There’s something unique about sitting across the table from an indie film producer. The energy of a fighter exists, quiet and understated, resting beneath the surface. For Danielle Renfrew Behrens, that energy reflects a 20-year career, multiple Sundance premieres and successes in both the documentary and indie feature genres. This experience has led her to become a champion for indie filmmakers, founding Superlative Films in 2015 as a “one-stop shop” to fund low-budget films. Read the full interview here.
Directed by Jordana Spiro from a screenplay co-written with Angelica Nwandu, “Night Comes On” explores the difficulties of the foster-care system through the story of two sisters, one who is old enough to be on her own and the other inside it. The film stars Dominique Fishback and Tatum Marilyn Hall. Read the full review here.
The emotions onscreen are unruly enough to overcome the screenplay’s fine carpentry and an occasional scene that’s too on the nose. Like Moonlight, Night Comes On takes much of its soulfulness from la mer and people’s capacity for rebirth in its waters. This is a lovely, inspiring film. Read the full review here.
“Because that was not my own background, and it so often is misrepresented, it was imperative to me to work with somebody who could explore this journey with me and share some really honest feelings and portray the nuance of what that’s actually like,” Spiro recently told The Times. Read the full review here.
“If they’re going to thrive, it’s because…. They found that power inside of themselves,” Spiro finishes. “There aren’t any saviors around them.” There’s just a filmmaker shining a light where fearless passion already burns. Read the full review here.
While the film, Spiro’s feature directorial debut, doesn’t shy away from darker elements, Spiro’s ability to ground even the worst moments firmly from the perspective of her protagonist add a level of grace and empathy. It’s a tough story, but told through a decidedly female gaze, “Night Comes On” blossoms into something beautiful. Read the full review here.
When Angel watched her father murder her mother, she was too small to do more than stand frozen as her mother’s head was knocked against the tiled walls of their bathroom. Years later, Angel — played with captivating ferocity by Dominique Fishback — has aged out of foster care. She is almost an adult, but bouncing through group homes and juvenile detention has done little to diminish her anguish. Read the full review here.
Like its determined heroine, "Night Comes On" burns with a smoldering fire, a heat that is no less intense, no less effective, for remaining largely beneath the surface. The passionate feature film debut for both director (and co-writer) Jordana Spiro and star Dominique Fishback, "Night" is small scale, low key and not business as usual. Read the full review here.
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.
Read the full article here.
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.