To the uninformed, Michelle Monaghan might be little more than a recognizable face. Yet, the actress has had a strong start to her career, having appeared in several of the most successful recent movies. That’s her in The Bourne Supremacy, Mission: Impossible III, Mr. and Mrs. Smith and Eagle Eye.

Nothing she’s done to this point, to resurrect the age old cliché, will prepare you for her work in Trucker. A small, subtle character study set against the vast expanse of the American West and written and directed by James Mottern, it’s the story of a tough trucker named Diane (Monaghan) who finds her independence and isolation compromised when she’s reacquainted with the son (Jimmy Bennett) she abandoned as an infant. Film School Rejects spoke to Monaghan about the deeply personal project, which premiered at the Tribeca Film Festival in 2008 and is now in limited release.

What attracted you to Trucker?

To me it was so refreshing. … I read films that are one-dimensional a lot of the time and pretty predictable. And in predictable I mean melodramatic and sometimes they’re very sentimental. You play the victim. … When I read the script she was anything but that, Diane. She was very honest, she was unapologetic, she never makes any promises. … She doesn’t play the victim, and for me I thought that was so appealing. … It was a role of a lifetime for me. As an actor, you want to play characters like that.

What appealed to you about James Mottern’s directorial approach?

James is unique as a filmmaker. He really let the camera linger on me and allowed me to act. So often as an actor you’re bombarded with all this dialogue and you don’t feel like you’re getting to act. … I just feel like in those quiet moments Diane really discovers who she is. It’s not what’s coming out of her mouth. She’s kind of playing tough, but it’s in those quiet moments you find out who she is.

Why are Hollywood studios so scared of making movies in this sort of naturalistic vein? In the 1970s, they did so often: Alice Doesn’t Live Here Anymore, Five Easy Pieces etc.

Gosh, I wish I knew the answer to that. I truly, truly do. I don’t know if [maybe it’s just that] they’ve got their typical movies they want to make. Everything’s become formulaic. Those are real character driven dramas.

Can you talk about the long journey to getting the movie made, seen and released?

It really is a longtime coming, this movie. It landed in my lap in 2006, took a year to get financing attached, made it in Tribeca, and then a year, year-and-a-half to get distribution. The floor kind of fell out from under everybody. I never really lost hope, but for a split second I thought, “Gosh, is this really the end of the road for this movie?” It didn’t seem possible. That was the scary thing. Last year was a really dark time, I think, for a lot of independent films, particularly [at] all the festivals. There were a lot of films that played at the festivals that were really well received, critically acclaimed but walked out of the festivals without buyers.

What was working with Jimmy like? He projects a maturity that’s beyond many child actors.

It’s funny, Jimmy, I really seriously say this and I mean it, he’s got a longer resume than I do. I think if you pull it up on IMDb I think you’ll find that it’s longer. He was really like working with an adult in a 12-year-old’s body. He was always prepared and knew exactly what he wanted. Part of what he brought to the role that enhanced what James and I wanted to do in the relationship was [that] he avoided playing a whiny 12-year-old boy. He wasn’t annoying; he had that tough quality about him that he uses as a defense, which is oddly enough kind of the way Diane operates. I think they’re very similar to each other. I never wanted them to communicate as a mother and son, because they’re strangers to each other.

Why was it important for you to actually get a truck driving license, and learn how to drive a big rig?

They expected a stunt driver. But I sort of made a deal to myself, to James, long before we started shooting that I’d have to get my CDL. And I say that not to be like, “Oh my god, my CDL,” but you can see when you watch the movie it’s so integral to the character. It’s her livelihood, it’s who she is, [and] she loves being her own boss. I knew that if I did that and surrounded myself in that culture, in that environment, it would inform so much of that character. Frankly the role’s written in such an honest way that it deserves to be played as honestly as it should be.

In what ways does the California dessert setting inform Diane’s character?

I think there’s just something about the dessert. It really is a sort of character. It’s barren, hot, and dusty. I don’t know, you know, those are all things I think Diane is. Horses were a big inspiration. … You know when you’re trying to corral a wild horses and you can’t, and dust is coming up, I really saw Diane as a mustang, as one of these horses you’re trying to break and you just can’t break her.

Trucker is currently open in NYC, and will be expanding later in the month.

Closing the Tribeca Film Festival this year was the anime cartoon inspired action film, Speed Racer from the Wachowski brothers, who created The Matrix trilogy. The film hits theaters on May 9th and stars Emile Hirsch, Christina Ricci, John Goodman, Susan Sarandon and Matthew Fox. The premiere’s red carpet was one of the busiest I’ve been to and this time I was definitely way at the end of the press line, however John Goodman was kind enough to speak with me though, as was the young actor Paulie Litt from Hope & Faith and actor Kick Gurry. I also saw and snapped photos/video of Christina Ricci (she’s so tiny), Susan Sarandon, Vincent D’Onofrio and Limp Bizket’s Fred Durtz. Stephen Colbert also attended the premier with his family, but he passed by while I was on the phone. However, I stayed late again on purpose hoping that Robert DeNiro would once again make an appearance and this time I was ready and grabbed a video of him as he entered the screening. Yay! Below is the final cut, as you can see I got a little fancy by adding in a remixed version of the Speed Racer theme song, which also helped reduce the background noise throughout the clips:

Also, check out our Tribeca Photos on Flickr to see more from the Speed Racer red carpet.

I was lucky to catch two animated films at Tribeca, one from Bill Plympton whose been working at his art for many years and the second by a new animator Leetal Platt.

Idiots and Angels

Bill Plympton’s animation style is unique. If you don’t think you’ve ever seen his work, you have in commercials (United Airlines, Microsoft) and you might have seen the Oscar nominated Guard Dog and its sequel, Guide Dog.

His newest work “Idiots and Angels” is a dark, wonderfully demented animated feature that would make David Lynch look like he makes breezy little films about suburbia.

It’s about a not so great guy, Angel who to his dismay grows some wings that don’t fit his less than stellar personality. He’s no angel, but these wings command him to be and he’s not happy about it. His inner goodness isn’t welcome.

Where’s the joy in flight if you can’t do some mischief?

Angel wants to be rid of the wings. Sure he can fly, but the wings put a damper on his darker side.

What’s a disgruntled winged guy to do?

Bart the Bartender wants the wings and when he gains possession he manages to overcome their will to do only good and inflicts damage on the town.

The battle over the unwanted wings will turn epic as Bart and Angel slug it out in a battle between evil and good, not only for the wings, but for the heart of Bart’s beautiful mistreated wife who has fallen for Angel.

Plympton hand draws all of his work and it’s a pleasure to see hand animation at it’s best. It’s nice to know there are still animators like Plympton who create a film one glorious drawing at a time.

Zombie Gets a Date

The second animated film I saw is a short called Zombie Gets a Date by Leetal Platt.

Platt began the film in her final year at New York University. Platt demonstrates not only great skill as an animator but a terrific sense of humor as well.

This quirky, funny animated film delves into the world of a lonely Zombie who in his quest for romance goes out on a date. But dating the undead isn’t what it’s cracked up to be and complications arise on the path to true love.
The film maybe be just over two minutes long but it’s filled with original ideas and imagery.

The Tribeca Awards were given out on May 1 at the Target Tribeca Filmmakers Lounge. The awards are all juried and recognize excellence in a variety of categories. It couldn’t have been an easy task to pick the best out of so many films.

I was particularly pleased that one of the recipients was Let the Right One In the Swedish film based on the novel by John Ajvide Lindquist.

It was the first film I saw at the festival and it’s extraordinary. The film was awarded “The Founders Award for Best Narrative Feature”. Director Tomas Alfredson wins a $25,000 cash prize for his film that is a reinvention of the vampire myth.

The Cadillac award has not yet been presented. This is the audience choice for best film of the festival and it will be announced on Saturday.

I’m surprised not to see an award for best animated short film and feature. There were quite a few at the festival. One was the hilarious short Zombie Gets a Date by Leetal Platt and the full length feature by the great animator Bill Plympton Idiots and Angels.

The awards categories give a good idea of the variety of different films from all over the world. I learned one thing about Tribeca and that it’s a film lover’s dream.

I’m impressed that all the films I viewed were good to great. Not something you get to experience these days when so many films fail to live up to their hype.

These films, none of which had much hype got their chance to shine because of the Tribeca Film Festival.

And now some of them not only have the reward of being seen but have the honor of receiving an award from the jury.

Highlights of the awards and the announcement of the Cadillac Award can be seen on WNBC at 7:30 on Saturday night.

Full list of Winners:

The Founders Award for Best Narrative Feature – Let The Right One In (Lat den rätte komma in), directed by Tomas Alfredson (Sweden). Winner receives $25,000 cash and the art award Maternal Nocture: Clearing Storm, created by Stephen Hannock.

Jury Comments: “For its mesmerizing exploration of loneliness and alienation through masterful reexamination of the vampire myth.”

Best New Narrative Filmmaker – My Marlon and Brando (Gitmek), directed by Hüseyin Karabey (Turkey, Netherlands, UK). Winner receives $25,000 cash, sponsored by American Express, and the art award Bonfire, created by Ross Bleckner.

Jury Comments: “For its skillful blending of documentary style with a classic love story and ultimate creation of a truly modern and unlikely international heroine.”

Best Actor in a Narrative Feature Film – Thomas Turgoose and Piotr Jagiello in Somers Town, directed by Shane Meadows (UK). Sponsored by Delta Air Lines. Each winner receives a business elite ticket voucher for anywhere Delta travels.

Jury Comments: “For an extraordinary and exhilarating rendering of a friendship found, the Narrative Feature Jury is awarding the Best Actor prize to this magical team.”

Best Actress in a Narrative Feature Film – Eileen Walsh in Eden, directed by Declan Recks (Ireland). Sponsored by Delta Air Lines. Winner receives two business elite ticket vouchers for anywhere Delta travels.

Jury Comments: “For her exquisite rendering of a lonely wife aching to be seen and heard.”

Best Documentary Feature - Pray the Devil Back to Hell, directed by Gini Reticker (USA). Winner receives $25,000 cash and the art award Liza Minnelli, created by Timothy White.

Jury Comments: “In a relentless pursuit of peace, the women of Liberia show us how community, motherly love, and perseverance can change the fate of a society. Pray the Devil Back to Hell is a reminder that we have the power to say ‘Enough!’ to the atrocities of our world.”

Best New Documentary Filmmaker - Old Man Bebo, directed by Carlos Carcas (Spain). Winner receives $25,000 cash, sponsored by American Express, and the art award Maquette for Primary Compass, created by Don Gummer.

Jury Comments: “We the jury feel that Carlos Carcas showed us that if you truly have art in your body and soul it will find its way out into the world. We applaud the filmmaker for bringing Old Man Bebo into our consciousness.”

New York State LOVES Film Best Documentary – Zoned In, directed by Daniela Zanzotto (USA,UK). Winner receives $5,000 cash, sponsored by New York State Governor’s Office for Motion Picture and Television Development, and the art award Table Odeon, created by Donna Ferrato.

Special Mention: Hotel Gramercy Park, directed by Douglas Keeve (USA).

Jury Comments: “This was a challenging and spirited discussion with two clear favorites: both films are very different and the jury felt that both should get equal mention even though only one gets the prize. We thought Hotel Gramercy Park was a highly entertaining and moving story about a New York family and a New York institution coming to terms with a changing city, but in the end we felt Zoned In deserved the prize for having the bravery to tell a seemingly typical story that ends up revealing bold and difficult truths.”

Made In NY Narrative – The Caller, directed by Richard Ledes (USA). Winner receives $5,000 cash, sponsored by The City of New York Mayor’s Office of Film, Theatre and Broadcasting, and the art award Nude on Guitar, created by Ralph Gibson.

Jury Comments: “The Caller superbly uses its New York locations, from the sleek mid-town high-rises to the desolate Brooklyn Bridge piers, to create a chilling and finally stirring suspense movie: an unusual thriller whose mysterious plot finally exposes the mysteries of the heart.”

Best Narrative Short - New Boy, directed by Steph Green. Sponsored by Edelman Studios. Winner receives $5,000 cash and the art award Air, created by Francesco Clemente.

Jury Comments: “New Boy took us on a complete emotional journey. It was moving, funny, and powerful.”

Best Documentary Short -Mandatory Service, directed by Jessica Habie. Sponsored by Edelman Studios. Winner receives $5,000 cash and the art award The Screamer, created by John Alexander.

Jury Comments: “Mandatory Service, a perspective of war and conflict from participants themselves. The Israeli’s empathy for the Palestinians is not a perspective we glimpse too often in Western media.”

Student Visionary Award – Elephant Garden, directed by Sasie Sealy. Sponsored by Apple. Winner receives an Apple Mac Pro Desktop with a 15″ Display, Final Cut Studio 2, and the art award Harmonium, created by Clifford Ross.

Jury Comments: “Elephant Garden captured the inner life of a beautiful young girl and her confusion as she becomes a young adult. Wonderful visual storytelling, and the performance of Kelley Mack is stellar.”

Everyone who meets Jack Burridge sees a shy, amiable young man with a sweet smile and a quiet unassuming demeanor. But nothing about Jack is as it first appears because he’s hiding a terrible secret from his co-workers and his girlfriend.

Jack Burridge was once Eric Wilson a ten year old boy with no place of refuge. Bullied by older teens, neglected by his distant father and cancer stricken mother, Eric found solace in his friendship with Phillip.

Phillip, a victim of sexual abuse was a young boy seething with fury. Like a gun with the safety off and the trigger cocked he was always one moment away from doing something unthinkable.

The unthinkable is the secret harbored inside of Jack. It’s the murder he and Phillip committed. As ten year old boys they brutally murdered a young girl.

Flashbacks will show us the tension that leads up to the crime. We never really know what Eric’s part in the killing was, but we see him follow his friend Phillip into the abyss.

The adult Jack is mentored by his counselor, Terry, played by Peter Mullan (Trainspotting, Children of Men) who becomes a surrogate father to Jack.

The world the newly named Jack enters is a place he’s been isolated from for fourteen years. He’s more boy than man and struggles to catch up to his peers and to the vastly different world he’s re-entered as a young adult.

Director John Crowely is working from an adaptation of the novel by Jonathan Trigell. He approaches the material with a sure sensitive hand.

His cast is excellent led by Andrew Garfield (The Other Boleyn Girl, Lions for Lambs) a BAFTA nominee for the role of Jack. He effectively portrays the confused boy in a man’s body. His Jack wants to become part of the world even as the lie he’s living eats away at him. He’s well on his way to becoming the man he wants to be when the past rears its ugly head.

Peter Mullan does a fine turn as the father figure who takes pride in the progress of his charge. Alfie Owen and Peter Doherty, two very good young actors portray Eric and Phillip.

The film won a jury prize at the Berlin International Film Festival and makes it US debut at the Tribeca Film Festival.

I believe there’s an audience for this film. It’s a beautifully realized exploration of a difficult subject. The idea of second chances isn’t an unusual one. But when applied to this story of two young boys murdering a young girl, it takes on a new slant.

Can the child be held in prison then released as a man and given that second chance? Can he find redemption and free himself from his past?

Boy A is a powerful film that won’t let go of you when the credits roll. It stays with you and makes you think.

In this edition I:
1. Observe and learn the proper method of swiping the metro card.
2. I take some photos of the theater marquee proving that I can take an incredibly dull photo of an exciting event and I seize the opportunity to take a photo of the red carpet area which looks lonely and forlorn when not bedecked with movie stars.
3. I nearly lose my press pass twice and I become emotionally attached to the above nearly lost press pass.
4. I learn not to be so stupid as to take a cab.

I was running late on my way into the film festival. I wanted to, was determined to see Boy A and it looked like I wouldn’t’ make it. Against my better judgment I decide to take a cab instead of the subway followed by walking cross town. I like walking in the city. It’s just a great place to walk. But I feared not making it to the film. The cab got me as far as 14^th street and fifth avenue before I left it stuck in traffic and walked to the theater on 2^nd avenue and 12^th street. As I walked into the theater I was asked for my press pass. It was buried in my bag. I’m struggling to get it free while the big bouncer sized guys at the door say:

“It’s stuck?”
“Yes”
“Can you get it?”
“Yes.”
“Okay. It’s stuck?”
“Yes.”
“But you can get it.”
“YES…”

Finally it is free and I flash it and run in so someone else can look at it. Then I finally get to the table to check in.

“Boy A?”
“Your pass?”
“Sure.”
“Film School Rejects. I LOVE that name.”
“Thank you.”
“Boy A?”
“It’s a unique name.”
“Thank you. Boy A?” Interlude where check in person stops to talk to another check in person.

“BOY A” starting in like two minutes.

“Oh, Theater 2, downstairs.”

I run downstairs and am almost to Theater 2 when I realize I’m wearing a nice purple press pass holder, but no press pass is dangling from it. I turn and there is at the bottom of the staircase. I retrieve it and get on line. One of the film publicists takes my name, email and phone number so she can follow up to see what I thought of the film. Right at the door to the theater a festival volunteer takes info for the pass. Finally I’m in and ready for the movie which is pretty full. My review will be done soon!

I realize that I am becoming addicted to my press credentials. I wave them and doors open, angels sing and clouds part. It’s heady stuff. I can go to the press head quarters and get bottles of water, work on Macs, watch movies if I want, pick up press kits and even get Target bulls eye dog animal crackers which come in a silly little dog house box that you know makes you look like an idiot. It’s addictive to have people say “Press?” To which you reply with a cool knowing nod “Yes.” And they let you in to the movies. I’m afraid it won’t work at my local multiplex.

I have a camera with me and decide to take some photos. There aren’t any movie stars but I take a picture of the red carpet area which has no red carpet without the movie stars. It looks kind of tired and sad but I’m sure perks up considerably when the star power arrives.

As I descend into the subway I carefully observe the swiping methods of more experienced commuters. It’s a fluid motion where you don’t really stop at all but swipe and walk. I do think it’s risky especially for men who might walk into the turnstile and that could end in a bad bad way. But I’m not a guy and I’m brave and also the entrance on 14^th street has those metal revolving doors that look like they were designed from plans originally drawn during the Spanish Inquisition.

I swipe and it says go! YAY! I did it. But then I walk into the second opening in the revolving door that looks like a torture device or giant cheese slicer stops cold and the little message is:

“Please swipe again.”

I do the fluid swipe and get the “Go”. This time I use the correct part of the door. I wish I could just flash my press pass.

One of the more star studded films at this year’s Tribeca Film Festival is War, Inc., a political satire co-scripted by John Cusack who also stars in the film along with Ben Kingley, Marisa Tomei, Hilary Duff, Joan Cusack and Dan Aykroyd. Unfortunately though, the film doesn’t live up to the expectations of its impressive cast.

War Inc. is set some time in the future—but when is never made clear— in the fictional desert country of Turaqistan, which has recently been liberated by a private corporation, owned by the former US vice-president (Dan Aykroyd), which has taken over the whole state. Brand Hauser (John Cusack) is a James Bond like hit man who is depressed and moral, and is hired by the corporation’s mysterious Viceroy to kill a Middle Eastern oil minister. Everything changes though when the ruthless killer finds himself head-over-heels in love with a liberal reporter portrayed by the lovely Marisa Tomei, and put in charge of the oversexed Central Asian pop star Yonica (Hilary Duff) as she prepares for her high-profile wedding. Still with me? Along the way there are jokes and comparisons to the current Iraq war and Bush of course. Basically though none of that really matters, the only thing good about this film are the three stars I just mentioned, who keep the movie watchable.

Making a big switch from her Disney image is Hilary Duff who plays a vixen obsessed with Western culture and looking to be understood. She outrageously flirts and comes on to Cusack, who has some dark secrets of his own (murdered wife, kidnapped daughter, stomach issues and a crazy CIA boss played by Ben Kingsley). In one very talked about scene at the festival and in the news is when Hilary’s character puts a scorpion down her pants and moans in ecstasy. In fact, this was one of the highlights of the film really.

The beginning is painful and I felt like I was out of the loop on an inside joke, but I started to keep pace eventually. It’s not because I’m slow on the uptake or anything, I just think the film tries to be cleverer than it really is and forgets to clue audiences in on the joke.

Overall, the film is hectic with scenes badly sewn and jumbled together with random flashbacks and characters and plots that aren’t fully introduced. The narrative resembles the war torn battlefield where the film is set and the transitions are abrupt and come at you like rapid fire. However, I’m not sure if this is done on purpose or due to bad directing, editing or cut scenes.

Now, I didn’t hate this movie nor did I love it by any means, but it would still make for a decent rental if you’re a Cusack fan or have a crush on Tomei or Duff.

The Upside: Hilary being a bad girl.

The Downside: Rocky start, minimally funny and bloody at parts.

On the Side: War, Inc was filmed in Bulgaria.

In the days of yore there were subway tokens. Little coins dropped into a slot that magically let you push the turnstile and enter the subway. Now we have Metro cards, those handy little cards with a black strip that are swiped at the turnstile. May the Gods damn them to the utter ness of hell.

I have discovered that I’m hopeless with a Metro card. On my way to the movie theater I pull out my Metro card and swipe it:

“Please swipe again”

Swipe.

“Please swipe again”

The messages mock me as people all around me whip their cards out, swipe like champions and proceed without missing a beat to their trains.

Swipe, swipe, swipe.

“Please swipe again.”

A passerby asks if the card is bent. No, I answer, not continuing that clearly the card is possessed like Linda Blair in The Exorcist. I’m expecting green pea soup to come flying out of its thin little paper body at any moment. A woman swipes her and gets the same message. I don’t feel so bad. There’s another person being victimized by the Metro card. Then I swipe again and I’m through. It’s survival of the fittest and I leave the poor victim of her card behind.

It’s pouring out but the festival is still buzzing with press, the theaters are busy. The festival has taken over two multiplexes in the downtown area. I see my films, spend some time with a friend and then go back to do battle once again with the Metro card. It tries to defeat me, but in the end I triumph.

As I’ve mentioned before the festival has an enormous amount of films and I’m only seeing the teeniest tip of the cinematic iceberg. But it’s an incredible experience to see so many people congregating for films that are amazing in their diversity. I’ve seen films that I’m certain I’d never get to see if not for the Tribeca Film Festival. And that’s what it’s about to me. It’s about these smaller movies that struggle to find an audience. The film makers have dedicated themselves to bringing their vision to the screen.

Sure, there are movie stars and the celebs come to Tribeca. I mean hey, I’m there! But in the end it’s all about movies. Lots and lots of movies! Whether it’s drama, satire, comedy, animation, documentaries about everything from baseball to the Butcher of the Balkans, from vampires to dysfunctional families they are getting seen by audiences hungry for more than the typical film at the multiplex.

It’s all great, but if I could get that Metro card to work on the first swipe it would be amazing.

Hello baseball fans! This is a movie you’ll want to see. This ESPN produced documentary follows Bobby Valentine during his 2007 season as manager of the Japanese ball club the Marines. The film is the work of three young directors Andrew Jenks, Jonah Quickmire Pettigrew and Andrew Muscato who do a good job not only at capturing the personality of Bobby Valentine but of baseball in Japan. For anyone who roots for a team, nothing will prepare you for the devotion that the Japanese fans have for their favorite team and players.

As one man says early in the film, “I had no life until I found the Marines.” Some might suggest he still doesn’t but hey, he’s clearly enthusiastic and happy, thrilled with being a part of something that he sees as greater than himself. We see him at every game in every city. We’re never told how he quite manages to do it, but he does.

Bobby Valentine started as a player but most of his career his thirty plus year career in baseball has been spent as a coach or a manager. He spent a brief period of time in Japan as a manager, but returned to the US to manage the New York Mets in 1996. In 2000 he managed the team to a World Series against their New York rivals the Yankees. The Mets lost and by 2002 couldn’t rise above last place. Valentine was fired and returned to Japan.

His life in Japan is that of a national hero. He’s beloved and can’t walk the streets without people taking pictures, calling out his name and stopping him for a high five. There’s even a burger and a beer named after him.

No wonder he loves it there, even though it means seeing his wife every other month when she comes to visit. But he says he warned her when they got married that baseball always would come first. He wasn’t kidding. While following the Marines quest to play in the Japan Series, the film also follows Valentine’s quest to expand baseball in Japan. There’s fear that baseball in Japan will decline. Some Japanese teams have lost their following because their best players have left for the big money and challenges of Major League Baseball in the United States.

The players themselves come across as dedicated to their sport. Their devotion to their team and to their fans is intense. The fans return the feelings singing, chanting, praying for their team.
One thing that was notable, at least in the parts of the games shown in the film, was that there was no booing when a player didn’t perform up to expectations.

The film is most definitely for baseball fans and the look at baseball in Japan is fascinating. That was the big surprise of the film and what makes it enjoyable. Bobby Valentine’s an outspoken, somewhat wacky guy, intensely devoted to his sport, but a little of him goes a long way. 93 minutes of him would wear thin.It’s the look into the world of baseball and the sports fans in Japan that make the film work.

There are films that entertain and take us places we are unlikely to ever see in person. Then there are films that make us uneasy, are hard to watch because they explore the darker side of our fellow human beings.

Danish director Michael Christoffersen shows us this dark side of humanity with his documentary about the war crimes trial of Slobodan Milosevic, the perpetrator of genocide in the former Yugoslavia. It was an act of genocide that was politely renamed “ethnic cleansing” and took the lives of at least 125,000 people while displacing 3 million.

The film follows the long road that the trial took over a period of four years beginning in February 2002. Nicknamed “Butcher of the Balkans” Milosevic was brought to The Hague to be tried for his crimes.

Cristoffersen clearly was devoted to exploring the entire process of a trial that moved like a glacier. He edited 2000 hours of trial footage to add to his own behind the scenes interviews with lead prosecutor Geoffrey Nice and Dragoslav Ognjanovic, Milosevic’s friend, advisor and lawyer. He shot 120 hours of film and between both he somehow managed to distill it all into a tight 70 minute documentary film.

The film of the trial wasn’t shot for artistic purposes but the director uses the file footage effectively to give insight into the events at the trial. He shows the central drama of the courtroom where the action takes place. The strategy is behind the scenes outside the courtroom. Mioslevic remains defiant throughout, a man who won’t recognize the legitimacy of the proceedings. His lawyer pronounces him a hero and seems as blind as his client to the reality of the destruction left in his wake. Milosevic chose to defend himself, but avoided paying for his crimes when he died of a heart attack four years into his trial before a verdict could be reached.

But even if he escaped a verdict the trial and this film will let people reach their own verdict about the “Butcher of the Balkans”.

Tonight I attended the Cadillac Lounge after party at Tenjune for the satire War, Inc. starring John Cusack (who also wrote the screenplay), Hillary Duff, Marisa Tomei, Sir Ben Kingsley and Joan Cusack. However, the only cast member to appear at the 11 p.m. party was Hilary Duff with her sister Hailey, plus the director Joshua Seftel. Everyone was asking “Where’s John?” even guest Chazz Palmanteri asked a PR person if he was there. Apparently he had a filming conflict or something.

Luckily, I was the only one Hilary gave an interview with on the broadcast side after posing for photos. My in was that I was wearing her perfume With Love. I said to her, “I have a confession to make,” and to that she gave a nervous/scared look and I exclaimed, “I’m wearing your perfume,” which made her happy. She said “I thought I smelt it!” and went on to talk about how she’s been wearing her newest perfume Wrapped With Love. She was very cute and pretty in her black strapless dress, black pumps and was about my height (5’2). I then snuck in another question by commenting on the fact that War, Inc seemed very different than the other films that she’s been in, I.E. she went from Disney and Cheaper by the Dozen to this political satire where she plays a sexy pop star, Yonica Babyyeah.

I went on to speak with the director Joshua Seftel who said the film was shot in Bulgaria and made to look like Turaqistan, which is the fictional war town where the film is set.

The producer was there too, but yeah whatever. It was rainy and late so I can’t really blame the rest of the cast for not being there especially since they just did the red carpet screening hours before.

Each celeb guest meanwhile arrived in a black Cadillac SUV and a Hybrid Cadillac was behind red velvet ropes in front of the club. Below you will find a picture of Hilary Duff on the red carpet.

Director Mohammad Al-Dardji is a man who believes in the power of art to transcend tragedy. In 2003 he put this to the test when he left London where he’d studied film to return to war torn Iraq to make a film.

For Mohammad the very act of making a film was a way of bringing his shattered Iraq back to life. It was a sign of hope that life could return to something resembling normal. His film, Ahlaam Dreams about three people scarred by war, would not be made easily. His decision to film it on location on the streets of Baghdad was a risky one. Forget expensive stars who want bottled water and trailers. He had to contend with suspicious Iraqi officials, cautious US military, reluctant actors afraid for their lives, bombs, missiles, gun fire, checkpoints and the overall chaos of a war zone.

But he didn’t give up. He fought for his film because in his heart it was like planting a seed of hope for the people of Iraq and the family he’s left behind. The film also gives a close up look at the daily lives of Iraqis who live surrounded by threats, by the risk of death at any time, but who strive to live as normal a life as possible.

This isn’t just a film about making a film, but a film about not letting go of your dreams even when circumstances are at their worst. At one point members of his crew, which included two teenage sound engineers, were kidnapped by terrorists, escaping only to be picked up by US military who interrogated them for five days. The were finally released, the youngest, fifteen had been shot in the leg by the kidnappers. But they all survived the ordeal.

Even with this near tragic event, the film maker pushed on and finished his film. The director was at the screening and talked about why he made not only “Ahlaam Dreams” but this documentary about the experience of creating a film in a country torn apart by war. It’s a country with only four working cinemas.

Mohammad Al-Dardji is a man committed to his country and to the art of film. He has a deep belief it is a way for his country to survive, heal and thrive. His love of his art and his country is reflected in this film and it’s definitely worth seeing.

His film “Ahlaam Dreams” was shown in Baghdad and at numerous film festivals. The director is planning another film to be made in Iraq.

And a dream of mine has finally come true. While at the Tribeca Film Festival today covering the red carpet premiere of Tennessee I got to see stars like Mariah Carey and Ben Kingsley but nothing compared to seeing the great Bobby D, my favorite actor ever. I already finished my interviews and most of the press left the minute Mariah Carey went by. For some reason I was taking my time gathering my stuff and good thing because a last minute suprise arrival was in store for the remaining 15 or so press. Robert DeNiro came walking down, gray hair and in a nice suit. I swear I was stunned and I ran back to my spot to get a photo, however in my haste I stupidly hit the stop button instead of record. I’m kicking myself now because when I daringly yelled out “Bobby” to him, he looked right at me, smiled, nodded his head and continued on into the theater.

I was freaking out. My cameraman said I looked like a little girl and that my voice went all high pitch. I started crying after he walked by. I know this sounds pathetic, but I swear this is literally a dream come true for me and I cursed like a truck driver when I realized I messed up on the video. I would have had a video of him staring right at me, dammit!!! Anyway, it was still awesome. I’m so surprised he was even there since he’s known to be reclusive despite the fact that he was the founder of the festival and for rebuilding so much of the Tribeca area in Manhattan. I was hoping I would see him back in 2006 when I covered the festival, so I had given up hope this year and then bam!

For more coverage, check out our Tribeca Homepage and our Tribeca Photos on Flickr.

Having learned East from West on my last trip in my travels went much smoother. I arrived on time to the AMC VII theater on third avenue near 12th street. Seeing a seven theater multiplex given over to screenings gives you a good idea how many films there are in the festival.

One film in particular out of all the films being shown caught my eye and I was determined to see it. It’s a Swedish coming of age vampire film. I really wanted to see what sounded like a very unusual film. My game plan has been to try to find films in different genres. The second film on my list was a documentary about film making in war torn Iraq. The festival screenings are well organized. It’s not hard to leave one film and go directly into another.

The AMC VII is aptly named since there are seven theaters one on each floor. I started at what I like to call base camp where I was checked in and told where my chosen film was playing. My film was in theater seven. It was way above base camp by escalator. It’s an interesting setup. As I rose higher and higher I noticed the floors went in the following order:

Theater
Bathrooms
Theater
Bathrooms
Theater

You get the idea.

When I reached the top I knew I had triumphed. I looked out at the street thinking of where I was! I had ascended to Theater VII. I know how those climbers feel who reach the summit of Everest. At each theater there are many very helpful volunteers to check the members of the Press in again.

I was asked for my name and they checked my pass. Then they asked the name of my news outlet. I told them Film School Rejects. I was then asked if we’re online. I said yes, though I wanted to say we’re a subsidiary of The New Republic or The Wall Street Journal just for fun. Now here is the Pass hierarchy. There are passes of many different letters.

The Franklin Pass A through J and the Hudson Press and Hudson Charity. They basically cover different areas and mine which is a Franklin D. This gives me quite a lot of access and I’m proud to be a Franklin D. But it seems that some who have an A pass see the festival a bit differently.

Now, don’t get me wrong. I’m not knocking the people of the press who have enough clout to get the first letter in the alphabet, but sometimes things can get just a bit amusing. At the screening for Let the Right One In, the Swedish coming of age vampire story, there were two aisle seats taped off with a reserve sign. Hey, I understand that desire for the perfect seat in the theater but this was a press screening of a subtitled Swedish coming of age vampire film. Which was excellent, by the way, but still off the beaten path of film subjects.

It was three in the afternoon. The theater though not huge wasn’t tiny. It had plenty of room. But I suppose some people like to plan ahead. A volunteer showed the A’s to their taped off seats and they were properly thanked for the reserved seating. I still think my seat three rows back on the right was a superior seat and I got it without any tape.

While waiting for the start of the film I listen to people talking and you can hear voices and dialects from all over the world. It’s then I realize the European film goers are doing things like pulling out fine healthy snacks like apples from their messenger bags and back packs. The Americans, such as myself have decided to help the failing economy by buying healthy over priced snacks of M&M’s and buttered popcorn. The movie starts and there are some little commercials, one for Cadillac because they give a nice award to the film chosen best film by the audiences.

Then the credits start to roll. Alright, they’re in Swedish. I can’t read Swedish, but the mood is being set, the film is starting. It’s that moment when everything begins. A woman, a member of the Press who I certainly hope was not a Franklin D, walks down the aisle and stands watching the credits.

And watches… And watches.

Just as I’m about to say hey, you, sit down, she looks around, clearly overcome with emotion that the place has seats and takes one. I do hope she was a Hudson or a Franklin A, B, C, E, F, G, H, I or J. I hate to think a Franklin D would have been so thoughtless as to stand blocking film goers from the opening credits. At the end of the film I went descended to the first floor to see War, Love, God & Madness and it was then the full impact of being a proud wearer of a Franklin D press credential hit me. As I walked in I was asked for my ticket. I held up my credentials and was told to go right in.

Yes, I had arrived!

My euphoria quite literally dampened a bit upon leaving the theater when I discovered my bottle of water had opened in my messenger bag. The moral of the story is never carry a sports type bottle with a flip cap in your bag.

Yesterday an indie film called Tennessee gave its world debut at the Tribeca Film Festival. Directed by Aaron Woodley and written by Russell Schaumburg, Tennessee is an intimate road movie with two brothers traveling to the hometown that they fled as teenagers to find their estranged father. When they are joined by a spirited woman (Mariah Carey) running from her abusive husband, they begin to grow closer and the truth of their journey comes to light. This is Mariah’s first feature film since the disaster that was Glitter. I’m seeing a screening of the film this week, so a longer review will be up here soon.

In the meantime, I got some inside information on the film from Ethan Peck, the grandson of the famous Gregory Peck, who plays Ellis, one of the brothers in Tennessee. I also got up close and personal with the diva herself, Mariah Carey. Other celebs in attendance at the red carpet premiere included: Sir Ben Kingsley, Robert DeNiro (he smiled and nodded at me when I shouted “Bobby” as he walked on by— a dream come true for me, seriously) and The Sopranos’ Edie Falco. Here’s the resulting video:

As well, here are some select photos from the event:

Ethan Peck

Mariah Carey and Producer Lee Daniels

FSR’s Tara Settembre on the Red Carpet

For more photos, check out our Tribeca Photo Set on Flickr.

Tomas Alfredson has adapted John Ajivde Lindquivst’s novel “Let the Right One In” and made a vampire film that transcends the genre. Like any good horror film there’s blood, a vampire on the loose and also some rather crazed felines as it appears cats and vampires aren’t a good mix. But at the center of it all there’s the friendship between Oskar and Eli.

Set in 1982, the film opens with12-year-old Oskar watching his new neighbors move into the drab apartment complex which, this being Sweden in winter, is covered in so much snow we feel as if we’re on another planet.

Oskar is a pale blond boy, a frail and frightened child who is the target of bullies at school. Unable to bring himself to fight back, Oskar retreats into fantasies of violence.

Then this friendless boy meets Eli, the 12-year-old girl next door. When she moves in, the first thing we see is the older man who takes care of her. He’s putting up cardboard and posters to cover the windows. It’s our first hint that something is very different about Eli.

One night, Eli is perched on an old jungle gym, clad only in pants and a shirt against the severe Swedish winter. It’s the second sign we get that Eli isn’t exactly an ordinary 12-year-old.
When Oskar asks her if she’s cold she replies that she’s “forgotten how”.

Eli tells Oskar she can’t be his friend, but in spite of her determination to remain aloof a friendship between the two blossoms. Oskar gives Eli his rubik’s cube and she comes back the next night with it solved. Now Oskar wants to solve the puzzle that is Eli. We soon learn that even a vampire needs companionship and love; even a vampire has an aching heart.

Eli, we soon discover, has some unusual dietary requirements. She needs human blood.

This explains the sudden rash of gruesome murders in Oskar’s neighborhood. A teenager is found tied upside down to a tree, his blood drained. A neighbor hood man disappears leaving traces of blood in the snow. The first boy is killed by the man Eli calls her father. He goes out to procure blood for her, a sad, bungled attempt to keep her from having to kill to live.

When she has to take matters into her own hands to feed, we see the emotional pain it causes her after she’s not only ripped into the man’s throat but broken his neck for good measure. Luring her victim to her with cries for help she has no choice but to kill the Good Samaritan so she can survive.

Oskar is happy to have found a friend in this unusual girl who only comes out at night. But when Oskar cuts his hand so the two can mix their blood to seal their friendship it becomes very clear to him that his friend Eli is not be what she appears to be.

Eli being a vampire might make some people turn away from her, but not Oskar who loves his friend and the first feelings of romantic love she has awakened.

Both Eli and Oskar thrive because of their friendship. Oskar begins to gain confidence and strength while Eli becomes more of the child she once was.

Oskar teaches her Morse code so they can “talk” through their common bedroom wall. Their communication with Morse code will provide one of the film’s best moments.

The director approaches Eli’s vampire state in an unglamorous way. When Eli drinks blood she’s covered in it like a child who has eaten a melting ice cream cone. Her life is drab, she’s surviving but until she meets Oskar she’s not living. The apartment she lives in is barely furnished, cold, and empty. There’s no warmth in Eli’s life until she lets Oskar in. We want to know more about her, but she appears not to know much about herself. Only that she’s been 12 for a very long time.

The performances by the two young actors, are stunning. They have to carry the film and they do it with ease. Kare Hedebrant as Oskar adeptly portrays the fragile boy whose anger cannot destroy his gentle heart. Lina Leandersson makes Eli sympathetic even at her most threatening. With large blue eyes that make you believe she’s seen centuries, she still lets us see the child inside the vampire. She’s a perpetual adolescent, trapped forever, frozen in time.

Oskar is conflicted, but he still loves Eli and has to come to terms with accepting her as she is or forsaking her. The later is impossible for him to do.

The result of this mix of horror and coming of age is a fascinating film that pulls you in and keeps you riveted to the end.

On Monday I went in to NYC via Long Island Railroad. I’m pretty familiar with NYC having lived on Long Island all my life. The Island is the home of beaches, shopping malls and the occasional serial killer. And yes there even is a film festival out in the Hamptons.

But I was on my way to Tribeca in downtown NYC.

I am embarrassed to confess I walked West instead of East.

I could excuse this by saying I recently suffered a catastrophic computer crash which left me shell shocked and unable to tell left from right. But, while the computer crash did happen I still should know University Place is East of Fifth Avenue.

Instead of taking an easy left off of Fifth Avenue on 13th street to University Place I went right and ended up walking all the way to 8th avenue. Which is really dumb and a waste of time though it was a nice day for a long walk.

There I broke my long standing rule not to ask for directions and asked a particularly tall and blond couple for directions. How could I not see that this tall pair was not New Yorkers, but Australians?

They looked at me with what can only be described as pity and then they said: “We’re tourists.” Words that cut me to the heart and left me feeling like a day player in a Woody Allen movie.

I did find a non tourist coming out of an apartment building. I knew he wasn’t a tourist because he looked like an extra in a Woody Allen movie and we all know Woody knows how to cast New York.

When I asked where University Place was he looked at me with pity because, well, I was obviously directionally challenged.

He pointed me back East. And then proceeded to tell me: “Walk to Seventh and then to Sixth and then to Fifth and then to University Place. It’s a fifteen minute walk.”

Only a native New Yorker would know the precise timing of the journey and exactly fifteen minutes later I arrived at the Tribeca Film Festival Press Office on the corner of 13th Street and University Place. The organizers have set up a nice home for the press with rows of Macs, small screening rooms and friendly faces to get you set up and on your way.

Getting my Franklin “D” level press credentials was easy enough. I found out that “D” level gives me access to all press screenings and the Target Tribeca lounge. I’m relieved it’s Target and not Walmart, though I can’t imagine Walmart ever being involved with a film festival, anywhere, not even on Long Island.

While getting my press credentials I discovered that I was among “my people” the writers. My people carry backpacks or messenger bags, bottles of water and a supply of pens.

The first thing I decided to do was not look at the packet with its listings of films because that would make too much sense. I decided that I was going to get my hands on one of those very cool Macs that were sitting there just waiting to be used. I figured that once the festival got started I wouldn’t get within ten feet of those computers.

I will say that the festival is expansive with an almost terrifying number of films. There are, from my perusal of the lists quite a few very serious explorations of many subjects that impact out lives on Earth. Which is great, truly it is. Of course you do know that means what I really want to see is “Speed Racer”. Yes, all the profound films about the human condition just can’t compete with a big budget studio film about a guy and his car.

The first thing I noticed when opening the schedule was the wide variety of films that will be showcased at this year’s Tribeca Film Festival. There are Music and Concert films, Sports themed films, Women themed films, War films, Art themed films. There are films from all over the world being shown at theaters throughout the city. The festival includes a Family Day street fair, premieres, red carpet events and perhaps more films than even a film junkie can handle. There are two major studio premieres at the festival, Baby Mama to open the event and the eagerly awaited Speed Racer to close the festival.

A mix of independent and studio films will be shown at the festival and there’s something to appeal to every taste from documentaries to comedy, drama and the classic films like Once Upon a Time in the West and 2001: A Space Odyssey.

The film festival was started by Robert DeNiro to reenergize downtown NYC after the tragic events of 9/11. It has been a great success and gave the down town area the boost it needed. In it’s seventh year it’s still growing. It is safe to say that we are all very excited about this year’s festival, so stay tuned as we bring you all the best, live from the streets of NYC!

The festival was kicked off this afternoon with a press conference with the New York Mayor Michael Bloomberg, NY Governor David Paterson and festival cho-founder Jane Rosenthal. Below you will find some notes from the event:

New York, NY – April 23, 2008 -Tribeca Film Festival co-founder Jane Rosenthal was today joined by New York Governor David Paterson, New York City Mayor Michael Bloomberg, American Express Chief Marketing Officer John Hayes, Festival Artistic Director Peter Scarlet and Director and Festival Juror Doug Liman to kickoff the seventh annual Tribeca Film Festival, presented by American Express, and announce the 2008 Festival Jury. American Express also announced an additional five-year commitment of its support for the Festival. Festival organizers were joined by filmmakers participating in this year’s Festival at the press conference, which took place at the Borough of Manhattan Community College in lower Manhattan.

The 2008 Tribeca Film Festival will run from April 23 – May 4 and will include 121 feature films and 79 short films representing 41 different countries. The film slate features 53 world premieres, 6 international premieres, and 30 North American premieres. In addition to the line-up of films, this year’s Festival highlights include an array of panel discussions, gala premieres of major studio releases – including Universal’s Baby Mama and Warner Bros. Pictures’ Speed Racer - and the Tribeca/ESPN Sports Film Festival. There are also free events, including Drive-In outdoor movies, the Tribeca Family Festival Street Fair and the Tribeca/ESPN Sports Day.

“Great films energize our lives,” said Rosenthal. “We started this Festival to heal our neighborhood and bring the magic of film to the city we love. Over the next 11 days we will view the world through the lens of filmmakers – advancing their work as we seek to inspire and entertain our audiences. I want to thank our sponsors and all those who helped to put together another great Festival, and invite all New Yorkers and our international visitors, to come experience the great creative work we will showcase and enjoy all that Tribeca has to offer.”

“New York has inspired filmmakers since the industry’s beginning,” said Governor Paterson. “But recently, we started losing business to our neighbors, like Canada, Connecticut and Massachusetts. New Yorkers never go down without a fight, and with the significantly expanded state film tax credit I announced today, New York will continue to serve as the most fascinating backdrop in the world. I am proud to have our great state foster an even greater number of productions, and feel fortunate that we have an event like the Tribeca Film Festival to showcase the work of great filmmakers and highlight the importance of this industry in our state.”

“New York City offers the best backdrop in the world to make movies, and every spring, Lower Manhattan offers the best place in the world to celebrate them,” said Mayor Bloomberg. “The Tribeca Film Festival was founded to spur revitalization downtown, and its ongoing success reaffirms Lower Manhattan’s role as a vibrant cultural destination and New York City’s place as a center of movie magic.”

“The Tribeca Film Festival is a unique opportunity for American Express to bring unforgettable experiences to our Cardmembers who are passionate about film and entertainment,” said John Hayes, Chief Marketing Officer of American Express. “It is for that reason that we are happy to announce our commitment to the Festival for another five years. We look forward to another year of exciting and innovative programming and to our continued partnership.”

“American Express has been a true partner to the Tribeca Film Festival – not just financially, but also creatively – since the beginning,” added Rosenthal. “The company’s steadfast support and John Hayes’ personal friendship have enabled us to grow and take risks, and we look forward to what we will achieve together over the next five years.”

Jurors for the competitive categories were announced by Director and Festival Juror Doug Liman. Below is the list of jurors and their respective categories.

World Competition Categories:

The jurors for the 2008 World Narrative Competition are Peter Hedges, Gregory Hoblit, Callie Khouri, Oliver Platt and Christine Vachon.

The jurors for the 2008 World Documentary Competition are Jared Cohen, Whoopi Goldberg, Ross Kauffman, Padma Lakshmi and Jose Padilha.

New York Competition Categories:

The 2008 “Made in NY” Narrative Feature Award jurors are Peter Dinklage, Fred Durst, Greg Mottola, Stephen Schiff and Annabella Sciorra.

The 2008 “NY Loves Film” Documentary Feature Award jurors are Liya Kebede, Doug Liman, Esther Robinson, Josh Schwartz, Jay McInerney and Andre Leon Talley.

Short Film Competition Categories:

The 2008 Narrative Short jurors are Mario Batali, Christine Lahti, Molly Shannon, Lili Taylor and Zac Posen.

The 2008 Documentary and Student Short jurors are David Bowie, Red Burns, Matthew Modine, Lee Schrager and David de Rothschild.

American Express Chief Marketing Officer John Hayes announced that American Express, the Founding sponsor of the Festival, would continue its support of the Festival to another five years.

Underscoring the diversity and strength of the film program, Rosenthal showed clips from four highly anticipated Festival films at today’s press conference:

Pray the Devil Back to Hell, directed by Gini Reticker. (USA) – World Premiere. After more than a decade of civil wars leading to more than 250,000 deaths and one million refugees, a group of courageous women rose up to force peace on their shattered Liberia and propel to victory the first female head of state on the African continent.

Ramchand Pakistani, directed by Mehreen Jabbar, written by Mohammad Ahmed. (Pakistan) – World Premiere. Gorgeous colors enhance this tense tale, based on actual events, about a young Pakistani boy who, with his father, inadvertently crosses the border into India. Both wind up in jail for years, while mother (Nandita Das) is left bewildered and alone.

War Child, directed by C. Karim Chrobog. (USA) – North American Premiere. Emmanuel Jal spent his childhood as a soldier in the Sudanese People’s Liberation Army. Now this rising hip-hop star is using his music to raise awareness about his homeland’s ongoing humanitarian crisis. Dinka, English, Nuer with English subtitles.

Bart Got A Room, directed and written by Brian Hecker. (USA) – World Premiere. It’s ticktock ticktock for Danny as the prom approaches, and he still doesn’t have a date. With the help of his plain-Jane best friend and likable but wacky parents (Cheryl Hines and William H. Macy), his hopes for that “special” night may come true in this colorful and quirky comedy.

Following the screening of these clips, Rosenthal welcomed and introduced Leymah Gbowee (subject of Pray the Devil Back to Hell), Mehreen Jabbar (director, Ramchand Pakistani), C. Karim Chrobog (director, War Child) and Brian Hecker (director, Bart Got A Room), who were all on hand for the press conference.
“It is incredibly important to us to support filmmakers from around the world and around the corner and to help them tell their stories. Whether that story is the touching real life story of a Sudanese child soldier who overcomes tremendous odds to become an advocate for peace in his native country or a coming of age tale about a fictitious young boy’s struggle to find a prom date, we believe that our audiences will embrace all of the films in this year’s Festival,” said Rosenthal.

Until now, I really haven’t found much to be excited about when it comes to this year’s Tribeca Film Festival. Last year’s festival opened with the premiere of Spider-Man 3, while this year’s festival is set to open with the Chiwetel Ejiofor mix martial arts actioner Redbelt — and while Redbelt will probably be a better film than Spidey 3, I don’t see that as a reason to make the trip all the way out to New York.

Today we got some cool news from the Tribeca Press office that the festival, which was founded in 2001 by Robert De Niro, Jane Rosenthal and Craig Hatkoff, will close with The Wachowski’s tripped out, CGI-infused cartoon adaptation Speed Racer. This will be mark the world premiere of the Warner Brothers film, which is scheduled to hit theaters nationwide on May 9th. Now, if you are in New York and can weasel your way into tickets, you may be able to see the film 6 days early, on May 3rd.

“Warner Bros. has been a big part of the Festival many times over the years and we are thrilled that the Wachowskis and producer Joel Silver are bringing Speed Racer to us this year to close the Festival,” said Jane Rosenthal, co-founder of the Tribeca Film Festival in a press release sent out this morning.

So while this announcement isn’t going to have me scouring the internet for a cheap flight to NYC, it is pretty cool. As well, we will not be without coverage of the event, as our own Robin Ruinsky is taking to the streets of the Tribeca district to cover the festival when it gets underway on April 23.