Tribeca Film Festival 2017 Talking Movies

Tribeca Film Festival 2017

Talking Movies reports from New York, looking at all the latest films being screened at this year's Tribeca Film Festival.

Similar Content

Browse content similar to Tribeca Film Festival 2017. Check below for episodes and series from the same categories and more!



Trump has delivered a speech to the National Rifle Association, the


first US president to do that since Ronald Reagan. Now on BBC News, it


is time for Talking movies. Hello and welcome to this special


Tribeca Film Festival edition of Talking Movies. In today's


programme, with sections on gaming, television and virtual reality, is


Tribeca moving away from just being a Film Festival? We will always be


about film, there is no question. That is in our DNA. It was a


festival in which the wonders of virtual reality were fully on


display. If you sit in a movie theatre and the character turns and


looks at the camera, they call at breaking the fourth wall. But in VR


there are no walls. Plus, Tribeca had movies from around the world. A


drama set in China, and the story of women's emancipation in Switzerland


in the 1970s. Bexley had these arguments in the 1970s. They were,


like, if women do politics it is apocalypse. Then there were


Tribeca's political films, the politically charged Confusing Times.


We are living in a surreal time, I just don't know what to make of it.


And a feature on people for whom the environment make them ill. All that


and more in the special Tribeca Film Festival edition of Talking Movies.


New York's Landmark radio city music Hall is home to the world-famous


synchronised dance is known as the Rockettes. But this year it has also


played host to launch of a rather different kind of showbiz Robert De


Niro's Tribeca Film Festival. I have learned through the years that Clive


really has a weakness for artists. A documentary profile of legendary


American musical executive Clive Davis opened the festival, a man who


has influenced the careers of such artists as Barry Mallow, Bruce


Springsteen, Aretha Franklin, Patti Smith and many more. But he is still


going strong at age 85, impressed Festival co-founder Robert De Niro.


I am not post to his aid, but I am getting there. So I have... He is an


inspiration. The longer he keeps going, the better it is for me. This


two Power documentary was put together by a filmmaker who has


packed a lot into it. Everything. 55 to 58 interviews, something like


that. Just an unbelievable amount of music and art and artists and


executives, it is just a blizzard of stars and things that people have


relationships with. You know, it is the history of popular music, 50


years. Every so on somebody turned out to be a big hit. There is much


to admire in Clive Davis. His ability to stop spot and nurture


talent, his tenacity, but the film is not a warts and all exposure. It


is a puff piece in that it only tells his side of the story, and


there is nothing in it that makes him look at all negative. It was


kind of typical for a Tribeca opening night, where often you have


got a big gala event organised around a very important media


figure. And so they show a documentary that is fairly common


entry to that person in order to tie in the sort of celebrations, in this


case a big concert with lots of people. Tribeca's 12 day festival


isn't designed with the highbrow cineaste in mind. There are lots to


choose from, everything from Tom Hanks and Emma Watson to a political


satire setting India, the issue related documentaries, the porter at


the late actor Heath Ledger. No wonder just a Film Festival, Tribeca


also unveiled TV shows, virtual reality project and gaming. As


technology has changed, as the weight distribution has changed, we


are about storytelling. And good storytelling, whether or not it is


in gaming or amazing documentaries, short films, and great narratives.


This is the first Tribeca festival since Donald Trump became president.


These are politically charged times, giving Tribeca films which touch on


politics a special resonance. One looking back is the Reagan Show,


examining President Ronald Reagan and how the administration of the


long-time Hollywood actor use television to its advantage. The


film is made up entirely of archival footage from the time. A business


that I used to be instead save something for the third act. And we


will. The images suggest that the Reagan administration governed by


relying on what social commentators have turned post- truth politics.


Post- truth politics is a world in which politics is more about the


spectacle and the entertainment value of the event, rather than any


kind of real world, verifiable facts, evidence, truth. So if the


Reagan administration planted the seed is of post- truth politics,


then the Trump administration has really been harvesting that crop.


Tribeca is closing with screenings of the Godfather and Godfather part


two. Robert De Niro thinks that they connected with audiences because at


a time when the social fabric in America appeared to be fraying at


present a strong quarter of a family. People felt more enacted to


that than they did to the dissolution and the cynicism and


suspicion of the government, and so on -- portrait. I think that that


just... I am oversimplifying it, but that had a lot to do with it, in


some way. Too many New Yorkers, Tribeca is a welcome hodgepodge of


movies and affiliated activities, often proves very engaging. At the


festival is yet to launch a truly memorable picture that comes to


define it. During festival time, there was much talk about a sideshow


that could become the main show in years to come. Virtual reality. All


told, some 30 different virtual reality projects were on display.


Each attracting a lot of interest. Tristan Daley went along to


investigate. On the fifth floor of the Tribeca festival hub,


participants with headsets covering their eyes walk around waving their


hands in the air, interacting with a world only they can see. Tribeca is


one of several film festivals across the world to be demonstrating


burgeoning virtual reality technology, with a number of


different installations, in a time when the market for this gadgetry is


rapidly expanding. But Tribeca specially designed their exhibition


space to bring the most out of their virtual reality experiences. These


installations are not in your living room, so when you go into one of


these pieces you are not just putting the headset on. You are


actually entering the inflation that has been built specifically for the


space, so it is actually a bespoke experience. And it is actually a


very... It is like a collective experience, because people talk


about VR being very lonely but what I love about this as we are figuring


out ways to bring people into spaces and actually have them be part of


something that feels collective. They are very excited about the


cutting edge nature of these projects, claiming creators are


pushing the possibilities of virtual reality to its limits. Tree hug


Wawona is a project in which the dissidents creep up the trunk of a


tree and are able to see it produce oxygen. Creators wanted to immerse


the audience not only in the sights and sounds but also the actual smell


of the tree. We have got sent release system, so that adds... When


you push ahead through the bar, through the SAP, to the internals of


tree, the sound changes and the scent changes. The more you are


pushed into that world, with your senses, the more reel that journey


feels. So we are always pushing the limits of that and we have got that


sculptural elements, and your touch aligns with the virtual feed. Unlike


traditional motion picture formats, virtual reality thrust viewers into


a virtual 3-D space in which most times you can see 360 degrees around


you. Some veteran Phil Magas like Steven Spielberg are daunted by the


new technology, saying it takes control away from the storytellers,


giving the audience more choice on where to look. The advent of virtual


reality has given filmmakers a new storytelling vocabulary, that is


distinct from cinema. The director of the Madagascar animation


franchise brought Rainbow Crowed to Tribeca this year. It is a retelling


of a native American hotel. To him, virtual reality as a medium in its


own right. Coming from the storm world, I have directed a number of


films, and I thought easy, this is going to be no big deal, I've done


this for 25 years but I got humble really quick when I got into VR and


realised that it is just not the same. It just feels different, it


looks different. Audiences respond to it in different ways. You know,


if you said in a movie theatre and a character turns the camera, I don't


really feel like they are looking at me. You know, they call it raking


the fourth wall, but in VR, there are no walls. And that is a pretty


amazing experience for audiences. This whole space is in such a period


of flux. And what is so interesting about all this technology is every


time you get your hands around one thing and you figure out how it


works, like, Tribeca next is going to look completely different. It


just keeps. Many challenges lie ahead for this medium, such as how


best to harness virtual reality to tell original stories, and how to


develop mass distribution so hundreds can share the same virtual


reality experience simultaneously. And commercially, a priority remains


developing an effective business model so this new technology can be


monetised. Now on to some Tribeca films in a bit more detail. It goes


without saying that Tribeca is an American festival. After all, it


takes place on American soil. But this year, films from some 31


different countries were shown. Among them, King of the king, set


and shot in China. Basically it is a father-son relationship drama, but


it is also an ode to cinema, as our correspondent reports. Set in China


in 1998, King of the king is a layered comedy about a projectionist


whose love for movies, and even greater love for his son. The story


is about a father who is a projectionist. He has got a son who


works with him in business, which as they travel around China, or rural


parts of China, and they scream movies for villagers. And his


project catches fire. And they have two start finding new ways to work


together. The ex-wife is putting an enormous amount of pressure on them,


on the father, he has basically given them an ultimatum that unless


he pays X amount of money he is basically not going to have custody


of his child any more. And that is why he goes to the great expense of


bootlegging movies in order to keep his son. He even Rolls himself up


with film to smuggle them to the basement where he makes his DVDs.


According to voters, the digital age phenomenally transformed cinema in


China. It was really only when DVDs entered the market, in the 1990s,


and VCDs, different types of video discs, that these movies were able


to enter the home and be consumed by people who beforehand didn't have


access to these type of stories. And Sam Voutas says an easy way to get


your hands on a DVD copy of your favourite movie was from but later


on the street. He got the idea from the story when one of his previous


films, also set in China, was bootlegged in real life. It was sort


of a spark that got me writing. So our previous film, within a week it


was on the streets of Beijing, and rather than get angry, I was


actually very impressed with the creativity that the bootleggers had.


They had done their own artwork, they had done their own credit is,


really interesting stuff. So I realise that there was a creative


element to the bootlegging. And that is how it started. It is more of a


sort of... I guess you could say it is a celebration of the creativity


of that... Of that world. King of the king is Sam Voutas's first film


to premiere at the Tribeca Film Festival. Support doesn't guarantee


him widescale success, but he hopes that the exposure from this festival


will bring a wide audience from those who only saw his last film on


bootlegged. While making movie about the bootlegging industry in China is


clever and a bit tongue in cheek, for the producer of the film, it all


comes back to one thing. A tale of a father and his son. It is a love


letter, father to son and son to father, as well as of other to


cinema, and to his passions in life. The real heart of the film is about


love. People whose lives are destabilised by products like house


paint, perfume, even mobile phones. These are the individuals


scrutinised in the Tribeca documentary The Sensitives.


The subjects of this powerful new documentary, The Sensitives, live


day to day in a unique ligament. The new disorder that the mainstream


medical community recognises as real but has not yet developed any


treatment or medication for. It has a name. Multiple chemical


sensitivity. But because the symptoms vary dramatically, many


suffer to even -- struggle to even define their illness. He started


having trouble at work with his colleagues, their personal hygiene,


their shampoo, things like that. What they have in common is they


developed these debilitating reactions to commonplace things in


the environment, things we take for granted, like garden pesticides or


house paint, perfume and Cologne and even cellphones, wireless router is


and things like that. The degree to which it of those things affects


them varies and the kinds of things, the way it manifests, has variation.


What they share in common is the things that most of us are


unaffected by in small amounts affects them immensely. This radio


is on at home way to figure out if any electrical appliances are


spewing out electromagnetic fields. In order to function with any


normalcy the subjects must dramatically rearrange their lives.


Some move to promote areas where there are fewer man-made chemicals


and electronics, others create safe spaces in their homes and where a


mask any time they leave. Even documenting their lives was a unique


challenge for the filmmakers, since the cameras and microphones needed


to capture these stories, often making the subjects physically sick.


They are unsure of the effects of the camera because they normally


avoid things like that at all costs, but they signed up to be part of


this project because they feel like their story is being told and that


could help other people like them feel less lonely and marginalised.


Like they are not the only ones. So there were many moments where I have


to stop shooting because the subjects were feeling uncomfortable


with what was going on. Most of the film, I keep a healthy distance


between the subject and myself. This is a story that could have been told


in a variety of ways. Filmmakers could have done a conventional


talking head style documentary with members of the medical community,


they could have focused on the companies that create these


chemicals and electronics. Instead The Sensitives looks at its subjects


to a personal lens, examining how this unique illness impacts their


relationships. We really protected him against this chemical


sensitivity. The story of the caregivers was just as important as


those who were afflicted with them. I mean, it's the other half of the


story, it's what grounds their identity. Are their loved one


sticking by and keeping them in contact with the world? And


96-year-old grandmother who delivers mail and supplies and tries to bring


some kind of levity to their lives every day. Or a wife who tries to


keep her husband saying by thinking and interacting with his


grandchildren through all this. So those stories to me were just as


compelling as those who were sick and also served as a really


important bridge to everyone who would watch this film. When you are


that impaired it can really make you feel like dirt. For instance, go


into the store each day, people usually notice that you are not


acting like everyone else, but they don't really know what's going on.


Whenever we are confronted with an illness we don't understand, we


almost always put the blame on the person who is it. Multiple


sclerosis, before we understood how it works, you were an hysterical


woman, that's why you felt that way. PTSD was, you are a man with a weak


constitution. Man up. Aid was, you are gay. That's why this is coming


upon you. -- Aids was. Said before we knew what was going on we phrased


it in such a way that it will blame on the person who was sick. It's


your fault. You why your own worst enemy. I think these people suffered


the same kind of treatment, being that people were saying it was in


the ahead, it's all your fault. I would like this film to encourage


discussion and get us past that and break that pattern. When you are


already not feeling well, you begin to feel like you are the scum of the


earth. When I was scrutinising the Tribeca


lineup this year for films that Talking Movies could possibly cover,


I was startled by the right upper one of them which mentioned the


women in Switzerland did get the right to vote until very late, 1971.


The Tribeca film of divine order looked at the story of one woman's


emancipation in that time. In the film the protagonist is a


wife who without complaints tends to the needs of her husband, father and


two children. But she wants more. She wants to work. At that time in


Switzerland women couldn't work without permission from their


husbands. She is just a regular person in the village, very busy


with her kids and she finds out when her husband forbid to the work that


she is actually really affected by these discriminatory laws in


Switzerland and also that she can't vote, she starts to be angry about


it and she starts to become a rebel and fight for it. As The Divine


Order makes clear, women's rights in early 1970s Switzerland were


minimal. 1971, its 46 years ago. Nothing. And they have no right, no


right to go to work, no right to open up a bank account. They


couldn't sign a contract without the wheel of a man. -- the will.


Having women involved in the political process was seen as being


against gods law, against the divine order. The film doesn't directly


address why Switzerland commonly thought of as quite a modern country


was so late in granting women the right to vote. There are several


possible explanations. I think the big reason is that Switzerland is a


deeply conservative country and very opposed to change. Switzerland has


always been kind of well, like after the Second World War the world was


in shreds, but Switzerland was still a cave. So they didn't be the


necessity. But we are fine! Everything is fine, we shouldn't


change it. In the film one of the most visible local opponents in


granting women the right to vote is a woman at smack the head of the


anti- politicisation of women's action committee. Many women were


opposed to universal suffrage. I thought that was a very intriguing


antagonist because it is so surprising that it's a woman. I read


a whole dissertation on them. I thought that's more interesting. I


think patriarch in the end affects everybody, men and women, and I


wanted to break up that strict line between men and women because it is


not between men and women. I deeply believe the quality is good for men


and women. The film has already opened in Switzerland. It is a story


of female empowerment which really resonated with the picture arriving


in cinemas at the time of the worldwide women's march in the wake


of President Trump's inauguration. I think with the current political


atmosphere, I think the film has become more timely than we


anticipated one year ago. Because the film is also about courage,


about standing up and voicing your opinion, about fighting for justice


and equality. This story of Swiss women's emancipation is quite good


cinema. The lead actor is convincing in the central role and The Divine


Order very effectively paints a picture of an inward looking


community, sealed off from the rest of the world, that threatens to


suffocate its inhabitants. That brings this special Tribeca


film festival edition of Talking Movies to a close. We hope you've


enjoyed the programme. Remember, you can always reach us online and you


can find us on Facebook too. From me Tom Brook and the rest of the


Talking Movies production crew in New York, it's goodbye. We leave you


with a clip from a virtual reality project called Life of Us, the story


of evolution on earth.


Download Subtitles