This is the strange but true story of Wild Bill Cooper. Part Arctic adventure and part crime caper, Wild Bill’s Run is an unforgettable ride with a true American folk hero. buy cialis onlineviagra 40mg
In the winter of 1972, Wild Bill Cooper led a ragtag crew of mechanics, ranchers and photographers on a grueling expedition across the polar ice. During some of the darkest days of the Cold War, their goal was to snowmobile 5,000 miles from Minnesota to Moscow. get the most from viagra
They didn’t quite make it.
After the expedition returned home, Cooper embarked on a startling new adventure. Accused of leading a massive drug smuggling operation known as “the Marijuana Air Force,” he was named one of America’s Ten Most Wanted by the U.S. Marshals Service. But the wily outdoorsman was never caught. He refused to surrender to the law, just as he had refused to surrender to the Arctic. Even today, his whereabouts remain a mystery.
A cosmological pop band led by an organic farmer from Minnesota, Cloud Cult has developed a passionate following over a decade with its mesmerizing music, lush live shows (including two live painters), and strong ecological commitment.
Cloud Cult: No One Said It Would Be Easy takes fans and the unfamiliar on a journey into the band’s colorful and passionate world, from the group’s painful and powerful origins through its first decade.
“In the crowded genre of indie rock, in which bands typically earn more by touring than selling albums, the painters have helped Cloud Cult’s stage show stand out. While the paintings offer a glimpse into the economics of a working-class rock band, they’re also intimately tied to Cloud Cult’s music, much of which stems from a tragedy that struck Ms. Minowa and her husband, band leader Craig Minowa.” – NPR
“Almost all the band’s material is written and recorded in a tiny studio made of recycled and reclaimed materials.” – MTV
“More a family than a band, the Minneapolis collective does everything with purpose, talent and conviction, from its environmentally conscious lifestyle — in which it self-produces and releases albums from its geothermal-powered organic farm — to its charitable efforts to its emotive, even cathartic songwriting.” – NPR
“…not-quite-precious chamber pop extravaganza, and it’s impossible to not be moved by [Craig Minowa’s] grandiose methods of telling a story.” – Denver Post
join sigur rós fans on all seven continents for a unique program of short films
the weekend of december 7 – 9, a “valtari film experiment” program collects at least 17 commissioned “official” and fan-created short films created to coincide with the album valtari. the program will screen on all seven continents (yes, including antarctica). venues will include cinemas, cinema-like spaces, rock clubs, native american casinos, hardware stores, hairdresser salons, and beyond. with the band’s live film inni, large venues were particularly pursued, but this time, smaller, more avant-garde film-type spaces are sought out, though there will be many exceptions. in addition, we seek to deliver the films to the locations exclusively via the internet, cutting down on shipping drama and further embracing how the internet can connect people working on similar events around the world.
upon the release of their album valtari, sigur rós gave a dozen filmmakers the same modest budget and asked them to create whatever comes into their head when they listen to songs from the album. the idea was to bypass the usual artistic approval process and allow people utmost creative freedom. among the filmmakers are alma har’el, andrea arnold, john cameron mitchell, ramin bahrani, and floria sigismondi. at the same time, the band invited fans to contribute their own personal creations.
here are the confirmed dates. booking for the program continues, and, below this list, we invite you to suggest further ideas, though please accept in good spirits that not everything is going to work out (and, yes, there are some modest fees). you will also note that new york will be at a location yet to be announced, though tickets are for sale, and should be ordered now.
more announcements will be forthcoming as more locations are confirmed.
“Sigur Rós’ creativity and open attitude was at one with Iceland’s ravishingly beautiful landscape.” – Peter Bradshaw, The Guardian
In the endless magic hour of the Icelandic summer, Sigur Rós played a series of concerts around their homeland. Combining both the biggest and smallest shows of their career, the entire tour was filmed, and provides a unique insight into one of the world’s shyest and least understood bands captured live in their natural habitat.
The culmination of more than a year spent promoting their hugely successful Takk… album around the world, the Icelandic tour was free to all-comers and went largely unannounced. Playing in deserted fish factories, outsider art follies, far-flung community halls, sylvan fields, darkened caves and the hoofprint of Odin’s horse, Sleipnir*, the band reached an entirely new spectrum of the Icelandic population; young and old, ardent and merely quizzical, entirely by word-of-mouth.
The question of the way Sigur Rós’s music relates to, and is influenced by, their environment has been reduced to a journalistic cliché about glacial majesty and fire and ice, but there is no doubt that the band are inextricably linked to the land in which they were forged. And the decision to film this first-ever Sigur Rós film in Iceland was, in the end, ineluctable.
Shot using a largely Icelandic crew (to minimise Eurovision-style scenic-wonder overload), Heima – which means both “at home” and “homeland” – is an attempt to make a film every bit as big, beautiful and unfettered as a Sigur Rós album. As such it was always going to be something of a grand folie, but one, which taking in no fewer than 15 locations around Iceland (including the country’s largest ever concert at the band’s Reykjavik homecoming), is never less than epic in its ambition.
Material from all four of the band’s albums is featured, including many rare and notable moments. Among these are a heart-stopping rendition of the previously unreleased ‘Gitardjamm,’ filmed inside a derelict herring oil tank in the far West Fjords; a windblown, one-mic recording of ‘Vaka,’ shot at a dam protest camp subsequently drowned by rising water; and first time acoustic versions of such rare live beauties as ‘Staralfur,’ ‘Agaetis Byrjun,’ and ‘Von.’
* The huge horseshoe canyon at Ásbyrgi was, according to legend, formed by the hoofprint of this mythical beast.
“dreamlike haze of throbbing black and white . . . eccentric . . . shimmering . . . piquant . . . a burnished collision of the specific and the abstract . . .” – Jeannette Catsoulis, New York Times
“haunting, emotion-drenched . . . soul-stirring fusion of joy and heartache . . . usher[s] the listener into a state of near-celestial rapture.” – Justin Chang, Variety (gathered from two articles)
“something stunning . . . one of the most engrossing concert films in recent memory. . . ” – Guy Dixon, The Globe and Mail
“German Expressionism on acid… some sort of lost artefact… straight out of [A] Midsummer Night’s Dream… succeeds fully.” – Todd Brown, Twitchfilm
“Spellbinding.” – T’Cha Dunlevy, Montreal Gazette
“The ghost-like, ethereal quality of the visuals mixed with the otherworldly sounds can captivate in their intensity as well as carry you to another plane of existence. Let the music wash over you, enjoy the religious experience on screen, and convert all your friends into lovers of uniquely original music.” – Jared Mobarak, The Film Stage
“Darkly beautiful.” – Cyn Collins, City Pages
“the band become ghostly apparitions . . . the footage suggests it was filmed in a vast cave or on the Moon . . . an abstract living painting – which looks beautiful on a big screen.” – Andrew Eaton-Lewis, The Scotsman
Inni is Sigur Rós’ second live film following 2007’s hugely-celebrated Heima. Whereas that film positioned the enigmatic group in the context of their Icelandic homeland, providing geographical, social, and historical perspectives on their otherworldly music, with uplifting results, Inni focusses purely on the band’s performance, which is artfully and intimately captured by French-Canadian director Vincent Morisset (Arcade Fire’s Miroir Noir). Interweaving archive material from the band’s first ten years with the sometimes gossamer light, sometimes punishingly intense, concert footage, Inni is a persuasive account of one of the most celebrated and influential rock bands of recent years.
“an unusually delicate psychological thriller . . . Critic’s Pick!” – Jeannette Catsoulis, New York Times
“Box office will be good for this small but mighty conversation starter! …something otherworldly. A must see.” – Matthew Nestel, Boxoffice Magazine
“Daylight is a slow burn of a thriller that ultimately packs a far greater wallop than many flashier examples of the genre, and its cumulative power derives from the collective contributions of the entire cast and crew, from production designer Elliot Hostetter to editors Katie McQuerrey and Lee Percy and composer Stewart Wallace.” – Maitland McDonagh, Film Journal
“technically polished and genuinely suspenseful . . exceptional actors, especially Martin and Meierhans . . .” – Joe Leydon, Variety
“transcend[s] the easy shocks associated with the exploitation movie experience and create[s] an entirely fresh rhythm . . . cautiously executed suspense . . . Meierhans’ amazingly subtle performance.” – Eric Kohn, indieWIRE
“psychological gamesmanship . . . us[es] the abduction scenario to evoke religious yearning . . . resourceful, taboo-prodding sickie.” – Nick Pinkerton, Village Voice
“this isn’t your usual exploitation flick. It grows more unpredictable and erotic with each new scene, as the wife forms a bond of sorts with her abductors.” – V.A. Musetto, New York Post
“Favorably compared to the work of Michael Haneke . . . subtle and tense, with director David Barker infusing quiet eroticism and benevolence on the proceedings . . . compelling psychological drama . . . [Meierhans] is quite good . . . even some of the biggest names in the industry can’t do this.” – Christopher Bell, The Playlist / indieWIRE (gathered from two articles)
“Haunting… terrifying… a dramatic re-invention of the contemporary horror film.” – Ain’t It Cool News
“SHOCKING… an exceptional cinematic endeavor.” – We Are Movie Geeks
A harrowing psychological thriller from a widely acclaimed filmmaker, Daylight pits a couple lost in America against a conniving gang of kidnappers, in David Barker’s rigorous and personal re-imagining of the genre film. Despite its familiar genre elements, Daylight is different – a powerful, shocking piece of vigorous cinema, which fuses eroticism and tenderness with the harrowing weight of pregnancy and kidnapping.
This isn’t about what you want.
On their way to a wedding, Danny and Irene pick up a hitchhiker – throwing the film in the direction of the conventional rural kidnapper thriller. But with the skill of director David Barker and his miraculous cast and crew, Daylight emerges as much, much more than just another exploitation picture. Kidnappers Renny, Leo, and Murphy enact a bizarre and terrifying ritual of politeness, endowing such scenes as the passing of a bread knife at a kitchen table with a threat of ferocious violence – but also trust.
One thing leads to the next thing. Right now, this is the thing.
Alexandra Meierhans – pregnant as the character Irene, and pregnant in real life – delivers an astonishing performance as the female lead. Simultaneously vulnerable and dangerous, a captive and a seductress, she somehow struggles to survive and endure, bringing the audience along with her through to the shattering conclusion.
PARTS AND LABOR STRANGE LOOP WHITE BUFFALO ENTERTAINMENT
A Film By DAVID BARKER
Starring ALEXANDRA MEIERHANS IVAN MARTIN
MICHAEL GODERE AIDAN REDMOND
Music by STEWART WALLACE Performed by ETHEL
Edited By KATIE McQUERREY LEE PERCY A.C.E
Director of Photography NILS KENASTON
Executive Producers JACK TURNER IAN McGLOIN
CHARLES LEDLEY JAMIE MAI RAY PRIVETT
Produced By JAY VAN HOY LARS KNUDSEN BEN HOWE
Written By DAVID BARKER ALEXANDRA MEIERHANS MICHAEL GODERE
Directed by DAVID BARKER
Released by CINEMA PURGATORIO
“Visual artistry . . . nothing short of masterful.” – Los Angeles Times
“intoxicating beauty.” – New York Times
“truly poetic… lustrous cinematography” – Chicago Sun-Times
“Beautifully composed.” – Chicago Reader
“…cryptic images of ominous beauty, held together by pure surface tension, exert a strange fascination.” – Variety
“Alexei Kaleina and Craig Macneill’s proudly minimalist affair favors ambiguity over soap-operatics, evoking the inescapable heartache of a loss so great, it cannot be uttered.” – TimeOut NY
“Stunning cinematic debut … a film guaranteed to keep you on the edge of your seat.” – i-D Magazine
At an abandoned schoolhouse, a young couple confronts the dark and the unexpected.
Starring Michael Kelly (Fair Game, Law Abiding Citizen), Jicky Schnee (Perestroika), Ana Asensio (Zenith), and Rip Torn
In a haunting and beautiful countryside, a young couple hopes to start a new life. Andrew and Claire find themselves far from their roots. They move into an old schooldhouse that sits on a farm owned by an elderly widow and her blind niece, Maria. The couple’s arrival sets off events that will alter all the lives of everyone around them. As tensions build, a late summer thunderstorm and a solar eclipse trigger dark outcomes.
“The battle between two living legends… This isn’t your typical look at video games, but these aren’t your typical video game nerds. They’re the best Warcraft III players in the world.” – William Lee, Cinema Verdict
DVD features rare and exclusive interview with Blizzard entertainment founders!
Vancouver Film Festival * International Film Festival Amsterdam
Margaret Mead Film Festival
“…beautifully contrasts scenes from our mundane world with the colour-saturated, action packed virtual world within the game; the neon-lit internet cafes and media-hyped tournament becoming a jarring hybrid of the two. Beyond the Game is a revealing profile of an unforgiving game and the toll it takes on its all too human players.” – Willis Wong, Intermidias
Warcraft III is the most popular real-time strategy computer game, thrilling over 2.5 million North Americans and 10 million people worldwide everyday. The game creates an alternate universe, where players challenge each other with a mythically-charged online world of humans, orcs, the undead, knights, and elves.
In Beyond the Game, we meet – in real life and within the game – two of the game’s leading figures, known as Grubby and Sky. Acclaimed filmmaker Jos de Putter tracks these Kasparovs of a new generation and a new game across the world all the way to the world championships in Seattle.
A fascinating, surprising, and genuinely touching portrait, Beyond the Game is a study of, and participation in, the reformation of our communities in the internet age.
“Visionary writer-director Vladan Nikolic . . . concerns and motifs [are] vivid and idiosyncratic, designed to intensify a highly contemporary concern about the loss of freedom and power of the individual to secret, manipulative cartels.” – Kevin Thomas, Los Angeles Times
“chillingly realistic vision of the future… amazing… nothing but talent.” – Joe Meyers, Connecticut Post
“a weird reflection of current reality. . . an odd example of artsy obscura . . .an experience not quickly forgotten generic cialis 100mg.” – Tor.com
“Zenith at top of its game.” – Boston Herald
“a high-concept, brave-new-world sci-fi puzzle… echoes futuristic thrillers such as 12 Monkeys and Children of Men… an atmosphere of mounting paranoia that’s grim and chilling.” – Loren King, Boston Globe
“Smoothly incorporating influences as diverse as Philip K. Dick and Terry Gilliam. . . a low-budget, high-concept mind-teaser, the sort of provocatively ambiguous sci-fier that often can attract a devoted niche audience and inspire repeated viewings. . . deadly serious, if not grimly fatalistic, about the grave new world it depicts.” – Variety
“a brooding science-fiction trip…Nikolic’s lust for paranoid desperation is powerful, and his way with actors is stunningly graceful.” – Michael Atkinson, Village Voice
“a trippy, frontal-lobe screwer that plays like the illegitimate spawn of Memento and 12 Monkeys… highly imaginative … slick visuals.” – Rod Lott, Oklahoma Gazette
A LOST OBJECT FROM THE FUTURE
THE FILM THEY DON’T WANT YOU TO SEE
THE UNDERGROUND CULT MOVIE SENSATION
“Imaginative sci-fi thriller…conceptual imagination…a talent to watch!” – Frank Scheck, Hollywood Reporter
“collision of noir narration and purple paranoia…long on atmosphere…brave-new-world dystopia.” – New York Times
“rank[s] up there with indie mind-bending powerhouses like Primer and Being John Malkovich… like all great science fiction, Zenith hits us with a powerful series of “what ifs” that take the world as we expect it to be and give it a short, sharp turn on its ear… smart sci-fi… something to add to your must-see list.” – Apex Magazine
“fuses the trippy paranoia of Philip K. Dick’s novels with canny use of locations that are already a bit post-apocalyptic.” – Steve Dollar, Wall Street Journal
“works on the knife-edge of what Ridley Scott and company were onto with Blade Runner . . . an impressive and certainly downbeat dystopia built from found locations, insistent hypotheses and studded with superlative acting, termite performances from gifted actors playing paranoids and conspiracists with unbridled glee.” – Ray Pride, New City Chicago
“entertainingly fast-paced and visceral…impressive…pulp fiction.” – Will Coviello, Gambit Weekly New Orleans
co-director of Christmas on Mars and Summercamp!
director of Okie Noodling and Fearless Freaks Featuring the Flaming Lips
“a story of gladiatorial desperation and hope, tied up with one whole lot of Oklahoman heart – Hell yeah!” – Time Out London
“These are vivid, flawed, even introspective characters. And they’re classic American strivers. With rodeo, but not just that, they hope to go beyond where they have been.” – New York Times
Sweethearts of the Prison Rodeo goes behind prison walls to follow convict cowgirls on their journey to the 2007 Oklahoma State Penitentiary Rodeo. In 2006, female inmates were allowed to participate for the first time.
In a state with the highest female incarceration rate in the country, these women share common experiences such as broken homes, drug abuse and alienation from their children. From 1940 – 2008, the Oklahoma State Penitentiary held an annual ‘Prison Rodeo’. Part Wild West show and part coliseum-esque spectacle, it was one of the last of its kind – a relic of the American penal system. Prisoners compete on wild-broncs and bucking bulls, risking life-long injuries. For inmates like Danny Liles, a 14-year veteran of the rodeo, the chance to battle livestock offers a brief respite from prison life. Within this strange arena the prisoners become the heroes while the public and guards applaud.