Solange Unveils Performance Art and Scuplture with Uniqlo

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Solange Ferguson (formerly Solange Knowles) has begun shaping her creative career as a culturally profound artist, contributing to the massively iconic Knowles dynasty while making a name for herself. With her hit 2016 album, A Seat at the Table, she curated a musical and artistic expression of black culture through her unique social perspective. Recently, the artist has found a new medium, diving headfirst into the world of performance art.

In collaboration with Japanese minimalist retailer, Uniqlo, she’s created a performance art piece and sculpture, which recently debuted at Hammer Museum in Los Angeles. Entitled Metatronia, the piece reflects on the process of creation, utilizing movement and architecture to create a visual storytelling masterpiece, with choreography by Gerard & Kelly. Accompanying the performance is a immaculate, large-scale sculpture, entitled Metatron’s Cube, designed by Ferguson.

metatronia (metatrons cube) (2018) modular sculpture and performance piece

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“In the past I have designed my sets and sculptures to exist in relationship to my performance pieces,” Solange told i-D. “I’m excited about transitioning into creating larger scale works that have the duality of existing as part of a performance and then as a standalone sculpture that can be engaged with by the public. It was important to me to make the piece modular so that it can be quickly assembled in different landscapes allowing people to have individual interactions and experiences.”

Metatron’s Cube is now on display at Hammer Museum in LA, touring the US this summer. Watch Metatronia below:

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Chloë Sevigny Talks ‘Lean On Pete’ and Evolving from Muse to Auteur

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Dating back to the early ‘90s, Chloë Sevigny has held her position as the perpetually cool girl of film. Having attracted the attention and enthusiasm of writers and directors from get, today she continues to carve out her own path with memorable roles and even a transition to working behind the camera.

Her most recent role is in Andrew Haigh’s Lean On Pete, based on the novel of the same name by Willy Vlautin. Sevigny plays Bonnie, a horse jockey who takes a young Charley (Charlie Plummer) under her wing. With a maternal quality to the role, Bonnie is a fearless example of a woman in a man’s world, something Sevigny can very much relate to.

We recently spoke with her about Lean On Pete and how her career has evolved to where it is today. As women are more than ever claiming their rightful place in the industry, she remains a force to be reckoned with.


What was it like working with Andrew Haigh as a director?

I’m surprised at his humor, because his films tend to be a little more serious. He’s just so pleasant. He’s so confident. He knows what he wants. He has the respect of all the cast and all the crew. He really listens to you when you talk to him. You can tell there’s just a reverence for him from everybody on the set. He has this sensitivity toward the story, toward the characters, toward the animals, first and foremost. Being with him was just such a pleasant experience. Charlie (Plummer) had it much rougher than I did because he was on set everyday with the extreme weather conditions, out in the desert and the rural, more difficult shooting circumstances. But for me, it was just a really pleasant set. Everybody just wanted to be there and work for him and do the best they could to make this movie.



What was it like working with these horses as scene partners, both in the physical and emotional sense?

I mean, for the physical part, there are a lot of handlers around. There’s a real hush that has to take over the set, and there are lots of different people with opinions on how to handle them. They’re all there for the benefit of the horse and for the movie, and they wanted the horses to perform to tell the story and help convey whatever Andrew wants out of a certain scene. But there are just a lot of people around when there are horses around. So, that was kind of the more difficult aspect, I guess.

Charlie’s character has an absentee mother in the movie. Would you say there was kind of a maternal quality to your character, as brief as their interaction may be?

I think it’s a little less maternal, a little more that she’s just been around these tracks. She’s probably seen other kids that have worked for Del. She sees how Charley is getting attached to the horse, and she just wants to remind him this is a tough world. “This horse doesn’t perform. This horse is getting fired.” That’s her line, I think. She just wants to teach him but not coddle him too much. He’s probably a grown man in her eyes. I think she’s been working since she was like eight years old.

You’ve worked with Steve Buscemi before. What was it like reuniting with him?

Steve’s so lovely, and he brings so much to the part. Being on set when he would improvise with the guys around, he would just ground the scene in a way and help everybody find a way into it. He’s just a great guy. I know he was giving Charlie bits of advice toward the end there.

You’ve done a lot of critically acclaimed films. How would you say you’ve come to choose the roles that you take?

I mean, I mostly gravitate toward auteurs. I mostly like writers/directors or directors that I feel like are visionaries or you know, want to tell stories in a different way and different kinds of stories. Those are the filmmakers that I’m attracted to. So, I’ve had a pretty lucky run so far. (LAUGHS) I don’t have a job right now, so I’m in that weird spot that an actor goes to, that dark familiar place. I’m hoping for another job soon. But I probably would have played any part in this movie just to get a chance to be a part of one of Andrew’s films. It’s kind of how I’ve navigated my career.



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You’ve been directing a bit lately too. Do you see yourself moving more behind the camera?

I do. I’m developing my third and possibly final short – I don’t ever want to say for sure. I’m gonna do that in May. And I’m always looking for material for a feature. I’ve had some books that I’ve loved, that unfortunately, other people beat me to them. I have some ideas myself, more like themes, less like stories. I wrote my third short, and that was the hardest part, translating these ideas that I had into dialogue or story. How do you tell this idea of a woman’s relationship to her power through her relationships? That’s the new challenge for me to figure out. Writing is hard. (LAUGHS) Understatement of the year. I found it really challenging. A challenge is good, but I’m still trying to figure it out.

You’ve been a really outspoken voice for a while. How have you seen the power dynamics of Hollywood shift so much lately with all these viral movements?

Well, like my friend Natasha Lyonne, she wrote this new TV show that she pitched to Netflix with Amy Poehler. They’re in production now, and she hired all female writers, all female directors, I’m gonna do an episode on it. Personally, having more experiences where women and more people of color are in positions of power and being able to tell their stories, it seems there’s more opportunity for that. People are embracing that. I think that’s the only way to invoke change unfortunately, is to be in power. You’re seeing that, and more people are more open to that. There are more stories being told and more people going to the theater and seeing them and responding to them. There’s a wider audience out there, and I’m so enthusiastic about all those things.
I watched the Independent Spirit Awards, and that Timotheé Chalamet, his speech was just so positive. It was so refreshing. He’s like a wonder child. I feel like Charlie’s a bit like that as well, just a lack of pretense. There isn’t this cocky bravado that used to be attached to young actors as much. I don’t know if it’s just this generation, but it’s really refreshing, and I’m in love with all of them.

Lean On Pete is now in select theaters. Watch the trailer below.


BlackBook Interview: Lola Kirke Deconstructs Neo-Noir and the Fame Machine in ‘Gemini’

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If you haven’t heard of Lola Kirke, you’re likely familiar with at least someone in her family. Her father, Simon was the drummer for rock greats Free and Bad Company. Her mother Lorraine owned the beloved West Village boutique Geminola. Her sister Domino is a singer, and her other sister, Jemima, is an actress – best known for her role as the spunky free spirit Jessa in Girls.

But the youngest of the Kirke clan has been steadily carving out a path of her own. In recent years, she’s appeared in such films as Gone GirlAmerican Made, and Mistress America. Currently, she stars in the Amazon phenomenon, Mozart in the Jungle while pursuing her own musical interests with a new solo album.

In her latest film, Lola explores the neo-noir genre while dissecting the cultural obsession with fame. Indeed, in Aaron Katz’s visually-striking Gemini, she plays Jill, the devoted personal assistant and best friend to Heather (Zoë Kravitz), a highly sought after young starlet. But when Heather becomes the victim of a heinous crime, Jill must wade into the dark depths of the actress’s life in order to clear her own name.

We recently spoke with Lola about her leading turn and her burgeoning musical career. As endearing as she is talented, she finds familiarity in the themes of Gemini – and also seems to be genuinely enjoying where her career is taking her.



What was it like bringing this LA neo noir mystery in Gemini to life with Aaron Katz and Zoë Kravitz?

It was really wonderful. I think I read something, but I’m not sure I’m right, that noir was created by accident, this lighting scheme that’s typical with noir. It’s something to do with not having light to not cast a shadow, and they rolled with it ended up embodying the shadow itself. And that’s really something that’s quite at the forefront of noir, the things you don’t see but that are always with. And it was really fun to update that genre and do it now and replace the weary male personas we do see in that world with myself, a woman.

It sounds like you’ve done your research. Did you watch any specific films of that genre for inspiration?

Yeah, definitely. Aaron really wanted me to watch – I always wanna say Deuce Bigalow, Male Gigolo, but it’s American Gigolo, a very different movie. And there was really informative, with a little-known Sharon Stone movie called Sliver. And then there was a film called Body Heat with Kathleen Turner and William Hurt. I watched a slew of these films that were all set in that genre, and it was really fun. I’ve always been a movie enthusiast, and it was great to explore things deeper.

As an actress and a musician, what was your perspective on what the film says about fame and celebrity?

I think in a lot of ways, you see a celebrity who is inundated by her own celebrity. I think that anonymity is a form of freedom, and it’s very interesting that we live in a world where people are constantly seeking to sacrifice their anonymity for the freedom that they perceive fame brings. It’s really exciting to get to evaluate those values in this film.



There’s definitely an uncomfortable scene with a fangirl in a restaurant. Have you had any of those negative experiences, where you had to define that line for you and your fans?

You know, rarely, I think when I play a show. As a musician, I’ve led this kind of double life where I’m like a successful actress and more of a struggling musician. I’m very excited when people come to my shows. And through Instagram, I’m like broadcasting my precise whereabouts at precise times. It’s great when people like me because they like my acting work show up to see me in this other context, but it also can be a little bizarre to be giving away my exact location. I love it, because it means that my music gets to reach more people, but at the same time, not everyone should know where you are and be able to find you. I’ve had instances, but nothing too scary.

I’ve become such a fan of your music.

Thank you so much.

I really loved “Monster.” What was it like recording that and shooting the video in Tokyo?

I recorded it with the rest of my record, live in Los Angeles. It was really fun, and I got to work with my boyfriend as my producer again, who I love working with, and a band filled with musicians I love and respect who are really close friends. So that was such a treat. But we shot the video when we were on location, shooting Mozart in the Jungle, and I’m so glad we did. Because it really raises the production value to shoot in Tokyo.



As an actress who’s also a musician, is that a particularly enjoyable role in Mozart in the Jungle?

Yeah, I mean my character on the show is like a far superior musician to the one in real life.

Well, I love your real-life music.

Aw, thank you. Well, it’s a very different kind of skill that she has.

Of course. So, who have some of your musical influences been?

Some of my musical influences are Neil Young, Graham Parsons, Gene Clark, a lot of people who I would say fit into the kind of cosmic American, Americana genre. I don’t really have other deep loves, musically.

Do you plan to do more music or is your focus mainly on acting these days?

Well I’m releasing my record in June, and I really love making music. So, it’s kind of just whenever I have time and opportunity, I will do one or the other.

And you come from a really artistic family. Growing up in that environment, have you always known you wanted to act and make music?

I always kind of wanted to act. Making music was something that felt a little less possible for me, something that I always kind of thought only men did, frankly. And I’m so glad that I was able to see beyond that, because I love making music.

Lola Kirke’s “Monster” is now available on iTunes, and Gemini is now in select theaters. Watch the trailer below.



Nitehawk Cinema Celebrates David Lynch with Late Night Film Series

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David Lynch’ dark, unsettling work has long held a special place in the hearts of cinephiles and outsiders. From the curvy roads of Hollywood to the eerie small towns of Washington State, he has an unmatched ability to build a beautifully terrifying portrait of the evil underbellies of life

This May, Nitehawk Cinema in Brooklyn celebrates his oeuvre with Late Night Lynch. Every Friday and Saturday throughout the month, they’ll host a different midnight screening of a classic Lynch title; indeed, nearly all will be screened in 35mm for full effect. The weekend of May 18 also coincides with Lynch’s Festival of Disruption at Brooklyn Steel.

Kicking it off is Blue Velvet, in which a student discovers a sexually depraved subculture; next is Twin Peaks: Fire Walk with Me, the prequel to the cult series that follows the last week of Laura Palmer’s life; the following weekend is Lost Highway, the story of a jazz musician’s descent into madness; and wrapping it up is Eraserhead, in which a man experiences a living nightmare after the birth of his deformed child.

Get tickets now for Late Night Lynch at Nitehawk Cinema.

Charlie Plummer Talks Horses and Other Scene Partners in ‘Lean On Pete’

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With an understated intensity to his performances, actor Charlie Plummer knows how to hold an audience’s attention. He’s become a notably fierce young talent with his roles in King JackThe Dinner, and All the Money in the World. And at 18, he’s only just begun.

Most recently, he plays Charley Thompson in Andrew Haigh’s drama Lean On Pete. Based on the novel of the same name by Willy Vlautin, it follows young Charley after a family tragedy leaves him searching the modern American frontier for a new home. Along the way, he finds solace in an ensemble of unique characters (portrayed by Chloë Sevigny, Steve Buscemi, and Steve Zahn) and a retired racehorse named Lean On Pete. (Perhaps his most memorable costar happened to be Starsky, the horse.)

We recently spoke with Charlie ahead of the film’s release. As thoughtful as he is talented, he shared his experiences of working with veteran actors and passing a bit of their wisdom on to his own generation.


Andrew Haigh has such an incredible way of creating these human relationships in his films. What was it like working with him as a director?

I think with any other director, for a film like this, if there was someone who was aggressive or who yelled a lot or just wasn’t a patient person, I don’t think it would have turned out the way it did. Because it is such a delicate film, and especially for this character, such an intense and emotional journey. I think if you had a guy leading the way that was obnoxious or just wasn’t considerate of the people he was working with, it could have been a really awful experience. I just think Andrew was the perfect person to make this movie, with the way he approaches filmmaking and how confident he is in himself and the people he works with, and how he trusts his audience to be a part of the environment, as opposed to someone who manipulates the audience into feeling a certain way or seeing a thing in a certain way. I really think for this story, that’s just essential. So, I was so pleased he was the guy doing it.



What was it like working with these horses as scene partners, both in the physical and emotional sense?

I had the best time. At first, I was nervous about working with an animal, especially on something that was so important to me that I really did want to make sure was truthful. And I think there’s always that concern of if a horse is acting up or if he’s hard to manage, that it would really have an effect on the scene. I think I was really surprised when I was doing some of those scenes where it was the two of us in the middle of nowhere, how cooperative he was, but also in Starsky, who plays Pete, how helpful he was for me. Because in a sense, there’s that element of danger like he could just run off at any moment or get scared and kick you in the face or step on your foot, but at the same time, he also is giving you new things every single time. As an actor, that’s all I could hope for with any of my cast, especially him being a horse. (LAUGHS) But I had a great time.

Charley has an absentee mother in the movie. Would you say there was kind of a maternal quality to Chloë Sevigny’s character, as brief as their interaction may be?

I think so. And I think that a lot of the women that come into his life have that impact on him. I think that’s why his aunt is such a fixture throughout this story. There’s even a line Steve (Buscemi) has where he’s like, “You don’t see that a lot. A boy really needs his mother.” Something like that. I just think, especially for Charley, that definitely is an insecurity and something that is quite touchy. It does really affect who he is and what he does and why. I think certainly, when he meets Chloë’s character, she’s not the gentlest person, but I think she does really care about him. Even that alone is so meaningful to Charley. So, I certainly think there’s a bit of that maternal element.

You’ve worked with Steve Buscemi before. What was it like reuniting with him?

Yea, I mean I kind of worked with him before. But that was just me basically being a set piece and watching him work, which was great. And I really do treasure that experience but when I worked with him, I was only 12, so I wasn’t really having any deep conversations with him. I think getting to actually work with him and talk about filmmaking and seeing what kind of creative person he is and his experiences working with certain directors and directing himself – and same goes with Chloë and Steve Zahn – I just have so much respect for all those people, to just be around them and see how they work and pick up on the little details. That was really valuable to me.



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You have a unique perspective of the #MeToo movement, having worked on All the Money in the World. What was it like to see that accountability that Hollywood is taking?

I think it’s essential. It’s very needed to have balance. So much of it is about opportunity, I think, opportunity for people to feel comfortable enough to share their stories and opportunity for people to be able to tell stories. We’ve seen just this year, when people get those opportunities, what they’re going to do with them. And I think that is just so important that really everyone has equal opportunity to do that. That’s my spin on it.

You’re part of a very empowered generation of young people. How does it feel to have this platform as an actor?

I think it can be a huge benefit in a lot of ways. Whenever anyone is listening to what you’re saying, you hope that what you’re saying is meaningful and you connect with a lot of people. I hope that any film that I’m a part of and that my name is on in any way, can have a positive effect on people and connect with people. And I know there’s only so much I can do in my own life. But I hope to use any platform I have in that way and to talk about things that I’m passionate about and things I think need to be talked about. At the same time, I’m all for really focusing on my work, especially now. Because I’m really fortunate that I’m getting opportunities to work and really making the most of everything. I also acknowledge that I am so young, and I have so much to learn from the people that have been doing it for decades and decades.

Lean On Pete is now in select theaters. Watch the trailer below.


Timotheé Chalamet Sells Pot and Falls in Love in ‘Hot Summer Nights’ Trailer

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It’s safe to say that 2017 was the year of Timotheé Chalamet. With his star-making roles in Call Me by Your Name and Lady Bird, he quickly became one of our favorite young actors to watch. The Oscar nom didn’t hurt either.

So, we’ve obviously been on the edge of our seats for his next role.

And in the upcoming Hot Summer Nights, Chalamet will deliver another nostalgic coming-of-age story. This time, he plays Daniel, a teenager sent to stay with his aunt in Cape Cod for one hot summer. After a chance encounter with a local drug dealer named Hunter (Alex Roe), they go into business together, and Daniel finds he has a knack for this industry. Throughout the season, he makes cash, flirts with Hunter’s sister McKayla (Maika Monroe) and falls into a dark web of shady characters.

Hot Summer Nights premieres July 27. Watch the trailer below.


10 Neo-Noir Films That Should Be Essential Viewing

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In the recently released Gemini, a young personal assistant (Lola Kirke) to a high profile actress (Zoe Kravitz) becomes the prime suspect when her boss is the victim of a heinous crime. In order to clear her name, she searches LA for answers to the mystery. Written and directed by Aaron Katz, this mystery thriller is the next great addition to the modern classic neo-noir genre.

Since originating in crime movies of the ’40s and ’50s, the style has evolved to become a aestheticized cinematic experience. Considering films like Gemini and the upcoming Under the Silver Lake, starring Andrew Garfield and Riley Keough, neo-noir continues to darken our screens with seductive screenwriting and visually striking directorial work.

Be sure to brush up on these essential neo-noir titles.


Chinatown (1974)

When LA private eye JJ Gittes (Jack Nicholson) is hired by a mysterious woman named Evelyn Mulwray to investigate her husband, he soon realizes she’s an imposter. Upon meeting the real Mrs. Mulwray (Faye Dunaway) and the death of her husband, he begins to unravel a web of deceit, corruption, and family secrets.



Blade Runner (1982)

Harrison Ford stars in one of his most iconic roles as Deckard, a futuristic hunter assigned with eliminating four escaped replicants. But before embarking on his mission, he falls in love with a replicant girl named Rachel (Sean Young).



The Grifters (1990)

Lily Dillon (Anjelica Huston) is a swindler for a dangerous bookie. Arriving in Los Angeles, she reunites with her son, Roy (John Cusack), a small-time con artist. His girlfriend, Myra (Annette Bening), is a grifter with her eyes set on a big con, which brings the three together for the job.



Pulp Fiction (1994)

Quentin Tarantino’s most iconic film comes in the form of three intertwining stories of a couple of hitmen (John Travolta and Samuel L Jackson), a gangster’s wife (Uma Thurman), and a boxer (Bruce Willis) on the run after refusing to throw a match.



LA Confidential (1997)

Guy Pearce plays Detective Lieutenant Edmund J Exley, a man hellbent on avenging his father’s death, driving him to solve a murder surrounded by corruption in Downtown LA during the early ’50s.



The Big Lebowski (1998)

When Jeff “The Dude” Lebowski (Jeff Bridges), a laidback burnout is roughed up by loan sharks, he discovers he shares a name with a millionaire whose wife owes money to some dangerous people. When she goes missing, the Dude falls into the dark underbelly of Los Angeles.



Mulholland Drive (2001)

David Lynch’s dark cinematic achievement remains one of the genre’s most riveting achievements. When a dark-haired woman (Laura Elena Harring) wakes up with no memory of who she is, Midwestern transplant Betty (Naomi Watts) helps her figure out her true identity.


Kiss Kiss Bang Bang 

After accidentally landing in Hollywood, small-time crook-turned-actor Harry Lockhart (Robert Downey Jr) ends up entangled in a murderous conspiracy with his childhood sweetheart Harmony Lane (Michelle Monaghan) and private eye, Perry van Shrike (Val Kilmer).



Drive (2011)

Ryan Gosling stars as Driver, a Hollywood stuntman who moonlights as a getaway driver for criminals. When his neighbor’s (Carey Mulligan) husband gets out of jail, he enlists Driver’s help for a million-dollar heist with some dangerous characters.



Nightcrawler (2014)

Jake Gyllenhaal gives an eerie performance as Louis Bloom, a petty thief who stumbles into a new career, filming crime scenes for a local news station. After striking up a relationship with the news director (Rene Russo) hungry for ratings, he goes to unsettling lengths to capture the “money shot.”


Joshua Leonard Takes On the Unconventional Once Again in ‘Unsane’

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10Photo by Victoria Stevens


In the 20 years since Joshua Leonard has racked up such a lengthy list of credits, his first role in The Blair Witch Project remains arguably his most memorable. We recently spoke with him about his latest turn in Steven Soderbergh’s highly-acclaimed thriller Unsane, which also will likely scar audiences for life.

“Apologies for any lasting trauma,” he jokes.

In Unsane, Leonard plays David Strine, a mentally unstable man with an obsession for a young woman named Sawyer Valentini (Claire Foy) that drives her to relocate to another city. But when a visit to her new therapist leads her to become involuntarily committed to a mental health facility, she discovers her stalker is posing as a member of the staff. As he continues to manipulate her in her most vulnerable state, her very sanity comes into question.



Such a dark role required Leonard to approach his portrayal with an open mind. Succumbing to the character’s obsessive instincts, he gives a gripping performance that compliments the film’s gritty aesthetic.

“David is not a particularly happy or socially adjusted fellow,” he says. “When we actually had to do a scene, I had to just push out of my mind any potential judgment I had for the character, or the fact that I never wanted my wife or my daughter to see me in this role (laughs). As anyone who’s ever played a movie villain will tell you, it’s a futile task to try to play somebody as evil. Because mustache twirling is just not that interesting at the end of the day.”

With Soderbergh’s direction, the film achieves an unnerving sense of hopelessness. As the protagonist seems to be falling deeper into her perceived madness, it becomes an unusual hostage situation. And in shooting the film entirely on an iPhone, Soderbergh captures the dark tone of the film in an unconventional way.

“He was kind of in that first wave of filmmakers who inspired me and made me wanna do what I do with my life, going back to Sex, Lies, and Videotape and Schizopolis,” Leonard says of Soderbergh. “It’s really mind-blowing, the breadth of his work over the last 25 plus years. He’s one of those filmmakers who’s never stopped experimenting, which is what I think keeps somebody alive and relevant as an artist.”



The parallels of unconventional filmmaking between Unsane and The Blair Witch Project are not lost on Leonard. Having starred in the latter at the dawn of his career, he’s seen its impact on Hollywood, sparking the found footage sub-genre that seems to have dominated horror since.

“The power of the iPhone versus even the best digital camera on the market in 1997 when we made Blair Witch is just beyond comparison,” he says. “So, I think with Unsane, there’s still the novelty of the fact that we made this movie on an iPhone, and not only that, but the fact that Steven Soderbergh made this movie on an iPhone. But if the filming wasn’t such a novelty at this point, I don’t think anybody would notice or give a shit.”

See Joshua Leonard in Unsane, now in theaters. Watch the trailer below.


CherryPick is the New Rotten Tomatoes from Women’s Perspectives

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Hollywood has taken its place at the forefront of the national discussion around sexism. With the #MeToo and #TimesUp movements gaining insurmountable traction, women both in front of and behind the camera have come forward with their own experiences of sexual assault in the industry. Meanwhile, Frances McDormand and others have drawn attention to the gender inequality with mentions of inclusion riders.

Joining the fight to curb systemic sexism in Hollywood, a new site gives women’s voices an unexpected platform. Since a recent study found that men make up more than 80% of the critics on Rotten Tomatoes, such bias encouraged filmmaker Miranda Bailey to launch CherryPicks, an online destination for film ratings and reviews by women.

“The name was part of the idea and it was about cherry-picking the female voice out,” Bailey told W. “I’ve read things online from men about how it has to do with virginity and I’m thinking, Oh my God. This is exactly what’s wrong with you f—ing people.”

Bailey hopes to use the site to elevate the voices female filmmakers. In addition to movies, the site will also review television, music, and video games. Criteria will include such factors as trigger warnings, objectification of women, cast/crew inclusivity, and whether the film passes the Bechdel Test.

CherryPicks launches this fall, ahead of awards season.