DOCSLIB.ORG

Vanguarde Artists Management Client Roster

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vanguarde Artists Management Client Roster DAVID HACKL PRODUCTION DESIGNER “SAW IV” – 2007 (Feature) Director: Darren Bousman Exec. Producers: Dan Heffner Producers: Mark Burg, Oren Koules Production Co: Lions Gate Films, Evolution Entertainment “OUTLANDER” – 2006 (Feature) Director: Howard McCain Exec. Producers: Dirk Blackman, Andrea Grosch Producers: Don Carmody, Kia Jam Production Co: Miramax “SAW III” – 2006 (Feature) Production Designer and 2nd Unit Director Director: Darren Bousman Exec. Producers: Dan Heffner Producers: Mark Burg, Oren Koules Production Co: Lions Gate Films, Evolution Entertainment “SKINWALKERS” – 2005 (Feature) Director: Jim Isaac Exec. Producer: Robert Kulzer, Brian Gilbert Producer: Don Carmody, Dennis Berardi Production Co: Constantine Films "SAW II" – 2005 (Feature) Director: Darren Bousman Exec.Producer: Greg Hoffman Co. Producer: Dan Heffner Production Co.: Lions Gate Films, Evolution Entertainment "THE RIVERMAN" – 2004 (TV Movie) Director: Bill Eagles Exec.Producer: Hawk Koch Producer: Greg Copeland Production Co.: Fox Television - A&E Nova Scotia for Seattle, Florida, Circa 70's, 80's "THE GRID" – 2003 (TV Mini Series) Director: Mikael Salomon Exec.Producer: Tracey Alexander, Brian Eastman, Christopher Neame Producer: Mitch Engel Production Co.: Fox Television Network-BBC Toronto for Washington DC, New York, Yemmen "REDEMPTION: The Stan Tookie Williams Story" – 2003 (Biopic) Director: Vondie Curtis-Hall Exec.Producer: Rudy Langlais, Van Spurgeon, Marcus King, Jaime Rucker King, Jon Katzman Producer: Sue Bugden, Eva Garofalo Production Co.: Fox Television Network- F/X Network Toronto for L.A. & San Quentin Circa 60's, 70's, 80's * Sundance Film Festival 2004 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com "CYBERMUTT" – 2001 (TV Movie) Director: George Miller Producer/Exec.Producer: Lewis B. Chesler, David M. Perlmutter Production Co.: Chesler Perlmutter Productions Inc. "ZEBRA LOUNGE" – 2000 (TV Movie) Director: Karl Skogland Exec.Producer: Lewis B. Chesler, David M. Perlmutter, Dan Witt, Marc Forby, Patrice Theroux Producer: Paco Alvarez Production Co.: Alliance Atlantis Communications "CLUBLAND" – 2000 (TV Movie) Director: Saul Rubinek Exec.Producer: Laura Gherardi, Lee Gottsegen, Murray Schisgal, Steven Weber, Jay Cohen Producer: Armand Leo Production Co.: Paramount Television- Punch 21 Productions Toronto for New York, Circa 1958 “GOLD FEVER” – 1998 (IMAX Feature) Director: David Lickley Exec.Producer: Jim Marchbank Producer: Doug Macfarlane Production Co.: Gold Fever Films Inc.-SK Films Filmed in: Ghana, Africa/Toronto, Canada “JERRY AND TOM” – 1997 (Feature) Director: Saul Rubinek Producers: Michae Paseornek, Elinor Reid, Vivienne Leebosh Exec.Producer: Ralph Zimmerman, Jeff Sackman, Joe Mantegna, John Dunning Production Co.: Lions Gate Films Inc. Toronto for Chicago Circa-60's, 70's, 80's "STARHUNTER" – 2002 (SciFi-TV Series) 22x1hr episodes Directors: Colin Bucksey, Roger Gartland, David Wheatley Exec.Producer: Tony De Pasquale Producer: Bora Bulajic Production Co.: Talisman Starhunter Ltd. “LEXX, THE DARK ZONE-4” – Salter Street Films 2001. Science Fiction Series. 16 x 1 hr episodes. “LEXX, THE DARK ZONE-3” – Salter Street Films 2000. Science Fiction Series. 13 x 1 hr episodes. “LEXX, THE DARK ZONE-2” – Salter Street Films 1998. Science Fiction Series. 21x1 hr episodes. Directors: Christoph Schwere, Chris Bould, Paul Donovan, Bruce MacDonald, Srinivas Krishna, David McLeod, Robert Sigl, Steven Manuel, Stefan Ronowicz, Exec.Producer: Paul Donovan, Wolfram Tichy Producer: Norman Denver, Andrea Raffaghello, Bill Flemming Production Co.: Salter Street Films Ltd. Filmed in: Halifax, Nova Scotia/London, England/Tortola, BVI/Berlin, Germany 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com .
Load more

Recommended publications
  • Jennifer Ricchiazzi, Csa
    JENNIFER RICCHIAZZI, CSA www.jenniferricchiazzi.com Selected Film & Television Credits FUTRA DAYS (Pre-Production/Currently Casting) Producer: Ryan David, Orian Williams, David Zonshine. Director/Writer: Ryan David. SHOOTING HEROIN (Post-Production) Producer: Mark Joseph. Director/Writer: Spencer Folmar. Starring: Alan Powell, Cathy Moriarty, Sherilyn Fenn, Nicholas Turturro THE UNSPOKEN (Pre-Production) Winterland Pictures. Producers: Lionel Hicks, Rebecca Tranter. Director/Writer: Andrew Hunt FIGHTING CHANCE (Pre-Production) Producers: Scott Rosenfelt, Ron Winston. Director: Mikael Salomon FALL OF EDEN (Pre-Production) Producer: Mark G Mathis. Director: Susan Dynner. Attached: Dylan McDermott, Brianna Hildebrand. BLINDED BY ED (Pre-Production) Producer: Kristy Lash. Director/Writer: Chris Fetchko. Attached: Katrina Bowden. REAGAN (Pre-Production) Independent. Producer: Mark Joseph; Executive Producer: Dawn Krantz. Director: John G. Avildsen. Attached: Jon Voight and Dennis Quaid. HAUNTING OF THE MARY CELESTE Vertical Entertainment. Producers: Norman Dreyfuss, Brian Dreyfuss, Justin Ambrosino. Writer: David Ross; Executive Producers: Eric Brodeur, Jerome Oliver. Director: Shana Betz. Starring: Emily Swallow. SOLVE Mobile Series. Vertical Networks; Snapchat. THE STOLEN Independent/Cork Films Ltd. Producer/Writer: Emily Corcoran; Executive Producer: Julia Palau. Director/Co-Writer: Niall Johnson. Starring: Alice Eve, Jack Davenport. THE CLAPPER (Tribeca Film Festival 2017) Independent. Producer: Robin Schorr. Director: Dito Montiel. Starring:
    [Show full text]
  • Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
    Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema.
    [Show full text]
  • Tese De Charles Ponte
    UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM CHARLES ALBUQUERQUE PONTE INDÚSTRIA CULTURAL, REPETIÇÃO E TOTALIZAÇÃO NA TRILOGIA PÂNICO Tese apresentada ao Instituto de Estudos da Linguagem, da Universidade Estadual de Campinas, para obtenção do Título de Doutor em Teoria e História Literária, na área de concentração de Literatura e Outras Produções Culturais. Orientador: Prof. Dr. Fabio Akcelrud Durão CAMPINAS 2011 i FICHA CATALOGRÁFICA ELABORADA POR CRISLLENE QUEIROZ CUSTODIO – CRB8/8624 - BIBLIOTECA DO INSTITUTO DE ESTUDOS DA LINGUAGEM - UNICAMP Ponte, Charles, 1976- P777i Indústria cultural, repetição e totalização na trilogia Pânico / Charles Albuquerque Ponte. -- Campinas, SP : [s.n.], 2011. Orientador : Fabio Akcelrud Durão. Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem. 1. Craven, Wes. Pânico - Crítica e interpretação. 2. Indústria cultural. 3. Repetição no cinema. 4. Filmes de horror. I. Durão, Fábio Akcelrud, 1969-. II. Universidade Estadual de Campinas. Instituto de Estudos da Linguagem. III. Título. Informações para Biblioteca Digital Título em inglês: Culture industry, repetition and totalization in the Scream trilogy. Palavras-chave em inglês: Craven, Wes. Scream - Criticism and interpretation Culture industry Repetition in motion pictures Horror films Área de concentração: Literatura e Outras Produções Culturais. Titulação: Doutor em Teoria e História Literária. Banca examinadora: Fabio Akcelrud Durão [Orientador] Lourdes Bernardes Gonçalves Marcio Renato Pinheiro
    [Show full text]
  • TREFOR PROUD Make-Up Artist IATSE 706 Journeyman Member of the Academy of Motion Picture Arts and Sciences
    TREFOR PROUD Make-Up Artist IATSE 706 Journeyman Member of the Academy of Motion Picture Arts and Sciences FILM MR. CHURCH Make-Up Department Head Director: Bruce Beresford Cast: Britt Robertson, Xavier Samuel, Christian Madsen SPY Make-Up Department Head Director: Paul Feig Cast: Jason Statham, Rose Byrme, Peter Serafinowicz, Julian Miller THE PURGE 2 - ANARCHY Make-Up Department Head and Mask Design Director: James DeMonaco Cast: Michael K. Williams, Frank Grillo, Carmen Ejogo BONNIE AND CLYDE Make-Up Department Head Director: Bruce Beresford Cast: Emile Hirsch, Holly Hunter, William Hurt, Sarah Hyland Nominee: Emmy – Outstanding Make-Up for a Miniseries or a Movie (Non-Prosthetic) ENDER’S GAME Make-Up Department Head Director: Gavin Hood Cast: Harrison Ford, Asa Butterfield, Sir Ben Kingsley JACK REACHER Make-Up Department Head Director: Christopher McQuarrie Cast: Rosamund Pike, Robert Duvall THE RITE Make-Up and Hair Designer Director: Mikael Håfström Cast: Alice Braga, Anthony Hopkins, Ciarán Hinds A NIGHTMARE ON ELM STREET Department Head Make-Up, Los Angeles Director: Samuel Bayer Cast: Jackie Earle Hayley, Kyle Gallner, Rooney Mara, Katie Cassidy, Thomas Dekker, Kellan Lutz, Clancy Brown LONDON DREAMS Make-Up and Hair Designer Director: Vipul Amrutlal Shah Cast: Salman Khan, Ajay Devgan, Asin, THE COURAGEOUS HEART Make-Up and Hair Department Head OF IRENA SENDLER Director: John Kent Harrison Hallmark Hall of Fame Cast: Anna Paquin, Goran Visnjic, Marcia Gay Harden Winner: Emmy for Outstanding Make-Up for a Miniseries or Movie
    [Show full text]
  • Productions in Ontario 2006
    2006 PRODUCTION IN ONTARIO with assistance from Ontario Media Development Corporation www.omdc.on.ca You belong here FEATURE FILMS – THEATRICAL ANIMAL 2 AWAY FROM HER Company: DGP Animal Productions Inc. Company: Pulling Focus Pictures ALL HAT Producers: Lewin Webb, Kate Harrison, Producer: Danny Iron, Simone Urdl, Company: No Cattle Productions Inc./ Wayne Thompson, Jennifer Weiss New Real Films David Mitchell, Erin Berry Director: Sarah Polley Producer: Jennifer Jonas Director: Ryan Combs Writers: Sarah Polley, Alice Munro Director: Leonard Farlinger Writer: Jacob Adams Production Manager: Ted Miller Writer: Brad Smith Production Manager: Dallas Dyer Production Designer: Kathleen Climie Line Producer/Production Manager: Production Designer: Andrew Berry Director of Photography: Luc Montpellier Avi Federgreen Director of Photography: Brendan Steacy Key Cast: Gordon Pinsent, Julie Christie, Production Designer: Matthew Davies Key Cast: Ving Rhames, K.C. Collins Olympia Dukakis Director of Photography: Paul Sarossy Shooting Dates: November – December 2006 Shooting Dates: February – April 2006 Key Cast: Luke Kirby, Rachael Leigh Cook, Lisa Ray A RAISIN IN THE SUN BLAZE Shooting Dates: October – November 2006 Company: ABC Television/Cliffwood Company: Barefoot Films GMBH Productions Producers: Til Schweiger, Shannon Mildon AMERICAN PIE PRESENTS: Producer: John Eckert Executive Producer: Tom Zickler THE NAKED MILE Executive Producers: Craig Zadan, Neil Meron Director: Reto Salimbeni Company: Universal Pictures Director: Kenny Leon Writer: Reto Salimbeni Producer: W.K. Border Writers: Lorraine Hansberry, Paris Qualles Line Producer/Production Manager: Director: Joe Nussbaum Production Manager: John Eckert Lena Cordina Writers: Adam Herz, Erik Lindsay Production Designer: Karen Bromley Production Designer: Matthew Davies Line Producer/Production Manager: Director of Photography: Ivan Strasburg Director of Photography: Paul Sarossy Byron Martin Key Cast: Sean Patrick Thomas, Key Cast: Til Schweiger Production Designer: Gordon Barnes Sean ‘P.
    [Show full text]
  • Science Fiction on American Television
    TV Sci-Fi 16 + GUIDE This and other bfi National Library 16 + Guides are available from http://www.bfi.org.uk/16+ TV Sci-Fi CONTENTS Page IMPORTANT NOTE................................................................................................................. 1 ACCESSING RESEARCH MATERIALS.................................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst ....................................................... 4 INTRODUCTION by Sean Delaney ......................................................................................... 6 AMERICAN TELEVISION........................................................................................................ 8 SCIENCE FICTION ON AMERICAN TELEVISION ................................................................. 9 AUDIENCES AND FANS......................................................................................................... 11 ANDROMEDA ......................................................................................................................... 12 BABYLON 5 ............................................................................................................................ 14 BATTLESTAR GALACTICA................................................................................................... 17 FARSCAPE ............................................................................................................................. 19 THE IRWIN ALLEN QUARTET • VOYAGE TO THE BOTTOM OF THE SEA.....................................................................
    [Show full text]
  • FESTIVAL SCHEDULE 2020 Checkout the Official Filmmakers and Writers of UMFF 2020 GET FREE TICKETS to 19TH URBAN MEDIAMAKERS FILM
    FESTIVAL SCHEDULE 2020 All 19TH Urban Mediamakers Film Festival 2020 film/content screenings will run 24/7 UrbanFlixToGo. UrbanFlixToGo will go live on Monday, October 12, 2020 at 12:01 a.m. FREE REGISTRATION UrbanFlixtogo is the streaming service of Urban Mediamakers in partnership with Camrose Creative Services that provides a revenue generating platform for urban content creators with 30% of profits going to the Urban Mediamakers Production Fund to continue funding our creators. Register for free on the 30-day trial and watch all Urban Mediamakers Film Festival 2020 projects in competition and join the filmmakers for Q&A daily on Zoom at 6p EST. Checkout the Official Filmmakers and Writers of UMFF 2020 GET FREE TICKETS TO 19TH URBAN MEDIAMAKERS FILM FESTIVAL 2020 FESTIVAL DATES: Monday, October 12 – Sunday, October 25, 2020 ALL SCREENINGS ARE AVAILABLE 24/7 AT https://urbanflixtogo.com FILM Q&A, CONVERSATIONS, PANELS, WORKSHOPS on Zoom daily 1-9p EST SCHEDULE: https://umff.com/umff-schedule.html TICKETS: https://filmfreeway.com/UMFF/tickets This schedule may change. New versions will be provided. *This project is not in competition. 19th Urban Mediamakers Film Festival 2020 | Schedule | Version #17 – 10.25.2020 Page 1 SCREENINGS AVAILABLE 24/7 AT https://urbanflixtogo.com | TICKETS https://filmfreeway.com/UMFF/tickets Monday, October 12, 2020 | 'Woke' Monday - Anti-Columbus Day | 1:00 - 9:00p EST UMFF Day 1 | FREE | Get Tickets • 19th Urban Mediamakers Film Festival (UMFF) Opening and Ancestors Salute 2020 | Get Tickets • Kickoff: Welcome and Introduction of UMFF Content Creators 2020 • A True History Lesson for Americans | "They Came Before Columbus" - Ivan Van Sertima Documentary Screening | Giveaway • UMFF Filmmakers In Competition Screenings [Running 24/7 at UrbanFlixTogo] o Short Film Series #1 .
    [Show full text]
  • Read the Balticon 46 Pocket Program
    Note to Parents Anime Parents, please be advised that there are a lim- ited number of movies in the Anime Progam which are appropriate for children under 12. Please take note of the ratings listed next to the movies. A document explaining the ratings will be posted on the Anime Room Door. Parents are strongly encouraged to take these ratings as a guide for what might or might not be inappropriate for their children to watch. In general, children under 14 should not be in the Anime Room room between 10 PM and 5 AM, but everything in the middle of the day should be ok for ages 14 and up. Children under 13 should be accompanied by a parent or guard- ian. We recommend that parents of teens sit and view a portion of an “MA” rated movie to decide if it is something they want their teen to view. Film Festival All of the entries being screened in the film festival up to 9:30 pm are what the selection committee estimated would be considered “G” or “PG” if they were rated. Entries screening after 9:40 pm range from estimated “G” to “R” rated, thus some movies screening after 9:40 pm may not be appropriate for children under 17 who are not accompanied by a par- ent or guardian. LARP Join the returning players in the 3rd year of the game H e r o e s & V i l l a i n s Register in the Valley Foyer Friday 5 to 9 pm and Saturday, 9 to 11 am.
    [Show full text]
  • Jigsaw: Torture Porn Rebooted? Steve Jones After a Seven-Year Hiatus
    Originally published in: Bacon, S. (ed.) Horror: A Companion. Oxford: Peter Lang, 2019. This version © Steve Jones 2018 Jigsaw: Torture Porn Rebooted? Steve Jones After a seven-year hiatus, ‘just when you thought it was safe to go back to the cinema for Halloween’ (Croot 2017), the Saw franchise returned. Critics overwhelming disapproved of franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype (see Lidz 2009, Canberra Times 2008). Accordingly, critics such as Lee (2017) characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter will investigate the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era. ‘Torture porn’ originates in press discourse. The term was coined by David Edelstein (2006), but its implied meanings were entrenched by its proliferation within journalistic film criticism (for a detailed discussion of the label’s development and its implied meanings, see Jones 2013). On examining the films brought together within the press discourse, it becomes apparent that ‘torture porn’ is applied to narratives made after 2003 that centralise abduction, imprisonment, and torture. These films focus on protagonists’ fear and/or pain, encoding the latter in a manner that seeks to ‘inspire trepidation, tension, or revulsion for the audience’ (Jones 2013, 8). The press discourse was not principally designed to delineate a subgenre however. Rather, it allowed critics to disparage popular horror movies. Torture porn films – according to their detractors – are comprised of violence without sufficient narrative or character development (see McCartney 2007, Slotek 2009).
    [Show full text]
  • V23N5 2012.Indd
    Six men, two dories and the North Atlantic Why it’s an apt analogy for Atlantic Canada’s film industry and its place on the global stage. 52 | Atlantic Business Magazine | September/October 2012 By Stephen Kimber dawn in the nowhere It’s middle of the Atlantic ocean. How many days have they been drifting out here? Dickie – at 17, the youngest crew member – is supposed to be keeping watch. But he’s asleep, sprawled out in the bow of one of the two dories, his head lolling over the gunwhale. He wakes with a guilty start, stares, tries to make sense of the endless nothingness of dark-blue sea and flat grey sky. Wait! What’s that? On the horizon. A speck? Another vessel? A mirage? He looks back into his dory where his father, Merv, and Pete, the harpooner, are curled up asleep, and then across to the other dory where Gerald, Mannie and Gib are sleeping too. Finally, he decides. He reaches out, whispers, “Pete… Pete.” Pete wakes, growls: “What?” Dickie can only point. Pete sees what Dickie sees. He throws off his blanket, jumps to his feet. “There’s a boat,” he says, then louder, as if convincing himself. “There’s a boat. THERE’S A BOAT!” He’s screaming now, rousing the others. Gerald, the captain, immediately assumes command, scrambling to find the fog horn he’d rescued when their fishing boat sank. He blows a blast. Then another. The rest of the men grab for the oars. Mannie, the first mate, struggles to bring order to their chaos.
    [Show full text]
  • An Investigation of Noël Carroll's Narrative Logic of Horror and The
    Titel: Horror Gore and Horror Tales: an Investigation of Noël Carroll’s Narrative Logic of Horror and the Role of Spectacle in the Narrative. Auteur: Sophie Anne Caroline Herbergs Studentnummer: 3405494 Opleiding: Taal- en Cultuurstudies, hoofdrichting Film- en Televisiewetenschappen Docent: Dr. James S. Hurley Taal: Engels Ingeleverd op: 21-06-2013 1 Horror Gore and Horror Tales: an Investigation of Noël Carroll’s Narrative Logic of Horror and the Role of Spectacle in the Narrative. Sophie Anne Caroline Herbergs 3405494 Blok 4, 2012/2013 Completed on 21-06-2013 Led by Dr. James S. Hurley BA-Eindwerkstuk: Film Genre Theory 2 Table of Content List of illustrations ................................................................................................................................ 4 Abstract ................................................................................................................................................ 4 Chapter 1 Introduction ............................................................................................................................. 5 1.1 Introduction .................................................................................................................................... 5 1.2 Methodology .................................................................................................................................. 6 Chapter 2 Narrative logic and suspense ................................................................................................. 8 2.1 Carroll’s
    [Show full text]
  • SPIKE LEE Presentation
    A SPIKE LEE presentation A film by NATE PARKER a TARAK BEN AMMAR / MARK BURG Production Releasing on VOD January 15th Publicity Contact: MPRM Communications [email protected] LOGLINE: After witnessing his son murdered by a white police officer who goes uncharged, Marine veteran Lincoln ‘Linc’ Jefferson takes justice into his own hands in a series of events he hopes will finally lead to justice for his son. SETUP: Lincoln Jefferson is a Marine veteran who has served two combat tours in Iraq. Now stateside, he works as a custodian in a prestigious California high school- a job he secured only to ensure enrollment in the school to his 14-year old son KJ, following his divorce. One night, Lincoln and his son are stopped by police and an altercation leads to the fatal shooting of Lincoln’s unarmed son. Lincoln, hopeful the system will provide a trial, is dismayed to learn the officer responsible for pulling the trigger will go uncharged and will return to active duty without an indictment. Disillusioned by the fact he was denied a fair trial for the death of his only son, Lincoln desperately takes the matter into his own hands in a series of events he hopes will finally lead to justice for his son. SYNOPSIS: AMERICAN SKIN weaves a layered story in the tradition of Sidney Lumet’s 12 Angry Men and Dog Day Afternoon, that follows a Black Iraqi War Vet, who after being denied of a fair trial following the shooting death of his teenage son (his only child) by a white police officer, desperately seeks justice and accountability for his son’s death.
    [Show full text]