Vanessa Hudgens, Lily Rabe, & More Kick Off Tribeca Film Festival 2023 with 'Downtown Owl' Premiere!

In exciting news for movie lovers and soccer enthusiasts alike, the Toronto International Film Festival (TIFF) has announced that Taika Waititi’s soccer comedy, “Next Goal Wins”, will have its world premiere at the 48th edition of the festival.

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

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!

It’s been a busy week for Ariana DeBose!

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.

So many stars attended the CHANEL Tribeca Festival Artists Dinner at Balthazar on Monday night (June 12) in New York City.

Amber Heard‘s next big appearance has been announced!

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.

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.

“How do people do this?” asks well-to-do New York book publisher Nicky (Luke Evans) in a state of exasperation. Nicky is in the thick of a bitter custody battle for his eight-year-old son Owen (Christopher Woodley), after Gabriel (Billy Porter), his partner of 13 years, has decided to call time on their relationship. It’s a well-worn premise in mainstream cinema — essayed most recently by Noah Baumbach’s acerbic Marriage Story, and still portrayed most famously in Robert Benton’s 1979 weepie Kramer vs. Kramer — but gay cinema has been slow to tackle the issue. With his second movie, the follow-up to the 2018 sci-fi Jonathan, Bill Oliver corrects that oversight with a beautifully judged human drama that dissects a dying marriage with humor and intelligence, drawing out an especially open and moving performance from Porter.

The stars came out in force for Chanel’s Through Her Lens Program lunch during the 2023 Tribeca Film Festival held at Odeon on Friday (June 9) in New York City.

It might sound like a backhanded compliment, but Downtown Owl feels more like a pilot than a feature film and may yet yield a series. In today’s market, that could work out just fine for directors Hamish Linklater and Lily Rabe, who, after a choppy start, finesse Chuck Klosterman’s digressive 2007 novel into a thoughtful, broad-canvas ensemble piece. T Bone Burnett helps nail things down with an eclectic alt-country score and soundtrack, infused with the music and spirit of Elvis Costello, but it’s Rabe that holds it all together onscreen with a controlled yet still wildly uninhibited performance.

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