'Bombay Beach,' 'The Guard' highlight 10th annual festival
By Jake Coyle, Entertainment Writer
NEW YORK (AP) --A welcome sense of optimism pervaded the 10th annual Tribeca Film Festival.
After several years of gloomy prospects for independent film, filmmakers and audiences seemed buoyed by the hope of new technologies leading viewers to worthy movies.
“The field has been completely leveled,” said writer-director Edward Burns at the closing night screening of his “The Newlyweds.” ”It is a good time to be a filmmaker.”
Burns’ proclamation — unthinkable so recently — was largely because, as he boasted, he made “The Newlyweds” for just $9,000. He was able to because of a cheap but still highly professional-grade camera (and, surely, product placement dollars from most of Tribeca’s prominent sponsors).
Several of the films at the festival were to be released by Tribeca Film on video-on-demand, a platform many hope will help resuscitate independent films, many of which have struggled to find release after the shuttering of many distributors and the narrowing of studio interests.
Business, too, seemed on the uptick when — following healthy buying at the Sundance Film Festival — several films found distribution in the first few days of the festival. Among them was “Jiro Dreams of Sushi,” a documentary on master sushi chef Jiro Ono and culinary perfectionism acquired by Magnolia Pictures.
It was one of several highly enjoyable films from the festival. Here are a handful of other highlights:
o “Bombay Beach”: Arguably the hit of the festival, Alma Har’el’s lyrical debut was the unanimous jury choice for best documentary feature. It’s a beautifully stylized film about stray characters living in the California desert by the Salton Sea, a small community in a forgotten, post-apocalyptic landscape. Shot largely at sundown and with a soundtrack of Bob Dylan and Beirut, the film takes on a dreamlike quality. Many fictional films try to portray dignity in rural decay, but the authentically poetic “Bombay Beach” is the real deal.
o “The Guard”: Tribeca has had a curious Irish connection. Two of the best films to come out of the festival in recent years were from Ireland: the absurd comedy “Zonad” and Conor McPherson’s cathartic ghost story “The Eclipse.” ”The Guard,” which earlier premiered at Sundance and will be released later this year, was written and directed by John Michael McDonaugh, who shares the darkly comic sensibility of his playwright brother, Martin McDonaugh. Brendan Gleeson stars as a thoroughly politically incorrect police officer in Galway. He proudly calls himself “the last of the independents.” When a drug smuggling case brings over an FBI agent (Don Cheadle), the two spark an irresistible chemistry.
o “Despicable Dick and Righteous Richard”: The aging, Midwestern rascal Dick Kuchera has been on a decades-long path of 12-step program recovery. He tries to cloak a lifetime of lying and selfishness in psycho-babble, rarely convincing anyone of his earnestness. Joshua Neal’s documentary on Kuchera is an unforgettable character study. (Neal is handled for commercials and branded content by Smuggler; for more on this documentary, see SHOOTonline, 3/11) Kuchera is locked on the make-amends step and one wonders if he’ll ever get out: Each day brings another round of sins to atone for. Most movies tell stories of change, but “Despicable Dick” is one of utter, human stasis.
o “The Trip”: The meta narratives of Michael Winterbottom are so layered that you’d expect them to result in confusion rather than laughter. But Winterbottom’s “The Trip” was the funniest film of Tribeca. It’s a kind of follow up to the director’s 2005 comedy, “Tristram Shandy: A Cock and Bull Story,” which depicted a film production trying to adapt Laurence Sterne’s famous novel. There were a few scenes of brilliantly rhythmic exchanges between British comedians Steve Coogan and Rob Brydon, each playing exaggerated versions of their selves. “The Trip,” which ran as a TV miniseries in the U.K., simply continues their banter, here on a road trip of haute cuisine in northern England. It opens in the U.S. on June 10. If the prospect of dueling Michael Cain impressions isn’t enticing, what is?
o “Catching Hell”: An Alex Gibney documentary is one of the most reliable things at Tribeca. (Gibney is handled for spots by Chelsea.) He has previously showcased films such as “My Trip To Al-Qaeda” and the Oscar-winning “Taxi to the Dark Side.” This year, he finds an equally harrowing but less severe story of injustice on the baseball diamond — or more accurately, just adjacent to it. “Catching Hell,” a film originally made for ESPN’s “30 for 30” series that will be broadcast later his year, is about the scapegoating of Chicago Cubs fan Steve Bartman, who was made a villain for his minor role in a 2003 playoff game. Gibney’s film, though, is more about mob mentality, which can rage even over a little bloop hit down the left-field foul line.
Effie UK and Ipsos Report Concludes Marketing Industry Should Do Its Part To Heal Societal Divisions
Society has never been more divided, according to a new report Healing the Divide in which Effie UK and brand and advertising experts from Ipsos explored brands’ role in shaping society and healing societal divisions.
The report details how instability, inflation, and COVID recovery —the convergence of multiple interconnected crises around the world that coincide with and amplify each other, causing hard to resolve systemic challenges, have become the norm over the past few years. As a result, the use of division as a weapon is now a major theme in today’s culture and politics, and sadly 47% of the UK and 49% of the US agree with the statement that “Within my lifetime, society in my country will break down,” according to Ipsos Global Trends 2024.
While some brands have tried to respond to this, the report finds responsible marketing is now threatened by weaponized division. It points to the World Federation of Advertisers’ decision to shut down the Global Alliance for Responsible Media following an antitrust lawsuit filed by Elon Musk’s X, combined with DEI rollbacks, as significant setbacks.
The report says these setbacks underline the importance of marketing in solving collective problems, such as climate change, food security, and harmful online content. It also points to a need for marketers to take more interest in and more responsibility for healing divisions.
Research claims marketers are ideally placed to build and rebuild the antidote to division (trust, empathy, a sense of control, connection and collaboration). According to the Ipsos Veracity index of trusted professionals, society is becoming more trustworthy of advertising executives. Additionally, 57% of Britons agree that brands should communicate their... Read More