OTT.X ANNOUNCES SECOND ANNUAL IMPACT AWARDS

Streaming Video Industry trade association OTT.X seeks nominations for original online programming that inspires positive action and promotes acceptance and equality.

 

OTT.X logo

OTT.X, the industry trade association supporting the OTT streaming ecosystem, has opened submissions for the second annual OTT.X Impact Awards. The OTT.X Impact Awards is a program created by and for the over-the-top streaming industry to recognize creators, producers, platforms and channels who are using the power of streaming video to make a positive impact. Submissions are being accepted from June 23 through September 30, 2021 for audio visual works that premiere and are distributed through OTT channels and platforms. Nominations will be announced on November 9 and winners will be announced at the Impact Awards Ceremony to be held on December 9, 2021.

“Our industry has the attention of millions of people globally,” said Mark Fisher, OTT.X President and CEO. “The stories we tell, messages we send and truths we reveal have the power to change the world. Using this power to promote understanding, acceptance, equality and to inspire positive action is a responsibility that OTT.X and our membership are committed to.” Paul Colichman, CEO of Here Media and OTT.X Impact Awards Steering Committee Chair commented, “As streaming transforms the entertainment landscape it also democratizes video content distribution. This allows for more programs that focus on social justice, equality, kindness and compassion.”

The inaugural OTT.X Impact Awards was held virtually on December 10, 2020 and recognized three winners including Here Media’s “Girls Voices Now - ‘Not Quite Here, Not Quite There’” for Impactful Short Title, Chicken Soup for the Soul Entertainment’s “Going From Broke’ for Impactful Series, and Passion River’s “Intelligent Lives” for Impactful Full-Length Feature.

What: Second annual OTT.X Impact Awards – Recognizing content and innovation in the OTT streaming industry that inspires positive action and promotes acceptance of and equality for all people.

How to Apply: Visit https://www.entmerch.org/impact-awards/

Key Dates:

Submissions open – June 23
Submissions close – September 30
Nominations announced – November 9
Awards Ceremony / Winners Announced – December 9
Qualifications: Content must premiere on an OTT channel or platform, maintain exclusive availability via OTT distribution and be available in the US for at least 3 weeks. Qualifying period is the twelve-months ending September 30, 2021.

For more information as well as content submissions visit the OTT.X Impact Awards site; https://ottximpactawards.org/

About OTT.X

OTT.X is the not-for-profit international trade association dedicated to advancing the interests of the multi-billion home entertainment industry. OTT.X-member companies operate business that engage in or support the commercial OTT distribution of audiovisual entertainment. Membership comprises the full spectrum of the ecosystem, including digital retailers, MVPDs, AVOD and SVOD networks and channels, platforms, companies creating and/or distributing content for these channels of distribution, and companies providing services or technology for the use of others in this community. OTT.X (formerly EMA) was established in April 2006 through the merger of the Video Software Dealers Association (VSDA) and the Interactive Entertainment Merchants Association (IEMA).

To learn more, go to www.ottx.org.

MEDIA CONTACT

MILLENNIAL PR
Mitch Swan
323.378.6687
mitch@millennialpublicrelations.com

MY NAME IS PEDRO VOD and DVD Release February 23rd

Passion River
SWEET 180 PRESENTS
MY NAME IS PEDRO

4) (L-R) Pedro Santana in Lillian LaSalle's MY NAME IS PEDRO 
(Photo Credit: Sweet 180)

Director: Lillian LaSalle
Runtime: 2 hours 7 min
Genre: Documentary
Country: U.S.A), , In English.

MY NAME IS PEDRO will be released on VOD and DVD on February 23, 2021 in U.S., Canada and UK.

VOD: Amazon, Apple TV, GooglePlay, Youtube, and FandangoNOW.
Cable: Verizon and Wave Broadband

MY NAME IS PEDRO is an essential and timely reminder of the importance of great educators that exist within the infrastructure of our country's public education system.

This award-winning film, from first time director Lillian LaSalle, explores the seemingly impossible journey of South Bronx Latino educator and maverick, Pedro Santana, a former "special ed" student, whose mantra is - every kid can learn despite their circumstances. . A New York Times profile of his "Out Of The Box" teaching techniques, thrusts him into the spotlight, which creates great opportunities for change but also has its downside - public school politics which, despite the cries of students and parents alike, threaten to take him down. A documentary with unpredictable twists and turns, it harnesses a compelling message of optimism, hope and tragedy.

Lillian LaSalle, Director

LaSalle is the recipient of the 2016 Peabody "Futures of Media” Award for Producing the web-series, Halal In The Family, starring Aasif Mandvi, which garnered wide-spread media attention for taking on Islamophobia through the use of comedy and parody.

LaSalle is best known for her work as a talent manager representing actors, writers and directors as President of Sweet 180.

LaSalle is the Producer of several feature films including, Loggerheads, which premiered in competition at The Sundance Film Festival and Sweet Land, which won the Independent Spirit Award for Best First Feature for writer/director, Ali Selim. LaSalle’s other notable feature Producing credits include: Today's Special, which premiered at the BFI London Film Festival and won the audience award at the Palm Springs Film Festival, Just Like the Son from director Morgan Freeman, Find Love, Heavy Petting, and Mentor, as well as Southern Belles and American Cannibal: The Road to Reality.

LaSalle is currently Executive Producing the feature length animated feature, The Night Diary, based on the award-winning book by Veera Hiranandani alongside Aasif Mandvi’s Fat Mama Productions, animator/writer Gitanjali Rao (Bombay Rose, Tribeca Film Festival) and writer/director, Sabrina Dahwan, (Monsoon Wedding) with Hyde Park Entertainment. LaSalle will also produce the feature film, Our Lady Of The Snow, from award winning writer/director, Tom Gilroy (Spring Forward, The Cold Lands) alongside Luca Borghese and Ben Howe’s (Diane) Ag-X Films.

OFFICIAL SELECTION AND AWARDS:
Winner: Best Documentary, Golden Door International Film Festival
Winner: Spotlight on Documentary Award, St. Louis International Film Festival
Winner: Audience Award, Chicago Latino International Film Festival
Winner: Audience Award, Brooklyn Film Festival
Winner: Award of Merit, Impact Docs
Winner: Honorable Mention, Woodstock Film Festival
Official Selection: Women’s Filmmaker Showcase, BAFF
Official Selection: San Diego Latino International Film Festival

MY NAME IS PEDRO- Connect on Social Media:
Instagram: https://www.instagram.com/mynameispedrodoc/
Facebook: https://www.facebook.com/MyNameisPedrodoc/
Twitter: https://twitter.com/PedroSantanaDoc

Website:  https://www.mynameispedro.com

18 TO PARTY: An Interview with Director Jeff Roda

FINAL 18 TO PARTY POSTER

Bottom line: When Waiting to Get in A Line, Is More Important Than Getting in The Line
Director and Writer : Jeff Roda
Starring: Alivia Clark, Tanner Flood, James Freedson-Jackson, Oliver Gifford, Nolan Lyons, Sam McCarthy, Ivy Miller, Taylor Richardson and Erich Schuett

I had the opportunity to talk with director Jeff Roda to discuss his film new film 18 TO PARTY.

It’s 1984 and outside a small-town nightclub, a group of 8th graders gather, grappling with a spate of recent suicides, UFO sightings, their absentee parents, and each other. 18 to Party spans a single evening in the lives of these kids but manages to transport us fully to a time when waiting for something to happen felt just as significant as the thing itself.

YR: You have said you opted to write about your experiences in 18 TO PARTY in the form of a fable, how has writing about your experiences impacted you.

Jeff Roda: Yes. It started out as a play and was worked shopped. It is hard to get a play out of 11 teenagers but the content itself, came from my life. It came geographically from the same place I come from. Some of the characteristic, some of the experiences that the kids are going through, especially a couple of the characters, I went through the exact same thing. Some of the horrible things that happened to some of the kids in that community, were the same thing that happened in my community.

It was a small community, and I was little but those were the things that were happening with the kids who were six years older. It was all based on reality baked into a fable. Basically, it is away to present the film in a meditative way rather than trying to create a big narrative.

YR: Has there been any improvements made in the outcomes for the young people in your hometown?

Jeff Roda: It is interesting. There was something very singular about this area that I lived. It is the outer suburbs about 80 miles north of New York City but if you are 80 miles away from a big city and you are a kid, that is far. You are in the shadow of it, but you are still not going there.

My school was very small and very white, and those things remain today. In terms of the community itself, there is a lot farmland, horse farms and orchids and because of that it has turned into a working/middle class community. A lot of people moved north from the city with a lot of money and built huge stables, mansions and stuff like that. So those elements are there but the sort of rank and file are still similar.

YR:  You did excellent writing for the film. There was some dialogue between Shel and Amy that really stuck with me. Shel had asked Amy, why people would want to think that way and Amy responded, so they will not have to think about anything else.

Jeff Roda: You see from the film that it is almost shocking in a lot of ways how much things have not changed as much as things have changed.  I think for me, it really came around to the reality of the suicides. The trouble these kids were having, the isolation these kids were having and the aloneness. The latch key kids as we were called. And this is an inditement, somewhat, of the parents and adult figures who were not there for them.

It is weird, more of an around about way to get to the answer but a truer way. I did a lot of research about that time about the suicide and mishaps that were going on at that time. There was a nationwide epidemic of suicide in this specific year with a lot of kids, all these high performing kids from all over the country.

And when parents or school administrators were interviewed and were asked about what they think is happening, they all said peer pressure, drugs, and job prospects. Like anyone gives a sh** when you are in the 10th grade about job prospects. Of all these things, no one said maybe we are not looking out for them. Maybe some of this is on us.

No one ever said that and I boiled it down in those two lines where Amy said they do not want to look at it, they don’t want to look at anything more than their excuses for not being there for them. It is not a generation ahead of us that is quick to blame themselves for things.

That was basically the meaning of that line she said they will not have to think about anything else. Meaning they do not have to be reflective. They will not have to look any deeper into their responsibilities for these kids and what happens to them.

YR: What was it like preparing and working with the ensemble of young talented actors?

Jeff Roda:  It was one of the best experiences of my life, in a way, casting of these kids. We have great casting directors Kate and Jessica. It was my first film directing and the one thing I felt pretty good about going in was I would be able to cast the film with 10 kids. Some with no experience ever being in front of camera, one was on Broadway, one had been in a television series, and one had experience with independent films. It was a wide range of experiences.

Working with them and seeing these 13, 14, 15-year old kids really commit and inhabit the same space was great. Because it was a very short shoot, 15 days and there were kids younger than 16 there’s labor law and screen actor’s guild restrictions to follow.

They had to do a lot in a short time. Watching them come together and inhabit the same cosmic place it was amazing.  It was amazing, almost like being a parent in away, every kid had their moment that things were a little stressful, got a bit overwhelmed, frustrated or something kind of like that. Each one had a day of that, or a moment of that. It was great to support these kids.

These were extraordinary kids. Just warm and committed, competitive with each other in a healthy way.  Everyone had a lot of work to do and the movie was only going to work as well as how well any of the actors were prepared. And they all really did it. I think that is part of the competitive spirit, creatively, were privately they are like I do not want to be the one, I do not want to be the one with any mistakes.  It was great. It was fun having an idea, having an instinct about kids and then actually delivering on that. It made me feel really proud. It was rewarding.

YR: How did you come about the setting for 18 To Party, the back of the building, the limited space and telling such great stories?

Jeff Roda: When you are making a film this size, until you are shooting the film is not definitely happening. We did not have that location until 2 days prior to the first day of shooting. And as originally written in the script, it was more one dimensional, more theatrical, the kids were hanging next to a mall.   Again, it was originally written for the stage. As you saw from the back of this club, we found this place with 2 days left. We had to dress it. There are stairs, there is a loading dock area, a cement barrier that kids sit on. Just a lot more texture and space to work with.

We had a wonderful cinematographer named Gris Jordana. She did a lot with what was there. There was more than we thought was going to be there. She did so much with it. We really lucked into it. It was an abandoned place in Staten Island. There was a realtor sign next to it and it was called the number and we were in there.

It was not a club. Our entire production was inside that building and we were shooting outside. It is one of those things that came together. We are very, very lucky.

YR:  What else do you have in the works or that you are working on with any of the actors in 18 to Party.

Jeff Roda: Several of them, I know Sam that played Peter, he is in a couple of series, one on Netflix with Christina Applegate and Linda Cartalini. He plays Christina Applegate’s’ son. Taylor, who plays Missy, she has been doing this for years.  She was the last Annie on Broadway and I think she is in a series on Netflix. Tanner is working on the Kimmie Schmidt Show. And some are just going to school. They are really self-possessed. They are wonderful. They do not need to be acting stars. They can do anything that they want, and this is something they are doing now and exploring.

As for me, I am working on one specific movie, a script and hopefully it will be done within weeks. I am looking forward to reverse engineering 18 To Party back into a play. Which I think would be a great experience. Because I think there are a lot of roles for younger actors in acting school. I think it would a good piece for a group of kids to do together.

YR: How have you been impacted, as a filmmaker, by COVID-19?

Jeff Roda: It has not at all, frankly, because it is really up to me to write. Unfortunately, it has not at all because I have nothing to shoot right now. But it has affected the way a movie is released. The way a movie our size is released. It has completely changed everything, and I think people are really trying in the moment to pivot or understand what is happening with movies. Basically, movies cannot be released in the theaters right now. In any circumstance, to get an independent film out there to get tractions is very difficult. In some weird way, it is also very exciting because there are opportunities to get word of mouth. There are opportunities to roll it out slowly. We opened at the Alamo On Demand Virtual Cinema and Laemmle Virtual Cinema and then a month later a wider release on iTunes and Amazon Prime. So, in between that, we can get reviews, we can explore. There is a longer period now for people to discover the film. With this movie, if it had come out in May like it was supposed to, it would have been in a few theaters in New York and a few Los Angeles. You do not have a lot of money to promote it, so you are not going to get a lot of people regardless of the reviews being rave reviews.  You are still going to have a per screen average of about $500 and then your movie is going to go away after a week or two.  In some weird way, COVID has given these films more of a chance, for now. That is how it has affected filmmaking.

Distributor: Giant Pictures
Run time: 1 hour 20 minutes
Starring: Enzo Cellucci, Alivia Clark, Ashling Doyle, Tanner Flood, James Freedson-Jackson, Oliver Gifford, Nolan Lyons, Sam McCarthy, Ivy Miller, Taylor Richardson, Erich Schuett, Kevin Daniel Carey
Written & Directed by: Jeff Roda
Produced by: Nikola Duravcevic, Emily Ziff Griffin, Andrew Cahill, Stephanie Marin Production Company: Asterion Pictures in association with Cahill Bros
Editor: Katherine Williams, ACE
Cinematographer: Gris Jordana
Production Designer: San Bader
Costume Designer: Ava Lopez
Music: Dylan Neely, featuring the music of: The Alarm, Big Audio Dynamite, Mick Jones, The Velvet Underground and many more.

VIEW TRAILER BELOW!

KOKO-DI KOKO DA: An Interview with Director Johannes Nyholm

KokoDiKokoDa US Poster

Runtime: 1 hour 26 minutes
Director: Johannes Nyholm (THE GIANT)

Starring: Peter Belli, Leif Edlund, Ylva Gallon, Katarina Jackobson, Brandy Litmanen
Language: Swedish and Danish with English subtitles
Rating: Not Rated 
Genre: Horror, Fantasy

I had the pleasure of talking to Johannes Nyholm, director of Koko Di Koko Da.

A horror film about Elin and Tobias a happily married couple who regularly vacation with their young daughter. The family is on a dreamy holiday when an innocuous case of food poisoning derails their plans and forever alters the course of their lives.

YR: You have said that the setting for the film was in the wee hours of the morning when dreams are the most untamed and that is how you came up with idea for the film.  Was that the process throughout the filmmaking?

Johannes Nyholm: Yes. This film had its own life. First of all, it was inspired by a dream that came to me. I saw what was happening in the film in front of my eyes while being half awake asleep in the wee hours. I wrote it down and shot it and I realized it had to be something more. It was too crude, harsh, too nightmarish. It was impossible to watch it.  Things happen in my life by chance and the story elements that I added to the film were really strange things that just happened that told me how the story should be told. It did not feel like I came up with it.  It is more like it came to me.

YR: You mentioned you had a background in classical animation.

Johannes Nyholm: Yes, I went to animation school along time ago. I also have a history of working with musician and doing a lot of music video. Music goes well with animation.

YR: You had two scenes of a family of rabbits telling the story of death, was that a way of paying homage to classical animation, including it in your work?

Johannes Nyholm: It wasn’t an idea of paying homage. I just felt it was needed to tell the story from a different perspective. And to show a little comfort and some beauty and poetry to the audience as well.  Other wise without these images and musical interlude the film would be too horrible to endure.

YR: How and what did you do to prepare as a writer, director and producer for the film?

Johannes Nyholm: I started this film as a learning process. When I started to make this film, I had no experience directing. I had almost no experience working with a big film crew. I have made some music video before but did not have any sound on set there were just a couple people with a camera doing some improvised stuff. Now, it is like a complex story with a lot of people involved. For me it was a bit scary. But most of all, I kind of like the idea of losing control, of not really knowing what to do and how to solve things. It is more fun to work that way. I had hoped it adds some kind of primal element to the story. Even I as the director cannot really control it and something else would come out, something that is bigger than my thoughts, better than my thoughts, something more irrational.

YR: What was it like working with your cast members?

Johannes Nyholm: It was fantastic. As I said, it was like a learning process for me working with actors. I never even cast them. There was no competition for the lead characters.

I found two actors I have seen in a short film that a friend of mine had directed. And I really like their energy, their energy together. I knew with this film, did not have so much money. But what I wanted was time. So, I wanted people to invest their time, their energy in the film. I wanted someone that could go the extra mile. I felt that directly with them. I tried some scenes with them, going around in the car, tested out some dialogue and it felt right. I gave them the part without asking someone else or looking somewhere in another direction.

YR: Can you tell us if there are any other projects you are working on or that you are planning on?

Johannes Nyholm: Yes. Right now, I am writing a script for something completely different. It is a lot brighter, a lot lighter story. It is a slap stick comedy. It is inspired by old classic slap stick comedy, like Charlie Chaplin. I want to give a bit brighter side to life.

YR: As a filmmaker, how has COVID-19 impacted you?

Johannes Nyholm: For me personally, no, it does not affect the writing process. It doesn’t affect my actual filmmaking. but it affects the way the film I made is presented.

I think it is tragic that you cannot see movies in a theater but through the computer.  It is sad.  I would have loved to be in the states and be there in the audience and talk to them and discuss the film with them afterwards. That is a lot of what filmmaking is about, trying to communicate and talk about your experiences. You kind of lose a little part of that.

Distributed in North America by: Dark Star Pictures
Runtime: 1 hour 26 minutes
Starring: Leif Edlund, Ylva Gallon, Katarina Jacobson, Peter Belli, Morad Baloo Khatchadorian, Brandy Litmanen
Director/Scriptwriter/Producer: Johannes Nyholm
Director of Photography: Johan Lundborg, Tobias Höiem-Flyckt
Executive Producer: Peter Hyldahl
Co-Producer: Maria Møller Christoffersen
Produced by: Penelope JulieBruun Bjerregaard
Assistant producer: Maria Møller Christoffersen
Co-producer: Peter Hyldahl
Executive producer: Johannes Nyholm
Cinematographers: Tobias Höiem-Flyckt, Johan Lundborg
Editor: Johannes Nyholm
Music: Olof Cornéer, Simon Ohlsson

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THE ANTENNA on VOD in US and Canada October 20th

THE ANTENNA is currently in Virtual Theaters

 Will be out on VOD in the United States and Canada on October 20th

Including on  iTunes, Amazon, Google Play, Xbox, Vudu, Dish Network and all major cable providers

Antenna_still2

Director and Writer: Orçun Behram
Starring: Ihsan Önal, Gül Arici, Levent Ünsal, Isil Zeynep, Murat Saglam, Elif Çakman, Mert Toprak Yadigar and Eda Öze.

In a dystopian Turkey, the Government installs new networks throughout the country to monitor information.

The installation goes wrong in a crumbling apartment complex and Mehmet (Ihsan Önal), the building intendant, will have to confront the evil entity behind the inexplicable transmissions that threaten the residents.

Born in 1987, filmmaker Orçun Behram graduated from Columbia College, Chicago majoring film in 2011. Establishing himself in Istanbul, he has worked on variety of projects from music videos and short films to documentaries. The Antenna (2019) is the director’s first feature.

Runtime: 1 hour 55 minutes
Rating: Not Rated
Genre: Horror
Language: Turkish with English subtitles
North American Distributor: Dark Star Pictures

DARK STAR PICTURES

Dark Star Pictures is a new-age North American distribution company, focused on bringing unique and targeted content to audiences across the country. The company is committed to releasing auteur-driven, original cinema in the theatrical, digital and home video space. Dark Star’s goal is to create original marketing campaigns directly catered to audiences who will embrace our brand of thought-provoking cinema. The company also services distribution companies and producers in the theatrical, digital, and festival space.

Official Selection: Toronto International Film Festival, BFI London Film Festival, Fantasia International Film Festival, Sitges Film Festival and many more.

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Award-winning documentary MY NAME IS PEDRO Opens October 9th

 In San Francisco (CinemaSF),  Philadelphia (Film Society), Minneapolis (Parkway Theater),  Buffalo (North Park), Baltimore (Senator, The Charles), Vancouver (Kiggins Theater), Tucson (Loft), Cleveland (Cleveland Cinemas), Phoenix (Film Bar), Bellingham (Pickford Center). Winston Salem (Aperture Cinema), Tampa (Tampa Theater) and more including Toronto (HotDocs on October 29).

(L-R) Pedro Santana in Lillian LaSalle's MY NAME IS PEDRO 
(Photo Credit: Sweet 180)

Directed by: Lillian LaSalle
Runtime: 2 hours 7 minutes
Documentary (USA)
In English.

Lillian LaSalle's upcoming award-winning and timely documentary MY NAME IS PEDRO explores what public education meant to South Bronx Latino maverick educator, Pedro Santana, and what he, in turn, meant to public education. 

MY NAME IS PEDRO is a profound story of how one person actualizes learning and positive change in children, adults, environments and communities through an 'impact' ripple effect strategy that he has effortlessly perfected.

The film is also an essential and timely reminder of the importance of great educators that exist within the infrastructure of our country's public education system.

LaSalle is best known for her work as a talent manager representing actors, writers and directors as President of Sweet 180. https://www.mynameispedro.com .

LaSalle is the Producer of several feature films including, Loggerheads, which premiered in competition at The Sundance Film Festival and Sweet Land, which won the Independent Spirit Award for Best First Feature for writer/director, Ali Selim. LaSalle’s other notable feature Producing credits include: Today's Special, which premiered at the BFI London Film Festival and won the audience award at the Palm Springs Film Festival, Just Like the Son from director Morgan Freeman, Find Love, Heavy Petting, and Mentor, as well as Southern Belles and American Cannibal: The Road to Reality. 

LaSalle is currently Executive Producing the feature length animated feature, The Night Diary, based on the award-winning book by Veera Hiranandani alongside Aasif Mandvi’s Fat Mama Productions, animator/writer Gitanjali Rao (Bombay Rose, Tribeca Film Festival) and writer/director, Sabrina Dahwan, (Monsoon Wedding) with Hyde Park Entertainment. LaSalle will also produce the feature film, Our Lady Of The Snow, from award winning writer/director, Tom Gilroy (Spring Forward, The Cold Lands) alongside Luca Borghese and Ben Howe’s (Diane) Ag-X Films.

OFFICIAL SELECTION AND AWARDS:

Winner: Best Documentary, Golden Door International Film Festival
Winner: Spotlight on Documentary Award, St. Louis International Film Festival
Winner: Audience Award, Chicago Latino International Film Festival
Winner: Audience Award, Brooklyn Film Festival
Winner: Award of Merit, Impact Docs
Winner: Honorable Mention, Woodstock Film Festival
Official Selection: Women’s Filmmaker Showcase, BAFF
Official Selection: San Diego Latino International Film Festival


MY NAME IS PEDRO- Connect on Social Media:
Instagram: https://www.instagram.com/mynameispedrodoc/ Facebook: https://www.facebook.com/MyNameisPedrodoc/ Twitter: https://twitter.com/PedroSantanaDoc

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THE CURSE OF AUDREY EARNSHAW On VOD & Digital

Available October 6, 2020 

THE CURSE OF AUDREY EARNSHAW Key Art

on:

Indemand | Comcast | Spectrum | Charter | Dish | Sling TV | Vubiquity | iTunes | Google Play | Vudu | Xbox | YouTube | Amazon Fandango Now | DirecTV | Breaker | Alamo On Demand

iTunes Pre-order: https://itunes.apple.com/us/movie/the-curse-of-audrey-earnshaw/id1531056261

Director and Writer: Thomas Robert Lee
Starring: Catherine Walker, Jared Abrahamson, Hannah Emily Anderson, Geraldine O’Rawe, Don McKellar, Sean McGinley, and introducing Jessica Reynolds as Audrey Earnshaw

Set against the autumnal palette of harvest season in 1973, THE CURSE OF AUDREY EARNSHAW explores the disturbed bond between Audrey, an enigmatic young woman, and Agatha, her domineering ‘mother’, who live secretly as occultists on the outskirts of a remote Protestant village. As the community is besieged by a pestilence of unknown origin: children, fields, and livestock begin to die — yet the Earnshaw farm remains strangely unaffected. As mass hysteria sets in the village, the townsfolk commence accusations against Audrey and Agatha of witchcraft.

Capturing a perfect mixture of religious paranoia and folklore horror, Thomas Robert Lee’s THE CURSE OF AUDREY EARNSHAW is a haunting and unflinching tale of vengeance.

THE CURSE OF AUDREY EARNSHAW celebrated its world premiere at Fantasia Fest 2020, coming out with raving reviews. The film will be releasing in limited theaters on Friday, October 2, 2020 and will be available on major VOD/Digital platforms beginning Tuesday, October 6, 2020.

"I wanted to tell a story about legacy, and to specifically explore it within the context of a folk horror narrative,” says writer/director Thomas Robert Lee. “The community grows increasingly desperate as their given circumstances grow dire. In reality, the pandemic appears to have amplified hatred and xenophobia, or at least the voices of those spewing hate speech. Obviously there is a world of difference between my screenplay and the very real ramifications of the pandemic, but the similarities, however surface-level they may be, have certainly been on my mind these past months.”

Runtime: 1 hour 34 minutes
Rating:  Not Yet Rated
Genre: Horror
Country: Canada

FOLLOW ON SOCIAL MEDIA!

Facebook: facebook.com/TheCurseOfAudreyEarnshaw
Twitter: twitter.com/Audrey_Earnshaw
Instagram: instagram.com/TheCurseOfAudreyEarnshaw

THE CURSE OF AUDREY EARNSHAW is written and directed by Thomas Robert Lee. Produced by Gianna Isabella and executive produced by Lee, Marie-Claude Poulin, James Mahoney, Bill Marks, Divya Shahani, George Mihalka, Susan Curran, Patrick Ewald, and Shaked Berenson. Cinematography by Nick Thomas. Edited by Ben Lee Allen. Music by Thilo Schaller and Bryan Buss. A Gate 67 Films Production.

About Epic Pictures

Since the foundation of the company in 2007, CEO Patrick Ewald has grown Epic Pictures into an independent content studio with the mission of delivering the best-in-class genre entertainment “for fans, by fans.” Epic Pictures produces, finances, and distributes approximately twenty-thirty independent genre films a year. In 2013, the company established Epic Pictures Releasing which is its US focused distribution division. In 2017, Epic Pictures acquired the world’s most popular horror website, Dread Central, and launched its unique horror label, Dread, followed by its AVOD channel, DreadTV. In 2019, Epic Pictures started the horror gaming site, DreadXP, with a focus on editorial, reviews, podcasts, and original streaming content. In 2020, DreadXP began a video game publishing division with the launch of The Dread X Collection, an anthology of horror games in collaboration with some of the most innovative developers in the independent gaming space. https://epic-pictures.com/

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THE SWERVE Trailer

THE SWERVE key art

On VOD and Digital  September 22, 2020

Runtime: 1 hour 35 minutes
Rating: Not Yet Rated
Written and Directed by: Dean Kapsalis
Starring: Azura Skye, Bryce Pinkham, Ashley Bell, and Zach Rand

THE SWERVE tells the behinds the scenes in the life of Holly, a wife and mother seems to have it all: two kids, a nice house, a good job as a teacher, and a husband with his career on the way up. But there are troubling signs that all is not right in her world. The insomnia. The medication for the insomnia. The dreams from the medication for the insomnia. The arrival of her estranged sister and a mouse invading her home don’t help either. Add the weight of a dark secret, and her already delicate balance collapses, sending her spiraling out of control.

With her riveting and acclaimed performance as Holly, Azura Skye effortlessly crafts a portrait of a struggling mother on the edge. Writer and director Dean Kapsalis’s powerfully heart-wrenching feature debut explores a week in the life of a woman on the verge in this haunting meditation on mental illness.

THE SWERVE celebrated its world premiere at the 2019 Cinepocalypse Film Festival, and screened at the 2019 Panic Film Festival; winning both awards for Best Actress for Azura Skye. The film will be releasing on major VOD/Digital platforms beginning Tuesday, September 22, 2020.

About Epic Pictures

Since the foundation of the company in 2007, CEO Patrick Ewald has grown Epic Pictures into an independent content studio with the mission of delivering the best-in-class genre entertainment “for fans, by fans.” Epic Pictures produces, finances, and distributes approximately twenty-thirty independent genre films a year.

In 2013, the company established Epic Pictures Releasing which is its US focused distribution division. In 2017, Epic Pictures acquired the world’s most popular horror website, Dread Central, and launched its unique horror label, Dread, followed by its AVOD channel, DreadTV.

In 2019, Epic Pictures started the horror gaming site, DreadXP, with a focus on editorial, reviews, podcasts, and original streaming content. In 2020, DreadXP began a video game publishing division with the launch of The Dread X Collection, an anthology of horror games in collaboration with some of the most innovative developers in the independent gaming space. https://epic-pictures.com/

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Runtime: 1 hour 35 minutes
Rating: Not Yet Rated
Written and directed by: Dean Kapsalis
Starring: Azura Skye, Bryce Pinkham, Ashley Bell, and Zach Rand
Producer: Tommy Minix, p.g.a.
Production Co.: Spark Chamber
Cinematographer: Daryl Pittman
Editor: Dean Kapsalis and Alec Styborski
Casting: Adrienne Stern
Music: Mark Korven

FIRST ONE IN New Movie Trailer

First One In Key art

Available on Amazon Prime Video
Tuesday, September 8, 2020

After accidentally killing an endangered animal on a popular reality TV show, Madi Cooke (Kat Foster) is labeled an eco-terrorist, is fired from her job, and believes she now is the most hated woman in America.

 

FIRST ONE IN is set to release on major VOD/Digital platforms including Amazon, iTunes, and Google Play beginning Tuesday, September 8, 2020.

Runtime:  1 hour 38 minutes
Rating: Not Yet Rates
Genre: Comedy

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Instagram: instagram.com/FirstOneInFilm

FIRST ONE IN is written and directed by Gina O’Brien. Produced by Paul Jarrett and Nick Huston and executive produced by Jonathan Gray. Cinematography by Matthew Santo. Edited by Charles Divak. Casting by Christine Kromer. A Rosetta Films and Literally Films Production.

TENNIS COMEDY ‘FIRST ONE IN’ SETS RELEASE FOR SEPTEMBER 8

First In Photo

Literally Films has announced the release date of the indie-tennis-comedy FIRST ONE IN, starring Kat Foster (Jean-Claude Van Johnson, Weeds) and Georgia King (HBO’s Vice Principals ). The film is executive produced by Jonathan Gray and produced by Paul Jarrett and Nick Huston, in association with Rosetta Films and Literally Films.

FIRST ONE IN is the feature-directing debut of indie screenwriter Gina O’Brien. This is the third feature from O’Brien whose Sundance premiere “Once More With Feeling” was produced by Rosetta Films’ Paul Jarrett. Jarrett directed O’Brien’s second screenplay “Fan Girl” which premiered on ABC Family.

After accidentally killing an endangered animal on a popular reality TV show, Madi Cooke (Kat Foster) is labeled an eco-terrorist, is fired from her job, and believes she now is the most hated woman in America. She changes her look and last name to interview with Bobbi (Georgia King), who heads Mason Agents — the #1 real estate firm in Connecticut. But in an effort to maintain championship status in a local, annual tournament, Bobbi only hires women who play tennis.

Madi joins a clinic at Acme Indoor Tennis to practice the game she hasn’t played seriously since high school, nearly 20 years ago. That’s where she meets Tennis Pro Fernando (Josh Segarra), Jane (Catherine Curtin), Ceecee (Emy Coligado), Preeti (Aneesh Sheth) and Valentina (Karina Arroyave), and renews her strained friendship with her best friend and former high school tennis partner, Ollie (Alana O’Brien).

In a twist of events, Madi and her underdogs take on Bobbi’s Mason Agents at their Elite tennis club, where Madi will find her grit or lose everything.

“During the day in tennis clubs across America, millions of women gather to hit balls at each other. I’m one of them,” says O’Brien. “We wear trendy outfits, visors, and elbow and knee braces. We drink coconut water and eat protein bars and take acetaminophen. We are middle-aged women of all shapes, sizes, and athletic ability. Our personal lives may differ from one another, but on some 250,000 courts in the U.S., we’re all tennis players. Many of us aren’t good, but the competition is as fierce as the pros, sort of, and it’s fun material for a screenplay.”

FIRST ONE IN is set to release on major VOD/Digital platforms including Amazon, iTunes, and Google Play beginning Tuesday, September 8, 2020. FIRST ONE IN stars Kat Foster (Jean-Claude Van Johnson, Weeds), Georgia King (HBO’s Vice Principals ), Alana O’Brien (Inside Amy Schumer), Emy Coligado (Crossing Jordan), Catherine Curtin (Orange is the New Black), Aneesh Sheth ( Jessica Jones), Karina Arroyave (Orange is the New Black), Josh Segarra ( Trainwreck), and Michael Ian Black (Wet Hot American Summer, Stella).

About Rosetta Films

Prior to First One In, Paul Jarrett (Rosetta Films) managed non-scripted production for ABC News Long Form / Lincoln Square Productions as the Supervising Line Producer. Jarrett delivered content to and managed relationships with Disney ABC Television Group, A&E, Investigation Discovery, Bravo, Netflix, and Disney +. Jarrett also recently executive produced and was the show-runner on the Investigation Discovery Channel TV show I, Witness, which premiered in 2017. Prior to that, Jarrett directed and produced the feature film Fan Girl starring Kiernan Shipka (Mad Men, Chilling Adventures of Sabrina) and Meg Ryan (Sleepless In Seattle). When Fan Girl premiered on ABC Family, the film was the 8th most trending Twitter topic in the world.