“Trust,” a new romantic drama starring Victoria Justice and Matthew Daddario, has sold key distribution rights to Vertical Entertainment.
The boutique distributor will roll out the film in North America, the U.K. and Ireland, Variety has learned. The release is set for March 12, in select theaters and via paid video on demand. Josh Spector negotiated the deal for Vertical, with UTA Independent Film Group on behalf of the filmmakers.
Set in the glamorous art worlds of Paris and New York, Justice plays a gallery owner married to a newscaster, played by Daddario. When two seductive strangers enter their lives, the couple is faced with temptation, jealousy and a mystery that upends their lives. The Exchange is handling international sales on the project, directed by Brian DeCubellis.
“On behalf of my fellow producers, we are so excited to partner with Vertical Entertainment to bring our film ‘Trust’ to screens in North America and UK/Ie.
The boutique distributor will roll out the film in North America, the U.K. and Ireland, Variety has learned. The release is set for March 12, in select theaters and via paid video on demand. Josh Spector negotiated the deal for Vertical, with UTA Independent Film Group on behalf of the filmmakers.
Set in the glamorous art worlds of Paris and New York, Justice plays a gallery owner married to a newscaster, played by Daddario. When two seductive strangers enter their lives, the couple is faced with temptation, jealousy and a mystery that upends their lives. The Exchange is handling international sales on the project, directed by Brian DeCubellis.
“On behalf of my fellow producers, we are so excited to partner with Vertical Entertainment to bring our film ‘Trust’ to screens in North America and UK/Ie.
- 2/9/2021
- by Matt Donnelly
- Variety Film + TV
Written by Aasif Mandvi (The Daily Show with Jon Stewart) and Jonathan Bines (writer, Jimmy Kimmel Live!) and starring Mandvi, Today’S Special tells the story of Samir, a sous chef who dreams of becoming the head chef at an upscale Manhattan restaurant. When he is passed over for a promotion he impulsively quits and lets his co-worker, Carrie (Jess Weixler, Teeth), know that he intends to go to Paris and apprentice under a master French chef. Dreams must be put aside, though, after his father Hakim (Harish Patel, Run, Fat Boy, Run) has a heart attack and Samir is forced to take over Tandoori Palace, the nearly bankrupt family restaurant in Jackson Heights, Queens.
Samir’s mother, Farrida (Madhur Jaffrey), is consumed with trying to find a wife for her son, while Samir is trying to master Indian cooking to salvage the family business. Luckily, he crosses paths with Akbar (Naseeruddin Shah,...
Samir’s mother, Farrida (Madhur Jaffrey), is consumed with trying to find a wife for her son, while Samir is trying to master Indian cooking to salvage the family business. Luckily, he crosses paths with Akbar (Naseeruddin Shah,...
- 2/3/2012
- by sheriwetherell
- Foodista
Night Catches Us
Directed by Tanya Hamilton
Screenplay by Tanya Hamilton
2010, USA
Night Catches Us provides an ironically timeless theme: giving governing of a country (in this case The United States) back to the people of the country. America was created by secessionists and rebels and yet in this film they recall how they are thwarted at every turn.
Writer/director Tanya Hamilton takes us back to 1970’s Philadelphia, as ex-Black Panther Marcus Washington (played by Anthony Mackie) returns home on the day of his father’s funeral. Patricia Wilson (played by Kerry Washington) shows us that even when we have moved on from a relationship, the unresolved emotions and true love realties tug at our hearts for answers, peace and resolution. Her precociously pithy daughter, Iris (played by Jamara Griffen), gives a refreshing performance reminding us how kids are giant sponges that suck up all the knowledge of internal personal relationships.
Directed by Tanya Hamilton
Screenplay by Tanya Hamilton
2010, USA
Night Catches Us provides an ironically timeless theme: giving governing of a country (in this case The United States) back to the people of the country. America was created by secessionists and rebels and yet in this film they recall how they are thwarted at every turn.
Writer/director Tanya Hamilton takes us back to 1970’s Philadelphia, as ex-Black Panther Marcus Washington (played by Anthony Mackie) returns home on the day of his father’s funeral. Patricia Wilson (played by Kerry Washington) shows us that even when we have moved on from a relationship, the unresolved emotions and true love realties tug at our hearts for answers, peace and resolution. Her precociously pithy daughter, Iris (played by Jamara Griffen), gives a refreshing performance reminding us how kids are giant sponges that suck up all the knowledge of internal personal relationships.
- 4/17/2011
- by Lauren Cragg
- SoundOnSight
As a way of celebrating this year's nominees for the Spirit Awards in the weeks leading up to the ceremony, we reached out to as many as we could in an effort to better understand what went into their films, what they've gotten out of the experience, and where they've found their inspiration, both in regards to their work and other works of art that might've inspired them from the past year. Their answers will be published on a daily basis throughout February.
If you didn't know Tanya Hamilton was a painter long before she ever studied filmmaking, you'd probably guess it roughly 15 minutes into her debut film "Night Catches Us." In her Spirit Award nominee for Best First Feature, Hamilton does something extraordinary with what is ostensibly a period piece about two former Black Panthers trying to find their way in the years after the movement's dissipated -- she turns the ordinary into art.
If you didn't know Tanya Hamilton was a painter long before she ever studied filmmaking, you'd probably guess it roughly 15 minutes into her debut film "Night Catches Us." In her Spirit Award nominee for Best First Feature, Hamilton does something extraordinary with what is ostensibly a period piece about two former Black Panthers trying to find their way in the years after the movement's dissipated -- she turns the ordinary into art.
- 2/23/2011
- by Stephen Saito
- ifc.com
Chicago – Nominated right alongside buzzed-about features such as “Get Low” and “Tiny Furniture” in the Best First Feature category at this year’s Indie Spirit Awards is “Night Catches Us,” the impressive yet entirely overlooked filmmaking debut of writer/producer/director Tanya Hamilton. The film breaks no new ground artistically, but its historical backdrop has rarely been explored in cinema.
Welcome to Philadelphia, 1976. The rumblings of revolution during the 1960s have faded into the distance, but their remnants are scattered all over the volatile neighborhood occupied by Patricia (Kerry Washington). She’s a single mom resigned to shutting out the past while still remaining entrapped by it. Patricia’s caginess causes her ever-curious daughter, Iris (Jamara Griffin), to resort to drastic measures, literally ripping apart the wallpaper in an effort to unearth her family’s blood-stained secrets (this is an example of the film’s less than subtle visual metaphors...
Welcome to Philadelphia, 1976. The rumblings of revolution during the 1960s have faded into the distance, but their remnants are scattered all over the volatile neighborhood occupied by Patricia (Kerry Washington). She’s a single mom resigned to shutting out the past while still remaining entrapped by it. Patricia’s caginess causes her ever-curious daughter, Iris (Jamara Griffin), to resort to drastic measures, literally ripping apart the wallpaper in an effort to unearth her family’s blood-stained secrets (this is an example of the film’s less than subtle visual metaphors...
- 2/10/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Demonstrating a mastery of the medium that belies his status as a first-time feature filmmaker, writer-director Ali Selim has crafted in "Sweet Land" a tale of pure Americana that speaks both to the immigrant experience and the nature of love. The film has played the festival circuit, where it understandably won two audience awards. It opens Oct. 13 in Minneapolis and St. Paul, Minn., and five days later in New York, followed by a national rollout.
Taking off from a short story by Minnesota writer Will Weaver, Selim tells the simple but emotion-packed story of a mail-order bride who arrives in a close-knit Norwegian farming community in Minnesota after World War I. There is only one problem. One major problem. Inge Altenberg (Elizabeth Reaser) is Germ. Nothing could be more of an anathema to these hardworking, jingoistic farmers than a young woman from the country the U.S. fought so bitterly a couple of years earlier.
The minister (John Heard) refuses to marry Inge to Olaf (Tim Guinee). A law clerk shakes his head over missing paperwork. In the meanwhile, Inge settles into the community, making friends and perhaps an enemy in the minister, then finds the time to size up her husband-to-be, allowing the two to fall deeply in love.
The story is set up with a triple time frame. In the opening scene, an elderly Inge (played by the marvelous Lois Smith) passes on, leaving her grandson to face a decision about selling the family homestead to a developer. He in turn remembers back to Olaf's passing in the late '60s, when his grandmother recounted to him her first days in her new country.
What a sight she makes when she arrives at the train station! She carries two suitcases and, improbably, a huge gramophone. Nevertheless, this family heirloom makes her the bringer of music to this community cut off from so much art and culture.
Reaser, who played a vastly different role as the commitment-phobic woman in "Puccini for Beginners" at Sundance this year, breathes fire into this character. She speaks little English -- she holds two fingers close together to indicate how little it really is -- but can read faces and body language with supreme literacy. She occasionally bursts forth with angry, sputtering German, which Selim wisely doesn't bother to subtitle. We more than get her point.
Guinee, in a pitch-perfect Norwegian-American accent, gives this farm boy a backbone of decency and morality without anything feeling forced or phony. His character is a man of few words, but Guinee plays the subtext to perfection.
Alan Cumming (who also produces) is wonderfully cast as Olaf's best pal Frandsen, a loving father and husband who is almost childlike in his embrace of life. Unfortunately, Frandsen has fallen hopelessly behind in his mortgage payments. His banker (Ned Beatty) can't wait to foreclose, not at all put off by the fact that Frandsen is his third cousin.
Selim and cinematographer David Tumblety create one memorable composition after another, often framing the actors tightly so we might read their expressions, then pulling back for long shots of the flat landscape and the one farmhouse that dominates the fields. Mark Orton's music and James R. Bakkom's design feel authentically period with nary a false step.
Taking off from a short story by Minnesota writer Will Weaver, Selim tells the simple but emotion-packed story of a mail-order bride who arrives in a close-knit Norwegian farming community in Minnesota after World War I. There is only one problem. One major problem. Inge Altenberg (Elizabeth Reaser) is Germ. Nothing could be more of an anathema to these hardworking, jingoistic farmers than a young woman from the country the U.S. fought so bitterly a couple of years earlier.
The minister (John Heard) refuses to marry Inge to Olaf (Tim Guinee). A law clerk shakes his head over missing paperwork. In the meanwhile, Inge settles into the community, making friends and perhaps an enemy in the minister, then finds the time to size up her husband-to-be, allowing the two to fall deeply in love.
The story is set up with a triple time frame. In the opening scene, an elderly Inge (played by the marvelous Lois Smith) passes on, leaving her grandson to face a decision about selling the family homestead to a developer. He in turn remembers back to Olaf's passing in the late '60s, when his grandmother recounted to him her first days in her new country.
What a sight she makes when she arrives at the train station! She carries two suitcases and, improbably, a huge gramophone. Nevertheless, this family heirloom makes her the bringer of music to this community cut off from so much art and culture.
Reaser, who played a vastly different role as the commitment-phobic woman in "Puccini for Beginners" at Sundance this year, breathes fire into this character. She speaks little English -- she holds two fingers close together to indicate how little it really is -- but can read faces and body language with supreme literacy. She occasionally bursts forth with angry, sputtering German, which Selim wisely doesn't bother to subtitle. We more than get her point.
Guinee, in a pitch-perfect Norwegian-American accent, gives this farm boy a backbone of decency and morality without anything feeling forced or phony. His character is a man of few words, but Guinee plays the subtext to perfection.
Alan Cumming (who also produces) is wonderfully cast as Olaf's best pal Frandsen, a loving father and husband who is almost childlike in his embrace of life. Unfortunately, Frandsen has fallen hopelessly behind in his mortgage payments. His banker (Ned Beatty) can't wait to foreclose, not at all put off by the fact that Frandsen is his third cousin.
Selim and cinematographer David Tumblety create one memorable composition after another, often framing the actors tightly so we might read their expressions, then pulling back for long shots of the flat landscape and the one farmhouse that dominates the fields. Mark Orton's music and James R. Bakkom's design feel authentically period with nary a false step.
- 10/19/2006
- The Hollywood Reporter - Movie News
Demonstrating a mastery of the medium that belies his status as a first-time feature filmmaker, writer-director Ali Selim has crafted in Sweet Land a tale of pure Americana that speaks both to the immigrant experience and the nature of love. The film has played the festival circuit, where it understandably won two audience awards. It opens Oct. 13 in Minneapolis and St. Paul, Minn., and five days later in New York, followed by a national rollout.
Taking off from a short story by Minnesota writer Will Weaver, Selim tells the simple but emotion-packed story of a mail-order bride who arrives in a close-knit Norwegian farming community in Minnesota after World War I. There is only one problem. One major problem. Inge Altenberg (Elizabeth Reaser) is German. Nothing could be more of an anathema to these hardworking, jingoistic farmers than a young woman from the country the U.S. fought so bitterly a couple of years earlier.
The minister (John Heard) refuses to marry Inge to Olaf (Tim Guinee). A law clerk shakes his head over missing paperwork. In the meanwhile, Inge settles into the community, making friends and perhaps an enemy in the minister, then finds the time to size up her husband-to-be, allowing the two to fall deeply in love.
The story is set up with a triple time frame. In the opening scene, an elderly Inge (played by the marvelous Lois Smith) passes on, leaving her grandson to face a decision about selling the family homestead to a developer. He in turn remembers back to Olaf's passing in the late '60s, when his grandmother recounted to him her first days in her new country.
What a sight she makes when she arrives at the train station! She carries two suitcases and, improbably, a huge gramophone. Nevertheless, this family heirloom makes her the bringer of music to this community cut off from so much art and culture.
Reaser, who played a vastly different role as the commitment-phobic woman in Puccini for Beginners at Sundance this year, breathes fire into this character. She speaks little English -- she holds two fingers close together to indicate how little it really is -- but can read faces and body language with supreme literacy. She occasionally bursts forth with angry, sputtering German, which Selim wisely doesn't bother to subtitle. We more than get her point.
Guinee, in a pitch-perfect Norwegian-American accent, gives this farm boy a backbone of decency and morality without anything feeling forced or phony. His character is a man of few words, but Guinee plays the subtext to perfection.
Alan Cumming (who also produces) is wonderfully cast as Olaf's best pal Frandsen, a loving father and husband who is almost childlike in his embrace of life. Unfortunately, Frandsen has fallen hopelessly behind in his mortgage payments. His banker (Ned Beatty) can't wait to foreclose, not at all put off by the fact that Frandsen is his third cousin.
Selim and cinematographer David Tumblety create one memorable composition after another, often framing the actors tightly so we might read their expressions, then pulling back for long shots of the flat landscape and the one farmhouse that dominates the fields. Mark Orton's music and James R. Bakkom's design feel authentically period with nary a false step.
SWEET LAND
Libero
A LaSalle Holland production in association with Beautiful Motion Pictures/Liebenmania/Channel Z Films
Credits:
Screenwriter-director: Ali Selim
Based on a short story by: Will Weaver
Producers: Jim Bigham, Alan Cumming, Ali Selim
Executive producers: Gill Holland, Lillian LaSalle, Thomas F. Lieberman, Terrance Moore, Edward J. Driscoll, Gary S. Kohler, Stephen Hays
Director of photography: David Tumblety
Production designer: James R. Bakkom
Music: Mark Orton
Co-producers: Robin Selim, Gil Bellows, Thomas Pope, David Dancyger
Costumes: Eden Miller
Editor: James Stanger
Cast:
Inge Altenberg: Elizabeth Reaser
Olaf: Tim Guinee
Frandsen: Alan Cumming
Old Inge: Lois Smith
Harmo: Ned Beatty
Brownie: Alex Kingston
Lars: Patrick Heusinger
Minister: John Heard
Running time -- 110 minutes
No MPAA rating...
Taking off from a short story by Minnesota writer Will Weaver, Selim tells the simple but emotion-packed story of a mail-order bride who arrives in a close-knit Norwegian farming community in Minnesota after World War I. There is only one problem. One major problem. Inge Altenberg (Elizabeth Reaser) is German. Nothing could be more of an anathema to these hardworking, jingoistic farmers than a young woman from the country the U.S. fought so bitterly a couple of years earlier.
The minister (John Heard) refuses to marry Inge to Olaf (Tim Guinee). A law clerk shakes his head over missing paperwork. In the meanwhile, Inge settles into the community, making friends and perhaps an enemy in the minister, then finds the time to size up her husband-to-be, allowing the two to fall deeply in love.
The story is set up with a triple time frame. In the opening scene, an elderly Inge (played by the marvelous Lois Smith) passes on, leaving her grandson to face a decision about selling the family homestead to a developer. He in turn remembers back to Olaf's passing in the late '60s, when his grandmother recounted to him her first days in her new country.
What a sight she makes when she arrives at the train station! She carries two suitcases and, improbably, a huge gramophone. Nevertheless, this family heirloom makes her the bringer of music to this community cut off from so much art and culture.
Reaser, who played a vastly different role as the commitment-phobic woman in Puccini for Beginners at Sundance this year, breathes fire into this character. She speaks little English -- she holds two fingers close together to indicate how little it really is -- but can read faces and body language with supreme literacy. She occasionally bursts forth with angry, sputtering German, which Selim wisely doesn't bother to subtitle. We more than get her point.
Guinee, in a pitch-perfect Norwegian-American accent, gives this farm boy a backbone of decency and morality without anything feeling forced or phony. His character is a man of few words, but Guinee plays the subtext to perfection.
Alan Cumming (who also produces) is wonderfully cast as Olaf's best pal Frandsen, a loving father and husband who is almost childlike in his embrace of life. Unfortunately, Frandsen has fallen hopelessly behind in his mortgage payments. His banker (Ned Beatty) can't wait to foreclose, not at all put off by the fact that Frandsen is his third cousin.
Selim and cinematographer David Tumblety create one memorable composition after another, often framing the actors tightly so we might read their expressions, then pulling back for long shots of the flat landscape and the one farmhouse that dominates the fields. Mark Orton's music and James R. Bakkom's design feel authentically period with nary a false step.
SWEET LAND
Libero
A LaSalle Holland production in association with Beautiful Motion Pictures/Liebenmania/Channel Z Films
Credits:
Screenwriter-director: Ali Selim
Based on a short story by: Will Weaver
Producers: Jim Bigham, Alan Cumming, Ali Selim
Executive producers: Gill Holland, Lillian LaSalle, Thomas F. Lieberman, Terrance Moore, Edward J. Driscoll, Gary S. Kohler, Stephen Hays
Director of photography: David Tumblety
Production designer: James R. Bakkom
Music: Mark Orton
Co-producers: Robin Selim, Gil Bellows, Thomas Pope, David Dancyger
Costumes: Eden Miller
Editor: James Stanger
Cast:
Inge Altenberg: Elizabeth Reaser
Olaf: Tim Guinee
Frandsen: Alan Cumming
Old Inge: Lois Smith
Harmo: Ned Beatty
Brownie: Alex Kingston
Lars: Patrick Heusinger
Minister: John Heard
Running time -- 110 minutes
No MPAA rating...
- 10/12/2006
- The Hollywood Reporter - Movie News
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