tramps ( 2016 film )
“tramps” premiered at the 2016 toronto international film festival. it is currently seeking distribution .
, may / june 2016. online edition from film society of lincoln center website. accessed 8 july 2016 .
in september 2016, netflix acquired worldwide distribution rights to the film. [ 3 ] it was released on april 21, 2017. [ 4 ]
netflix has struck again, this time picking up worldwide rights to the hotly contested indie romance - heist film tramps .
[ 12 ] holly rogers, beethoven’s myth sympathy: hollywood’s re - construction. urltoken. web. accessed 2 july 2016 .
netflix has acquired worldwide rights for “ tramps ” following its debut at this year’s toronto international film festival, variety has confirmed .
it' s tramps' attitude to be short and sweet that proves definitive, vital .
the release date of the movie tramps is set to april 21, 2017 on netflix. : )
the film premiered on netflix on december 11, 2015. [ 14 ] on january 6, 2016, netflix announced that the film had been viewed more times in 30 days than any other movie in netflix history. it also made it to the # 1 spot in every territory in which netflix operates. [ 15 ]
tramps won' t stay in your mind for days after, but it' s a genuine delight .
there are no featured audience reviews yet. click the link below to see what others say about tramps !
tramps made its world premiere in the contemporary world cinema section of the toronto film festival and sparked immediate interest from a24, sony pictures classics and the orchard, among other distributors .
actress grace van patten, director adam leon, standing, and actor callum turner, from the film
tramps, in the l. a. times photo studio at the 41st toronto international film festival. (jay l clendenin / los angeles times )
this article is issued from wikipedia - version of the 10 / 26 / 2016. the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
[ 11 ] o’grady, megan. “director peter davis speaks to urltoken on the 40 th anniversary of his pivotal vietnam documentary, hearts and minds. ” urltoken. web. accessed 2 july 2016 .
tramps is overall a winning film, proving once again that some of the best romantic comedies can be light on plot: all we need is an excuse for beautiful people to fall in love .
movie news, screening invitations and reviews from the world of independent film and beyond .
cooke, mervyn. a history of film music. cambridge university press, 2008 .
callum turner and grace van patten are being hailed for their breakout performances in tramps, which also stars mike birbiglia and margaret colin .
saturday afternoon saw the world premiere of “tramps” at the toronto international film festival. the movie is the latest from writer - director adam leon, whose 2012 debut “gimme the loot” won the grand jury prize at the south by southwest film festival in austin, texas, and earned leon an independent spirit award and a gotham award .
ahead of its world premiere in toronto, westend films has boarded tramps, the sophomore feature from gimme the loot writer - director adam leon .
when it was shown at the toronto film festival, last september. but “a ghost story” will be eligible for consideration in year - end movie awards in 2017 and “tramps” won’t, because the prevailing definition of a film’s “release” is its theatrical release—even if that release is only in a single new york or los angeles theatre for a single week .
with a laid - back,' 70s soul, tramps is the rare doe - eyed relationship movie where playing third - wheel is a joy .
back to one podcast: keith poulson on developing as an actor in the ny indie film scene .
rogers, holly. music and sound in documentary film. ny: routledge, 2015. ebrary .
sonoma, ca (march 4, 2016) – the sonoma international film festival celebrating the best in film, food, wine and spirits is proud to announce the line - up for the 19th edition. the five day program will take place wednesday, march 30 to sunday, april 3. considered one of the nation’s top destination film festivals, siff presents over 100 films shown at 6 venues, all within walking distance from sonoma’s historic plaza - - dubbed siff village - - in the heart of california wine country and will host nearly 200 filmmakers from around the world .
[ 13 ] samuel clemens (mark twain), following the equator (more tramps abroad). american publishing company, hartford, ct, 1897 .
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as barnouw states, this “witness - like” quality of the documentary soundtrack does not necessarily imply “truth, ” but rather a quality of testimony. [ 7 ] one film maker, scott hicks, interviewed for pepita ferrari’s film capturing reality: the art of documentary argues that film making, even a non - fiction / documentary film, is a subjective, constructed art and any claim to absolute truth is spurious. another great contemporary documentarian also interviewed for the film, errol morris, states that in a documentary, “the truth is not up for grabs. ” by this, morris means that a film maker may have opinions about the ramifications of an event, but he or she is not at liberty to change the factual occurrences of that event in their film .
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
cooke, mervyn, ed. the hollywood film music reader. new york: oxford university press, 2010 .
reay, pauline. music in film: soundtracks and synergy (short cuts). wallflower press, 2004 .
i interviewed leon back when gimme the loot premiered, and one of the things we discussed was independent film financing. in that interview he gave in just a couple of paragraphs perhaps the best breakdown of how to write an independent film business plan we’ve published. so, here, i asked him about working his producers and putting this film together along with questions about this new film’s larger scale and why he returned to the independent world after loot ‘s success .
leeman, lisa. composers confab: creating the best score for your film. ida (international documentary association) website, home › documentary magazine › all issues › summer 2008 › composers confab: creating the best score for your film .
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the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
rounding out the programming is the wavelengths strand of film and video art curated to challenge popular notions and refresh the cinematic art .
barnouw, erik. documentary: a history of the non - fiction film. new york: oxford university press. 1993 .
the use of the film score to evoke nihilistic humor was already being used by a few popular dramatic early cold war filmmakers, notably stanley kubrick in his 1964 film dr. strangelove (or how i stopped worrying and learned to love the bomb, a cold war black comedy fictional film. the conclusion of the film features the sappy, sentimental wwii vera lynn song “we’ll meet again” played over images of nuclear holocaust engineered by the bumbling - yet - evil, kissingeresque dr. strangelove, played by peter sellers .
spence, louise. crafting truth: documentary film and meaning. new brunswick, nj, rutgers university press, 2011. ebrary .
[ 8 ] national film board of canada, pepita ferrari, director: capturing reality: the art of documentary. (40’ )
on rotten tomatoes, tramps has an approval rating of 95% based on 19 reviews, with an average rating of 7. 1 / 10. [ 5 ] on metacritic, which assigns a normalized rating, the film has a score 77 out of 100, based on 10 critics, indicating
generally favorable reviews
. [ 6 ]
“tramps” director adam leon once said something in an interview that i will never forget. while talking about his gritty debut film “ gimme the loot, ” about two young graffiti writers wanting to tag a new york city landmark, leon said that his goal was making someone’s favorite movie of the year. that’s quite a novel idea that only interesting filmmakers could accomplish—to make something that speaks to a viewer so directly, it essentially fulfills what they need, what they' ve been yearning to see. and it proves a fitting statement coming from leon, given that he’s made a direct companion piece to “gimme the loot” with “tramps, ” which has a similar urban verve, style and even more sweetness. but while “tramps” may be inspired and unusual, it’s hard to shake off the idea that leon isn' t just making the film he wants to see, he' s riffing on himself .
tramps makes its debut just as andrea arnold’s american honey hits the autumn festivals. that’s another film in which young people from impoverished backgrounds make trouble on suburban lawns. that movie isn’t a masterpiece either, but there’s at least a great deal of freshness in its specificity. best to go with initial instinct and ignore the call to get that briefcase .
, critic sean doyle comments that “the film soundtrack, like the movement of the camera, often is experienced like the (invisible) work of god; when there is a contrast or contradiction between onscreen action and the score, the film’s god may seem unjust or even cruel. ”
but apparently they still do, or movies such as tramps wouldn’t exist. starring two terrific young actors (callum turner and grace van patten), tramps, shot with sparkle and verve in various locations in new york, has the raw materials required to construct an indie gem. but it’s quickly revealed that there is no real blueprint, other than to wing it and hope it comes out all right in the end .
there were other studios circling “tramps, ” including a24 and the orchard, although there were concerns that without big stars, its commercial prospects would be diminished. “tramps” is the sophomore feature of adam leon, the writer and director who first attracted attention with 2012’s “gimme the loot. ” it follows a bagman, who picks up the wrong briefcase in a drop gone wrong, and later falls in love with the driver .
families can talk about why a mother might press her son to do something illegal. what can you tell about danny' s and his mother' s lives based on early scenes of tramps at their apartment ?
as for the visual language, we wanted tramps to feel like a warm, beautiful, colorful blast of a movie. loot has a washed out, brown palette (we purposefully emulated bad ’70s film transfers), but on tramps we were drawn to saturated colors with bright greens and yellows and bursts of reds. i put two stills from each movie next to each other for a lookbook recently, and they couldn’t live on the same page; the loot ones looked recessed about 20 feet and tramps stills looked like they were coming out of the page. and then with the camera movements, we talked a lot about the zoom work, making sure it never felt winking or self - aware and always emotional, and i asked her to push me on using hand - held more .
regardless of the film’s awards chances, lion is well worth seeing and, hopefully, appreciating. it’s an earnest but not cloying film, one that seems wise about the world and its alternately grim and encouraging complexity. oh, and the reveal of the significance of the film’s title arrives as a perfectly poignant little button at the end. that’s when i cried. for the third or fourth time while watching the movie, that is .
carefully doling out information... leon maintains a buoyant energy that' s given even more bounce by the film' s lively score and soundtrack
netflix has acquired worldwide rights for “tramps” following its debut at this year’s toronto international film festival, variety has confirmed. it’s been a busy few weeks for the streaming giant, which picked up “barry, ” a look at the early days of president barack obama, and “what happened to monday? , ” a sci - fi thriller with noomi rapace, [ … ]
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
[ 2 ] barnouw, erik. documentary: a history of the non - fiction film. new york: oxford university press. 1993, 90 .
over time, documentary soundtrack tropes occasionally become dated and the sounds themself can become an ironic signifier of cultural attitudes. an example of this is film trailer music, background teaser music used to promote film at the time, often made before the film’s soundtrack was completed and used to market a documentary. inappropriate trailer music can later become unintentional historic commentary, as seen in a comparison of the original 1994 trailer and updated 2004 trailer for steve james’ documentary hoop dreams .
richard lawson is a columnist for vanity fair' s hollywood, reviewing film and television and covering entertainment news and gossip. he lives in new york city .
nigerian metropolis lagos is the focus of the eighth city to city showcase at the toronto international film festival (tiff) as top brass anoint two international rising stars .
buhler, james, david neumeyer, and rob deemer. hearing the movies: music and sound in film history. new york: oxford university press. 2010 .
as the sonoma international film festival has grown over these past 19 years, it has established itself as a destination festival as well as continuing to expand and broaden its scope for filmmakers and guests alike. every film has been selected for the integrity of the storytelling, dedication to the filmmaking craft and always keeping the audience in mind .
director alex lehmann cut his teeth as a cinematographer on short films and horror movies before landing his feature film directorial debut, “blue jay. ” a comedic drama starring sarah paulson and mark duplass, who also wrote the screenplay for the film, “blue jay” centers on a pair of high school sweethearts who meet by chance upon returning to their hometown in california. tiff calls the film as a “stateside cousin to ‘before sunset, ’” partially because paulson and duplass are the only two characters in the movie. lehmann shot the film himself, and recently served as director, dp and editor on his feature documentary debut, “asperger’s are us, ” produced by duplass brothers productions. - gw
in a largely positive review, indiewire’s eric kohn wrote that while the film doesn’t “break new ground, ” it ranks as “one of the better american romcoms in recent memory. ”
filmmaker: a couple, a macguffin, of sorts, a compressed time period — it sounds as if tramps has some similar elements to gimme the loot. what’s different about the movie? what were you trying to do differently in terms of both story and filmmaking ?
filmmaker: when you were last in the pages of filmmaker, it was just before the release of your debut feature, gimme the loot. i remember talking to you about the various hollywood meetings you were doing, and the process of finding what would be your next feature. so, how did you get from gimme the loot to tramps? and why led you go back to make an independent film rather than develop something within the studio system ?
this oscar - nominated colombia film is a strikingly photographed black - and - white epic that intertwines a passionate attack on the depredations of invasive capitalism with a potent adventure story. read more
fleetly paced and inventively shot, tramps keeps things moving while leaving plenty of room for its leads to shine. van patten charts a touching transition from adversarial to gracious, while turner, recalling a young richard edson, is just about the cutest would - be criminal imaginable .
the film currently holds a rare 0% rating on rotten tomatoes, based on 35 reviews, with an average rating of 2. 3 / 10. the site' s critical consensus reads ,
every bit as lazily offensive as its cast and concept would suggest, the ridiculous six is standard couch fare for adam sandler fanatics and must - avoid viewing for film enthusiasts of every other persuasion .
[ 16 ] on metacritic, the film has a score of 18 out of 100, based on 12 critics, indicating
overwhelming dislike
. [ 17 ]
• closing night party, sunday, april 3 (8 - 10pm) – it’s a wrap! one last hoorah after the closing night film, featuring music by the grateful bluegrass boys .
tramps is produced by joshua astrachan, david kaplan, andrea roa and jamund washington (the latter who also shared a story by credit with leon). frederick w. green, michael b. clark, alex turtletaub, julia godzinskaya, sophie vickers and michael sackler served as executive producers .
• gypsies, tramps & thieves, friday, april 1 (8 - 11pm) – continue the party after yard dog road shows screens. get your groove on with the gypsy jazz band vignes rooftop revival, followed by a local dj. sample some deliciousness from one of sonoma’s best caterers .
adam mckay, with the help of christian bale, steve carell, ryan gosling and brad pitt, has made a very funny film about a very serious situation, 2008’s global financial collapse. read more
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click here to read our summer 2018 issue, featuring interviews with madeline' s madeline director josephine decker, david leitner on the new cameras of 2018, our overview of film schools and more ...
harold and lillian eloped to hollywood in 1947, where they became the film industry’s secret weapons. nobody talked about them, but everybody wanted them. theirs is the greatest story never told – until now .
from writer - director adam leon, the film made its world premiere in the contemporary world cinema section of the festival and sparked immediate interest from a24, sony pictures classics and the orchard, among other distributors .
the film playfully flirts with whether or not it wants to be a romance, as ellie and danny both seem wary of the idea that someone else may like them for anything other than their immediate use value .
kenneth turan is film critic for the los angeles times and national public radio’s morning edition as well as the director of the los angeles times book prizes. he has been a staff writer for the washington post and the times’ book review editor. a graduate of swarthmore college and columbia university’s graduate school of journalism, he is the coauthor of “call me anna: the autobiography of patty duke. ” he teaches film reviewing and nonfiction writing at
at a time when american romantic comedies aim for broad humor and questionable gender politics, [ the film ] provides a more intimate contrast to the market standard. if romantic comedies need a savior, leon may be their best hope .
the new film feels like both an extension and a maturation from
gimme the loot ,
as it has the same rambunctious, roustabout energy and sharp eye for atmosphere and character, but also feels slightly more ruminative and sensitive .
in tramps, ellie (van patten) and danny (turner) are an unlikely pair of would - be criminals thrown together over two new york city summer days. their misadventures through the streets, outer boroughs, and idyllic suburbs of new york include a heist, a stolen briefcase, mistaken identity – and the prospect of unforeseen romance .
in november of 1975, seven arizona loggers encounter a ufo and one goes missing, igniting a firestorm of controversy aimed at the logging crew. this film provides an accurate in - depth coverage of how this event changed their lives forever .
just as people in the audience may have been surprised by turner' s accent, van patten was asked about appearing before the crowd with a glamorous look of long blond hair that was much different from her dark, shorter hair in the film .
an artful investigation into the causes of songbird mass depletion and the compassionate people who are working to turn the tide. the film takes viewers on a visually stunning journey revealing how the problems facing birds also pose daunting implications for our planet and ourselves .
as sean doyle comments in “dance macabre, ” instead of vera lynn optimistically waiting for her lover to come home from the war, the film’s audiences anxiously knew that a nuclear holocaust would be a war from which no one would come home. [ 10 ]
oddly, these two tendencies meet in “tramps, ” which isn’t a bad movie but, rather, a thinned - out and calculated, caper - like throwback to gritty, hands - on picaresque new york stories. yet it’s no worse than many movies that get released theatrically, even widely; for that matter, it’s better than many, and deserves to be considered alongside them—and in terms of the same artistic traditions and possibilities. netflix may not have advanced the art of the cinema in its distribution of “tramps, ” but the art and commerce of the cinema have always advanced side by side, with money made in one realm enabling audacious creation in another. trade and cinema are inseparable; but cinema is too important for critics to let a trade group—or anyone else—define it .
unfortunate as it is to say about a movie largely about indian people, one of the most striking performances in the film belongs to nicole kidman, who plays saroo’s adoptive mother. she has one scene in particular, in which she explains to saroo why she and her husband chose adoption, that is, beyond the teary reunion, the emotional centerpiece of the film. kidman just plays it so well, and it’s so thoughtfully written. i’ve no doubt the weinsteins have her performance primed and ready for a supporting - actress run .
in the hands of director ryan coogler and star michael b. jordan, what is nominally a spinoff of the celebrated “rocky” series plays like a spiritual remake of the 1976 film that retells the original story in the kind of involving way one would not have thought possible. read more
you get to go places in movies by just sitting in this dark room and i want to maximize that. i’m attracted to stories that are adventures and tramps, as i mentioned, centers around movement. so travel and transportation were key to the settings and we have them on buses, trains, bikes, cars, subways and in these transit hubs like grand central, penn station, and the port authority .
the film was extremely controversial. in the age of woodstock and protest songs, the ambient sounds of hearts and minds captured the average post - war citizen’s feeling of overloaded confusion, betrayal and innocence lost, through mediums that had become increasingly self - referential in an ironic and satirical way .
brie larson excels in a film able to give full weight to both sides of the emotional equation as it tells the story of a young woman imprisoned for years in a single room in a tiny shed and the young son who was born to her there and knows no other world. read more
oc ukeje the lagos - born actor, singer and performer won the 2006 amstel malta box office reality tv show for actors an went on to train at the new york film academy. credits include half of a yellow sun, two brides and a baby, black november and tv series gidi up .
in jarecki’s searing 2012 documentary the house i live in, the soundtrack is an ingeniously - constructed amalgam of music, dialogue, ambient noise, and narration. jarecki saves the most pointed non - verbal commentary, though, for the very end, when the film’s credits roll over the sounds of paul robeson singing “the house i live in, ” an idealistic 1940s anthem to utopian american democracy and brotherhood. this comes at the very end of a scathing, emotionally exhausting 2 ½ hour film detailing the targeting of poor and minority non - violent drug offenders to support the “prison industrial complex” in america .
filmmaker: you’re working with a new cinematographer, ashley connor, who is known for her work with josephine decker, among others. tell me about the process of working with her. how’d you land on a look for a film and a style of shooting that was congruent with your budget and schedule ?
“we are honored to screen ithaca, meg’s directorial film debut, ” commented mcneely. “she is a critically - acclaimed actress whose films reflect a wide range of dynamic roles that make her a unique talent in the motion picture industry. we are thrilled she will be a part of our 19th festival! ”
leon: we then went through a sort of rehearsal process where, along with pouring over references and doing camera and color tests, we hung out and talked about life, went to movies, to a basketball game. it was basically a several month conversation that centered around tramps, and her influence on the movie extends beyond the visual language to the dialogue, characters, and just the emotions of the piece. she’s a major collaborator in every sense .
thr ’s david rooney said, “winsome … never a false note … the world of leon’s films is graced with such endearing innocence that you go with it. it' s the faultless performances that make the film so captivating … the delightful callum turner and grace van patten are the tender heart of the movie. ”
with famed film mogul sam goldwyn as her grandfather, liz goldwyn' s family name is practically synonymous with old - school hollywood glamour. but it' s los angeles before it became the capital of the motion picture industry that' s the subject of the style maven' s new book ,
sporting guide: los angeles, 1897
( regan arts). the work of historical fiction looks back on the city' s seedier past, with loosely connected stories about the madams, prostitutes, orphans, hustlers and tramps who roamed alameda, los angeles and spring streets. i chatted with goldwyn about what drew her to this time period in l. a. , her impressions of the book' s rough characters, and what role women had in a culture where prostitution was tolerated. read more
• preceding the opening night film, siff will present the sonoma salute award to producer / screenwriter robert mark kamen, in honor of his dedication and support of the festival. a sonoma resident and owner of kamen estate wines, kamen has been writing screenplays for 35 years and is best known for such films as taps, the 5th element, and the karate kid, transporter & the taken franchises. his next film to be released is warriors gate. in addition, kamen will give a screenwriting master class on saturday, april 2, from 11: 45 – 12: 30 pm, in which he will talk about the mechanics of a screenplay .
both “win it all” and “tramps” can be viewed the way that most people have, for decades, watched movies—via home video—and are indistinguishable, in form and substance, from many other movies, current or classic, that were or will be released first in theatres. yet the distinction between these films and those that are shown in theatres is maintained—of course, by hollywood, which earns much from theatrical releases. as long as that’s the case, it’s unlikely that the academy will be changing its eligibility rules .
tramps
scampers in and around new york city as danny (callum turner) steps in as bagman on some shady exchange of a briefcase when his hustler older brother lands in jail. this puts him in contact with the driver ellie (grace van patten), but when the hand - off goes awry, the two of them have to get the case back. the movie also features a supporting role by comedian and filmmaker mike birbiglia as the sad - sack heavy who sets the deal in motion .
there are a few playful hijinks, like a dress - up montage with a rich woman’s wardrobe, and also the cliche walk through a summer carnival. it was during this sequence, with leon’s decision to use a jazz tune i swear i’ve heard in woody allen movies, that i realised that this seemingly mild, agreeable film was actually a disappointment .
in terms of the filmmaking, we’re operating on a bigger scale cinematically, and i think tramps involves a more emotional type of filmmaking, even impressionistic at times, both in its visuals and its edit. in general i wanted to be less rigid than i have been previously. there were a lot of “rules” on loot — it’s very literal in terms of the shooting and editing, which is right for that movie. with tramps, in part because we’re telling a more traditional story, i encouraged my collaborators to be less traditional in the telling of it. this idea played out in specific ways throughout the process, like incorporating non - linear sequences, an increased use of montage and close - ups, isolating elements in the sound editing, the use of original score at times instead of just songs, etc. there’s a sense of being less strictly observational, even though some observational elements like the use of long take street shooting remain, and allowing ourselves to get into the feelings of the characters in terms of the filmmaking itself .
by using ironically contrasting music / sound to accompany their imagery, documentary filmmakers such as davis and jarecki have ensured that their films became a more participatory, and thereby memorable, experience for their audiences. the film musicologist holly rogers has commented, “narrative in film (with music that contradicts an image) is constructed (or rather completed) by the audience. filling in the gaps and contradictions with referential knowledge of the sounds / music external to the filmic imagery, the viewer reconstructs the myths (and events) through an act of (participatory) self - narration. ” [ 12 ] we as audience members, when confronted by a gaping dissonance, whether in film sound / imagery, or actual news / political reports, have an instinct to seek resolution, often through the momentary realization of the absurd and ridiculously transient nature of life itself. documentary and other filmmakers who used attention - getting devices in their soundtracks such as ironic musical and sound quotes invite the audience to recognize the subversive nature of their commentary, and to hopefully participate further by taking action against society’s injustices .
the ironic, referential use of contrasting music / imagery in dr. strangelove was itself paralleling (if not directly referencing) another dramatic fictional cold war film from the same year, sidney lumet’s fail safe. the final scenes also used sound to evoke a nuclear holocaust, but instead of benign music with horrific images, the opposite juxtaposition is used: quick cuts of familiar, friendly street scenes in new york (about to be bombed) with a voice over of an imminent countdown to the bombing. (i still remember experiencing a sleepless night as a twelve - year old after watching and hearing the final freeze - frame and silence of a rebroadcast of the film, which stopped immediately before the imagined nuclear blast. )
leon: loot is in some ways a “hang out” movie, which makes sense since it’s goal is to observe these two friends exploring the world around them. tramps is completely different in its approach to story. it’s taking a set, well known, pre - existing type of movie, the romance, but with a specific and hopefully new take on it. we’re telling a classic hollywood idea and embracing it, but trying to do so in a way you haven’t seen before and with characters who you haven’t seen it with .
it was an adjustment because i was the head of the llc on loot, which meant i was in charge of the whole operation. on tramps there’s a day where i signed a contract that says not only am i not in charge, i don’t own the project. it’s not mine anymore. that’s why having people that i trusted 100% in both business and as human beings was so essential. and they’ve never let me down except that time josh took me to a bad pizza place and we sat by the bathroom .
in many ways, tramps is a circuitous road movie, its rhythms shaped by lovely use of music — including nicholas britell' s spare score and an eclectic parcel of tunes, from traditional folk to trippy indie electronica to blues and rockabilly — and lots of transport sequences, involving cars, trains, buses, bicycles. there' s also a nice walking - and - talking vibe to the key transitional scenes, given lively physicality by the pairing of ellie' s brisk trot with danny' s spindly gait, like a baby gazelle still finding his footing around her .
a british sake brewer, an american journalist and a young president of a century - old sake brewery in japan join together to explore the mysterious world of sake, or japanese rice wine. the film illustrates how these unique individuals who have been fascinated with this extraordinary beverage of japanese origin meet the challenges of the current sake industry, investigating the rich, complex and spectacular world of sake .
saw two movies yesterday. one of them, david lowery’s “a ghost story, ” which opens in july, is among the most exhilaratingly original films i’ve seen in a while. the other, adam leon’s “tramps, ” an amiable but insubstantial adolescent romantic adventure, opens today—sort of. some people might say that it doesn’t open at all, because it isn’t being released in movie theatres but, rather, online only, on netflix. both movies are freestanding, non - serial, complete, and integral dramas that run about an hour and a half each. “a ghost story” got
adam leon' s 2012 debut, gimme the loot, showed a disarming lightness of touch in its observation of a pair of teenage bronx graffitists on a mission to pull off a street - art coup. his equally winsome follow - up, tramps, throws together two more seemingly mismatched youths on another somewhat delinquent quest, this time focusing on the delicate process by which an unplanned partnership blossoms from spiky banter into trust and incipient romance. there' s never a false note in the performances of callum turner and grace van patten, who make ideal accomplices for the talented writer - director .
the festival market was slow - going in its initial days, but picked up steam as toronto came to a close. among the bigger deals, “jackie, ” a historical drama about jacqueline kennedy, sold to fox searchlight, and “their finest, ” a world war ii comedy, was picked up by europacorp. uta independent film group handled the deal. the hollywood reporter broke news of the sale .
what happened with tramps was i wanted to tell a story that would capture the feeling of falling in love at the movies. i was on a kick of watching classic romantic adventures like his girl friday and trouble in paradise. so that was a goal, and at the same time i had become very interested in a specific element in rohmer movies: his handling of transportation and how people move around a city. this was suggested to me by a critic after seeing loot, and i started studying that concept in his work. and how essential it is to his storytelling, in particular in winter’s tale .
rising british actor and former screen star of tomorrow callum turner (bbc - twc’s war & peace) stars in the rom - com, which is produced by joshua astrachan (short term 12) and david kaplan (it follows) of new york indie maestros animal kingdom, alongside andrea roa (drinking buddies) and jamund washington (gimme the loot). washington also shares a story by credit on the film .
prior to netflix picking up the film, it had been in the works and dropped by three studios, columbia pictures, paramount pictures and warner bros. . [ 2 ] [ 7 ] the latter dropped out soon after adam sandler and happy madison productions signed a four - picture deal with netflix, although an insider noted to the hollywood reporter that the deal had nothing to do with their decision. [ 7 ]
by january 2015, netflix picked up the film with others joining the cast including taylor lautner, nick nolte, blake shelton, steve buscemi, rob schneider, will forte, vanilla ice, and luke wilson. [ 2 ] on february 16, 2015, jorge garcia joined the cast. [ 2 ] principal photography began on february 20, 2015, and ended on may 2, 2015. [ 3 ] [ 8 ]
johnny depp’s daughter lily rose - depp got her first acting role playing a minor part in kevin smith’s 2014 film “tusk” before landing a lead role in his next horror - comedy, this year’s “yoga hosers. ” rose - depp has quickly branched out into more dramatic roles, however, most recently playing a lead role alongside natalie portman in “planetarium, ” from french writer - director rebecca zlotowski (“grand central, ” “dear prudence”). rose - depp plays kate, a supernatural medium in 1930s paris who performs séances with her sister (portman) for people seeking to communicate with the dead. the film represents the second french - language movie for rose - depp, who also starred in this year’s cannes entry “the dancer, ” a biographical drama about the american dancer loïe fuller and her protégé and rival isadora duncan (rose - depp). - gw
similar to gimme the loot, the new film is a small - scale work that owes its charm to the freshness, relaxed intimacy and unforced humor of its character interplay, and to the warm feel for the environments through which they move, whether it' s densely populated brooklyn and queens or the affluent green suburbs of westchester. those qualities should steer the indie production into a modest theatrical niche before it lands on smaller screens .
on the other hand, neither the rise of streaming platforms nor the reinvigoration of repertory houses is an unalloyed virtue; no less than every artistic mode, every mode of distribution has its decadent forms. just as domestic distractions can sometimes make home viewing tend toward simpler and blander style and content, the excessive veneration of movies projected on film in theatres sometimes involves an excessive veneration of classical (and classic - hollywood) movie styles .
complementing its diverse and truly international program of independent cinema, siff offers a unique blend of world - class cuisine from local artisans and exceptional wine from sonoma vintners, making for an epicurean experience few film festivals in the world can match. renowned filmmakers, industry leaders and celebrities have enjoyed its intimate ambiance, while many filmmakers who have premiered at siff return with future projects. following are just a few special highlights the festival has to offer :
danny (turner) is a slackjawed teenager on the cusp of adulthood living with his mother, a polish immigrant, in astoria, queens. she runs a very diy off - track betting operation from her cramped living room. (i happen to live in the very neighbourhood where tramps is set and can tell you that the the in - the - open illegal gambling scene here is quite prevalent .) danny’s older brother calls from a jail in atlantic city. he’ll only be there for one night, but he needs danny to do him a favour: pick up a briefcase, leave it for someone on a train platform and make $ 3, 000 .
one of netflix’s press releases offered some extraordinary news: two original netflix productions, noah baumbach’s “the meyerowitz stories” (also starring sandler) and bong joon - ho’s “okja, ” will both be premièring in competition at the cannes film festival next month. as ehrlich reports, france’s official movie - theatre trade group has criticized the selection, arguing that an online release would “call into question their nature as a cinematographic work. ” in other words, they’re not even movies .
still, the story of lion is pretty incredible, and it features a final reunion that, i think, would soften even the hardest of hearts. the film is shot beautifully by greig fraser, working in a kind of poetic realism. and it’s got a host of strong performances. young sunny pawar, who plays saroo as a boy, is adorable, which, yes, may be a strange thing to say about a performance in a movie with such heavy subject matter, but what can you do. he’s a cute little kid, and he instantly wins our sympathy and concern. adult saroo is played by dev patel, who works in a more somber tone than we’re used to seeing from him. saroo is torn between homes, between lives, and patel effectively communicates that tension. but, again, the same beats get played over and over again. eventually you just want the film to hurry up and get saroo back to india .
this year’s jury members are: david dinerstein (producer), mike repsch (breaking glass pictures), ariane rocchi (magnolia pictures), steve chagollan (variety) for features; james cromwell (actor), sir nigel daly (producer / director), michael howell (e. d. devour festival / chef) for documentaries; leslie vanderpool (e / d. bahamas international film festival) and lucy walker (academy award - nominated director) for short films. .
leon’s a knowledgable cineaste who draws from the right stuff with the shrewd hand of a young new wave director: “tramps” has the setting of rossellini - esque neorealism and a classic hitchcockian twist; the romantic centerpiece hails from the screwball comedy era. at its center, polish - american new yorker danny (british actor callum turner, his accent well - modified for the part) leads a hand - to - mouth existence with his mother and troublemaking older sibling darren (michal vondel). when darren lands in jail for the night after another one of his random antics, he uses his one phone call to put his brother on the spot: danny’s tasked with handing off a briefcase full of cash at a random manhattan subway stop .
with april (and hopefully, spring) around the corner, netflix is gearing up for the hotly anticipated release of casting jonbenet, the latest documentary about the more than 20 - year - old unsolved murder of 6 - year - old jonbenet ramsey. as previously revealed, casting jonbenet, which first premiered at the sundance film festival earlier this year, will be a “hybrid” that looks at the murder and myths that have affected the “attitudes and behavior of successive generations of local parents and children. ”
• opening night reception – siff is thrilled and honored to begin the film festival libations at the backlot tent in the middle of the historic sonoma plaza. attending filmmakers, festival sponsors and pass holders will be treated to the epicurean delights of the girl & the fig, café la haye, the swiss hotel, della santina, harvest moon and touché mobile chefs, as well as bubbles by gloria ferrer, still wine from madrone, lake sonoma, clos du bois, buena vista winery, corner 103 and petroni winery .
like “gimme the loot, ” “tramps” concerns two young people in new york city, getting into an odyssey well over their heads and placing themselves into some mischief. this time it’s callum turner ’s danny and grace van patten ’s elle, as their meet - cute is a simple, profitable and possible crime. pick up a suitcase, make an exchange, get paid later. danny is doing it to help out his recently incarcerated brother, and we soon find out that elle is doing it to start her unsatisfactory life anew. as strangers to one another, neither know what is in the suitcase. still, the stakes of a payday causes enough nervous energy for the both of them, especially when danny leaves the bag at the wrong spot, and the wrong person takes it .
this is exactly the type of movie allen makes in between his good ones – a goodhearted but lower - class kid on the run with an enchanting girl. if only there were some crafty dialogue and a splash of wit, these fine two actors would have had what they needed to put the love story over the top. a craftsman such as allen can take a story that may seem a little creaky but still write specifics that result in something like café society or irrational man. tramps is one of the thinnest exercises i’ve seen in quite some time. and for every enjoyable moment there’s a cringeworthy “deep glance”, such as when danny suggests that children owning pets is good training for the horrors of life to come. not an unusual sentiment, but this is essentially blurted out with little provocation and lands with a thud .
after the film, leon, turner, van patten and birbiglia all came out for a q & a. ; leon said that as he and co - writer jamund washington were working on the story ,
we wanted to make a movie that captures the feeling of falling in love at the movies. so whatever the best of that is for you, it could be' when harry met sally,' it could be' his girl friday,' whatever that feeling is, but to do it in a way that maybe you hadn' t seen it before .
the toronto international film festival kicks off this week, and with it, the rest of a very busy fall festival season. in preparation for the canadian festival, we’ll be rolling out a series of previews to point you in the direction of all the movies you have to see (or at least, all the movies you have to start anticipating right now). first up, we’re looking at all the up - and - coming talents who just might break through at this year’s festival. keep your eyes peeled, this batch just might end up being the brightest one yet.
tramps is a 2016 american comedy film directed by adam leon . it was screened in the contemporary world cinema section at the 2016 toronto international film festival . it was released on april 21 , 2017 , by netflix . 
tramps is a 2016 american comedy film directed by adam leon. it was screened in the contemporary world cinema section at the 2016 toronto international film festival. it was released on april 21, 2017, by netflix.
tramps is a 2016 american comedy film directed by adam leon. it was screened in the contemporary world cinema section at the 2016 toronto international film festival. it was released on april 21, 2017, by netflix.