Moviola Autumn Films Menu 2016 September October November December

Total Page:16

File Type:pdf, Size:1020Kb

Moviola Autumn Films Menu 2016 September October November December MOVIOLA AUTUMN FILMS MENU 2016 SEPTEMBER OCTOBER NOVEMBER DECEMBER CLOSING DATE : MONDAY AUGUST 15 IF YOU WISH TO HAVE A SEPTEMBER SHOW Here are no less than 34 films for you to consider for the Autumn 2016 season. Please take a minute to read through the Introductory comments before jumping into the films. Even if you are a seasoned Moviola Partner, please follow the booking instructions on the next page. It will help us process your requests more quickly and accurately. Our next season – Winter/Spring 2017 - starts on January Ist and ends on 30th April. A new menu for that season will be sent to you in the middle of November. Do not book films for after January 1st from this Menu. Phill Walkley Programme Director Moviola, June 28th 2016 HOW TO BOOK YOUR FILMS 1. Send an email to [email protected] as soon as possible and by Monday August 15th 2. State if it is a GOLD or SILVER booking 3. Put your venue name 4. List the dates and films you would like for September, October, November & December 5. Give me at least TWO spare films in case your first choices are not available (I will always consult you on any substitutions) NO NASTY SURPRISES (This is really important!) When you book your films from Moviola, I send you a Confirmation Form on which the level of charge for each film is clearly set out. You should read this carefully before replying to me that it is correct. The confirmation is our agreement to supply films for you for the season and we refer back to it in any case of a query on your invoice. It is also your licence to show the film and your proof for anyone who requests it that you have booked the film properly – so read it and keep it safe! VERY IMPORTANT NOTES Film Hire Charges Most films in this Menu have no minimum guarantee charge. This means you pay us 35% of your box office regardless of how many or how few tickets you sell. However, despite their quality certain films attract very few bookings across our network. We have to ensure that any minimum charges imposed upon us by film distributors are covered by the likely return from you and so these films do carry a small minimum charge. The 35% or £50 minimum both include VAT. Also, please note that we may have to amend the pricing stated on your film confirmation in the light of the total number of requests we have in for a film at the close of the booking period. I will of course write to inform you of any changes to film hire price and you have the option to change your film if you do not wish to pay the new hire charge. If you wish to book a film NOT on the Menu, this will be a special one-off booking for you and will be charged the minimum guarantee levied by the film distributor (usually in a range from £85 to £120) or 35%, whichever is the larger. VAT is charged on these special bookings. Children’s/”Family” Films Attracting sufficient audience to make such films financially viable is very difficult. Young people want to see films immediately on release and at lowest possible cost. These films are also available to show only when they are on sale to the public. This audience is much more likely than our usual audience to download films from the internet and to buy them on DVD. So, a word of caution that across our Moviola network, venues have found audiences for ‘children’s and family films’ difficult to attract. Help us stamp out Film piracy… All films shown to the public have to pay a licence fee whether or not any ticket price is charged. As a Moviola venue, you operate commercial film shows in exactly the same way as your local multiplex or full time cinema. You advertise shows and sell tickets and the London film distributors expect a proportion of your sales as film hire. If you find any venue near you which claims to be operating in a different way – for example advertising “free” shows or telling you that they get their films cheaper – we would like to know. It is in all our interests to ensure that shows are properly licenced. PROGRAMMING GUIDE This menu goes forward until the end of December. I have therefore included a number of new films which have not yet been released in the UK. As a result, release dates are bound to be approximate in some cases. They are based on our experience of release patterns over nearly 20 years of doing this work. Dates for film release can change almost on a daily basis and seemingly at the whim of London distributors. Therefore, when I book your films for you and put them on your confirmation, please accept that there may need to be changes because of decisions entirely out of our control. Of course, belonging to MOVIOLA means that we pass on to you the most up to date information we can – and if there have to be changes to the order of your films, then I will give you the maximum notice I can. When I select films to recommend to you, I do so on the basis that every film has some merit or quality. I know how precious our film screening slots are so films always have to be worthy of inclusion. Try to form your own judgement about films and not be too coloured by comments from critics or on line comments by members of the public. You should never choose the films YOU want to see but the ones that will appeal to your ‘customers’, taking the chance where you can to expand their experience and introduce them to the work of new film makers and films from around the world. There are some pretty obvious ‘leaders’ this time in terms of popular appeal. However I would urge you to look at some of the other less well- known films because there are some absolute gems there. For example all the foreign language films: From the superb “Dheepan” to the moving Spanish drama “Ma Ma” (with the glorious Penelope Cruz), to the blasphemous hilarity of “The Brand New Testament” , to the sharp French humour of “The Student and Mister Henri” to the tour-de-force film-making of “Victoria”. There’s a fascinating (but unknown to us) true story in “Elvis and Nixon”, a definitive biography of one of the screen immortals Ingrid Bergman, and the moving story of a dancer determined to be himself despite the regime under which he was born in “Desert Dancer”. And on the big hitter list, do not miss the amazing story that is “The 33” , the story of Jesse Owens in “Race” and a wonderful chance to enjoy the talent of Slumdog Millionaire/Marigold Hotel’s Dev Patel in “The Man Who Knew Infinity”. I don’t know how you are going to begin to distil such cinematic wonders into (maybe at best) your four choices for the autumn. The obvious answer is to show more films and give your loyal audience a chance to stretch their wings – and enjoy even more. I think you would be very surprised at the response if you did! I do hope you approve of the Menu and enjoy reading the notes and watching the accompanying DVD. NEW FILMS – THE BIG HITTERS This is our selection of films which are likely to have a wide appeal. ABSOLUTELY FABULOUS – THE MOVIE (12A tbc) 100 mins tbc Comedy Cinema release 1 July Public sale likely 7 November Possible to book from 15th November 25 Years on, so a lot older and fatter. No reviews to go on yet but from the trailer it seems to be some of the best gags from of old with some new celebrity names such as Kate Moss and Stella McCartney. May be nice to see the “old” faces again – but a lot of the attraction will depend on how much you loved the original. CAFÉ SOCIETY (12A tbc) 94 mins Comedy/Light Drama Cinema release 2 September Public sale likely January 2017 Possible to book from 5th December Woody Allen’s latest which was selected to open this year’s Cannes Film Festival. A gentle and thoughtful examination of love. Jesse Eisenberg, best known for his portrayal of Mark Zuckerberg in The Social Network, plays Bobby, a young New Yorker who heads out to Hollywood in search of an exciting future. He falls for Vonnie (Kristin Stewart of Twilight fame), the secretary of his Uncle Phil (Steve Carell), a successful producer, and is soon confronted with the fact that she has a mysterious lover. The resulting confusion is worthy of Allen's mentor, Anton Chekhov. Set in the 1930s, with much excellent period detail, the film is being hailed as Allen’s most enjoyable for years. EDDIE THE EAGLE (PG) 102 mins Comedy Cinema release 1 April Public sale 8th August Possible to book from 1st September “A feel-good, crowd-pleasing triumph that deserves to find the widest possible audience, this terrific underdog tale based on the astonishing sporting exploits of Eddie “The Eagle” Edwards has that touch of The Full Monty/Billy Elliot Brit-crafted magic, with dashes of Ealing comedy thrown in. Combined with a star-making turn from Taron Egerton, as the Cheltenham plasterer’s son, and adroit direction by Dexter Fletcher, the undeniable power and emotional richness of the entire endeavour makes for a captivating success.” Based on the 1980s real life story of Britain’s hopeless but courageous ski-jumper and with a superb performance from Taron Egerton in the lead.
Recommended publications
  • About the Production
    Alliance Communications presents a Redeemable Features Production a film by everyone who worked on it 94 Minutes Rated PG-13 A Redeemable Features Release Press Contact: Jeremy Walker Jeremy Walker Associates (212) 595-6161 Page 2 SYNOPSIS "All I Wanna Do" is a comedy about a closely-knit group of friends set at a traditional New England all-girls boarding school in 1963. But at its core, "All I Wanna Do" is also the story of young women who recognize their own value and potential when their all- female sanctuary becomes threatened by the specter of men. The film was written and directed by Sarah Kernochan, an established screenwriter making her feature directorial debut. For Odie (Gaby Hoffmann), a pretty but moody teenager, being sent to Miss Godard's Prep School for Girls midway through the year is a little bit like being sent to prison. Miss Godard's has all kinds of rules, and a lot is expected of the girls there. But Odie soon discovers that the girls at Miss Godard's also have a lot of fun, and most important, the school is something of a haven where girls can behave, well, just like girls since there are no boys in sight. After a tour of the campus guided by Abby (Rachael Leigh Cook), an uptight, brown- nosing "monitor" on the Self-Government Committee, Odie just wants to cry. But things start looking up when Odie meets her new roommates, Verena (Kirsten Dunst) and Tinka (Monica Keena). Verena is a schemer who likes to break the rules.
    [Show full text]
  • "/Title/Tt3702160/": {"Director": [["Kimberly Jessy"]], "Plot": ["\Nbeautiful D Anger Is an Animated 3D Made for TV/Short Film
    {"/title/tt3702160/": {"director": [["Kimberly Jessy"]], "plot": ["\nBeautiful D anger is an Animated 3D Made for TV/Short Film. It's a Thriller that combines, M TV's Teen Wolf, Pretty Little Liars, Gossip Girl, Sorcery, Twilight, in one film , Epic fight scenes, No-one is who you think they are, Alternate Universes, Teen Young Adult Action Good Verses Evil, flick with tons of Cliff Hangers! It takes place In Dark Oak, CA were the typical mean girl with magical powers tries to t ake over the school with her mean girl clique. Brooke Charles Takes on Kimberly Jesika and her good girl team. Death Becomes Brook cause she keeps coming back, Think Katherine Vampire Diaries. Kimberly has magical powers and so does her cla n. It's a match to the death. No one is who they seem or who they appear to be! Excitement and sitting on the edge of your seat. Written by\nKimb erly Jessy "], "imdb_rating": [], "mpaa_rating": [], "poster_link": [], "stars": [["Kimberly Jessy"], ["Helena Evans"], ["Chloe Benoit"]], "title": "Beautiful D anger 3D Animated Teen Thriller", "genre": [[" Animation"]], "release_date": [], "writer": [["Kimberly Jesika"], ["Doll Face Animated Films"]]}, "/title/tt25692 02/": {"director": [["Emily Gossett"]], "plot": ["\nThe last year of high school has been barely tolerable for Maggie Masters. After being dumped by her three y ear relationship with Chad, to be traded in for a football dream at UF, she has to succumb to her mother leaving for a better life. Maggie is left to pick up th e remains of her fragmented life. When fate intervenes by the touch from the mys terious and handsome Caleb Jacobson, whom she saves, leaves Maggie breathless, s tartled and captivated.
    [Show full text]
  • Underaged Fundamentalists Patricio Amerena
    Underaged Fundamentalists Patricio Amerena Independent Study Final Project Professor: Kristie Hamilton They say we are of evolution, they say we are relatives of the monkey, they say we are nothing! [...] a few men, liars, know-it-alls, creators of fallacies! [long applause] I want to tell all those persons who are thinking like this, or who are speaking like this... that the male monkey and the female monkey produce little monkeys to this day! [...] I was not brought here by the stork, I am not from evolution! [...] I was created by God in my mother’s womb! Nezareth Casti Rey Castillo Valderrama His slicked black hair glistens as his finger points towards the heavens and his business coat droops, noticeably large for him as he pounces about the stage à la Freddy Mercury, delivering his penetrating speech in a voice that is as self-assured as it is shrill. The megachurch is located in San Juan, Puerto Rico, yet this Peruvian six-year- old’s career had, as family legend maintained, already occupied half of his life. I stared into the computer screen and translated for my amused college roommates what this YouTube sensation was screeching, yet I grimaced internally upon recollecting that I had once regurgitated a variation of Nezareth’s arguments to refute evolutionary theory (or rather a childish misunderstanding of it) when I was about that age. Exposure to this viral phenomenon was my earliest glimpse into the grotesque world of child evangelism. Originally a euphemism for “fundamentalists”, the Evangelists or Evangelical Christians eventually adopted “Born-Again” as their moniker, and among their ranks are counted a staggering number of U.S.
    [Show full text]
  • A Travel Writer in Brazil
    Striving for Honesty: A Travel Writer in Brazil Frances Bryson Department of English and Creative Writing University of Adelaide Thesis submitted as a Major Work (Volume One) and Exegesis (Volume Two) for the degree of Doctor of Philosophy in English and Creative Writing, School of Humanities, University of Adelaide, December 2016. Table of Contents: Striving for Honesty: A Travel Writer in Brazil (PhD Thesis in two volumes) Volume One Table of Contents (overall thesis) ii Table of Contents (volume one) iv Abstract vi Candidate Statement viii Acknowledgements ix Major Work: ‘In Good Faith’ Prologue 1 The North and the Northeast 15 The Central West 89 The Southeast 145 Back to the North and the Northeast 187 ii Epilogue 251 References 258 Volume Two Table of Contents (volume two) ii Abstract iv Candidate Statement vi Acknowledgements vii Exegesis: Playing God: The Travel Book and its Potential to (Re)design the World Introduction 1 Chapter One: Categories and Clues: Sending the (Right) Message 7 Chapter Two: Fictions, Fabrications and Lies: Exceptions to the Promise 23 Chapter Three: Flying the Flag: Sending (mixed) Messages 39 Chapter Four: Bruce Chatwin: Legitimate Creativity or (Re)designing the 53 World? In Conclusion 71 Works Cited 73 iii Table of Contents Volume One: Major Work In Good Faith Table of Contents: Striving for Honesty: A Travel Writer in Brazil ........................................ ii Table of Contents .....................................................................................................................
    [Show full text]
  • Golden Glow Hollywood
    YOlUMf 14 - ~IRST QUARHR 2002 ca e QUARTERLY REP Oscar brings a golden glow ba(~ to Hollywood Starts on Page 12 FRO M THE PRESIDENT We're taking the Academy Report, this periodic newsletter for members, in a new direction with this issue. We're going to publish four quarterly issues that will concentrate on providing a historical record of the Academy's activities during each quarter, and which, taken together, will constitute a calendar year annual report. Each first-quarter report will include a complete review of the annual Academy Award activities; the second quarter's will highlight the Student Academy Awards; the third will feature board elections and the financial reports from the end of the fi scal year, June 30; LAST YEAR, THE ENTRANCE TO THE we'll hear about the Nicholl Fellowship presentations PLAYERS DIRECTORY'S NEW OFFICES AT and updates in board committees and Academy staff in 1313 VINE STREET LOOKED LIKE THIS. the fourth quarter and, of course, each issue will include reports on the myriad public and educational activities The Academy Players Directory, the that take place year-round at the Academy as well as any additional information of interest to the membership. casting bible of the industry since its We'll try to include each event and we'll try to continue to be photo-intensive, because that is what inception in 1937, moved its offices in you've seemed to enjoy in the past. But we won't be very January from the headquarters building timely. We're not a newspaper and we don't have the staff or other resources to turn this thing around quickly.
    [Show full text]
  • Drag Queens and Farting Preachers: American Televangelism, Participatory Media, and Unfaithful Fandoms
    Drag Queens and Farting Preachers: American Televangelism, Participatory Media, and Unfaithful Fandoms by Denis J. Bekkering A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in Religious Studies Waterloo, Ontario, Canada, 2015 © Denis J. Bekkering 2015 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract Studies of religion and fandom have generally considered sincere devotion a fundamental point of contact between the two cultural phenomena, an assumption not reflected in fan studies proper. This dissertation aims to expand the scope of research on religion and fandom by offering cultural histories of “unfaithful” fan followings of three controversial American televangelists – Robert Tilton, Tammy Faye Bakker/Messner, and Jim Bakker – dating from the 1980s to 2012, and consisting of individuals amused by, rather than religiously affiliated with, their chosen television preachers. It is argued that through their ironic, parodic, and satirical play with celebrity preachers widely believed to be religious fakes, these unfaithful fans have engaged in religious work related to personal and public negotiations of authentic Christianity. Additionally, it is demonstrated that through their activities, and in particular through their media practices, these fans have impacted the brands and mainstream representations of certain televangelists, and have provoked ministry responses including dismissal, accommodation, and counteraction. iii Acknowledgements Family comes first. My wife Erica is the main reason that this project has been completed.
    [Show full text]
  • March 1, 2019 NEW YORK “​CURRICULUM
    https://www.artforum.com/picks/curriculum-spaces-of-learning-and-unlearning-78807 March 1, 2019 NEW YORK “CURRICULUM: spaces of learning and unlearning” ​ EFA Project Space 323 West 39th Street 2nd Floor January 16-March 16 Sarah Zapata, To Teach or Assume Authority, ​ ​ 2018–19, natural and synthetic fibers, pine, dimensions variable. Self-care is not what it used to be. Before it was a neoliberal mantra, it was a demand—for the recuperative space and time necessary for the reclamation of those subjectivities that have historically been erased. Mining affects such as color, atmosphere, and ritual, the works in “CURRICULUM: spaces of learning and unlearning” offer alternative networks of care and collectivity in response to, and in place of, institutions. Christen Clifford’s sculpture WE ARE ALL PINK INSIDE: Interiors, 2018, resembles a halved tent. Its ​ ​ ​ soft-pink video projections of corporeal interiors and smooth surfaces offer fleeting respite. Those who crawl inside might feel momentarily secure, but they remain exposed—to the rest of the gallery, yes, but also to themselves, as their reflections are distorted in the work’s Plexiglas sheets. Sarah Zapata’s ​ ​ shaggy, handwoven monument, To Teach or Assume Authority, 2018–19, looks like an edifice overtaken ​ ​ by Technicolor moss. It invokes ancient Peruvian ceremonial architecture and engages with ideas surrounding collective making, feminized labor, and precolonial spirituality. Lukaza Branfman-Verissimo’s Altar Objects, 2017, an arrangement of items including candles, dice, and ​ ​ ​ a stack of manifestos, is a shrine to the joy and salubriousness of the color yellow, which, for the artist, also conjures a brightness capable of blotting out the murkier aspects of structural violence.
    [Show full text]
  • TRASUNTOS-DE-CINE.Pdf
    1 Directorio Miguel Márquez Marquez Sarah Hoch Gobernador Fundadora y Directora Ejecutiva ESTADO DE GUANAJUATO FESTIVAL INTERNACIONAL DE CINE GUANAJUATO Fernando Olivera Rocha Ernesto Herrera Secretario Co Fundador SECRETARÍA DE DESARROLLO DIRECTOR GENERAL DE IMAGEN Y PROMOCIÓN TURÍSTICO FESTIVAL INTERNACIONAL DE CINE GUANAJUATO Presidente FUNDACIÓN EXPRESIÓN EN CORTO A.C. Jesús Herrera Luz Adriana Pérez Martínez Diseño Editorial zonagrafca.com.mx Créditos fotográfcos: Las imágenes que acompañan el texto son fotogramas y afches que pertenecen y distribuyen las casas productoras para su difusión en me- dios y publicaciones especializadas. Foto portada: Manhattan, Woody Allen. Imprenta Coloristas y Asociados León, Gto., México Julio 2013 Tiraje 1000 ejemplares 2 Indice Epígrafes 5 Derrota/Masacre 82 Reconocimientos 6 Doctor Insólito 84 Introducción 7 Éxodo 88 El Abigeo 8 Fargo 90 Adiós a las armas 12 El francotirador 94 Agenda Oculta 14 Fuegos artifciales/Flores de fuego 98 El Albergue Español 18 El hechizo del halcón 100 Alta fdelidad 22 Historia de una mujer 104 El Asesino del taladro 26 ¡Hola, mamá! 106 Atrévete a amar 28 La hora fnal 110 Ave del paraíso 30 Humos del vecino 112 La aventura es la aventura 34 El Jorobado de Nuestra Señora 116 Banquete de bodas 36 Kalifornia 120 La Biblia de neón 38 El knack…y cómo lograrlo 122 Bienvenido/Welcome 2 40 Lenny 126 Boda Real 42 Madeinusa 130 Bugsy 46 Mala mujer 132 El camino del samurái 50 Las mantenidas sin sueño 136 Camino sin retorno 54 La boda de María Braun 138 Carrington 56 Mujeres apasionadas
    [Show full text]
  • AFF 2009 Katalog
    Poďakovanie • Acknowledgements Ďakujeme • Special thanks to Slovenský filmový ústav Eva Zaoralová, Karlovy Vary IFF Markéta Okezz, Atypfilm Slovak Film Institute Jan Harlan Zdeňka Barcalová, Vapet Production Radovan Holub Evelyna Koublová, Vapet Production Rudolf Biermann, InFilm Praha Jarmila Outratová, OutCome Ivan Lacho, Intersonic Orlow Seunke, ECCO Films Indonesia Slovenská filmová a televízna akadémia Michal Drobný, Continental Film Joko Anwar, Life Like Pictures Slovak Film and Television Academy Ivan Hronec, SPI International Geraldine Higgins, Hollywood Classics Ivan Sollár, Tatrafilm Nicholas Varley, Park Circus Dana Freyerová, Intersonic Sarah Hack, Magnolia Pictures Taliansky kultúrny inštitút v Bratislave Dana Pfeiferová, Tatarafilm Jack Stevenson Istituto Italiano di Cultura di Bratislava Zuzana Mistriková, Miro Janura, AVI Studio Slovenská filmová a televízna akadémia/ Cory McAbee Slovak Film and Television Academy Gunnar Almer, Swedish Film Institute Peter Dubecký, Andrew Youdell, British Film Institute Ministerstvo obrany Slovenskej republiky Slovenský filmový ústav/Slovak Film Institute Thilde Kallerup, Danish Film Institute The Ministry of Defence of the Slovak Republic Alexandra Strelková, Eduard Ferrer, Cooper Film Slovenský filmový ústav/Slovak Film Institute Laurence Berbon, Tamasa Distribution Hana Válková, Nicki Adams, Warner Bros. Intersonic Slovenský filmový ústav/Slovak Film Institute Helena Dametka, Filmoteka Narodowa Silvia Dubecká, Asociácia slovenských filmových Saadia Karim, MK2 klubov/Association of Slovak
    [Show full text]
  • Suspense Magazine February 2012/Vol
    Suspense, Mystery, Horror and Thriller Fiction February 2012 Exclusive Interviews with Robin Cook Lisa Gardner Jamie Freveletti Lisa Unger Darynda Jones Sarah Kernochan Debut Author KirA PeiKoff Is "LIvIng Proof" Contributor highlight: Amy lignor & Many more SurpriSeS inSide The new thriller from the author of Final Price C r e di t s John Raab From the editor President & Chairman Shannon Raab I’m calling 2012 the year of the unknown. The Creative Director reason is because I don’t know—and really nobody Romaine Reeves else does—what is going to happen with the state of CFO publishing. The volatility of publishing in the last Starr Gardinier Reina eighteen months has been nothing short of a roller Executive Editor coaster, and with the news that Barnes & Noble is in trouble, we are in a black hole. Since you can Terri Ann Armstrong Executive Editor go on a hundred different websites and listen to a hundred different opinions on the subject, let’s J.S. Chancellor talk about something else, and that is independent Associate Editor bookstores. Jim Thomsen If you have not noticed, the small bookseller is making a comeback and this is Copy Editor exciting. I’ve mentioned before, while I love the idea of getting my music with the click Contributors of a mouse on Amazon.com and the ability to buy my books that way, there is still a hole Donald Allen Kirch that just can’t be filled by letting a computer give you recommendations. Again, I’m in Mark P. Sadler favor of e-books, but I also know that printed books will never go away and that is a great Susan Santangelo DJ Weaver thing.
    [Show full text]
  • Learning to Drive
    LEARNING TO DRIVE Von Isabel Coixet Mit Patricia Clarkson, Ben Kingsley 90 Minuten, Englisch, USA, 2013 Verleih: Praesens-Film AG Münchhaldenstrasse 10 Postfach 919 CH-8034 Zürich Tel.: 044 422 38 32 Pressebetreuung: Anna-Katharina Straumann [email protected] SYNOPSIS Wendy (Patricia Clarkson), eine viel beschäftigte Literaturkritikerin aus Manhattan, fällt aus allen Wolken, als Ted (Jake Weber) ihr nach 21 Jahren das Aus ihrer Ehe verkündet. Bislang liess sich Wendy von ihrem Mann überall hinchauffieren. Auf einmal sieht sie sich gezwungen, sich selbst hinters Steuer zu setzen. Nur fehlt ihr der Führerschein. So fragt sie den Sikh Darwan (Ben Kingsley), Taxi-Chauffeur am Abend, Fahrlehrer am Tag, ob er ihr das Autofahren beibringt. Während Wendy lernt, sich alleine durch die Strassen New Yorks - und durch ihr neues Leben - zu steuern, entwickelt sich eine innere Verbundenheit zwischen den beiden, die über kulturelle Grenzen hinwegsieht und die ihre Gefühle in ungeahnte Bahnen lenkt. Basierend auf einem Kurzessay, verwandelt Regisseurin Isabel Coixet (ELEGY) die Geschichte in eine augenzwinkernde Romantic Comedy mit einem Twist über kleinere und grössere Krisen und deren Bewältigung sowie über eine aussergewöhnliche Freundschaft. DIRECTOR STATEMENT I first became involved with Learning to Drive when I was shooting Elegy with Patricia Clarkson and Ben Kingsley, 8 years ago! Patricia gave me the script and I was completely fascinated by it and it moved me very deeply. At that moment I was going through a separation with my daughter's father and I didn't have a driver’s license. The script gave me the strength to move forward and the push I needed to learn to drive.
    [Show full text]