In “The House of Tomorrow,” opening Friday, April 27, Ms. Burstyn, 85, plays Josephine Prendergast, a Fuller disciple raising her orphaned grandson, Sebastian (Asa Butterfield), according to the visionary’s principles. (Through technology and planning, Fuller posited, an ordinary man can become a superman.) Prendergast did all this while residing in an example of Fuller’s crowning architectural achievement: the geodesic dome. Read the full interview here.
The deal to secure the movie rights was negotiated by Peter Goldwyn, president of Samuel Goldwyn Films, and Jessica Lacy of ICM. The film, which took home the NEXT Innovator Prize at the Sundance Film Festival, explores themes of sisterhood, trauma and foster care.
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In 2016, with the backing of culturally engaged investors, Superlative was launched, and sent its first films into art houses in 2017. The indie world took note when its first releases, “Columbus” and “Lucky,” garnered critical praise and more-than-respectable box office. Read the full article here.
Coming-of-age bromances don’t come much more endearing than “The House of Tomorrow,” a comedy with dramatic underpinnings that enthusiastically serves nostalgia two ways—one philosophically uplifting, the other musically acidic—in the guise of a gangly pair of unusual Minnesota teen boys who start a garage band. Read the full review here.
Punk rock as a rite of passage has been its own proud little cinematic subgenre for so long now that there’s a sort of cozy déjà vu in watching The House of Tomorrow — a charming if not exactly crucial coming-of-age dramedy about the freedom to be found in three chords. Read the full review here.
Geodesic domes, predicated on the concept that they could hold more space with less material, never became the ubiquitous buildings that their creator — future-forward architect and thinker Buckminster Fuller — imagined they would. Read the full review here.
Burstyn talked to Vulture about her friendship with “Bucky,” filming her favorite scene of her career opposite Jared Leto, and the impending fall of the patriarchy, in Hollywood and elsewhere. Read the full interview here.
His new film “Humor Me,” co-starring Jemaine Clement from Flight of the Conchords, is executive-produced by Boulder-based Superlative Films, so it makes sense that Gould would visit the Boulder International Film Festival, running Feb. 22-25, for a screening and post-film discussion of the father-son comedy (5 p.m. Feb. 24 at the Boulder Theater). Read the full interview here.
This year's Sundance Film Festival has seemed relatively quiet, with no breakout hits and fewer high-dollar acquisitions than usual, but there has still been a steady energy throughout the 10-day event centered in Park City, Utah. Read the full review here.
IIn her feature directorial debut, Night Comes On, writer-director Jordana Spiro, whose creepy-yet-touching short Skin made a mark, takes us into the world of Angel (Dominique Fishback), a young girl released from juvenile detention on the eve of her 18th birthday. Read the full review here.
We’ve seen plenty of coming-of-age films before, but Jordana Spiro’s film Night Comes On, gives us an extra layer and depth to this genre that we quite haven’t experienced before—themes of loss, revenge, and perseverance are threads that weave this story together as we follow along the journey of two sisters Angel (Dominique Fishback) and Abigail Lemere (Tatum Marylin Hall). Read the full review here.