Ariana DeBose Goes From Hosting the Tonys to Debuting New Movie at Tribeca Film Festival!

You know the modern world is in a dark place when even a middle-aged Iranian woman says that things were better in the old days. Indeed, for his feature debut, director Behrooz Karamizade has fashioned an intelligent and thoughtful drama that should travel well in today’s climate of insecurity, offering a fresh perspective on a multiplicity of worldwide issues (trickle-down theory, the gig economy) while adding an especially nuanced subplot exploring the refugee crisis and the mechanics of people-trafficking.  

From Studio Ghibli leading the charge for the expansion of anime to BTS and BLACKPINK topping the music charts to TV series and films such as “Squid Games,” Parasite,” “Minari,” and “Everything Everywhere All At Once” dominating the awards circuit, the popularity of Asian culture and media has surged recently in the United States in recent years.

Patrick Frater Asia Bureau Chief The Mother of all Lies, a docu-drama film that probes the secrets of Morocco’s 1981 Bread Riots, was Sunday named the best picture at the Sydney Film Festival. The jury, headed by Anurag Kashyap, called the Asmae El Moudir-directed film “audacious, cutting-edge and courageous.” It presented the A$60,000 ($41,100) cash prize film ahead at the State Theatre ahead of the Australian premiere screening of “Indiana Jones and the Dial of Destiny.” The film, which uses doll-like figurines, recently premiered in Un Certain Regard at Cannes, where it earned the section’s best director prize. “Juxtaposing evidence from barely existent public materials with private family memory, this film reconstructs the history of the state, the family and the individual, in three distinct levels,” said the jury of Kashyap, actor Mia Wasikowska (Australia), film curator and journalist Dorothee Wenner (Germany), writer and director Larissa Behrendt (Australia) and filmmaker Visakesa Chandrasekaram (Australia – Sri Lanka).

Angelique Jackson “Cinnamon” and “A Song From the Dark” were two of the big winners at the “Best of the ABFF Awards” presented Saturday during the American Black Film Festival. Following its world premiere at the Tribeca Festival, “Cinnamon” continued its festival run at ABFF in Miami Beach, Fl., where it was awarded the prize for best narrative feature and best director for writer-director Bryian Keith Montgomery Jr. The Tubi original film stars Hailey Kilgore, Damon Wayans, Pam Grier, David Iacono and Jeremie Harris. Kilgore plays Jodi, a struggling small-town gas station attendant with “killer pipes and big dreams,” who falls hopelessly in love with a hustler (Iacono) and falls foul of a local crime lord (Grier) and her murderous family. The noir thriller serves as the inaugural project filmed under Village Roadshow Pictures’ Black Noir Cinema banner, co-founded by NBA all-star Kevin Garnett. Veteran producer Oz Scott oversees the content slate, which also includes “Murder City,” a film starring Mike Colter, Antonio Fargas and Stephanie Sigman that made its world premiere at ABFF.

U.S. NARRATIVE COMPETITIONBest Performance in a U.S. Narrative Feature: Ji-Young Yoo for “Smoking Tigers,” (United States) – World Premiere.

Patrick Frater Asia Bureau Chief “Killing Romance,” one of the most creative Korean films of the past year, has been set as the opening night title for the upcoming New York Asian Film Festival. The deliberately multi-genre picture tells the tale of a beautiful movie star with dubious acting skills (portrayed by Le Ha-nee) who suddenly quits the industry and retires to newly-married life that turns out to be anything but bliss. When she decides to return to acting she teams up with a fan and an absurd plot to kill her absurdly rich husband. The film is directed by Lee Won-suk who previously attended the NYAFF with his first film, “How to Use Guys With Secret Tips,” in 2013 and returned with his second feature, the big-budget period drama The Royal Tailor, which earned the audience award at NYAFF in 2015.

There was no mention of artificial intelligence Thursday at Tribeca Festival’s Paul McCartney talk with Conan O’Brien.

Gabrielle Union steps out in a studded mini dress from Prada for the premiere of her new movie, The Perfect Find!

Sometimes it feels as though A.I. is already here, given the number of films resembling Garden State that pop up on the festival circuit every year. Robert Schwartzman’s The Good Half is only the latest, and his attempt to out-emo Zach Braff’s legacy film falls disappointingly short, given that his last Tribeca appearance was with the surreal and underrated comedy The Argument (2020), which channeled Charlie Kaufman in the story of a couple whose obsession with a petty fight spirals into absurdity. The Good Half, however, mostly serves as a decent vehicle for Nick Jonas, who seems to making a play to be the new Adam Driver, which is not as far-fetched as it might sound.

Amber Heard’s next movie is on the way.

Each other’s biggest fans. Ben Stiller supported his wife, Christine Taylor, alongside their daughter, Ella, 21, at the 2023 Tribeca Film Festival.

Hollywood’s biggest names never miss an opportunity to dazzle Us with their fierce fashion sense. Tracee Ellis Ross, Claire Danes, Brittany Snow and more stars turned heads on the red carpet at the 2023 Tribeca Film Festival. 

It was a Stiller family affair.

In the proliferation of subgenres, the media noir is perhaps the rarest. From the ’50s alone, Billy Wilder’s Ace in the Hole, Fritz Lang’s While the City Sleeps, and Alexander Mackendrick’s Sweet Smell of Success spring to mind. Just lately, with the exception of Dan Gilroy’s Nightcrawler (2014), there hasn’t been too much evidence of a renaissance, but Roxine Hellberg’s satisfying feature debut taps back into the same dark wells of oral ambivalence corruption and power, casting the excellent Bel Powley as a journalism student who will do whatever it takes to make it in the cut-throat world of TV news broadcasting.

Though it doesn’t exactly have the same warm, melancholic charm, Alice Troughton’s elegant literary thriller The Lesson could give star Richard E. Grant the kind of late-career bump that last year’s Living afforded Bill Nighy. An Oscar nom might be a little fanciful at this stage, but a Bafta shot is a no-brainer, with Grant on top form as a mercurial, narcissistic British author. Co-star Julie Delpy might also find new offers coming in, showing a stiletto-sharp new side to herself as his enigmatic wife.

During the 76th annual Tony Awards, returning host Ariana DeBose addressed the ongoing Writers Guild of America (WGA) strike with studios during what normally would have been a traditional song-and-dance-filled opening monologue. Instead, a planned performance written by Lin-Manuel Miranda was scrapped while the ceremony was allowed to go forward with live performances of nominated musicals and the handing out of awards, but with no scripted material.

76th annual Tony Awards, returning host Ariana DeBose addressed the ongoing Writers Guild of America (WGA) strike with studios during what normally would have been a traditional song-and-dance-filled opening monologue. Instead, a planned performance written by Lin-Manuel Miranda was scrapped while the ceremony was allowed to go forward with live performances of nominated musicals and the handing out of awards, but with no scripted material.DeBose opened the show by opening up a blank script, which appeared to be no problem for the seasoned performer who danced her way on-stage to a jazzy medley of pre-existing Broadway hits, reimagined and newly orchestrated, thus not crossing the picket line of script writing, or rather, lyric writing.Macy Schmidt and Benjamin Rauhala constructed and arranged the medley after Miranda pulled the song he was working on for the opening number, in solidarity with the WGA strike.The dance and music-forward number was met with a standing ovation from the crowd, which proved that no words were needed to kick off the big night.After kicking off her dancing shoes, DeBose addressed the audience, «Well, well, well, DeBose began.

There have been plenty of movies detailing life in a fraternity – Animal House being the crown jewel of all, no matter how outrageously funny. The newest entry in the genre, The Line which premiered at the Tribeca Film Festival this weekend, is not trying to amuse on any level , a deadly serious take on college frat houses that looks like it was ripped straight from the many headlines about hazing deaths and horrific goings-on at these places.

For his sophomore feature, the follow-up to 2004’s little-seen indie House of D, David Duchovny serves up a similarly niche confection, a sometimes-zany black comedy based on his 2016 novel of the same name. The elevator pitch is a tough one; though it’s funny in places, the tone is all over the place, one minute aspiring for the arch, stoner laughs of PTA’s Inherent Vice, the next veering into straightforward sentiment with a rambling final section that hits a similar highway to the 2006 Sundance hit Little Miss Sunshine. There’s also the f-word: the looming curse of American baseball movies that don’t have the word Field in the title, which could hamper its commercial prospects in the wider world.

Premiering Saturday night in the Tribeca Film Festival’s Spotlight Narrative category, Eric Larue is an intense and devastating account of the after effects of a school shooting, but the focus is almost entirely on the parents of that boy who shot and killed three male classmates and is now in prison. Adapted by Brett Neveu from his own 2002 stage play, it has taken on new weight in the two decades since it was first presented at Chicago’s Red Orchid Theatre in light of the seemingly endless numbers of school shootings and the fact that the number one cause for deaths of young people is now by gun. But for his feature film directorial debut actor Michael Shannon was most interested in looking at the effects of this traumatic life-changing incident from the point of view of the parents, those of the kids killed, and particularly the pair of the young teen who murdered them.