The Fourth Annual International ‘Vancouver Badass Film Festival’ is the biggest edition of the annual festival in its four-year history.
Running Feb. 23-25 at the Rio Theatre (1660 E. Broadway), the event includes six feature-length films (including four premieres), shorts, special guests and a circus performance. Visit vbaff.com for details.
One of those feature-length films is April Mullen’s violent gang film Badsville (screening at 10 p.m. Feb. 24). We talked to the director, who splits her time between Toronto, L.A. and other locales, about Badsville, DC’s Legends of Tomorrow, and being part of a festival like Badass.
Q: You shot an episode of DC’s Legends of Tomorrow in Vancouver recently. What was that like?
A: The studios were fantastic. And the crews were top-notch. I had a great time in Vancouver. I bought two umbrellas, one small portable one and a large one. I did a lot of hiking on the weekends. Even in the rain. Because it’s so god**** beautiful over there.
Q: Was Legends your first superhero-type production?
A: Well, Killjoys and Wynonna Earp (both TV series) both have lead characters with superpowers. But that definitely my first traditional DC traditional comic book superhero episode. I’ve just finished editing my episode down here in Los Angeles.
Q: Do you see all the superhero features that come out? Have you seen Black Panther?
A: Yes, I see all the superhero features that come out. I’m a big fan of anything that is Fan Expo-y. I’ve always been into comics. I absolutely loved Black Panther. It had so many refreshing things to add. I loved the female characters. I was literally fist-pumping the whole time: ‘Yes! They got it right on so many levels!”
Q: Do you have a dream comic-book or graphic-novel project?
A: I’ve been hunting down Batgirl. It’s in development. I just want to get in the room and pitch my concept because I think it’s so new.
Q: How did you make the transition from actor to director?
A: After graduating from theatre school, I wanted to start making original content. A friend from theatre school and I started a production company the year we graduated and started making micro-budget feature films. He writes, I direct, and we produce together. We’ve made five features together. Then I started doing work-for-hire in the TV world and film world in the last three years and it’s kind of exploded.
Q: Why follow-up ‘Below her mouth’ which is essentially a drama (now airing on The Movie Network—every. day.) with a genre movie?
A: I actually shot Badsville before Below Her Mouth. For Badsville, when I first read the script, I loved the gangster angle. It was set in this rockabilly town, which was non-specific in its time era. So there were a lot of creative decisions to make there.
And I loved how raw and brutal and frenetic the violence was. I couldn’t stop thinking of how I wanted that to look. And I thought the idea of these really masculine characters showing these beautiful, vulnerable sides was a refreshing take on what you would expect from a gang film. That, opposite the over-the-top violence and brutality, was intriguing.
Q: How important are independent film festivals like Badass to your work?
A: This is truly an indie film. We shot it in 18 days, it was really run-and-gun. It brought me back to my younger days.
With smaller film festivals, the passionate people who keep the fresh voices coming to the screen are crucial. I’m always going to be an indie filmmaker at heart and spirit. I champion them all.
Source : Inside Vancouver (22/02/2018)
Q: You have said many insightful things about the female gaze in cinema. What does your female perspective bring to the world of Badsville (out now on VOD)?
A: THERE is this pulsating raw guttural feel to the violence in Badsville and I approached it with love; that might be female or just a choice I made, or both.
I know that sounds strange, but the motivation of each character’s actions, no matter how horrific, were innocently motivated by love and protection. This was important to me, to allow the human spirit to fuel every punch.
Badsville explores how difficult it is as a male to want to protect, dominate and be vulnerable as a result of expressing their feelings. These are old themes but they still hold true today in terms of what society expects out of a man, and what I see them struggling with daily.
Q: Ian McLaren has an incredible presence and look, but this is only his first film. What was your approach to casting?
A: YES it is his first film. He is a gift, an ex pro hockey player with one of the biggest hearts I have ever met. He is extremely dedicated and transformed into his character.
He gives everything to the screen. He holds absolutely nothing back, feels everything in the moment and allows it all to happen. As a director this is what I look for in a lead. He is unconscious and completely loses himself.
It is Ben’s first film as well (an ex pro wrestler). He too has this cinematic quality. He is charismatic, makes strong choices as an actor and is fully transparent. I look for magic, that spark – both Ian and Ben are leading men who physically and emotionally can captivate an audience for 90 minutes.
Ian and Ben wrote the script with these characters in mind and were attached to the film when I met them. The second I walked in the door and heard them speak I knew and never doubted they would be incredible as our leads. It is a gut instinct thing with casting. I love working with new faces, especially ones I love.
Q: We often hear actors say they like to work with directors who have had acting experience. Do you feel your work in front of the camera has helped you as a director?
A: IMMENSELY. Big time, oh ya baby, it is something I lean on every second while making a film – finding those moments in a scene that break into the subtext.
I am completely obsessed with performance – allowing, pushing and finding new moments with actors. I always aim to go deeper and love the challenge of finding the keys into every actor’s personality to get them there.
I am so invested in every breath the actor makes at the director’s monitor it hurts. Seriously, I crave it if I am not on set for a little while. I love the craft of acting, the discovery and fragility found in the moment of the take and capturing it.
Q: How would you describe your style as a director? Do you have any influences?
A: LIFE influences me. Every moment, scent, touch, sound and memory makes an impact, resonates and somehow these heightened experiences find themselves into my work one way or another.
So much inspires me daily. It is as if my brain files it all away for a film to come. My style as a director is to deliver stunning images wrapped in moments of impact where audiences are compelled to feel something. I love tackling different genres and losing myself in the creative process.
There are similarities now standing back that I can see as I continue on this journey. Some of them are bold visuals, strong performances, unique worlds, refreshing scores and music, raw emotion and lots of neon lights. Ha!
Q: Below Her Mouth is fantastic piece of work and has reached a global audience. How do you reflect on the project and its success?
A: BELOW Her Mouth brought to the screen something original. A raw female perspective on love, intimacy, sex and even the female orgasm with its all-female crew. It was a film that audiences saw before they knew they were craving a refreshing point of view. It is a landmark in cinema – at the forefront of the movement towards equality as the voices in film change and how women are depicted on the big screen. I feel honoured to have been at the helm of such a special film.
Q: After the love story of Below Her Mouth, what attracted you to the more violent world we inhabit for your latest film Badsville?
A: BADSVILLE was shot first. The film did the festival run to build up some momentum before its release. When I read Badsville I could see the world come to life and it seeped into my heart instantly. That is just what happens when I respond to a story.
I see the image play out all hours of the day in my head. The script was so refreshing in terms of its throw back rockabilly greaser style and it showcased this vulnerable side to our lead gang members.
Overall it was the various love stories enwrapped in the harsh polarizing violence that appealed to me. I felt compassion for Wink and Benny and wanted to go deeper with both Ian and Ben (our writers and stars) to unravel them and expose them to the audience.
After my first meeting with Ian, Ben and Dave it was clear we were all on the same page creatively, which is crucial. Working alongside the writers is something I put a lot of value on. I want to build their vision as a team, and I believed in this team instantly.
Q: What was it like working with an inexperienced actor in Erika and an experienced one in Natalie? Was it a conscious decision to go for that dynamic?
A: AFTER auditioning for months for the role of Dallas we did not find the right person. Then I saw an image on-line of Erika Linder and in my gut felt this was our Dallas.
She was modelling male clothing at the time and her motto was: “I’m too creative to be one gender”. We met and auditioned her several times with different Jasmine. Then in Toronto, when she read with Natalie there was this spark on screen and instant chemistry which we were looking for. It was all about the connection while casting these two leads.
Yes, it was completely different working with Erika vis a vis Natalie. Every person is so different when it comes to my approach with communication and building trust with an actor. Erika has all these natural mannerism which make her mesmerizing on screen. I wanted her to feel confident and never doubt her natural instincts – it was important to keep these elements. For Natalie, she has this vulnerability and honesty she shows as an actor if and when she feels safe as a performer. This was crucial to bring out as a director.
Q: Below Her Mouth has plenty of intense, physical scenes – just as Badsville does. How did you set about constructing them?
A: EACH one is a completely different beast. It would take a novel to go into how much detail and planning is put into these types of scenes. To generalize, every aspect has to be meticulously plotted – physical movement, camera positions, locations, clothing, lighting and motivation. But then during the shoot it all has to be forgotten. As a director you have to surrender to the moment and be with the actors.
Q: What have been the biggest challenges – and the biggest joys – during your rise as a filmmaker? Do you have any words of advice for young female filmmakers?
A: BIGGEST Challenge? I feel everything always takes so long and by the time you complete a film you are literally a different person and your work feels dated before you even start editing.
Joys? Connecting to audience members who are moved or touched by your film, delivering something human beings can all relate to. I also love watching people all excelling creatively on set doing what they do best. It is both motivating and thrilling to watch.
Advice? Take Big Risks, Create Your Own Work, Stay Focused, Be Bold, Never Doubt, Thrive & Indulge In The Moment, Keep Your Head, and Have Fun Always – no matter how hard it all is. Laugh, jump, play – we are all building an imaginary world together. It is like playing outside in those summer nights as a kid. Love it!
Q: What are your ambitions for the future? What kind of stories would you like to tell?
A: I HAVE so much burning inside me to be told, I can’t wait to keep creating moments for all of you. Some of my ambitions right now are to grow and learn to be a better person every day. To bring light and love into the world, to motivate people on set to create things they never thought possible, to protect my sense of wonder and push it even further. Laugh my head off, be with my family, roll around in the tall grass as much as possible, make special films and content that moves audiences.
Q: Lastly, do you have any upcoming projects you can tell us about?
A: I AM super pumped up as I am going back to my roots as a filmmaker and doing a WANGO film next up. WANGO films is my production company, co-funded with Tim Doiron. We have done five films together, 88 being our last. All Indie. We have grown so much as filmmakers I can’t wait to work together again. We are going to camera this summer on our new feature.
Source : Closeup Culture (12/02/2018)
It’s probably safe to say that one of the quietest yet most inspiring success stories of the past few years has been that of April Mullen. Her star quickly rose with the release of 2016’s Below Her Mouth, an erotic drama praised by critics for its’ sensitive handling of a lesbian love story and for the employment of the female gaze in its visual exploration of the romance at the heart of the story. Audiences ignorant of the indy film world could be forgiven for thinking that ’16 was the year Mullen exploded onto the scene, but that simply wasn’t the case—the Niagara Falls, Canada native has been quietly making a name for herself since the early 2000’s as both an actress and director, churning out multiple films in a variety of genres from comedy (Rock, Paper, Scissors: The Way of the Tosser) to exploitation (88) to horror (Dead Before Dawn 3D). With her name now firmly enshrined as one of the premier indy directors of the 2010’s, it’ll hopefully lead audiences to not only check out her earlier body of work but to keep their eyes peeled for her upcoming projects as well.
Case in point: Badsville, out now on VOD from Epic Pictures. Set in the titular hellhole-out-of-time, the film tells the story of the Badsville Kings, the sort of gang that springs up in small towns when there are no prospects for the future and getting drunk and beating someone up on a Friday night is a viable form of entertainment. As the audience comes into their lives, though, the Kings find the fabric of their gang unraveling at the same time Badsville seems to be taking its last breaths, with family deaths, clandestine romances, and increasing tensions with other gangs all coalescing to form a sort of dirge for their way of life as they’ve known it.
Employing the same sensitivity with which she explored feminine identity and crises in Below Her Mouth, Mullen uses Badsville to engage in a very pertinent discussion of masculine identity. Rather than writing off maleness as inherently destructive the way a lesser director might have, Mullen instead engages in a far more complex exploration of positive vs. negative modes of masculinity, the environment and sociological factors that creature and nurture toxic masculinity, and the ways in which society can hit the reset button and begin redefining what it means to be a good man. Relevant material, indeed, but rather than a bland Feminism 101 lecture, Mullen has instead wrapped it up in an aesthetically pleasing and propulsive package, with plenty of beatdowns, sequences of gang warfare, and some truly stunning cinematography. It’s a master class in engaging an audience in an intelligent discussion while keeping them entertained at the same time.
It was CineDump’s pleasure to have the chance to sit down with Mullen and discuss Badsville, the trajectory of her career, and what factors came together to make the film the unqualified success it is.
Jessie Hobson: What attracted you to Badsville? Did the success of Below Her Mouth and the resultant publicity and dialogue around it influence your choice of next film at all, or was it a project you think you’d have been attracted to regardless?
April Mullen: We shot Badsville before Below Her Mouth. It traveled the festival circuit for an extra year, and as a result, it is now available to audiences. The unique world, characters, and voices found in the script attracted me to Badsville. I found the contrast between the harsh violence and vulnerable love story to be vital. The script is full of passion and I responded to the rockabilly/greaser gangster world as well.
JH: Badsville has a unique, sort of out-of-time aesthetic that recalls a mashup of the 1950’s and the present day the way that certain films like It Follows evoke a combination of the 60’s and the modern era. What was the idea behind that decision?
AM: This town is forgotten, broken and lost: it exists only within our film and was based on the writers’ hometown of El Monte, nicknamed “Badsville”.
The film is timeless. The style and old-time feel is part of the entire world which is Badsville. It’s about a dreamer who is reaching for more, about loyalties, family, and violence, which are all heightened in Badsville. As a director, I love creating a unique micro-universe as a stage for characters to experience things on one that allows for large creative choices, such locations, costumes, dialogue, props, music and shooting styles, etc.
There is a lost feeling in this town, no cell phones, money, technology or cops. This way, the audience can focus on our characters and nothing pulls us away from the story. I love this innocence Badsville retains throughout its violence and heartbreak, it feels real to me, like a place we all remember somehow.
JH: Much was made in the media about how you brought the female gaze to the love scenes in Below Her Mouth, as opposed to the traditional male gaze usually reserved for woman-with-woman sex in cinema. How does the female gaze effect the filming of a heterosexual sex scene, or, does it at all?
AM: Everything I create, I do so with my entire body and spirit. It’s simply as truthful to the moment and characters as possible. I attempt to bring the spark of connection to every frame in a film, and even more so in intimacy scenes. Every film and character is so different. The goal with Below Her Mouth was to deliver a female perspective, so it was designed and heightened in that way. With Badsville, the connection between Wink and Suzie is one of being found, and amongst their empty lives, they find a potential future and hope within each other… the intimacy reflects that.
JH: There’s some really beautiful location shooting in Badsville. Talk to us about the filming location?
AM: The locations in Badsville are essential to building our world, and it’s a large character in the film, as our hero is trying to escape this place. It’s beautiful, yet isolated and empty. We shot the film in Los Angeles, which included El Monte, Piru, Atwater and Santa Clarita. I’ve always dreamed of shooting a film in LA: one that showcased the mountains, a desert feel and blazing hot sun. We started location scouting very early on in prep because we wanted to find perfect locations that were timeless and very cinematic. Ben, Ian, Dave and myself started hunting months before official prep. I loved creating this universe early on, being able to visualize how it would all come together as a team was special.
JH: While Below Her Mouth was this sort of exploration of feminine identity, Badsville came across, at least to me, as an exploration of masculine identity. Specifically, negative vs. positive modes of masculinity, being a protector vs. being an aggressor, etc. Talk to us a little about that? Was that something really present in the script, something you wanted to draw out? It’s certainly a pertinent topic.
AM: It’s true the film is very “male” in a lot of ways in terms of its violence and gang the Badsville Kings. However, the script showed this vulnerable and fragile side to our gang members as they exposed their love to one another and for life. There are deep through-lines within the film of what it means to be a protector as a male and what is expected. What I appreciate is we expose the heartache that comes from being an aggressor and trying to sustain an image and reputation.
A huge part of what drew me to the script was how exposed these violent yet tender heroes were in the film. The audience is let in on the inner struggle of Wink and Benny as they discover a desire to break free of their roles and the constant expectations others and society have on them. I feel the film pushes boundaries on the stereotypical ideas we might have when it comes to gangs and male violence, where it comes from and why it exists.
JH: You’ve directed comedies, violent revenge dramas, love stories, and even documentaries. Do you see yourself as a particular type of filmmaker? Is there a narrative or thematic thread linking the projects you’re interested in, or, it just a matter of “hey, this sounds interesting?”
AM: I love film and creating in all aspects.Human behavior and connection is intriguing to me, moments and memories that jump out and strike a chord within us… the ones that awaken us and our imagination… the genre is just a cardboard box really. I love storytelling and impacting an audience with a feeling that transcends them to a new feeling, thought, and perspective.
JH: Anything else you just want to add or talk about? What’re you working on next?
AM: Badsville is truly independent cinema at its best. If you are looking for a refreshing story, new actors and a strong unique film, this is it. The film is made with pure passion, was shot in 18 days by a crew of less than 20. The film is about dreams coming true and two incredibly talented artists’ –Ben & Ian— dreams DID come true, and the audience gets to watch it come to life on the screen!
I’ve spent a lot of time reflecting what my next feature would be, I’m thrilled to say I’m going back to my roots with my own Production company WANGO and shooting one of our original screenplays by Tim Doiron. We’ve made five features together and it will be nice to team up again.
Source : CineDump (06/02/2018)
April Mullen is the Director of Below Her Mouth which pushes the boundaries for cinematic sex and premiered this past September at TIFF 2016. Shot by an all-female crew, TIFF programers called it “one of the boldest and sexiest dramas of the year.”
This film was shot using an entirely female crew. What was the inspiration for this?
AM: With Below Her Mouth, we wanted to bring to life something audiences had never seen before on screen: an honest depiction of a truly female perspective on desire, love, intimacy, sex and heartbreak. The goal was to capture an electrifying moment of intense chemistry between two people when they least expected it.
In every department we wanted to bring a female touch and gaze to the screen when it came to love and sex. This “female gaze” included lighting, sound, wardrobe, camera movement, editing and music etc. In order to bring this story to life we needed to expose our female voice, creativity and truth. Hiring an all female crew allowed our original intention to be strengthened because everything came from women. It was also an essential part in allowing our actresses, Erika Linder and Natalie Krill, to have a safe and comfortable place to reveal their desires and be intimate. They needed to know they were supported and had the trust of all involved in order to go to the extremes they went to in their performances. There was so much respect on set for them and our mission. It was a unique and transformative experience.
Can you talk about your experience working with these women on the film?
AM: On set we were able to create a supportive environment that allowed every woman to stay true to herself. The voice of the film is so strong and honest because of that. Working with all of these women we found a very fluid communication style and seamless work flow to enhance the experience. It was rewarding and empowering to watch each key woman excel in her department. Everyone brought so much of themselves and their truth to the table; it was an honour to bring that to the screen in all forms. I believe the results of having an all-female crew can be seen on the screen.
The film is being called sexy and bold. Can you talk about your experience directing this content and the benefits and challenges?
AM: 99% of my exposure to sex in film, TV and media is something that was written by a man, directed by a man, and made to turn men on. This fact was something that was always on my mind while filming Below Her Mouth. I struggled trying to stay true to my inner sense of sexuality as a woman, and create a filmic narrative that was free from the usual images, positions, sex you would normally see in a male driven film. I had to constantly remind myself to forget all of the “movie sex” I had seen before. Instead, I reflected inwardly on what turned me on as a woman – what were my inner desires, what made me want to be physical with another person. These are the moments I wanted to bring to the screen. Another one of my big goals and challenges was to isolate our leads, Natalie and Erika, so that the rest of the world would disappear as it does in life when we fall in love. To allow the actors to feel extra protected and safe to break down any barriers and be vulnerable; to champion their connection and allow them freedom to express themselves.
What is your background in directing and how has the DGC helped you in your journey?
AM: My background in directing is through creating my own work with Wango Films; Tim Doiron and I started the production company after graduating from Ryerson Theatre School. I started in the industry as an actress and spent years on set observing behind and in front of the monitor. I am from the indie feature film scene and have slowly gone up in budget levels when it comes to features, that being said I just recently joined the DGC. Since joining I have found it to be a very supportive community of very talented people. The DGC has been there recently on my new journey into the TV world and they have been very helpful with the transition. It’s fantastic to be a part of such an important union of creative minds here in Canada; I look forward to getting to know more members and the DGC as a whole.
What advice do you have for female directors and other directors looking to make their film sets more diverse and inclusive?
AM: It’s an exciting time in the industry. There is so much talent and so many new voices out there. I love working with the younger generation as much as I do the older one. The mix of experience and wonder is intriguing and creates an interesting dynamic. Each film is so specific with it
’s own creative needs, it’s important to find the right fit every time. I love hiring women; there are so many talented ones out there to recognize, you just have to find them. I hope the percentage s of women in film continue to increase . It’s a long-term transition as we are still a long way away from a balance, but I believe awareness is important so the younger generation of women know it’s possible. In terms of advice, I would say, stay open minded and pick the best individual for the job.
A director known as much for her versatility as she is for her passion, April Mullen’s latest directorial offer Below Her Mouth is a relentless love story shot entirely by an all female crew. She was recently honoured with the Birks Diamond Tribute to the Year’s Women in Film. Her previous features include: 88, an action thriller and Dead Before Dawn 3D, which confirmed April Mullen as the youngest person and first female to direct a live action stereoscopic 3D feature film. The film was celebrated for its technological achievements and awarded the Perron Crystal Award. Mullen is co-founder of the independent production company Wango Films, alongside Tim Doiron. The company has produced five films to date. A true maverick in the feature film world, Miss Mullen is known for her bold and stunning visuals, ambitious shooting style, strong performances and unique voice.
Source : DGC Online (28/08/2017)
One of the big issues in the film world today is getting more female perspectives on to the silver screen, and perhaps no film better exemplifies those efforts than director April Mullen’s “Below Her Mouth,” which made its Korean premiere at the Bucheon International Fantastic Film Festival on July 14.
Not content with just a female director for the lesbian love story, the film generated buzz with its all-female crew, from sets and lighting to catering.
“We wanted the actresses to feel really, really comfortable and at ease,” Mullen tells The Korea Herald at a coffeehouse on Saturday in Bucheon, Gyeonggi Province. “And we knew it was going to be a closed set and kind of sensitive material, and we wanted to allow them to feel very isolated from the world.” The idea started just with the floor crew, she adds, but extended when word got out and women started to recommend other women.
While she says she’s unlikely to follow such a hiring practice again, on others following suit she says, “I would encourage it, especially given that the percentages (of women in film production) are very low.”
“Below Her Mouth” is an 18-rated romantic drama that tells the story of Dallas, played by Swedish supermodel and actress Erika Linder, and her seduction of Natalie Krill’s Jasmine while her fiance is on a weekend business trip. Similar in a vein to last year’s breakout Korean lesbian romance “Our Love Story,” the Canadian film goes much further in its depiction of raw female physicality and the lust that intertwines itself into the love story.
“The sex in it is very much like an emotional journey and kind of exploring the laws of attraction and what propels people to want to be with another person physically, and why do we do it, and how it feels,” Mullen explains.
“I think very few films explore the female orgasm,” Mullen adds. “And that’s kind of taboo in a way. … We don’t really talk about that.”
Among other goals the flick seeks is normalizing the depiction of strap-on sexual aides. “It’s just part of our main character’s way of seducing women,” the director says. “It’s very authentic to the community — the LGBT — and what women do.”
“That’s maybe why we’re in the Forbidden section,” Mullen reflects, referring to the film being programmed in BIFAN’s Forbidden Zone. “I love that we’re forbidden. I think it’s tantalizing, and makes me want to see the film even more.”
“I think the film is very much a universal theme that ‘love is love,’ and it really comes from an honest, truthful, raw place,” she adds.
Mullen further set out to reimagine how sex is portrayed on screen. “(The struggle) was preparing for the sex scenes and making sure they were authentically from a female’s point of view, and not things that have been brainwashed into my head,” she says, pointing out that so much of what is out there is from male fantasy and that idea of what “sexy” is. The female perspective is very emotional,” the director opines. I had recently fallen desperately in love, and it came with a lot of heartbreak,” Mullen says about what led up to her making “Below Her Mouth.” “I wanted to try and express what that electrical feeling of falling in love very quickly was like — in 90 minutes.”
“Below Her Mouth” has been making its rounds on the film festival circuit since premiering at the Toronto International Film Festival in September, but critical response has been less than stellar, with some reviews pointing to a lack of direction in dramatic narrative.
“You kind of have to walk in very open-minded and let go of this traditional moviemaking and movie-viewing experience,” Mullen says, brushing off critics. “The movie is meant to just be very simple — a slice of life in 78 hours — and it’s supposed to leave you with a feeling.”
There is a kind of response to the film the director has enjoyed, however: young women who approach her in cinema halls after screenings. “It’s way more about the impact that it’s making on the ground floor and when people come up to me and say … ‘You’ve allowed me to feel like myself,’” she emotes, “That means so much more to me.”
The director, whose previous works included teen horror flick “Dead Before Dawn 3D” and thriller “88,” is hopping genres again. She begins filming an action musical tentatively titled “Bloody Knuckles” in Ireland in October. “I hope to keep making all kinds of different films,” Muller explains. “I hope to be sort of a multigenre director. Maybe I’ll break that mold, too.”
The final screening of “Below Her Mouth” at BIFAN is at 8 p.m. on Friday. The film also appears at the 17th Korea Queer Film Festival at Lotte Cinema Broadway near Sinsa Station in Seoul at midnight on Friday and at 10 a.m. on Sunday. It is set for a nationwide release in October.
Source : Korea Herald (20/07/2017)
This year Videovision will be screening four movies at the festival. This includes the opening night’s Serpent‚ a thriller about the interaction between a husband and his unfaithful wife who are trapped in a tent with a black mamba.
Serpent is a feature debut from writer-director Amanda Evans. This will be its South African premiere after it got its international premier at the Cannes Film Festival.
Sanjeev Singh‚ director of distribution and acquisition at Videovision‚ said the film festival had taken a conscious decision to feature more accessible and high-profile films at its opening.
“It’s a different approach‚” he said. “Even Cannes‚ the greatest film festival in the world‚ open with highly commercial films. In 1992 they opened with Basic Instinct.”
Videovision has produced more than 80 feature films over the past 30 years.
This year the festival will be screening three more of their productions and acquisitions: the Canadian erotic drama Below Her Mouth; The Killing Floor‚ a local drama set in Zululand and featuring Durban theatre impresario Themi Venturas; and Viceroy’s House‚ a movie about Lord Mountbatten‚ the last Viceroy of India‚ who oversaw the transition of British India to independence. It stars Downton Abby’s Hugh Bonneville as well as Gillian Anderson‚ Michael Gambon‚ Manish Dayal and Om Puri.
The 38th Durban International Film Festival runs from 13 to 23 July at venues across the city.
Source : Times S.A. (11/07/2017)
‘Below her Mouth” will be screened at the 26th Rainbow Reel Tokyo Festival. The screening, on July 9th, will be followed by a Q&A with director April Mullen. For information about the Festival and tickets visit Rainbow Reel Tokyo.