Category Archives: Releases

Coming to theatres today, Monday, November 4:
LEONARD SOLOWAY’S BROADWAY

Director:
Jeff Wolk

World Premiere:
Cleveland 2019

Select Festivals:
NewFest, LGBT fests in Chicago, Dayton, Miami

About:
On the long career of the nonagenarian Broadway producer.

Leonard Soloway is not a household name, but, behind the scenes, he’s been responsible for enriching the American stage in a career spanning more than seven decades. Director Jeff Wolk, who appears in the film as a producer and investor in Soloway’s 2016 venture, TAPPIN’ THRU LIFE, follows Soloway over several years with this project starring song-and-dance man Maurice Hines, while also providing copious biographical background. Soloway is a lively, often funny presence, happily taking a stroll down memory lane, recounting how he came to Broadway and sharing anecdote after anecdote about various productions and talent, including some intriguing bits about his openness around homosexuality at a time when it was still taboo. Interspersed with this history, Wolk chronicles the increasingly impossible task of both mounting a production in the present day and keeping it going. The film falters in its very dry, old-fashioned narration and excessive score, and could have trimmed some of the countless anecdotes from past collaborators and friends, which lend the film a disjointed feel.

Coming to theatres tomorrow, Friday, November 1:
AMERICAN DHARMA

Director:
Errol Morris

World Premiere:
Venice 2018

Select Festivals:
Toronto, New York, IDFA, Chicago, Sidewalk, Denver

About:
A conversation with Steve Bannon.

In his latest encounter with a controversial figure, acclaimed director Errol Morris sits down with the man who arguably made it possible for Donald Trump to reach the White House, Steve Bannon. The investment banker turned Breitbart News co-founder also had a career as a film producer, and his love of classic era Hollywood strangely informs Morris’ profile, with numerous film clips, discussions of titles like THE SEARCHERS and TWELVE O’CLOCK HIGH, and even an interview set taken from the latter. This is part of the myth-building Bannon has indulged in, not only for America and for Trump, but, of course, for himself as some kind of populist champion. Morris occasionally asks some pointed questions, or expresses his concerns or fears about the xenophobia and racism at the core of Bannon’s backwards beliefs, but these are fleeting moments that never feel developed sufficiently. Instead, the viewer must sit through his subject’s self-aggrandizement, fear-mongering pronouncements that a revolution is coming, and continual refusal to address the contradictions between his stated causes and the administration he still supports. It makes for a frustrating, maddening watch that makes one question why Morris gave Bannon yet another platform.

Coming to theatres tomorrow, Friday, November 1:
GAY CHORUS DEEP SOUTH

Director:
David Charles Rodrigues

World Premiere:
Tribeca 2019

Select Festivals:
Traverse City, AFI Docs, Montclair, Telluride Mountainfilm, Nashville, Maui, Sidewalk, Revelation Perth, Southern Circuit, Provincetown, Frameline, Outfest, Inside Out, QDoc, LGBT fests in Tel Aviv, Zurich, Calgary, Hartford, Kansas City, Honolulu, Washington DC, Atlanta, Vancouver, Durham, Taipei, and Austin

About:
The San Francisco Gay Men’s Chorus tour the Deep South to try to change hearts and minds about LGBTQ rights.

Witnessing a rise in anti-LGBTQ laws in the guise of so-called “religious freedom,” the organizers of the SF Gay Men’s Chorus form a bold plan to reach beyond their core audience and try to build bridges to communities in the very places where this legislation is most rampant. Far from simply seeking out pockets of progressive, like-minded individuals within these Southern states, the Chorus – uniting with the Oakland Interfaith Gospel Choir – make a concerted effort to have concerts in churches and to audiences who may not be quite so accepting. In addition to following their tour, director David Charles Rodrigues profiles a handful of chorus members, some of whom have connections to the South and have experienced rejection because of their sexuality. As a whole, the film skirts the overtly negative to instead offer a more hopeful, if a bit simplistic, tone, as stereotypes are confronted on both sides.