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Nia DaCosta, Andrew Ahn, Marianne Jean-Baptiste, Kyle MacLachlan, and Eliza Hittman to Serve on Tribeca Festival 2025 Jury

Nia DaCosta, Andrew Ahn, Marianne Jean-Baptiste, Kyle MacLachlan, and Eliza Hittman to Serve on Tribeca Festival 2025 Jury

Yahoo04-06-2025

The 2025 Tribeca Festival is bringing the best of the best together to select this year's festival awards. IndieWire can announce that Nia DaCosta, Andrew Ahn, Marianne Jean-Baptiste, Kyle MacLachlan, Eliza Hittman, and more acclaimed filmmakers will be among the jury members for festival, which will take place June 4 through 15.
The Tribeca Festival, presented by OKX, will honor works across 15 competition categories. In addition, the Nora Ephron Award will honor an exceptional female filmmaker who represents the spirit and vision of the legendary filmmaker and writer. The winners in each category will be announced at the Tribeca Festival ceremony on June 12.
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'We're proud to welcome an eclectic group of jurors to this year's Tribeca Festival,' Nancy Lefkowitz, EVP at Tribeca Enterprises, said. 'Their breadth of expertise across genres will be instrumental in recognizing standout storytellers and honoring bold new voices from around the world.'
'28 Years Later: The Bone Temple' director Nia DaCosta will lead the jury for the U.S. Narrative Feature Competition, which also includes Bleecker Street head Kent Sanderson, 'The Underground Railroad' and 'Nickel Boys' author Colson Whitehead, 'Fight Club' and 'Fast Times at Ridgemont High' producer Art Linson, and 'Come Sunday' director Joshua Marston.
The jury for the U.S. International Narrative Feature Competition consists of 'Succession' star Dagmara Dominczyk, 'Twin Peaks' actor Kyle MacLachlan, Metrograph Pictures' head David Laub, 'Indiana Jones and the Dial of Destiny' star Toby Jones, and 'L'arte della gioia' director Valeria Golino.
Jurors for the 2025 Documentary Feature Competition are Imagine Documentaries president Sara Bernstein, Breakwater Studios' founder Ben Proudfoot, and 'Romy and Michele's High School Reunion' icon Mira Sorvino.
The Best New Narrative Director Competition jurors include 'Ferris Bueller's Day Off' star Matthew Broderick, Paramount Pictures EVP of Worldwide Acquisitions Sejin Croninger, and 'Never Rarely Sometimes Always' director Eliza Hittman. For the Best New Documentary Director Competition, 'Pray Away' director Kristine Stolakis, 'Jazz Fest: A New Orleans Story' producer Sean Stuart, and 'Girls Gone Wild: The Untold Story' director Jamila Wignot serve on the jury.
The coveted Nora Ephron Award recipient will be selected by 'The Marvelous Mrs. Maisel' actress Caroline Aaron, 'Schitt's Creek' alum Annie Murphy, and Head of Indie Film Licensing at Hulu, Aijah Keith.
Brian Jordan Alvarez, Jennifer Beals, Raúl Castillo, Alex Karpovsky, and Mickey Sumner will select the 2025 Viewpoints Competition winner, while short film jurors include Ilana Glazer, Havana Rose Liu, Sheila Nevins, and more. The AT&T Untold Stories Greenlight Committee ranges from director Andrew Ahn to Oscar-nominated actresses Stephanie Hsu and Marianne Jean-Baptiste, plus Gina Rodríguez.
Check out the Tribeca program here.
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Marlee Matlin tells her story in an intimate and groundbreaking documentary
Marlee Matlin tells her story in an intimate and groundbreaking documentary

San Francisco Chronicle​

time27 minutes ago

  • San Francisco Chronicle​

Marlee Matlin tells her story in an intimate and groundbreaking documentary

When American Masters approached Marlee Matlin about doing a documentary, Matlin had one name in mind to direct: Shoshanna Stern. Like Matlin, Stern is deaf. She also hadn't directed before. But Matlin, who herself became the first deaf person in the Directors Guild of America just a few years ago, was certain she was up to the task. The resulting film, 'Marlee Matlin: Not Alone Anymore' is an intimate look at her life: Growing up in a hearing family; winning the best actress Oscar at 21 for her first movie role in 'Children of a Lesser God,' which film critic Rex Reed at the time called a 'pity vote'; what she's described as an abusive romantic relationship with her co-star, the late William Hurt, which he denied; getting sober; and her experiences in an industry not equipped to accommodate deaf actors. It's also an evocative portal into the world of the deaf community that uses groundbreaking techniques and sound design to put American Sign Language (ASL) and visual communication first. The film opens in select theaters Friday. While Matlin told much of her story in the memoir 'I'll Scream Later,' on some level it wasn't a completely satisfactory experience. Before the #MeToo movement, its revelations were not treated entirely seriously in the media. But a documentary also provided an opportunity. 'We communicate visually,' she said. Matlin and Stern spoke though translators to The Associated Press about the 'CODA' effect, making the doc on their terms, and why they hope Reed sees this film. Remarks have been edited for clarity and brevity. AP: Shoshanna, what was your approach? STERN: I had never seen a deaf person direct an episode of TV or film. Never. I thought, what does that even look like? I didn't realize until I took the job that really the whole form of documentary as we know it is really rooted in sound, in the assumption that people will be speaking and they can speak. I thought, what are we going to do when we're using American Sign Language? I have to reframe a whole form of documentary. We have to be able to see what a visually-based documentary is going to look like. We wouldn't do justice to Marlee's life if I had forced this form that really wasn't rooted in the way that she experienced this life. And that was exciting to do. Scary for some people out there, but I never felt scared in making this documentary because she believed in me. MATLIN: If I had had a hearing director approach me to do this project, we could have done a very good job, but that person would not have seen me in the same way. They would not have the same lens as a deaf person. AP: What were some techniques you used to spotlight the deaf experience? STERN: I did want to film with captions in mind, so I made sure that we did have a wider frame. We figured out visual voiceover with a split screen that we added. We did this little surgery with words and syllables in one of the scenes where we mixed them all around to be able to bring people into how Marlee experiences conversations and the world. We wanted to make this documentary an immersive experience for the audience members, a sensory experience to help them understand. AP: 'CODA' felt like a big moment, but in the years since it won the Oscar, have you seen things change? MATLIN: 'CODA' certainly was a milestone and respected by so many people in the industry. It tackled a lot of things that both deaf and hearing people or audiences can identify with. I love the fact that they burnt in the captions. That you can't just turn it off. And I hoped that all the love we received and the three Academy Awards that we got would make a difference. It was honored on so many other levels too as well, whether we're talking about (director) Sian (Heder) or you're talking about Troy (Kotsur) or the SAG award which was just a dream come true, specifically of mine. I took that opportunity to specifically address that that we 'exist,' that we want to be actors just like you, we want to be directors, we want be producers, we want to be hair and wardrobe stylists. We want to work in all levels of production. So 'CODA' really elevated that conversation about how much we wanted to be part of the industry. But for some reason it didn't really break open the door as wide as I would have thought. Yet we just don't give up. We are persistent. Because it is what it is. We are working on our own levels to make changes. STERN: Marlee said something really brave when we were at Sundance. She said, 'It won't last.' The moment, yes, in the moment. But I don't know if we have movement. MATLIN: There's so many stories that we can tell, so many stories that you can put up on screen, so many stories that we can put on stage. I'd like to see action because I've been hearing that, 'Yes, we have to do this' or 'I will do this,' but it's been 40 years. I don't want to sound like I'm complaining. I just want to make sure that we put our money where our mouth is. I go back to that comment about Rex Reed. I wonder if he would ever see this film. I'd love to see if he has the balls to make a comment and say, "Oh look, I realize I might have said something wrong." That's just one example of the things I'd like to see happen. And maybe the people who interviewed me over the years. I don't want you to misunderstand me, I have a great deal of respect for them. But specifically, I am calling out Rex Reed. So, you know, sorry but not sorry.

Marlee Matlin tells her story in an intimate and groundbreaking documentary

timean hour ago

Marlee Matlin tells her story in an intimate and groundbreaking documentary

When American Masters approached Marlee Matlin about doing a documentary, Matlin had one name in mind to direct: Shoshanna Stern. Like Matlin, Stern is deaf. She also hadn't directed before. But Matlin, who herself became the first deaf person in the Directors Guild of America just a few years ago, was certain she was up to the task. The resulting film, 'Marlee Matlin: Not Alone Anymore' is an intimate look at her life: Growing up in a hearing family; winning the best actress Oscar at 21 for her first movie role in 'Children of a Lesser God,' which film critic Rex Reed at the time called a 'pity vote'; what she's described as an abusive romantic relationship with her co-star, the late William Hurt, which he denied; getting sober; and her experiences in an industry not equipped to accommodate deaf actors. It's also an evocative portal into the world of the deaf community that uses groundbreaking techniques and sound design to put American Sign Language (ASL) and visual communication first. The film opens in select theaters Friday. While Matlin told much of her story in the memoir 'I'll Scream Later,' on some level it wasn't a completely satisfactory experience. Before the #MeToo movement, its revelations were not treated entirely seriously in the media. But a documentary also provided an opportunity. 'We communicate visually,' she said. Matlin and Stern spoke though translators to The Associated Press about the 'CODA' effect, making the doc on their terms, and why they hope Reed sees this film. Remarks have been edited for clarity and brevity. STERN: I had never seen a deaf person direct an episode of TV or film. Never. I thought, what does that even look like? I didn't realize until I took the job that really the whole form of documentary as we know it is really rooted in sound, in the assumption that people will be speaking and they can speak. I thought, what are we going to do when we're using American Sign Language? I have to reframe a whole form of documentary. We have to be able to see what a visually-based documentary is going to look like. We wouldn't do justice to Marlee's life if I had forced this form that really wasn't rooted in the way that she experienced this life. And that was exciting to do. Scary for some people out there, but I never felt scared in making this documentary because she believed in me. MATLIN: If I had had a hearing director approach me to do this project, we could have done a very good job, but that person would not have seen me in the same way. They would not have the same lens as a deaf person. STERN: I did want to film with captions in mind, so I made sure that we did have a wider frame. We figured out visual voiceover with a split screen that we added. We did this little surgery with words and syllables in one of the scenes where we mixed them all around to be able to bring people into how Marlee experiences conversations and the world. We wanted to make this documentary an immersive experience for the audience members, a sensory experience to help them understand. MATLIN: 'CODA' certainly was a milestone and respected by so many people in the industry. It tackled a lot of things that both deaf and hearing people or audiences can identify with. I love the fact that they burnt in the captions. That you can't just turn it off. And I hoped that all the love we received and the three Academy Awards that we got would make a difference. It was honored on so many other levels too as well, whether we're talking about (director) Sian (Heder) or you're talking about Troy (Kotsur) or the SAG award which was just a dream come true, specifically of mine. I took that opportunity to specifically address that that we 'exist,' that we want to be actors just like you, we want to be directors, we want be producers, we want to be hair and wardrobe stylists. We want to work in all levels of production. So 'CODA' really elevated that conversation about how much we wanted to be part of the industry. But for some reason it didn't really break open the door as wide as I would have thought. Yet we just don't give up. We are persistent. Because it is what it is. We are working on our own levels to make changes. STERN: Marlee said something really brave when we were at Sundance. She said, 'It won't last.' The moment, yes, in the moment. But I don't know if we have movement. MATLIN: There's so many stories that we can tell, so many stories that you can put up on screen, so many stories that we can put on stage. I'd like to see action because I've been hearing that, 'Yes, we have to do this' or 'I will do this,' but it's been 40 years. I don't want to sound like I'm complaining. I just want to make sure that we put our money where our mouth is. I go back to that comment about Rex Reed. I wonder if he would ever see this film. I'd love to see if he has the balls to make a comment and say, "Oh look, I realize I might have said something wrong." That's just one example of the things I'd like to see happen. And maybe the people who interviewed me over the years. I don't want you to misunderstand me, I have a great deal of respect for them. But specifically, I am calling out Rex Reed. So, you know, sorry but not sorry.

Watch: Jessica Alba joins Katseye in 'Gabriela' music video
Watch: Jessica Alba joins Katseye in 'Gabriela' music video

UPI

timean hour ago

  • UPI

Watch: Jessica Alba joins Katseye in 'Gabriela' music video

1 of 3 | Jessica Alba arrives for the Vanity Fair Oscar party in 2020. She stars in Katseye's latest music video. File Photo by Chris Chew/UPI | License Photo June 20 (UPI) -- Actress Jessica Alba joins girl group Katseye in their new music video. Katseye released a single and video Friday for "Gabriela," which will appear on their upcoming EP, Beautiful Chaos, due June 27. The music video for the song shows Alba, 44, play the CEO of the fictional Gabriela Enterprises. She stands at the head of a conference table, with the members of Katseye in attendance. "I've built and sustained this empire over the last 20 years," Alba says before the music starts. "A miracle truly. No thanks to any of you. I would love to say that my legacy is in capable hands. But alas, the talent in this room is quite disappointing." "However, one of you must succeed me, and claim my name as the next CEO of Gabriela Enterprises," she continues. The members of Katseye -- Daniela, Manon, Lara, Megan, Sophia and Yoonchae -- then fight over who will replace Alba. Beautiful Chaos will mark the group's second EP. "We are so excited to invite you into this beautiful and chaotic world that we have built," the group captioned an Instagram post promoting the upcoming release. "Thank you for being here." Katseye is also set to take the stage during the Nickelodeon Kids' Choice Awards Saturday.

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