Official Selection at the:
- 69th Cannes Film Festival, Cinefondation Category | World Premiere
- 41st Toronto International Film Festival (TIFF), 2016 | North American Premiere
- 13th Dubai International Film Festival 2016 | MENA Premiere
- 30th South By Southwest Film Festival, 2017
- 61st Valladolid International Film Festival (SEMINCI), Spain 2016
- 24th Hamptons International Film Festival 2016 | US Premiere
- 45th Festival Du Nouveau Cinema, Montreal, Canada 2016
- 38th Cinemed Film Festival, Montpellier, France 2016
- 48th Nashville Film Festival, USA 2017
- 41st Atlanta Film Festival, USA 2017
- 57th Krakow Film Festival, Poland 2017
- 27th New Orleans Film Festival, USA 2016
- 10th Kustendorf Film Festival, Serbia 2017
- 23rd Palm Springs International ShortFest, California USA 2017
- 39th Denver Film Festival, USA 2016
- 29th FilmFest Dresden, Germany 2017
- 2017 Michael Moore's Traverse City Film Festival, Michigan USA 2017
- 9th Arab Film Festival “Beirut Cinema Days ”, Lebanon 2017 | Local Premiere
& 50+ international film festivals
- Muhr Jury Prize at the 13th Dubai International Film Festival, 2016
- Liberty Global Award Best Film at the 39th Denver Film Festival
- Honorable Mention at the 41st Atlanta Film Festival, USA 2017
- Honorable Mention at the FIFOG Film Festival, Switzerland 2017
- UFVA KODAK Scholarship Award, 2016
- Best Director/Audience Choice Award/ Jury Selects at the 29th Columbia University Film Festival 2016
- IFP Award 2016
- James Bridges Production Grant
Written and Directed by Mounia Akl
Produced by Cyril Aris and Jinane Chaaya
Co-written with Clara Roquet
Director of Photography - Joe Saade
Production Designer - Issa Kandil
Music Composer - Paul Tyan
Coproducer - Andrew Li
Production Manager - Sonia Habib
1rst Assistant Director - Nay Tabbara
Art Director - Hanady Medlej, Tara Sakhi
Wardrobe - Michella Bteiche
Assistant Wardrobe - Line Itani
Casting Director - Petra Serhal
Assistant Casting Director - Ghina Abboud
Sound Mixer - Rawad Hobeika
Boom Operator - Jad Asmar & Elie Karam
1st AC - Jad Tannous
Make-up and SFX - Elie Boudjok
Sound Designer - Cedric Kayem
Colorist - Belal Hibri
Editors - George Sikharulidze and Mounia Akl
Executive producer - Lynn Raphael, Lee Posalino, Candice Abela Mikati
Associate Producer - Farid El Khalil, Selim Mouzannar, Amal Traboulsi, Hala Akl Questa
an Unparalleled Production in association with Frank & Paul Films
A young woman, stressed by her busy and continually crowded New York City existence spontaneously retreats to a solitary lake deep in the Adirondacks.
Ann - Rose Hemingway
Director | Rod Blackhurst
Producer | Josh Murphy
Executive Producers | Paul Pathikal + Eric Hollenbeck
Co-producers | David Ebeltoft + Chris Suchorsky
Associate Producer | Marcella Castro
Written by Rod Blackhurst + David Ebeltoft
Director of Photography | Adam McDaid
Editor | Suzanne Spangler
Composer | Tyler Strickland
Sound Designer | Jamey Scott
Strategic Partner | MBED
CREW: 1st AC - Andrea Boglioli , Grip - Chris Suchorsky, Hair/Make Up - Emma Berley, Gaffer - Eric Fahy, Location Sound - Brian Trim, Andy Mellon, Colorist - Ivan Miller, Stephen Ling, Set Photographer - Andy Mellon, Wardrobe - Rachel Blackhurst, Wardrobe Stylist - Eileen Eastburn, PA - Susan Alvarez
Subway Man - David Chokachi
Street Man - Jonathan Gundel
Cashier - Peggy Scott
SPECIAL THANKS: Elgin James, Addison Timlin, Eve Hewson, Miles Levy, Thomas Hynes, Cory Hinton, Randal Compton, Key Compton, David Marshall, Larry and Mary Blackhurst, Gay and Rob Byrne , Sarah Hyde, Molly Vaneslow, Charles Mastropeitro, Thomas Newton, Jason Ienner, Alexandra Rice Thompson, Laura McDonald, Holly Ellis, Keith Fairclough, Melissa Glassman, Jacey Heldrich, Ted Hudson, Ally Stoltz, Janelle DolRayne, alldressedup from Rent the Runway, Ausable Club, City of New York, Directed Lighting, Fractured Atlas, Garnet Hill, The Gersh Agency, United Talent Agency, Keene Valley Market, Partos, North Creek, NY, North River, NY, NYC Film
Soo Sunny Park’s installation Unwoven Light animates Rice Gallery’s expansive space, transforming it into a shimmering world of light, shadow, and brilliant color. Suspended from the walls and ceiling, thirty-seven individually sculpted units are arranged as a graceful, twisting flow of abstract form. On view April 11 - August 30, 2013. Original score by Mark Walley. Visit RiceGallery.org. Learn more about the artist at SooSunnyPark.com. Learn more about the filmmakers at WalleyFilms.com.
Read the "evolving review of the Sony A7s" here: gopb.co/a7s
Any use of the tip jar to help fund these reviews is always gratefully welcomed! Thank you!!
Everyone had been saying the just out Sony A7s is a low light monster of a camera. There was only way to find out. To try it out!
I had a think about what I could do that could show it off and blow people's socks off. After all if it could do what people were saying...
To be able to shoot at crazy high ISOs is not about just seeing in the dark, At times I am shooting "night for day" here and for the most part it's not something I would actually ever want do. I want night to be dark....but doing this here really does show just how much the sensor can see.
The biggest benefit for me with this camera's sensitivity will be shooting in low light situations where normally you are at the top of your camera's ISO before it gets hideous and also wide open at F1.4. This sort of shallow depth of field may look pretty but it's not much fun trying to keep moving people in focus! To have a camera that could shoot in these conditions, have a clean image AND have a nice depth of field to solve focus headaches? This could be a very valuable tool indeed.
James Miller and I went down to our favourite shooting haunt, Brighton with our matching A7s to see what we could get and try out different profiles. James shot mostly S-Log. I mostly shot various Cine gamma modes.
Pointing away from practical lights so I could push the ISO up to see just how far you could push it. Just how much can you see in the dark?
Brighton Beach has no lights on it of course. There are lights on the promenade but there are a lot of people who sit out there in the dark that you can barely see with your eyes. This camera though? Well take a look!
I shot most of the daylight stuff at ISO 100 in Cine Gamma 4 and S-Gamut colour. A very flat image, not quite S-Log but close.
My glass was: Canon 24-70 F2.8II, Canon 70-200mm F2.8 IS II, Sigma 35mm ART F1.4, SIgma 50mm ART F1.4
I used the Small HD DP4 as a monitor/ viewfinder, additionally I had a Tiffen variable ND filter and my Really Right Stuff tripod with FH-350 head. To top if off I also had my new Special Edition Kessler Crane "Burl Wood" Pimipn' edition for the odd slider move!
With the shots where in goes from dark to light and vice versa, these dark parts are what I could see with my eyes. They were all shot with high ISOs and graded down to show you what I could see and what the camera could see if it was set to around 800-1600iso as opposed to what I actually was shooting at. At night between 6,400-80,000!
It was incredibly dark out there so even though I could see everything way better than my eyesight could some of the shots with dark area in them were just too noisy not to fix. I used the ever marvellous Neat Video to get these results.
So there is no cheating here by grading it dark. I made it look exactly as it would do and to prove it watch after the credits for a shot where I cycle through the ISOs!
Music is "Now I See" (so apt for this film I took it for the title too!) by Dario Lupo from The Music Bed gopb.co/musicbed
Graded with Colorista II. FIlmConvert and custom LUTS from James Miller.
10% off Colorista II at gopb.co/redgiant with code bloom10
10% off FIlmConvert with code bloom at gopb.co/filmconvert