Tribeca Film Festival Latest Celebrity News & Gossip

Amy Schumer and more industry experts.At the conclusion of the program, each pair will pitch their projects to a jury, which includes Gayle King,Leslie Mann and Rita Moreno, and one team will receive full financing to produce their short film with support from Tribeca Studios.

Silly film fan, you didn’t think Tribeca was going to sit back and let Venice, TIFF, Telluride, and NYFF have all the fall festival fun, did you? Sure, the annual Tribeca Film Festival is typically in the late spring, but starting this year, the event is ready to branch out into the fall, as well, with the announcement of the Tribeca Fall Preview.

The challenges of bipartisanship are easy to spot. It’s casting a die for cooperation, a hope that with your differing neighbor you can find not just common cause but common decency.

When you’re driving down one of Alabama’s main interstates, it’s not hard to see gaudy Confederate flags flying atop a hill, a memorial site, gravesites, or basically, anywhere else. Growing up in the South brings gradual understanding to just how deep the permeation of Dixie is in the culture — “The Dukes of Hazard“ proudly had the flag on the hood of the General Lee car, a symbol for ’70s Southern pride.

When attempting a biopic about a rock ‘n roll icon, there’s an inherent conflict of style and substance. Biopics are traditionally dramatic, yet glossy affairs that bring an air of prestige to every story, whether it’s the tale of a stuttering king, a cagey criminal, or the man who made McDonald’s an international chain.

Much can be said about Megan Mylan’s latest documentary “Simple As Water.” Yet, as its title insinuates, the film succeeds in its calculated minimalism. Cataloging the plight of four Syrian families in the aftermath of war, Mylan’s heartfelt exploration of human strife infuses informative insight with harrowing revelations.

Acclaimed photojournalist Gordon Parks was something of a renaissance man. A photographer, writer, composer, film director, and activist—he imbued the American Black experience with a sense of gravitas, esteem, and pathos through his Black gaze.

It is tempting and totally incorrect to put Jamie Adams’ “Love Spreads” on a shelf next to Alex Ross Perry’s “Her Smell”: Both films center on petty, personal rifts expanding between members of all-women rock bands, and the former at first appears, like the latter, concerned with toxic lead singers cursed with too much ego after tasting success.

Bitchin’: The Sound and Fury of Rick James,” part of the Tribeca Film Festival, when the movie stopped with 40 minutes still to go.“We will now pause for 15 minutes to watch the fireworks,” an announcer said. Huh? Cannes has never shot off pyrotechnics during a Lars von Trier debut. (Perhaps they should.)The surprise display was Gov.

Easing back into moviemaking after the months-long covid shutdown seems like a mighty stressful proposition, and from the looks of the cast and crew credits for “No Sudden Move,” Steven Soderbergh decided to alleviate that stress by surrounding himself with people he knew.

What would it be like to see your childhood friends rise to fame, scratch at fortune, then die tragically young, only to become googled curiosities and cautionary tales? This was the journey of Hamilton Chango Harris, who appeared alongside his real-life skater pals in Larry Clark’s 1995 hit, “Kids.” Now, Harris aims to rewrite the narrative of the late Justin Pierce and Harold Hunter with “The Kids,” a documentary that reveals disturbing behind-the-scenes secrets and their aftermath.

Given the amount of nervousness, fear, and uncertainty many women face with the unpredictability of pregnancy—not to mention the strange-to-reckon-with fact that a small, separate being in a liquid sack is slowly incubating inside you—it’s a wonder there aren’t dozens of horror pregnancy films conceived every year. Ilana Glazer’s riff on this genre, “False Positive,” from A24 and Hulu, is born from the emotional turmoil that often accompanies pregnancy.

got their first glimpse of Steven Spielberg’s “West Side Story” remake during this year’s Oscars, they heard a familiar voice singing the famous song “Somewhere” in the trailer: Rita Moreno. The original Anita from 1961’s “West Side Story,” Moreno has enjoyed a renaissance in recent years.

Like any other global event, there will come a time when COVID becomes a contextual landmark for art. It has a great deal of potential as a narrative shortcut for cinema in particular.

Based, in part, on Father James Martin’s bestselling book “Building a Bridge: How the Catholic Church and LGBT Community Can Enter into a Relationship of Respect, Compassion, and Sensitivity,” Evan Mascagni and Shannon Post’s compassionate documentary “Building a Bridge” use Martin as an entry point into a larger discourse surrounding the relationship between the Catholic Church and the LGBTQ+ community.

Reclaiming Beach Boys co-founder Brian Wilson’s voice and personal narrative, “Brian Wilson: Long Promised Road,” is an insightful but breezy introduction to the musical mastermind. Touching on everything from his early career to Beach Boys success and his drug use and mental illness, Brent Wilson and Jason Fine’s film may not reveal much about Wilson that isn’t covered in a Wikipedia article but still allows the musician to reclaim his own narrative.

Lupita Nyong'o is back on the red carpet for the first time in over a year. The star hit the red carpet at the 2021 Tribeca Film Festival at Pier 76 in New York City on Tuesday, where she stepped out to attend a screening of Ghanian-American director Nana Mensah's new film Queen of Glory.The Oscar-winning actress stunned in a black-and-white checkered harlequin-style dress, which she accessorized with a black hat, red earrings and a bold, red lip.

Using Leonard Bernstein’s own voice, collected from his myriad interviews throughout his life, as well as personal letters, many of which were published in the 2013 book “The Leonard Bernstein Letters,” Douglas Tirola’s “Bernstein’s Wall” works as both a broad overview of the famous conductor’s life, as well as a deep dive into his political activism.

Reflective and stoic, sometimes to a fault, Levan Koguashvili’s film “Brighton 4th” explores the hyper-masculine world of Georgian wrestlers and gamblers in Brooklyn.

Alec Baldwin so enjoys the story of how he ended up narrating “The Royal Tenenbaums” that he told it twice at the virtual reunion that followed Monday’s Tribeca Festival anniversary screening. He used it to open the conversation, which he moderated, recalling that co-writer/director Wes Anderson “asked to do me a favor and do this narration for this film.

With its signature liveliness, unapologetic attitude, and visual splendor, New York City has so long been a set of romantic comedies that this location has become a cliché. So, how does Jonah Feingold, the writer/director of “Dating & New York,” aim to make his mark on this sparkling skyline? By creating a postmodern rom-com that blatantly snatches from iconic influences to deliver an irreverent commentary on the genre and modern romance.

A man dressed as a Viking goes into a convenience store to trade furs for groceries; a trio of smugglers is on the verge of an escape across the border when a moose totals their car; a cop calls for a tracker dog, only to be told that it, “isn’t working today.” When asked what the hound could be doing, the other cop responds honestly, “No idea.

Using the early days of the COVID-19 pandemic as a backdrop for a quarantine-style romantic comedy, Roshan Sethi’s directorial debut, “7 Days,” which pushes two ideologically opposed young Indian-American characters together during shelter-in-place, is a compact, empathetic wonder that only occasionally dips into overtly broad comedy.

Indie anxiety auteur Jim Cummings’ work is always trembling nervously with the hum or uneasy apprehension. His brilliant debut, “Thunder Road” throbbed with the cringe-y tension of a grieving divorcee policeman on the verge of a nervous breakdown, and his follow-up, “The Wolf of Snow Hollow” layered murder mystery genre elements and the idea of the “toxic male beast within” on top of his signature jittery agitation.

Vanessa Kirby is fascinating to watch and follow in writer/director Adam Leon’s “Italian Studies,” a purposefully hazy but compelling survey of New York City and its young minds. The Academy Award nominee of “Pieces of a Woman” uses her celebrity presence among regular New Yorkers for something of a low-key “Under the Skin” as she wades through this crowded society with a blank slate perspective forcing us to see it all with the same new lens.

Narrative-averse portmanteau films are a tough nut to crack, yet not impossible.

Any filmmaker smart enough to bookend their movie with Stevie Nicks needle drops deserves not only our attention but our enthusiasm, and Gaysorn Thavat does much more than that in “The Justice of Bunny King,” crafting a vivid portrait of a woman trapped by a tragic combination of circumstances, injustices, and bad instincts.

One person assembles plastic bottle pumps, another paints areola on sex dolls, and a different individual takes a business etiquette class to learn the proper way to smile (one shows eight teeth…the top ones). All of them are Chinese citizens struggling to find and maintain a foothold in their country’s race towards global domination, and in “Ascension,” they give audiences a peek at what increasingly appears to be a devil’s bargain.

“What the fuck am I doin’ here?” asks Anthony Bourdain, via archival audio, early in Morgan Neville’s new documentary “Roadrunner: A Film About Anthony Bourdain.” “I shall explain,” he continues, and so he does. The public outpouring of grief when Bourdain took his own life in 2018 was overwhelming; it was joined by some confusion because although he had always been forthcoming about his own demons and drives, his books and television shows conveyed such a palpable zest for living.

“What the fuck am I doin’ here?” asks Anthony Bourdain, via archival audio, early in Morgan Neville’s new documentary “Roadrunner: A Film About Anthony Bourdain.” “I shall explain,” he continues, and so he does. The public outpouring of grief when Bourdain took his own life in 2018 was overwhelming; it was joined by some confusion because although he had always been forthcoming about his own demons and drives, his books and television shows conveyed such a palpable zest for living.

Social media as a way of hiding ourselves and assuming a new identity is an increasingly familiar cinematic concept, and in most genre films, that flexibility can introduce a kind of threat. In Gia Coppola’s recent “Mainstream,” Jan Komasa’s “The Hater,” and Leo Gabriadze’s “Unfriended,” Facebook, Twitter, YouTube, and Instagram allow for a veiling of users’ true identities.

Having spent most of my life in New England, where sports are the way of life and the Patriots hoard more cultural cachet than the Red Sox, Celtics, Bruins, and maybe even the mayor combined, I have never understood football’s appeal as entertainment or as a pastime.

There is no shortage of films about the difficulties of being an artist. But when you have a film about the creative difficulties of being a musician that features a cast led by Alia Shawkat and Eiza Gonzales, suddenly it doesn’t matter if the premise seems familiar.

This story of an open marriage starts promisingly, and its leads are charismatic, but it takes too many familiar turns.

Using the early days of the COVID-19 pandemic as a backdrop for a quarantine-style romantic comedy, Roshan Sethi’s directorial debut, “7 Days,” which pushes two ideologically opposed young Indian-American characters together during shelter-in-place, is a compact, empathetic wonder that only occasionally dips into overtly broad comedy.

Lin-Manuel Miranda has done it again! Again!The “Hamilton” creator’s blissful new movie “In the Heights,” which is based on his Tony Award-winning 2008 musical, is the best film of the year so far. It’s also easily the best movie-musical since the Oscar-winning “Chicago” from way back in 2003.