We all know the last time James Franco took a nap was during the 2011 Oscars, and in the time since, he has attempted to tackle just about every aspect of the arts world. So after premiering his documentary Interior. Leather Bar at Sundance this winter and the Faulkner adaptation As I Lay Dying at Cannes in May, we’ve now got a taste of his next feature that’s set to premiere at Venice and TIFF in the coming weeks. Franco’s Child of God, adapted from Cormac McCarthy’s third novel of the same title is:
Set in mountainous Sevier County, Tennessee in the 1960s, Child of God tells the story of Lester Ballard, a dispossessed, violent man whom the narrator describes as “a child of God much like yourself perhaps.” Ballard’s life is a disastrous attempt to exist outside the social order. Deprived of both his parents and a home, and with few other ties, Ballard descends to the level of a cave dweller, falling deeper into crime and degradation.
The film stars himself (of course), alongside Tim Blake Nelson, Jim Parrack, Scott Haze, and Jeremy Ambler. Take a look at the first teaser below.
James Franco does not stop. And would we want him to? No. Yes, fresh off premiering his two films, Kink and Interior. Leather Bar. at Sundance, signing on to star in the Jay Sebring biopic Beautiful People, and writing poems for President Obama, the master of multi-tasking has found a new project to keep him from sleeping at night. As if his plan to adapt William Faulkner’s classic, As I Lay Dying wasn’t enough, Franco is now planning on directing and starring in a cinematic take on James Ellroy’s novel, American Tabloid. According to the man himself, "It’s not all put together yet. It’s still early."
American Tabloid, which takes place between 1958 and 1963, tells the story of law enforcement officers Pete Bondurant, Kemper Boyd, and Ward Littell, who slowly get entangled with the CIA FBI, and the mafia, which winds up with their involvement in the JFK assassination. Written in 1995, there have been a number of other iterations of the works from Bruce Willis to Tom Hanks, but perhaps Franco is just the man to see the job through. These days it seems there’s nothing he won’t tackle and personally, I’m fully behind his ferocious pursuit to bite off all that he can chew.
Check out Franco talking about his upcoming projects and further word on American Tabloid.
James Franco, when not reciting poems about President Obama, can be found floating around Sundance promoting not two, but three films. There’s the BDSM documentary he produced, Kink, his role as Hugh Hefner in Rob Epstein’s Lovelace, and the divisive Interior. Leather bar. Co-directed with Travis Mathews, Leather Bar., attempts to recreate the lost 40 minutes of William Friedkin’s Cuising, the controversial 1980 film about a cop (played by Al Pacino) who goes undercover as gay leather enthusiast to apprehend a killer. The film premiered this weekend and this is what people are saying about it thus far:
But while Leather Bar will surely make some viewers itchy, its most compelling subject isn’t whether straight guys can stand to watch one man pleasuring another. More interesting is the question of what would make this project art as opposed to porn. Is it just the participation of a movie star? Is it heady intent? (The Hollywood Reporter)
Occasionally, we glimpse an evasive Franco sounding off about social norms. "Beautiful and attractive" is how he describes gay sex. His friend Lauren fires back, "You’re going to be in a Disney movie for Christsakes." Like many of his pet projects, it’s mercifully short (albeit, a drawn-out 60 minutes) and odd. (The Guardian)
"Interior. Leather Bar" visualizes the discourse its subjects struggle to put into words. Mathews says the project aims to help "inform choices," but mainly showcases choices that have already been made. Lauren voices the central issue plaguing the movie with the biggest question it leaves unresolved — whether the filmmakers intend to use the footage "to make a certain point or want it to be what it is." (Indiewire)
Interesting points, surely. But if you’d rather just hear what Franco and Mathwws has to say about it, check out the video from this weekend’s Sundance Q&A.
Personally, I love James Franco and will be supportive of all his peculiar and interesting endeavors until he gives me reason to do otherwise. And as usual, the man of too any hyphenates to list, has his hands working through a bit of everything around Hollywood. This morning saw the anticipated release of not one but two trailers for Spring Breakers, in which he stars as the bizarro rapper, gangster, lover Alien—cornrows, grill, guns, and all—going so far into his "hard" persona, you almost forget about his Harry Osborn days of yore.
And with Sundance kicking off tonight, we’ve talked about our anticipation for Interior. Leather bar., the film he co-directed with Travis Mathews that re-imagines the lost forty minutes of William Friedkin’s Cruising—but just one Franco-centric premiere at Sundance? Blasphemy! No, the festival will feature second documentary priemere from him, that too proves to take on a controversial sexual subject matter.
Premiering at the festival this Saturday night, the Franco-produced documentary, Kink, explores the Internet’s largest producer of BSDM content, Kink.com. The film looks to give insight into the inner workings of the production company and debunk the negative connotations associated with the BSDM lifestyle. Shot by Christina Voros, Franco’s long time cinematographer/contributor, it appears he will once again be pushing the envelope and diving into territory all his own.
Amidst the delirium of award season, the annual Sundance Film Festival creeps up every January to remind us each year that the scope of Hollywood is changing and being infiltrated with a host of new talent and emerging artists from around the world. The festival is a beacon for A-list talent as well as those new to the world of cinema who are getting their first premieres and chance at large-scale recognition. With an enormous slate of films, the festival will commence on Thursday and feature new work from those you already know and worship and those whose names are on the tip of our tongues.
Among the films being shown are sophomore efforts from writer/directors Zal Batmanglij, James Pondsoldt, and Shane Carruth, as well eagerly-awaited follow ups from Richard Linklater and Michael Winterbottom—to hint at the list. In the past few months, we’ve had a chance to see some of the films before their premieres, and it’s safe to say that this year looks to be a truly thrilling one as distributors latch onto films and prepare them to hit theaters later this year. So for those of you not heading to Park City this week, here’s a list of our most anticipated Sundance narrative features for you to get excited about.
Someone is attacking big corporate CEOs and forcing them to consume harmful products they manufacture. An elite private intelligence firm is called into action and contracts ex-FBI agent Sarah Moss to infiltrate a mysterious anarchist collective, The East, suspected to be responsible. Skilled, focused, and bent on success, Sarah goes undercover and dedicates herself to taking down the organization. She soon finds, however, that the closer she gets to the action, the more she sympathizes with the group’s charismatic leaders.
Kris is derailed from her life when she is drugged by a small-time thief. But something bigger is going on. She is unknowingly drawn into the life cycle of a presence that permeates the microscopic world, moving to nematodes, plant life, livestock, and back again. Along the way, she finds another being—a familiar, who is equally consumed by the larger force. The two search urgently for a place of safety within each other as they struggle to assemble the loose fragments of their wrecked lives.
David has it all figured out. His plan—more a Steinbeckian dream—is to spend his summer working on an apple farm in Oregon with his best friend, Jennifer. When she bails out on him, David is left to dirty his hands alone, watched over by Hobbs, the old farm owner and the first in a series of questionable mentors he encounters. First there’s Curly, the friendly forklift operator with a unique hobby, and then Jon, the born-again rock hound who helps David in a time of need. This first film adaptation of David Sedaris’s work tells the story of a prideful young man and what’s left of him after all he believes is chipped away piece by piece.
Sutter Keely lives in the now. It’s a good place for him. A high school senior, charming and self-possessed, he’s the life of the party, loves his job at a men’s clothing store, and has no plans for the future. A budding alcoholic, he’s never far from his supersized, whisky-fortified 7UP cup. But after being dumped by his girlfriend, Sutter gets drunk and wakes up on a lawn with Aimee Finicky hovering over him. Not a member of the cool crowd, she’s different: the “nice girl” who reads science fiction and doesn’t have a boyfriend. She does have dreams, while Sutter lives in a world of impressive self-delusion. And yet they’re drawn to each other.
What happens when a family’s delicate psychic balance suddenly unravels? Abby is a free-spirited massage therapist. Her brother, Paul, an emotional zombie, owns a flagging dental practice, where he enlists the assistance of his equally emotionally stunted daughter, Jenny. Suddenly, transformation touches everyone. Abby develops an uncontrollable aversion to bodily contact, which seriously hinders her chosen profession and the passionate love life she once shared with her boyfriend. Meanwhile, rumors of Paul’s “healing touch” begin to miraculously invigorate his practice. As Abby navigates through an identity crisis, her brother discovers a whole new side of himself.
The 1980 film Cruising, starring Al Pacino as an undercover cop investigating a murder in the New York City gay, leather, bar scene, was plagued with controversy, and its director was forced by the Motion Picture Association of America to cut 40 minutes of sexually explicit material. Those 40 minutes have never been screened publicly. Filmmakers James Franco and Travis Mathews set out to reimagine what might have transpired in those lost scenes in this intriguing film about the making of a film.
Bob Muldoon and Ruth Guthrie, an impassioned young outlaw couple on an extended crime spree, are finally apprehended by lawmen after a shootout in the Texas hills. Although Ruth wounds a local officer, Bob takes the blame. But four years later, Bob escapes from prison and sets out to find Ruth and their daughter, born during his incarceration.
While he is attending Columbia University in 1944, the young Allen Ginsberg’s life is turned upside down when he sets eyes on Lucien Carr, an impossibly cool and boyishly handsome classmate. Carr opens Ginsberg up to a bohemian world and introduces him to William Burroughs and Jack Kerouac. Repelled by rules and conformity in both life and literature, the four agree to tear down tradition and make something new, ultimately formulating the tenets of and giving birth to what became the Beat movement. On the outside, looking in, is David Kammerer, a man in his thirties desperately in love with Carr. When Kammerer is found dead, and Kerouac, Burroughs, and Carr are arrested in conjunction with the murder, the nascent artists’ lives change forever.
May has it all—a celebrated book, a sophisticated New York life, and a terrific fiancé to match. But when she heads to Amman, Jordan, to arrange her wedding, she lands in a bedlam of family chaos she thought she’d transcended long before. Her headstrong, born-again Christian mother so disapproves of her marrying a Muslim that she threatens to boycott the wedding. Her younger sisters lean on her like children, and her estranged father suddenly comes out of the woodwork. Meanwhile, doubts about her marriage surface, and May’s carefully structured life spins out of control.
At a high school for the visually impaired in Jakarta, Indonesia, the students are like any other teenagers: they attend classes, pursue artistic endeavors, and fall in love. The most privileged of the bunch, Diana, patiently awaits signs of womanhood and humors her mother’s attempts to mold her into the perfect girl. The beautiful Fitri has no shortage of male attention and enters into a passionate affair with, unbeknownst to her, a hearing-impaired punk rocker who is masquerading as a doctor. Meanwhile, Maya, blind since birth, aspires to be an actress and performer. Regardless of physical barriers, the students find ways to communicate and collaborate, enabling them to connect—with each other and to the outside world.
Jamie is a boorish, insensitive American twentysomething traveling in Chile, who somehow manages to create chaos at every turn. He and his friends are planning on taking a road trip north to experience a legendary shamanistic hallucinogen called the San Pedro cactus. In a fit of drunkenness at a wild party, Jamie invites an eccentric woman—a radical spirit named Crystal Fairy—to come along. What is meant to be a devil-may-care journey becomes a battle of wills as Jamie finds himself locking horns with his new traveling companion. But on a remote, pristine beach at the edge of the desert, the magic brew is finally imbibed, and the true adventure begins. Preconceived notions and judgments fall away, and the ragtag group breaks through to an authentic moment of truth.
When her parents die in a car accident, adolescent Bianca’s universe is upended. Staying alone in the family’s Rome apartment and entrusted with the care of her younger brother, Tomas, she struggles to hold things together as her place in her surreal new world becomes blurry. Life is further complicated when Tomas’s gym-rat friends invite themselves to stay indefinitely. Using Bianca as a lure for a heist they’ve concocted, they convince her to initiate a sexual relationship with enigmatic blind hermit Maciste, played by Rutger Hauer. But as the two spend time together, Bianca unexpectedly finds normalcy and acceptance in the aging B-movie star and former Mr. Universe’s rococo mansion.
Welcome to the scandalous world of Paul Raymond, entrepreneur, impresario, and the “king of Soho.” Seeing mediocrity in the smutty sex parlors of London, Raymond unveils his first “gentlemen’s club” in 1958 and gradually builds an empire of clubs and erotic magazines that brings him vast wealth while affronting British sexual mores. It also brings a litany of obscenity charges, a failed marriage, troubled children, and personal tragedy.
We meet Celine and Jesse nine years after their last rendezvous. Almost two decades have passed since their first encounter on a train bound for Vienna, and we now find them in their early forties in Greece. Before the clock strikes midnight, we will again become part of their story.
Obeying the last wish of his deceased mother, young American Charlie travels to Eastern Europe with no plans. He lands in a truly unknown place—wilder, weirder, and more foreign than he could have ever imagined. Committed to spontaneous, explosive, and instinctive acts, Charlie now finds himself pursuing an equally lost soul named Gabi, a mysterious Romanian woman unable to shake her dark, violent past.