Peter Cilella talks his new film “Resolution”

Peter Cilella stars in the upcoming film “Resolution” which will be part of this year’s Tribeca Film Festival. Media Mikes talked with Peter recently about his role in the film.

Adam Lawton: Can you tell us about the film “Resolution”?
Peter Cilella: This film is about a guy who goes out to a cabin in the middle of nowhere to get his friend clean from drugs. My character takes drastic measures to get him clean. Throughout the course of the movie we each deal with personal demons and without giving too much away there is something else out there. The movie is about different controls in our lives. I think this is something everyone can relate to even when it veers off onto an odd path.

AL: What drew you to the role?
PC: I am friends with Justin Benson who wrote and co-directed the film. I had done a bunch of short projects with him and I had also worked previously with Vinny Curran who is the other lead actor in the film. We felt that we had a good chemistry and everything worked. Justin had wanted to do a feature and I suggested to him about setting this film out in the middle of nowhere. A couple months later he had the script and money. It’s really nice to get to work with people who actually walk the walk. I am very fortunate to have such a good friendship with these guys.

AL: I know you have done a lot of stage work in the past. Did you find it difficult transitioning from stage to screen work?
PC: I think the length of time we were away on location was the hardest part. We shot the film in about 20 days. Being immersed to that degree was different. I had done shorter commercial shoots and short film shoots but nothing like this. We had a pretty lengthy rehearsal process for the film which was pretty unique. Usually that doesn’t happen. I found there were a lot of great skills I could take from theater and apply them to film. It’s really a work ethic. The more you do it the better you get. If you are going to be a professional actor you have to do your training and work at it.

AL: Are there any other plans to take the film to more festivals after Tribeca?
PC: This is just the beginning. However I don’t know anything that is really concrete of where or what the film will be doing next.

AL: What other projects are you working on?
PC: I have co-written an action comedy with one of my good friends. We are shopping that around right now. I am also working through my first solo full length script. That has been a challenging process. I am actually trying to finish the first draft before the Tribeca Festival. Writing is really challenging but also very rewarding.

AL: Do you see yourself going more towards writing than acting?
PC: I would love to balance both. That is when I am the most happy. If I am only doing one or the other I feel like I am neglecting a side of me that needs to be fed. When I started writing years ago it was more out of frustration. I needed a creative outlet. I was between jobs and I had some down time. I needed to express myself and I really got into writing. I love story telling and it’s something that I don’t think I would ever want to abandon.

 

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Tribeca Film Festival Review “Off Label”

Directed by: Michael Palmieri and Donal Mosher
Producers: Anish Savjani, Vincent Savino
Tribeca Film Festival
Running time: 80 minutes

Our Score: 4 out of 5 stars

“Off Label”, a new documentary from Michael Palmieri and Donal Mosher, draws its power from getting personal with those most affected by the pharmaceutical industry’s usage of humans as guinea pigs. For some, it’s a financial choice, while for others it’s as a last ditch effort when other means have failed them.

With subjects spanning across the country, some of the most devastating accounts come from Andy Duffy, a 22-year-old army medic stricken with PTSD from being stationed at Abu Gharib, and Mary Weiss, the mother of a man who killed himself while in a medical study. At 17, Duffy could not believe that he was being deployed as a medic to one of the war’s most notorious locations and Off Label’s directors rightly make no effort to shield its viewers from the horrors he faced there. Understandably Duffy returned to the country in a real need of psychiatric help. What he found was doctors giving him a plethora of medications for various symptoms and off label prescriptions that fit under their medical plan better than more expensive, perhaps more appropriate, drugs. They’re basically throwing anything at him to see what works. In any case, Duffy is the not the only interviewee who presents a massive stock pile of little orange pill bottles in this doc and that’s the trouble. “I don’t need medication. I need help,” Duffy says. This loss of humanity in the search for the most effective drug mixture is at the heart of the problem examined in the doc. Duffy ultimately turns to other war veterans for more effective support, but other subjects lack such groups.

For me, the film’s most powerful figure is Mary Weiss. Weiss committed her 26-year-old son, Dan Markingson, for psychiatric help. Though he was committed, his personal consent to be put into a closed clinical study for anti-psychotics was irreversible by Weiss as he was not a minor. What resulted was Weiss being incapable of pulling her son from the drug study even though she could tell he was much worse off and eventually he committed a grisly suicide. Weiss became dedicated to fighting corruption within the drug testing system and in the film she is a striking and passionate interviewee. When she speaks to the filmmakers she is composed but the rage she has felt since losing Dan is palpable. Her account of her son’s death is haunting and I suspect will have many viewers rally to her cause. She is truly remarkable.

To counter the stories of those directly affected by prescription abuses, Palmieri and Mosher have also smartly included an ex-pharmaceutical rep, Michael Oldani, to detail the mechanics of getting various drugs into the public’s minds. Reflecting on his past occupation, Oldani dubs the role of drug reps as shady and some of the tactics he reveals to get a patient to prefer one drug over another are eye opening in their simplicity.

Besides Weiss’ fight, Off Label isn’t so much about directly confronting the rampant drug marketing in the United States as examining the human cost of such a culture. Beautifully shot footage of each of their interviewees in their day to day lives—Duffy practicing with his rifle, two of the “human guinea-pigs” celebrating an unconventional wedding— contribute to an intimate look at a massive problem.

2012 Tribeca Film Festival Reviews

The Tribeca Film Festival was founded in 2002 by Robert De Niro, Jane Rosenthal & Craig Hatkoff as a response to the attacks on the World Trade Center. Conceived to foster the economic and cultural revitalization of Lower Manhattan through an annual celebration of film, music and culture, the Festival’s mission is to promote New York City as a major filmmaking center and allow its filmmakers to reach the broadest possible audience. Since the inaugural festival, Lower Manhattan has become a thriving cultural and economic center.

Over the course of 12 days, the Tribeca Film Fest exhibited 89 feature films and 60 short films to over 116,000 movie-goers.

Media Mikes was fortunate to screen and review a bunch of films throughout the fest.  Check out our reviews below, but don’t worry if you missed the festival many of these features hopefully will be distributed soon to a wider audience. Stay tuned!

Check out the following link for the 2012 schedule and film guide


As Luck Would Have It

Burn

Downeast

Journey to Planet X

Mansome

Off Label

One Nation Under Dog

The Revisionaries

Side By Side

Take The Waltz

Tribeca Film Festival Review “Mansome”

Directed By: Morgan Spurlock
Producers: Jeremy Chilnick, Meri Haitken, Michael Rushton, Morgan Spurlock
Featuring: Morgan Spurlock, Zach Galifianakis, Will Arnett, Paul Rudd, Jason Bateman, Judd Apatow
Tribeca Film Festival
Running time: 84 minutes

Our Score: 3.5 out of 5 stars

Morgan Spurlock’s newest documentary, Mansome, isn’t so much about what it means to be A Man in the modern world as it is a chance for a group of eccentric subjects and celeb commentators to riff on the level of manscaping that’s going on. And as it involves a reunion of Arrested Development’s Bluth brothers, Will Arnett and Jason Bateman (also serving as executive producers), I’m pretty much fine with that.

Arnett and Bateman’s interactions frame loosely themed segments of the film focusing on things such as beards and hair products. The two men are having a spa day where they ponder the question of masculinity while they also take turns taking comedic jabs at each other. In a standout bit, they hold an impromptu challenge as to who can withstand the rougher massage. Other celebrity interviewees who aren’t exactly taking the subject at hand seriously include Paul Rudd and a hilarious Zach Galifianakis. All of Galifianakis’s answers drew big laughs and he later dominates the over-credits footage after the film. One can only hope there could be more, from all parties really, on the eventual dvd/blu-ray.

When not watching talking heads, the film follows a few men whose lives seem to center around maintaining their hair. Jack Passion is the World Beard Champion (that exists!) and we’re privy to one of their competitions (pageants?) in Germany. Shawn Daivari is a TNA wrestler whose quest to keep up with the hairless culture he works in means he must call in a buddy to shave his “ass shelf.” Ass shelf. Manscaping. This film’s educational value seems to rest on introducing new phrases to a wider audience. Though I could have lived without the creator of Fresh Balls ruining the term “bat wing” in this pre-Dark Knight Rises spring.

If neither of these sides of the doc sound like they appeal, or if you’re looking for the deeper cultural implications of well groomed men, perhaps it’s best to avoid Mansome. But it’s a light, amusing film that’s definitely worth checking out for comedy fans and anyone else who wants to gawk at some really elaborate beards.

Upcoming TFF Screenings of Mansom
Fri. 4/27 – 9:30pm, SVA-1
Sat. 4/28 – 3:00pm, AV7-1

Tribeca Film Festival Review “The Revisionaries”

Directed by: Scott Thurman
Producer: Pierson Silver, Orlando Wood, Scott Thurman
Featuring: Kathy Miller, Don McLeroy
Tribeca Film Festival
Running time: 83 minutes

Our Score: 5 out of 5 stars

Before seeing “The Revisionaries”, I would have been hard-pressed to identify a more noxious sound than that of a dentist’s drill at work. I now know that if the dentist behind that tool is also interrogating the patient on their thoughts on god, or badly singing “For the Bible Tells Me So” as he works, the auditory punishment is that much worse. Talk about a captive audience. It’s a perfect introduction to one of this great, often startling, documentary’s most polarizing figures, Don McLeroy, former head of the Texas State Board of Education.

Thurman’s film focuses on this small board, fifteen members in all, because as one of America’s top purchasers of high school textbooks, the standards they approve for the writing of those books dictate what the nation’s students will be reading for the next ten years. Following Abraham Lincoln’s quote, “the philosophy of the school room in one generation will be the philosophy of government in the next,” the members of the board have become increasing politicized. Particularly in the realms of science and history. McLeroy enters into the film on the side of the religious far right. A young Earth creationist since he was 29, McLeroy would swear up and down he doesn’t let his personal beliefs enter into his role in education while simultaneously insisting that “science is great, but it doesn’t deserve the plateau [sic] that they put it on”. If it were up to him he would teach kids that dinosaurs walked alongside man and rode on the ark 6000 years ago. There is something profoundly disturbing about a man with, as he described it, a “mind boggling” amount of power chanting to his followers that they must “stand up to the experts!” where education is involved. This type of disgusting anti-intellectualism continues to pervade the political debate today. Just look at failed presidential candidate Rick Santorum’s recent college-is-for-snobs rhetoric for evidence. McLeroy’s stance is backed by other board members like Cynthia Dunbar, another one who will say at the Board meetings that she’s not pushing a theological agenda, but she’ll start a State board meeting with a Christian prayer. If these peoples’ views, ignorance and downright hypocrisy are all infuriating, to director Scott Thurman’s credit, it’s not through any cinematic trickery that this impression is achieved. Thurman gives McLeroy and his cohorts plenty of screen time in which to calmly lay out their beliefs in talking head segments.

On the other side of the debate is Kathy Miller, leader of the Texas Freedom Network, an organization aimed to stop the hijacking of America’s classrooms for political gain. On her side would be the aforementioned experts such as anthropology professor Ron Wetherington and Eugenie Scott, the executive director at the National Center for Science Education. They’re tasked with having to deal with powerful board members who got there via election, not nearly as much education as the experts needed to get to their respective titles. I suppose that’s what makes them experts. Occasionally debates among the panel actually have to pause to have scientific phrases explained to board members. Thurman’s camera does a brilliant job of capturing the moments of silent shock on some of the more level headed commentators in such instances. Wetherington in particular has a wonderfully expressive face when caught off guard. These slips are in great contrast to the restraint the professor shows when dealing with McLeroy in a one on one debate that gets so overly polite it starts to rival Warner Brothers’ Goofy Gophers.

The first half of the documentary focuses on the hot button debate over evolution, with the right wing side pushing for textbooks to accentuate the “weaknesses” of a “theory.” Such petty wording will have a profound effect that should not be underestimated. For me though, the more startling debate appears in the second meeting we see regarding America’s history books. The Board actually seeks to downplay Thomas Jefferson, only the writer of the Declaration of Independence, and emphasize John Calvin in the founding beliefs of the United States. (Calvin being of the belief in predestined eternal damnation or salvation.) It’s an interesting switch for such fervent self-proclaimed patriots to propose but as said before, these people are no strangers to hypocrisy. It is worth noting that while Jefferson wrote the Declaration of Independence he’s also been quoted many times in connection to religious skepticism. Famously writing to John Adams,“The day will come when the mystical generation of Jesus, by the Supreme Being…will be classed with the fable of the generation of Minerva, in the brain of Jupiter.” Thurman does not delve into such motivations behind the voting panel’s anti-Jefferson attitude, but that was not far from this viewer’s mind.

For a film that centers largely on votes taking place in a boardroom setting, “The Revisionaries” is riveting. Particularly in the sequences regarding amendments to history books which can be swiftly proposed, rejected, reworded, and re-spun as entirely new ones at the speed of a tennis volley. Some of the phrase nitpicking and absurdity had me recalling Armando Iannucci’s brilliant political satire “In The Loop”.  Thurman’s doc is well timed too as November 2012 will see the election of all 15 spots of the Board of Education. Voter turnout for the McLeroy chair as shown in the film was only 20% and hopefully with enough exposure, Thurman’s film can rally more to chime in on this shockingly influential yet tiny group of people. It’s an important film to bring attention to a vote that might otherwise be overshadowed in this presidential election year.

Upcoming TFF Screenings of The Revisionaries:
Wed. 4/25 – 6:00pm, CCC-7
Sat. 4/28 – 6:00pm, AV7-1

Tribeca Film Festival Review “Journey to Planet X”

Directed by: Josh Khoury and Myles Kane
Producer: Trisa Barkman
Featuring: Troy Brenier, Eric Swain
Tribeca Film Featival
Running time: 78 minutes

Our Score: 3 out of 5 stars

Josh Koury & Myles Kane’s documentary on two friends making DIY sci-fi films in Florida has the great fortune to be debuting at Tribeca at the same time as Chris Keneally’s Side by Side (read my review here.) The latter bringing home the point that the digital revolution in filmmaking is democratizing who can get movies made while the former is a case study in exactly that.

Eric and Troy are the two men behind these films, ones that could not have existed without the advent of the consumer level video cameras as seen in Keneally’s doc. Armed with a blue screen-painted space and local talent, they churn out films under the impossibly titled Ginnungagap Filmwerks banner. Eric sees it as a fun hobby while Troy in this upcoming project’s case, is striving for something more.

The film’s central tension between the two men is Troy’s pushing on Eric to take their weekend moviemaking as seriously as he does. Such improvements include their blue screen being painted green (easier to work with on video) and Eric replacing his seven year old PC with a new iMac.

It’s an interesting documentary insofar as Troy’s ambitions for his movies to be taken more seriously does not, for better or worse, go to the extremes of say, the delusions of the men in 1999’s American Movie. Nor does the pair’s film budget pose as much of a problem. There’s one mention of Eric footing a lot of the Home Depot bills, but it’s not a make or break point of the process. The fun in watching this documentary is in Koury and Kane’s unironic, nonjudgemental approach to documenting people enjoying making something together. Despite the friends and family screening of Planet X garnering unexpected–to Troy at least–laughter, the filmmakers are pleased to bring enjoyment to any audience. At 78 minutes, it’s a nice, lightweight look into amateur movie making.

Upcoming TFF Screenings of Journey to Planet X:
Mon. 4/23 – 8:00pm, Clearview Cinemas Chelsea 4
Sat. 4/28 – 1:00pm, AMC Loews Village 7-2

Tribeca Film Festival Review “Take this Waltz”

Directed by: Sarah Polley
Producers: Susan Cavan, Sarah Polley
Starring: Michelle Williams, Seth Rogen, Luke Kirby
Tribeca Film Festival
Running Time: 116 minutes

Our Score: 2.5 out of 5 stars

In Sarah Polley’s Take This Waltz, Michelle Williams is Margot, a young married woman who is terrified to discover the hot guy she shared a seat row, and flirtatious conversation with on a homebound flight is in fact her new across-the-street neighbor David (Luke Kirby). He’s stirred something within her and she starts to question her comfortable five year marriage to cookbook author, Lou (Seth Rogen).

What follows is a very, very long string of will-they, won’t-they encounters between David and Margot. The more scenes they share, the clearer it becomes that they have more serious chemistry than Margot does with husband Lou. Married at 23, it appears that Margot and Lou have not matured past baby-talking each other. When the married couple speak in hypotheticals, it’s to play who can gross the other out more (threats include “I’m going to skin you with a potato peeler!”). When Margot and David speak in hypotheticals, it involves David describing what he would do to her body given the chance. Strong scenes like these between the illicit couple make the audience restless for Margot to either run away from Lou or completely stop David’s everything-short-of-physical advances. Her indecision is seemingly endless and the more encounters she herself arranges with David only to eventually shut him down, border on making Margot unlikeable and David weak. When Margot does make her decision, the film goes into an unexpected overtime exploring all the implications of it when the audience was really just waiting for her to make a choice.

There also are many leaps of faith one has to take when watching this film. Obviously, the odds of neighbors David and Margot’s meeting on the plane seem very slight but it’s necessary for the whole setup. However, there’s many other elements about these characters’ lives that come off as unrealistic and they pile up. Everyone seems to live impossibly outside of their means given their occupations (Margot, a wannabe writer. David, secret artist/rickshaw driver. Both, occupying large, quirky, suburban homes). For such young characters it is also odd that outside their immediate families, we don’t see them with any friends. Are Lou and Margot so repellant they can’t hang out with other couples? David especially seems to exist purely to interact with Margot and if he weren’t so perfect really, you’d call him a stalker.

If their lives seem improbable, fortunately the actors bring authentic emotion to their characters. As proven in last year’s 50/50, Seth Rogen can be amazing in more dramatic roles. Lou really has no reason to suspect anything is wrong in his marriage, so when Margot combusts in front of him while he’s cooking, his plea of “I was just trying to make chicken” is strong and heartbreaking. Michelle Williams continues to do amazing work especially so when she’s left to her own devices as on a carnival scrambler ride with David where we see her go from joyous to terrified and back. And set to The Buggles “Video Killed the Radio Star” of all songs. As David, Luke Kirby is suitably sexy and so appealing it’s hard not to root for him. If only there was more to David than an object of Margot, and this film’s, fantasy life.

Upcoming TFF Screenings of Take this Waltz
Mon. 4/23 – 7:00pm, AMC Loews Village 7-2
Thu. 4/26 – 1:00pm, AMC Loews Village 7-2

Tribeca Film Festival Review “Downeast”

Directed by: David Redmon and Ashley Sabin
Tribeca Film Festival
MPAA Rating: Not Rated
Running time: 76 minutes

Our Score: 2.5 out of 5 stars

Downeast tells the story of the aftermath of the closing of the United States’ last sardine canning factory in Gouldsboro, Maine. With the factory’s workforce unemployed–and because of many of their advanced ages, unemployable– an Italian immigrant arrives with the goal of turning the old facility into a lobster processing plant and putting them back to work.

There’s a lot at stake in David Redmon and Ashley Sabin’s documentary for these Maine townspeople and yet unfortunately they are oddly lost in the shuffle. Instead the focus is on Italian businessman, Antonio Bussone’s fight against the town elders (would-be lobster competitors) and the red tape preventing him from access to federal funding to keep his factory afloat. This often times translates to many scenes of him doing deals over the phone in his office or scrolling through bank accounts on his computer. This is not very interesting to watch and even confusing as he laments negative balances while the factory is still up and operating. One wonders if he ever clued his rehired employees into how badly off he was.

Where the film shines is when it focuses on the lifelong employees of the Stinson sardine cannery. You sense a real camaraderie between, for example, three ladies sitting together comparing how many years each worked there (all thirty years or more). There’s a wonderful scene where three elderly ladies, adjusting from the shift of canning already-dead sardines to starting with live lobsters, debate whether or not the lobsters feel much pain in the process. It’s charming, if slightly macabre. We also get to meet a salty old lobster fisherman named Sherman who doesn’t care for town politics and only cares who will pay him the most for his catch. These are all great personalities I wish the film would have stayed with longer instead of the businessman.

It is also often in these scenes where the film is most interesting visually. The seemingly endless supply of shiny red lobster shells is shuffled through the plant hypnotically while the workers go at an amazing pace. It’s a great contrast from Bussone’s sterile office dealings. Unfortunately that office is really where the success of this factory project lives or dies and in the end the fate of the workers is left sadly unresolved.

Upcoming TFF Screenings of “Downeast”:
Sat. 4/21 – 1pm, AMC Loews Village 7-2
Tues. 4/24 – 7:30pm, Clearview Cinemas Chelsea 9
Sat. 4/28 – 9:45pm, Clearview Cinemas Chelsea 8

Tribeca Film Festival Review “Side by Side”

Directed by: Chris Keneally
Producers: Chris Keneally, Keanu Reeves
Featuring: Keanu Reeves, Martin Scorsese, Christopher Nolan, David Fincher, James Cameron, George Lucas
Tribeca Film Festival
Running time: 99 minutes

Our Score: 4 out of 5 stars

Film lovers may or may not know that as of October 2011 the major manufacturers of cameras for motion pictures–Arri, Panavision, Aaton– stopped making new film cameras. In January of this year Eastman Kodak filed for bankruptcy in the face of insurmountable digital competitors. So is celluloid film dead?

This is the central question up for debate in Side by Side, an in depth documentary produced by Keanu Reeves and directed by Chris Keneally, which takes a look at the digital revolution which has been picking up steam in Hollywood since the turn of the millennium. The doc is making its stateside debut at this week’s Tribeca Film Fest with a planned release in August.

Reeves and Keneally have rounded up an impressive roster of interviewees who fall on all sides of the digital-versus-film argument and come from every step in the production and post-production process. In this corner we have director Christopher Nolan and his cinematographer Wally Pfister maintaining they’ll be the last people shooting on film, and in this corner we have digital proponents such as George Lucas and Robert Rodriguez swearing off celluloid for good. Occupying the middle ground are heavy hitters like David Fincher, David Lynch, Steven Soderbergh and Martin Scorsese (fresh off the digitally-shot “Hugo”).

The documentary itself never takes a side which makes the debate that much more engaging and I found myself shifting allegiance throughout. Additionally, on-screen interviewer Reeves is great at getting honest, candid reactions from his insider interviewees. Furthermore Keneally takes the time to explain the mechanics behind much of the debate’s technical aspects, a step which may cause digital-saavy folk to become a little bored, but it certainly makes the doc more accessible to the average movie goer.

In the end the most startling thing about Side by Side is how rapidly this technological change is occurring. In 1999, for the debut of The Phantom Menace, only four theatres in the country had digital projectors, four years later–in time for Attack of the Clones–there were 150. Statistics like this made me grateful that these filmmakers have been there to record, in whatever form they choose, this massive shift in cinema.

Upcoming TFF Screenings of Side by Side:
Tues. 4/24 – 8:30pm, SVA Theater 2 Beatrice
Thu. 4/26 – 7:00pm, AMC Loews Village 7-2
Fri. 4/27 – 2:30pm, AMC Loews Village 7-3
Sat. 4/28 – 4:00pm, AMC Loews Village 7-2
Sun. 4/29 – 2:30pm, SVA Theater 2 Beatrice

Tribeca Film Acquires US Rights to Tony Kaye’s Detachment”

Photo Credit - Tony Kaye

TRIBECA FILM ACQUIRES US RIGHTS TO TONY KAYE’S DETACHMENT

***

Provocative Drama Features A Stellar Lead Performance From Adrien Brody, Anchoring An Ensemble Cast That Includes James Caan, Bryan Cranston, Blythe Danner, Marcia Gay Harden, Christina Hendricks, Lucy Liu, William Peterson, Betty Kaye and Sami Gayle

***

“Brody delivers his finest performance since ‘The Pianist’… an award-caliber turn.”

–        The Hollywood Reporter

“A wrenching and powerful achievement… tremendous cast I was swept along by the spectacular visual journey.”

Salon.com

New York, NY – September 8, 2011 – Tribeca Film announced today that it has acquired all US distribution rights, including theatrical, VOD, digital, TV and DVD, to Detachment, a vivid and compelling ensemble drama from acclaimed Director Tony Kaye (American History X, Lake of Fire) that had its World Premiere at the 2011 Tribeca Film Festival.

Tribeca Film, supported by Founding Partner American Express, plans a 2012 release via a multi-city theatrical engagement, running day-and-date with nationwide VOD and digital distribution, followed by DVD, pay-TV, and a range of other platforms.

In Director Tony Kaye’s Detachment, Academy Award® winner Adrien Brody stars as Henry Barthes, an educator with a true talent to connect with his students. Yet Henry has chosen to bury his gift. By spending his days as a substitute teacher, he conveniently avoids any emotional connections by never staying anywhere long enough to form an attachment to either students or colleagues. When a new assignment places him at a public school where a frustrated, burned-out administration has created an apathetic student body, Henry soon becomes a role model to the disaffected youth. In finding an unlikely emotional connection to the students, teachers, and a runaway teen he takes in from the streets, Henry realizes that he’s not alone in his life and death struggle to find beauty in a seemingly vicious and loveless world.

Kaye, molding a contemporary vision of people who become increasingly distant from others while still feeling the need to connect, directs a stellar ensemble cast from a script by Carl Lund.  Anchored by an award-worthy performance from Brody, Detachment also features memorable roles by Christina Hendricks, Academy® Award nominee James Caan, Academy® Award winner Marcia Gay Harden, Lucy Liu, Blythe Danner, Tim Blake Nelson, Bryan Cranston, William Petersen and newcomers Betty Kaye and Sami Gayle.

“I was personally drawn to make the movie because I wanted to take the character of Henry Barthes and make him universal, make him all of us, and learn myself from that journey. He is the baton in a relay race, an infinite piece of clay to sculpt, a human being formed out of pain and sent to the masses to teach in the education system. Our purpose in being born is to learn and teach, and to be happy,” Kaye said. “Looking at the ever changing landscape of film distribution, I think the Tribeca Film team is perfectly positioned to shepherd Detachment into this new exciting era.”

Detachment is a singular experience. Tony Kaye combines a range of filmmaking techniques, terrific ensemble acting and a wonderful lead performance by Adrien Brody,” said Geoffrey Gilmore, Chief Creative Officer of Tribeca Enterprises. “The film truly demands to be seen; we look forward to bringing it to a wider audience through Tribeca Film.”

Detachment is produced by Paper Street Films’ Austin Stark, Benji Kohn, Chris Papavasiliou and Bingo Gubelmann, Kingsgate Films’ Greg Shapiro, and Carl Lund. It is executive produced by Brody, Peter Sterling and Andre Laport. Marco Frigeri is co-executive producer.

The US distribution deal was negotiated by Nick Savva and Randy Manis for Tribeca Film, and International Creative Management, which also represents Kaye.

Celluloid Dreams has recently acquired all worldwide sales rights. Mongrel Media has acquired the Canadian rights and will distribute the film in 2012.  Pretty Pictures has taken the French rights and is planning a winter 2012 release.  Detachment can next be seen at the 37th Deauville Festival.

About Tribeca Film:

Tribeca Film is a comprehensive distribution label dedicated to acquiring and marketing independent films across multiple platforms, including video-on-demand, theatrical, digital, home video and television.  It is an initiative from Tribeca Enterprises designed to provide new platforms for how film can be experienced, while supporting filmmakers and introducing audiences to films they might not otherwise see. American Express continues its support of Tribeca and the independent film community by serving as the Founding Partner of Tribeca Film.

 

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