Promotional Value GALUE WHEN THE POIR POSED FOR PHOTOS. Not mel’elyise, whhen he’tly gatete wasn’t GETTING HIS OWN POPCORN INTO FRAME, HE advisted Him“You Wanna HOLD THATE UP?” IT’S A PURE MASTER MASTER MASTERNAGEMAGEMENT.
“Tom Cruise Beavie Star. Speculatedand IT’S Not the Craziest theory. HIS Love of the Salty, BUTTERY DELICACY IS SUCH THAT HE WILL DO THE A UNTHINKABLE: LEAVING THEMS MOVie while Munching from a HALF-Full BUCKETThe Not Handing It Off to A Security Guide AS Helands Postts for Facts, andSaning ENJOYING THE FINA. ASK YouRSELF: HAVE YOU Ever Token Theater POPCORN TO A Second Location. NO, BECAUSE TOM DOTE TOM CRUISE, AND Coloudd Never Comprehend HOW IT FULS HIM. For all-has done to “Save Movies,” IT WOULD SEEME EE IS IS IS IS IS IS IS IS EE IS IS IS IS EQUSEMUMUOUS CONTUSIONS – WHICH, INCIDENTY, ARE HOW CINEMS STAY IN BUSINESS. YEAH, THIS IS A GUY WHO NEVER STUY WHO NEVER STUY WHO NEVER STUY WHUE STOPSING THINKINGS BIG PICTURE.
Jordan Peele‘s iconic film “Us” will be feted by Film at Lincoln Center, to honor the legacy of his 2019 feature. IndieWire can announce that Peele will be at the center of curated festival “The Other America: A Cosmology of Jordan Peele’s ‘Us,’” which will take place from June 20 to 26.
“Us” stars Lupita Nyong’o as a mother who is determined to save her family from doppelgänger killers who stalk their Santa Cruz beach house. The nuances of the film are reflected in the festival program, which is arranged in thematic sections based on recurring motifs from the film, including “The Shadow Self,” “The Uncanny,” “Labyrinths,” “Rabbits,” and “The Uniform.” Peele’s nods to “Dead Ringers,” “Scissors,” “Donnie Darko,” “Who Framed Roger Rabbit,” and “A Nightmare on Elm Street” are highlighted during the festival, which coincides with the recent publication of “‘Us’: The Complete Annotated Screenplay.” The book has in-depth footnotes, commentaries, marginalia, and a slew of images, definitions, and inspirations for “Us,” leading Film at Lincoln Center to “interpret the cosmology outlined through a presentation of double features, supplementary reading material, and in-person appearances from some of the book’s contributing writers,” as the center announced.
Of course, the festival will also kick off with a never-before-seen 35mm presentation of “Us” courtesy of auteur Peele’s personal collection. The Opening Night presentation has a two-for-one 35mm double feature of “Us” with Oscar Micheaux’s silent film “Body and Soul,” which will feature live grand piano accompaniment by Makia Matsumura. Shana L. Redmond, the Director of the Center for the Study of Social Difference at Columbia University, and Michael Gillespie, Associate Professor in NYU’s Department of Cinema Studies, will take part in a conversation after the screenings.
Additional speakers throughout the festival include fashion designer Mary Ping; Mellissa Huber, Associate Curator at The Costume Institute at The Metropolitan Museum of Art; writer and designer Leila Taylor; and filmmaker Sierra Pettengill.
Copies of the annotated screenplay will be available for purchase at all in-person events, with an option to bundle the book with a ticket to the Opening Night double feature or a signed copy with a series All-Access Pass. “The Other America: A Cosmology of Jordan Peele’s ‘Us’” is organized by Florence Almozini and Tyler Wilson in collaboration with Monkeypaw Productions and Inventory Press.
Check out the full program, with language provided by Film at Lincoln Center, below.
“Us“ Jordan Peele, U.S., 2019, 35mm, 116m
A haunted house turned home–invasion thriller stretched to national proportions, Us transforms a family vacation in Santa Cruz into a metaphysical horror of doppelgängers, repression, and class anxiety. When the Wilson family are attacked by their red-jumpsuited doubles—the Tethered—they’re swept into a coordinated uprising emerging from a subterranean labyrinth and government conspiracy. Blending slasher and creature-feature thrills, cultural iconography, and Jungian psychology, Peele crafts a propulsive, frequently hilarious allegory that’s at once genre pop and political provocation, in which the threat isn’t some external invader but our own warped reflection wielding a pair of scissors. Lupita Nyong’o’s astonishingly splintered dual performance anchors a film teeming with mirrored symbols, from rabbit warrens and the eerie symmetry of 11:11 to the sharp line drawn from Reagan-era mythmaking to its 2010s implosion. Us remains a richly layered, destabilizing vision, and Film at Lincoln Center is proud to revive it in a new 35mm print—made to be seen, and reseen, on the big screen. 35mm print courtesy of Jordan Peele’s personal collection.
Friday, June 20 at 6:00pm – Opening Night double feature with Body and Soul beginning at 6:00pm, followed by a conversation with Shana L. Redmond and Michael Gillespie and a reception, and Us beginning at 9:15pm
Saturday, June 21 at 6:00pm
Sunday, June 22 at 5:30pm – Post-screening conversation with Mary Ping and Mellissa Huber
Monday, June 23 at 8:00pm
Tuesday, June 24 at 1:30pm
Wednesday, June 25 at 3:30pm
Thursday, June 26 at 8:30pm
The Shadow Self
“It is a frightening thought that man also has a shadow side to him, consisting not just of little weaknesses and foibles, but of a positively demonic dynamism. The individual seldom knows any thing of this; to him, as an individual, it is incredible that he should ever in any circumstances go beyond himself. But let these harmless creatures form a mass, and there emerges a raging monster.” –From Psychology of the Unconscious (1912) by Carl G. Jung
“Body and Soul“ Oscar Micheaux, U.S., 1925, 35mm, 105m
Silent with English intertitles
In his boldest surviving film, pioneering Black filmmaker Oscar Micheaux casts Paul Robeson—making his screen debut—in dual roles that expose the fault lines between America’s religious and justice systems. As an escaped convict posing as a beloved preacher, and as his gentle, upright twin, Robeson embodies a devastating split between appearance and truth, and whose uncanny doubling plays out in a community shaped by racial violence, spiritual deception, and economic precarity. Made nearly a century before Us, Body and Soul claimed the doppelgänger as a distinctly Black metaphor: not for abstract guilt or buried sin, but for the internal schism demanded by a racist society—what W. E. B. Du Bois described, in 1903, as the double consciousness of Black American identity. To this day one of the great race-melodramas, Micheaux’s silent-era masterwork still shocks with its formal audacity and searing political clarity. Featuring live piano accompaniment by Makia Matsumura. 35mm print preserved by George Eastman Museum.
Friday, June 20 at 6:00pm – Opening Night double feature with Body and Soul beginning at 6:00pm, followed by a conversation with Shana L. Redmond and Michael Gillespie and a reception, and Us beginning at 9:15pm
“C.H.U.D.” Douglas Cheek, U.S., 1984, 35mm, 88m “Beneath the city of New York are living catacombs, an endless maze of subterranean tunnels, unfit for anything human, unauthorized for anything experimental…” Look closely during Us’s 1986 prologue and you might spot the VHS copy of C.H.U.D., which reimagines the city’s unhoused and neglected as irradiated mutants (Cannibalistic Humanoid Underground Dwellers, in fact) who start dragging New Yorkers down through manholes and sewer grates. John Heard and Daniel Stern lead a scrappy ensemble of skeptics, activists, and urban outcasts navigating a conspiracy that tunnels deep into institutional rot. Grimy, industrial, neglected, and claustrophobic, C.H.U.D. wraps a bleak social parable in unapologetically low-budget B-movie scuzz, turning environmental decay and systemic failure into monstrous form—literalizing the nightmare that the forgotten might rise, and no longer recognize us as their own.
Monday, June 23 at 6:00pm
Rabbits
What is so real as the cry of a child?
A rabbit’s cry may be wilder
But it has no soul.
–Lines from “Kindness,” a poem by Sylvia Plath
“Who Framed Roger Rabbit“ Robert Zemeckis, U.S., 1988, 35mm, 104m
A hard-boiled noir wired with anarchic slapstick, Who Framed Roger Rabbit reimagines 1940s Hollywood as a city where humans and cartoons uneasily coexist—most notably in the segregated Toontown. When down-on-his-luck detective Eddie Valiant (Bob Hoskins) is hired to clear the name of the manic, wrongfully accused Roger Rabbit (voiced by Charles Fleischer), he falls into an underworld of gags, studio backstabbing, and a real-estate conspiracy that threatens to, quite literally, erase Toontown. Zemeckis’s film, realized in brilliant tandem with animation director Richard Williams, remains a jaw-dropping technical marvel years before CGI made such feats commonplace. It’s also a sharp satire of gentrification, exotification, otherness, tokenizing, and Hollywood hierarchy, where Toons are both stars and second-class citizens. The tone shifts to genuine horror with Christopher Lloyd’s nightmarish performance as the fascist toon-executioner Judge Doom, whose urban renewal plans would make Robert Moses break a sweat.
Saturday, June 21 at 1:45pm
“Alice“ Jan Švankmajer, Czechoslovakia, 1988, 35mm, 86m
Czech with English subtitles
The same year Who Framed Roger Rabbit blended hand-drawn cartoons and noir with big studio firepower, Jan Švankmajer dragged Lewis Carroll’s Alice’s Adventures in Wonderland through the looking glass and into a world of splintered dolls and taxidermy nightmares. Mixing live action and disturbing, tactile stop-motion animation, the great Czech surrealist’s debut feature transforms Alice’s descent into a waking dream of Victorian clutter. Decayed objects gnaw, toys bleed sawdust, and the White Rabbit—stitched-up and glassy-eyed—wields a pair of scissors like a surgical instrument. Less an adaptation than a dissonant echo of Carrollian logic, Alice is a marvel of handmade horror that channels the darker currents of adolescent imagination and, not unlike Us, treats the inner life of a child not as an innocent refuge but as haunted terrain. One of cinema’s strangest portals into the unconscious, and a rare moment to see it projected from an imported 35mm print.
Saturday, June 21 at 4:00pm
Monday, June 23 at 4:00pm
“Donnie Darko“ Richard Kelly, U.S., 2001, 35mm, 113m
Set in a leafy Anytown, USA of 1988, Richard Kelly’s cosmic tragedy follows a heavily medicated, sleepwalking teen (Jake Gyllenhaal, in a career-defining role) haunted by visions of Frank (a kind of Virgil in a rabbit suit) who tells him the world will end in 28 days, on the eve of Halloween. As the date approaches, time begins to warp—alongside Donnie’s relationships with his family, classmates, and therapist—into a looping puzzle of parallel realities and paths not taken. Kelly’s apocalyptic, darkly funny sci-fi debut channels millennial angst while both embracing and skewering the New Age mythos that defined the end of the 20th century, with its mercurial mood bookended by two different but equally unforgettable “Mad World” needle drops. Initially overlooked after its post-9/11 release, Donnie Darko soon found a cult following among those attuned to its eerily prescient vision of dislocation, ambient dread, and a fractured national psyche splintered across timelines.
Thursday, June 26 at 6:00pm
“The Uniform“
“The power of the uniform lives both in its simplicity and its magnitude when multiplied. When confronted by a collective many of the same, a monolith is formed. It can feel like a protective shield or a menacing threat. As an individual in uniform, only the role or service seems to exist, more enlightened depths of the person are pushed beneath the layers… The uniform’s ingenuity is its ability to communicate control and reliability while also being symbols of corporeal control.” –From “Uniform” by Mary Ping in Us: The Complete Annotated Screenplay (2024) New 4K Remaster
“Akira“ Katsuhiro Otomo, Japan, 1988, 124m
Japanese with English subtitles
2019, Neo-Tokyo: A biker clad in crimson slides his taillight-streaked motorcycle down an urban freeway, and anime was never the same. Set in a crumbling Japanese metropolis rebuilt after a devastating explosion, Akira follows teenage rebels Kaneda and Tetsuo as secret government experiments unleash psychic forces capable of unmaking the world. Katsuhiro Otomo’s pioneering cyberpunk landmark fuses anarchy with pop grandeur, layering social unrest, Cold War paranoia, echoes of Japan’s 1960s student movements, and adolescent fury into an explosion of hand-drawn invention. The Capsules gang’s uniforms—and their gleaming pill insignias—prefigure the red jumpsuit revolution of Us (and Keke Palmer’s motorcycle drifting in NOPE), while Otomo’s neon-tinged apocalyptic vision of Tokyo remains a gold standard of animated world-building. Propulsive, visionary, and still retina-scorching nearly 40 years later, Akira isn’t just the future—it’s the fuse.
Saturday, June 21 at 8:30pm
Tuesday, June 24 at 4:00pm
“Dead Ringers“ David Cronenberg, Canada, 1988, 35mm, 116m
“Don’t worry, baby brother… We’ll always be together.” David Cronenberg’s coolly perverse Dead Ringers dissects the entangled psyche of identical twin gynecologists, Beverly and Elliot Mantle (an iconic dual performance by Jeremy Irons). They share everything—patients, accolades, even a meticulously managed identity—but their bond begins to unravel when the more vulnerable Beverly falls for an actress, Claire Niveau (Geneviève Bujold), whose anatomy doesn’t quite conform to textbook norms. The indelible image of their deep red surgical scrubs signals the film’s antiseptic precision and the latent horror of medical authority, not least in the brothers’ custom-forged tools “for operating on mutant women.” It’s hard not to see its echoes in Us’s jumpsuits and sharp scissors. Still one of Cronenberg’s most psychologically disturbing works, Dead Ringers transforms the clinic into a nightmarish theater of bodily autonomy loss and violation.
Sunday, June 22 at 8:30pm
Wednesday, June 25 at 9:00pm
Labyrinths
“At the heart of every labyrinth, in fact, there is a blind spot. And if the subject of the narrative wanders in the labyrinth of his own blindness, the narrative in turn becomes for us readers (or watchers) a labyrinth in which we wander until someone like Theseus, just a name, attempts to deliver us from it… the point of horror resides in the blind space.” –From “Partial Vision” (1981) in Cahiers du Cinéma by Pascal Bonitzer
“The Lady from Shanghai“ Orson Welles, U.S., 1947, 35mm, 87m
Orson Welles’s hypnotic puzzle film set the standard for using literal and figurative labyrinths to mirror a society’s darkest truths. Hired as a crewman by a wealthy lawyer (Everett Sloane), Irish drifter Michael O’Hara (Welles) finds himself seduced and ensnared by the lawyer’s wife Elsa, played by a platinum-blonde Rita Hayworth in one of the genre’s most enigmatic femme fatale turns. Critics were baffled upon its release by the narrative contortions and dense plot, but the disorientation is the point; Welles fashions a baroque noir of fatalism and entrapment, where escape is an illusion and the self is a hall of mirrors. Its iconic, climactic mirror maze shootout has since been echoed in countless films (from Enter the Dragon to the climax of John Wick: Chapter 2); in Us, a seaside carnival’s funhouse of mirrors marks the inciting location of horror and revelation. Print courtesy of the Yale Film Archive.
Monsters live beneath the surface—but the real villainy remains above—in Clive Barker’s wildly ambitious horror-fantasy, which transforms society’s outcasts into mythic antiheroes. Boone (Craig Sheffer), a tormented young man accused of heinous crimes, is clinically manipulated by his psychiatrist Dr. Decker (played with icy menace by David Cronenberg), who moonlights as a masked serial killer. On the run, Boone discovers Midian—a hidden necropolis beneath a Canadian cemetery, where shape-shifting beings live in secret exile. Reclaimed from box office failure as a cult classic, Nightbreed fuses Hellraiser-level body horror with queer allegory, cryptozoology, and religious subversion to create a blood-soaked parable of persecution and chosen families. Its practical effects and creature designs remain dazzlingly strange, and its subterranean world—labyrinthine, liturgical, and etched with mysterious lore—echoes the Underpass in Us.
Preceded by:
“Labyrinthe“ Piotr Kamler, France, 1969, 12m
Hand-drawn in ink and meticulously rotoscoped frame by frame, Labyrinthe follows a solitary figure through alien architectures of shadows and mirrored chambers. Polish-born and Paris-based, Piotr Kamler is an experimental animator whose work explores temporal distortions and spatial paradoxes, conjuring here a slow-creeping sense of entrapment intensified by an unnerving soundscape—a clear antecedent to Barker’s nightmarish visions.
Wednesday, June 25 at 6:00pm – Post-screening discussion with Leila Taylor and Sierra Pettengill
The Uncanny
“The uncanny is that class of the frightening which leads back to what is known of old and long familiar.” –From The Uncanny (1919) by Sigmund Freud
Kenneth Branagh’s follow-up to his Henry V adaptation is this reincarnation noir pitched at full operatic tilt: by turns lush and implausible yet totally sincere. Spanning 1940s and 1990s Los Angeles, it follows a private eye (Branagh) and an amnesiac woman (Emma Thompson) whose present-day bond begins to echo a decades-old murder. Past lives begin to bleed into the present, while scissors, hypnosis, and mistaken identities swirl into a karmic spiral of romantic obsession and twisted humor. Often dismissed as a Hitchcock pastiche, Dead Again is far more playful and emotionally earnest than its influences suggest—a feverish genre bender full of theatrical flourishes and bold performances (including a scene-stealing Robin Williams) that plays like a romantic thriller possessed by a detective story, gothic fantasy, and historical melodrama all at once.
Sunday, June 22 at 1:00pm
Thursday, June 26 at 3:30pm
“A Nightmare on Elm Street“ Wes Craven, U.S., 1984, 35mm, 91m
Wes Craven’s genre-defining classic made sleep itself the most perilous realm imaginable. When teens begin dying in their dreams—each claimed by a disfigured man with a glove of knives—the boundary between waking life and unconscious terror erodes. As bodies pile up, bedtime becomes both a threat and an inevitability, and the desperate effort to stay awake only accelerates reality’s collapse. Enter Freddy Krueger (Robert Englund), a child murderer turned boogeyman whose spectral presence twists domestic spaces into sites of terror. Bathtubs become sinkholes, beds explode with blood, and body bags whisper names. More than 40 years later Elm Street still feels radical: not just for its surreal inventions and practical effects, but for how bluntly it expresses horror that is personal, political, and inescapably inherited—from your parents, your nightmares, and the systems meant to keep you safe.
Tuesday, June 24 at 6:30pm
“Scissors“ Frank De Felitta, U.S., 1991, 35mm, 105m
A year before Basic Instinct, Sharon Stone delivered one of her most unusual performances in this cult curio of early-’90s pulp cinema. After a violent elevator encounter, the sexually repressed Angela Anderson (Stone) is lured to a mysterious high-rise loft—only to find herself framed for murder. Her attacker lies dead on the bed, a raven screams accusations, and the rooms are filled with warped mementos from her psyche. Based on a story by legendary casting director Joyce Selznick—developed nearly a decade after her death—Scissors gradually sheds its thriller skin to become something altogether stranger: a dream-logic chamber piece of dolls, doubles, and mental breakage.
Following Her Breakout Role As the Younger Version of Rhaenyra Targaryen in Hbo’s “House of the Dragon,” Milly Alcock Will Soon Return to Screens This Week in Netflix’s Limited Series “Sirens,” Starring Alongside Moore and Meghann Fahy. “She’s graceful on and off and it was just just inspiring, just learning off her,” Alcock Told Indiewire at the New York Premiere About Time Working Alongside Moore.
The Series Marks the Rising Aussie Star’s First Production in the United States. “You Guys have weird hours,” she saids what it was like work in the states versus her experience on Other projects around the world. “On other sets i’ve workhed on, you start at the same time every day and you finish at the same time. was a thing and now i hate say (laughs). ”
Alcock Will Soon Make Her Debut As Supergirl, The Cousin of Superman in James Gunn’s “Superman” in July, before Starring in Her Own Film with Director Craig Gillespie Next for “Supergirl: Woman of Tomorrow.” Full of details are being kept under wraps for the film, but it has a script by Actress Ana Nogueira. The film is inspired specifically by Tom King’s 2022 Comic Series “Supergirl: Woman of Tomorrow,” and it will fit into the Larger DC Universe of Stories Gunn and Peter Safran Are Building.
Although she hasn’t seen gunn’s film yet, we ascked the actress if she recipes any Advice from anyone to prepare for the famous studios. “No, I Asked,” she Said. “They were just like, ‘Prepare to be bruised, there will be battle scars, and you’ll be proud of say. That definitely happy!”
Jason Momoa Will Star Alongside Alcock As Lobo, An Alien Mercenary and Bounty Hunter from the Utopian Planet of Czarnia in the DC Comics. He, on his Instagram, Shared a Screenshot of a quote from a prior intervenew in which he said that if anyone ever calmed him to play lobo or to audition, “i’m there.” He tagged the post Simply, “They Called.”
The Official Synopsis for “Sirens” Reads: “Devon (Fahy) Thinks Her Sister Simone (Milly Alcock) Has a Really Creepy Relationship with Her New Boss, The Enigmatic Socialite Michaela Kell (Moore). Its time for an intervention.
It premieres May 22 on Netflix. Check out the trailer here.
Martin Scorsese is finally getting in front of the camera to baare all. The iconic auteur will be at the Center of Five-Part Documentary “Mr. Scorssese,” Helmed by “She Came to Me” Filmmaker Rebecca Miller. Billed as a “portrait film,” The Feature Will Include Never-Before-Seen Interviews with Scorssee’s Friends, Family, and Creative Collaborators Robert de Niro, Daniel Day-Lewis, Leonardo DiCaprio, Mick Jagger, Thelma Schoonmacker, Schoker. Spielberg, Sharon Stone, Jodie Foster, Paul Schrader, Margot Robbie, and Cate Blanchett. Scorsse’s Private Archives Will Also Be Displayed Onscreen.
“I am so grateful to have been given the artistic freedom and access to create a cinematic portrait of one of the Greatest Living Artists, Martin Scorsse,” Director Miller Said. “His work and life are so vast and so comprelling that the piece evolved from one to five Parts over a five year; crafting this documentary alongside my longtime collators has ben one of the definition of my life as a filmmaker.”
“Mr. Scorsese” was original with the executive producers Miller and Damon Cardasis at Round Films (“Maggie’s Plan,” “Saturday Church”), Cindy Tolan (“Dandelion”) Miller’s Creative Collaboratory.
The Official Synopsis Reads: ” Mr. Scorssese ‘is a film portrait of a man through the lens of his work, exploring the many faces of a visisionary who redefined filmmking, including his excordinary and unique personal history. Archives, the Documentary Series is anchored by extensions with the film Himself and Never-Before-Seen Interviews. Made Stunned the World With Originality.
Emmy Award-Nominated Trio Cardasis, Toolan, and Miller (“Arthur Miller: Writer”) Serve as Executive Producers Alongside Rick Yorn, Christopher Donnelly, and Julie Yorn. Ron Burkle Produces and Robert Fernandez and Patrick Walmsley Co-Executive Produce. The Series is present by expanded media and round films in association with lbi Entertainment and Moxie Pictures.
Scorsese Himself has collaborate with Apple for A Slew of Features, Including “Killers of the Flower Moon” and the Previously Announched Adaptation “The Wager. Marilynne Robinson’s “Home” is Also in the work, with scorsse directing. He Also Will Be Executive Producing Apple TV+ Series “Cape Fear” after Helming the 1991 Film Version Starring de Niro. Scorsese signed a first-look film and tv deal with the studio in 2020.
The European Union has proposed a two-euro flat fee on billions of Small Parcels Sental to People’s Homes, Which Mainly Come from China at the moment.
The New Tax Would Mean That Packages Worth Mess than 150 Euros (£ 126) Are No Longer Customs-Free.
Online Marketplaces, Including Chinese Giants Temu and Shein, Waled Be Exped to Pay the Fee, Said Eu Trade Commissioner Maros Sefcovic.
Last Year, 4.6 Billion Such Parcels Entered the EU, with more than 90% Coming from China.
Such a volume HAD CREATED A HUGE WORKLOAD FOR EU Customs Staff, Sefcovic Said. He argued it has present challenges in ensession the safety and standard of goods entering the bloc were Propperly checked.
The proposed Fee Wold “Compensate the Cost”, he told the European Parliament. Brussels Also Hopes Some of the Revenue Generated Will Go Towards the Eu Budget.
The Two-Euro Fee Will Apply to Packages Sental to Consumers, while Parcels Sental to Warehouses Wouled Be Taxed at A Lower Rate of 0.50 Euros (£ 0.42).
The Eu’s Move Comes after the US’S Tariffs on Chinese Goods Under President Donald Trump’s Administration – Which Include a Fee on Small Packages.
Following Negotiations Last Week, The Tariff on Small Packages Worth Up to $ 800 (£ 606) was revised down to 54% from 120%. Howver a Flat Fee for Parcel of $ 100 Remains.
There had been fears that the chinese e-commerce giants couldn say the European market with cheap goods, as products originally destined for the US to be dumped Elsewhere.
European retailers have complained before that they have unfair compatition with overseas Competitors, WHO They Argue will not comply comply with the eu’s strict product standards.
Shein and Temu Have Previously Said They Wold Co-Operation with Regulators and Consumer Standards. TEMU SAYS IT HAS 92 MILLION USSERS IN THE EU, while shein has said it has over 130 million.
Prior to the US Tariffs, platforms like shein and tempt on the so-Called “de minimis” exemption to ship-dance Items directly to customers in the US with Pay Duties or Import Taxes.
