Following Toonari Post’s recent review of ‘Jump’, here is an interview with the film’s leading lady Nichola Burley. Nichola is a young actor from Leeds, England who has appeared in such projects as ‘StreetDance 3D’, ‘Shameless’, ‘Scott & Bailey’, and the upcoming ‘Twenty8k’. Here, she tells Toonari Post about the experience of working on ‘Jump’, filming in Northern Ireland and much more.

Toonari Post (TP): Can you describe the initial appeal of ‘Jump’ for you?

Nichola Burley (NB): When I initially read ‘Jump’ I was engrossed by the realism of playing two completely different emotions and scenarios against each other. Happiness and hope against numbness and sadness.

TP: You had to develop a Derry accent for the role. How much of a challenge was this and did you spend any time in Derry prior to filming to get the accent right?

NB: I had thought and learnt [sic] for the most part a general Northern Irish accent. Upon arriving in Belfast for rehearsals, I was asked more precisely to have a Derry accent and I had no idea what it was. It soon became about working with the voice coach on specifics and learning from cast and crew.

TP: Most of ‘Jump’ was shot on location. How did you find this shooting experience in comparison to working primarily on an enclosed set/sound-stage?

NB: It was fantastic to be on location, you can’t fake or pretend the feelings and atmosphere you can get from being in certain places. The Foyle Bridge was beautiful yet daunting. I was told many stories about the Bridge and often found it eery standing on the bridge, looking at beautiful views knowing for some people it symbolised very different things.

TP: Your character Greta is the emotional core of the film. Can you talk about the journey she goes on the film and what perhaps you found either particularly rewarding or challenging about playing her?

NB: Greta is a fantastic person. Someone who at that point in her life, and I believe for a long time, has come to feel numb and empty. She’s surrounded by materialistic things that serve as no real purpose to her and longs a great sense of feeling, belonging and true want. At the pit of this feeling, she meets Pearse (Martin McCann) who, without maybe knowing the extent of his actions, sheds light on to Greta, saving her in a number of ways.

TP: The cast in ‘Jump’ is pretty remarkable and diverse, yet the majority of your scenes are with Martin McCann. What was it like working with Martin, and is there anyone in the cast with whom you would have liked to have had more/any scenes?

NB: The cast of ‘Jump’ are all remarkable and delivered their characters with such ease. I was extremely lucky to have worked with Martin McCann. A very intense, precise and thought-provoking actor.

TP: The narrative structure of ‘Jump’ is quite ambitious in terms of how many characters and storylines need to be juggled. From reading the script to filming to then finally seeing it all on screen, how satisfied are you with the finished product?

NB: I am extremely pleased and proud with ‘Jump’. Whilst juggling stories and characters, it balances everything wonderfully and allows the audience to follow everyone’s stories in such a way that makes the audience feel moved in many ways.

TP: 10 years ago, Northern Ireland probably couldn’t (or wouldn’t) have been able to make a film like ‘Jump’. As a young actor coming up in the industry, what is your impression of filmmaking in Northern Ireland and of the talent on offer there?

NB: From the actors that I have worked with in Northern Ireland, the talent appears endless. Often growing up in oppression makes you want to fight and strive more to better yourself and things around you. This combined with a great honesty and naturalness makes for the perfect actor/actress.

TP: Leading on from that, another film you have in the pipeline is ‘Twenty8k’ which, like ‘Jump’, has started doing the festival circuit before a potential nationwide cinema release. What can you tell us about that film and your role?

NB: ‘Twenty8k’ has 50+ speaking characters and a very complex story. My character is a bit of a ‘rude girl’ with an ‘I don’t care’ attitude. She initially is with a very messed-up guy who is involved in some heavy situations, she then gets with a character not that much better, however holds slightly better morals. She lets on to a massive secret that could potentially save or disgrace a lot of people.

TP: Finally, what is next for you in your career?

NB: I have ‘Twenty8k’ coming out shortly and have recently completed a film calked ‘Svengali’.

TP: Good luck with it. Thank you for taking the time to speak with us, Nichola.

Watch the trailer for ‘Jump’ here and follow Nichola on Twitter at @nichola_burley.

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Silver Spring, U.SA. – Investigation Discovery’s new series Reel Crime/Real Story, hosted by legal champion and biopic subject Erin Brockovich, uncovers the true facts and real personalities behind iconic crime-and-justice movies that have become a part of our pop culture.

Featuring the headline-stealing homicides that inspired Hollywood hits, Reel Crime/Real Story reveals the true tales on which award-winning films Selena, Monster, and To Die For were based, with never-before-seen interviews, crime scene reconstructions, and footage gathered from the actual investigations. Reel Crime/Real Story premieres as a three-part series on Tuesday, May 29 at 10 PM E/P on Investigation Discovery.

“Box office numbers and industry accolades are a testament to the fact that Hollywood continues to be fascinated by true-life crimes,” said Henry Schleiff, president and general manager of Investigation Discovery. “Our new series, Reel Crime/Real Story is further evidence of what Investigation Discovery’s growing audience already knows: truth is often stranger and more interesting than fiction!”
Each episode of Reel Crime/Real Story reveals how art imitated life in some of the world’s most notorious cases:

Monster premieres Tuesday, May 29 at 10 PM E/P
The media dubbed her the “Damsel of Death” and Hollywood immortalized her as “Monster.” This episode explores the life and crimes of Aileen Wuornos, America’s first female serial killer. Though executed in 2002, her story was immortalized by actress Charlize Theron, who won an Oscar for her portrayal of the prostitute turned femme fatale in 2003′s Monster.

In a never-before-seen interview shot before Wuornos became one of only 11 women executed in the past two decades, she comes clean and reveals intimate details of the lesbian love affair that led her to kill seven men. This episode also includes the first ever on-screen interview with the undercover detective who brought Wuornos into custody.

Selena premieres Tuesday, June 5 at 10 PM E/P
Latin music sensation Selena Quintanilla Perez found new life in a posthumous biopic starring Jennifer Lopez in her career-launching role. Lovingly nicknamed the “Mexican Madonna,” Selena was just 23 years old when her personal assistant and the president of her fan club, Yolanda Saldivar, gunned her down in a cheap motel room in Corpus Christi, Texas.

The 1997 film, Selena, tracks the star’s meteoric rise to chart-topping stardom and her whirlwind romance with band member and husband Chris Perez. Through interviews with Perez, law enforcement, and the hotel manager in whose arms Selena died, Reel Crime/Real Story explores the story beyond the movie: a shocking and senseless crime that snuffed out a bright young star’s life and career.

To Die For premieres Tuesday, June 12 at 10 PM E/P
Pamela Smart lives on in Hollywood history as the woman whose salacious story inspired Nicole Kidman to win her first Golden Globe. The real-life scandal of a teacher who used sex to entice her 15-year-old student boyfriend to murder her husband rocked the small town of Derry, N.H. before exploding into a national media frenzy.

The 1995 film To Die For parodies Smart as an ambitious, cold-hearted seductress out for her husband’s blood, but who is the real Pamela Smart? Family members, local law enforcement, lawyers, and media who followed the case from day one attempt to piece together the profile of a woman who thought murder was the only answer to an unhappy marriage.

Reel Crime/Real Story is produced by ITV Studios America for Investigation Discovery. For ITV Studios, John X. Kim is executive producer. For Investigation Discovery, Eugenie Vink is executive producer, Sara Kozak is senior vice president of production, and Henry Schleiff is president and general manager.

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Jersey City, N.J., U.S.A. – Things went viral, with a mass media frenzy and blogger mega-attacks, after the film festival worldwide premieres of THE LIFE ZONE and O.B.A.M. NUDE, two highly inflammatory movies from the mind of best-selling author/acclaimed filmmaker, Kenneth Del Vecchio.

The writer/director/producer of nearly 20 star-filled movies and chairman of one of the world’s largest film festivals, Del Vecchio is also a former New Jersey judge (one of the youngest in state history). He’s clearly no fan of the current president, as O.B.A.M. NUDE is the first-ever satire about Barack Obama.

And THE LIFE ZONE – described by the Los Angeles Times as “a psychological thriller bringing an emphatically anti-abortion slant to the hot button issue” – doesn’t reflect the normal Hollywood pro-choice stance. Both films open theatrically on June 1 at Hudson Cinemas in Jersey City, New Jersey. The following week, they are released in over 15 cities nationwide. DVDs can already be purchased via pre-orders.

Starring Academy Award nominee Robert Loggia (Scarface, Big), Lindsey Haun (“True Blood”; Broken Bridges), Blanche Baker (Emmy winner; Sixteen Candles), and Martin Kove (The Karate Kid), THE LIFE ZONE chronicles the kidnapping of three women from abortion clinics – who are held for seven months until they all give birth.

The controversial fictional movie cuts right down the middle, examining the topic of abortion from both sides. However, as stated by “The Colbert Report” – “Just like all great horror films, Del Vecchio’s movie has a shocking twist” – the ending sends a definitively pro-life message.

O.B.A.M. NUDE weaves a satirical tale that mirrors much of Barack Obama’s history. A loner, O.B.A.M. (played by Del Vecchio) snorts cocaine, secretly hoping to one day become someone important. His dream comes true when Satan appears, promising the world.

Satan and his new protege scheme an agenda that ends with the United States presidency, transforming the world’s greatest democracy into a communist fiefdom, ruled by an enigmatic dictator. O.B.A.M., no doubt, will trick the masses with the Satan-created mantra of “hope and change.”

For more information, visit www.JusticeForAllProductions.com.

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In part two of the Cole Haddon interview, Cole goes into how he was able to put ‘The Strange Case of Mr. Hyde’ together, along with the many inspirations and influences he had when making the comic.

Toonari Post (TP): About your comic, ‘The Strange Case of Mr. Hyde’, your first issue was released in April 27 of 2011. Since then, you’ve released three other volumes, and now, in February, Dark Horse will be coming out with the four volume package. The one thing I was immediately impressed with was the artwork by M.S. Corley. How did you two come together for the project?

Cole Haddon (CH): M.S., I actually forgot what that stands for, but I know ‘M’ stands for Mike. At the time that the deal had been made and we were moving forward on ‘The Strange Case of Mr. Hyde’, my editor at the time, Dave Land, who has moved on from Dark Horse since then, sent me five or six really talented artists to consider, people who actually had name recognition. But a lot of it was, I don’t mean this as a slight, but it was the more conventional stuff.

There were a few that were a little out there, but for the most part, it was styles that I was familiar with. I knew from the start that I wanted ‘The Strange Case of Mr. Hyde’ to just look different, that when someone picked up the comic book to just immediately think that “this is something different, maybe I should pay attention to it.”

After going back and forth a little bit, they sent me Mike’s work, which I was immediately struck by because it didn’t look like other things that were out there. But he also didn’t have much of a history in comic books.

He had illustrated an eight-page story for Dark Horse Presents’ MySpace page. I believe that’s how it worked, which ironically enough involved Dr. Jekyll and Mr. Hyde and Jack the Ripper, very odd, but a much more monstrous version of everything.

So it struck me as different and special, and we got on the phone and didn’t stop talking for like 90 minutes about how much we loved classic horror movies. Of course, that inspired ‘The Strange Case of Mr. Hyde’, and by the end, it just seemed clear Mike wanted to work on the research and figure out how to put on the page what I saw in my head.

I haven’t regretted the decision since. He’s done nothing, but amazing work and pushed himself every step of the way, even when there could have been easier ways of doing things. He consistently challenged the instincts that both of us had.

TP: At the point when Adye and Jekyll meet up with Newcomen in the Museum of Waxworks, that made me think of ‘The House of Wax’ with Vincent Price. What would you say your biggest influence for making this comic is?

CH: I think probably as an aesthetic storyteller, everything has come, for me, from film. Film has led me to every classic book I’ve ever read. It’s sort of the launching pad to my entire existence. Probably several years ago, upon seeing ‘Pulp Fiction’, it was the first time I realized that my natural instinct to mash things together, just because I thought it was cool, actually could work.

For instance, something that Tarantino has been doing ever since, is mashing together genres and films that have no business being in the same movie, but somehow works. I could only dream that I’m remotely effective as he is.

But that was really the launching point for combining a love of a lot of classic horror from Universal Pictures Monster movies of the ’30s, ’40s, and ’50s, which had a huge impact on this series, to the Hammer Horrors to the ’50s, ’60s, and early ’70s before they went off the rails.

That had a huge impact. In fact, there is a Peter Cushing and Christopher Lee cameo in the series if you look very carefully. It was always the intention to draw inspiration to from the films that had such an impact on me as a child, to somehow reintroduce that feeling, that love of Gothic horror to a reader who might not be all that familiar with it.

The colorist, Jim Campbell, did some remarkable work, I think. He was probably chiefly responsible for invoking the feel of those Hammer films, in particular with the color pallet he chose. Contrast, saturated, and de-saturated colors between the upper-class and the lower-class to thematic colors for characters, the use of the brightest, most garish red we could come up with for blood that is never diluted by shadows or distance.

Blood, just like in all of the Hammer films, just has to scream at the audience. Even the ‘House of Wax’ reference is correct. Madame Tussauds is a real location.

Because the film goes hand-in-hand with the comic book, it was important that there were set pieces, major set pieces that people would recognize and would be exciting to see on the screen, and Madame Tussauds was one of those just for what it offered in terms of action, in terms of being able to actually have a visual representation of what the popular idea of what Hyde is.

There is also the fact that I love the Vincent Price ‘House of Wax’ and go all the way back to the Michael Curtiz’s ‘Mystery of the Wax Museum’, which is an old, two-color inspiration for the ‘House of Wax’.

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Recently, Toonari Post spoke with Cole Haddon, author of ‘The Strange Case of Mr. Hyde’. The comic, by Dark Horse, was a successful four volume series which has recently breached Hollywood and will become a full-length motion picture. Cole Haddon explained to us how he got his start and how he came up with the story behind ‘The Strange Case of Mr. Hyde’.

Toonari Post (TP): How did you start your current career?

Cole Haddon (CH): I moved out here to L. A. six years ago with the intention of breaking into the film business as a screenwriter. That took about three years with the help of friends I made, because I got representation and got some attention on some scripts I was working on. That led to reaching the comic book world to a meeting with Dark Horse Entertainment, and that’s how I became a comic book writer. But, for the screenplay stuff, that was just hard work and people eventually liking what I was doing, and it paid off.

TP: How long have you been focused on screenwriting, and then evolved to comics?

CH: As long as I can remember, I’ve always wanted to be a storyteller. I think I’ve just gone with that title as an umbrella for what I wanted to do, because I drifted between so many different mediums. When I was 13, I thought I was going to be a comic book writer, and I was also an illustrator.

So I was trying to break into the business just as the image boom was exploding around the country. But it took me forever to draw a comic book. Where other people do it quite naturally, I would have been spending two years to do two issues. But I enjoyed the stories so much and transitioned into screenwriting, and then went off to college where I then again transitioned into writing novels and short stories.

Until about 28 or so, I just realized film was where my heart had always been, and I was just running in circles around it, because I think in Michigan, where I’m from, you’re largely told that’s a dream for other people, that you should just go get a job at General Motor or if you get your degree and become an engineer, or a lawyer, or doctor, or something simple and easy and clearly lucrative.

So I ran from diving in for a long time, and I just gave up on running and got in the car and drove out here, and I’ve been here ever since. Very long and winding, and not at all a direct path, but I always knew that I wanted to be telling stories, and that, so far, looks like what I have to do.

TP: When you went into making the comic, was there anything specific you wanted to introduce into the comic world? What did you feel was missing and that you wanted to add in the comic book industry?

CH: I’ve been a comic book fan since I was probably eight and worked at comic book stores, and like I said, I thought I was going to work in the comic book industry from a very young age. That was mostly from the love of super hero comic books, and as I got older, though, I found I wanted more and more sophisticated stories, which weren’t always to be found in the super hero series.

So, I think when I finally got the opportunity to move into the medium, thanks to Dark Horse, I really wanted to use it as a means to explore themes that I wasn’t really allowed to touch in my screenwriting career.

In many ways, I call comic books my independent film because it pays like shit, but the satisfaction is through the roof. I control everything, and you get to create your own property, such as ‘The Strange Case of Mr. Hyde’.

So having that freedom to explore ideas, sometimes challenging ideas about society and religion and politics and many of these things that I found in the medium that I wanted to play with, and I didn’t necessarily see enough. There is much of it out there, but it’s stuff I had to look for. So when I finally got into it, I wanted to, at least, focus on that myself.

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Following Lionsgate’s acquisition of Summit Entertainment, the Company has named Summit’s Erik Feig, President, Production of the Lionsgate Motion Picture Group.

Reporting to Lionsgate Motion Picture Group Co-Chairmen Rob Friedman and Patrick Wachsberger, Feig will oversee all aspects of development and production of films from both the Lionsgate and Summit labels.  Feig will work closely with Jason Constantine, President of Acquisitions and Co-Productions for Lionsgate, on co-productions and acquisitions that are intended for theatrical release.

In a joint statement, Friedman and Wachsberger said, “Erik has been instrumental to Summit’s success over the past decade and we look forward to continuing our relationship with him in this new chapter.  With his incredible eye for films with global appeal and his ever growing list of accomplishments, we are fortunate to have such a talented individual working on our team.”

“I am very excited to join Lionsgate, one of the most vibrant, entrepreneurial media companies in the business, at this dynamic time of growth,” said Feig.  “Jon Feltheimer and Michael Burns and the Lionsgate team have found enormous success in taking smart creative and business bets that support unique filmmaker voices and make financial sense as well.

With our combined slates, powerful franchises and innovative cultures, we are poised for even more success across a broad spectrum of audiences and genres.  I am also extremely happy to be continuing my tenure with Patrick Wachsberger and Rob Friedman, both of whom have been so influential to me as mentors and role models.”

Feig most recently served as President of Worldwide Production and Acquisitions at Summit where he oversaw all of Summit’s in-house productions, co-productions and acquisitions, as well as the company’s involvement with films of its client companies. The films and franchises developed and produced under his tenure include RED, KNOWING, SOURCE CODE, LETTERS TO JULIET, and each of the films in THE TWILIGHT SAGA franchise.

Critically hailed films developed, produced, or acquired by Feig include the multiple Academy Award winner THE HURT LOCKER, including Best Director for Kathryn Bigelow and Best Picture for Summit Entertainment, the recent Jonathan Levine film 50/50, and A BETTER LIFE starring Demian Bichir who is nominated for an Oscar in the category of Best Actor for his performance in the film.

Feig began his career by packaging and producing the hit I KNOW WHAT YOU DID LAST SUMMER films. He then went on to produce the teen comedy SLACKERS for Sony. During the late 1990s, he continued to develop projects for many of the major studios and networks, while operating under an overall producing deal with Artisan Entertainment, a then client of Summit.

Feig ran Summit’s production banner since 2007 and also became a partner in the company as it grew into a worldwide studio, earning executive producer and producer credits along the way on films as varied as MR. & MRS. SMITH; Paul Haggis’s IN THE VALLEY OF ELAH; and the films in the STEP UP series.

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Pixar Studios announced that the animation industry is working on two different movies that will be released in 2013 and 2014.

At the last Disney film convention, D23, held on August 20, Pixar and Walt Disney Animation chief John Lasseter disclosed the two films in active development whose titles remain unknown. Dinosaurs will be the main idea of one of the movies they are working on. Directed by Bob Peterson this movie confirms the rumors that sprang up two years ago.

In 2009, Greg Dykstra, a character sculptor at Pixar was showing his model for a young version of Carl during an Up featurette. In the interview with him, the public could see some dinosaurs’ pictures in the wall behind him. After that image the question loomed up:  Would be dinosaurs the main starring of the next Pixar film?

At the D23, Disney didn’t reveal much information about the plot. “What if that life-changing asteroid missed Earth? The hilarious tale depicts a world where dinosaurs never went extinct,” said Pixar. The movie, currently being referred to as the Untitled Pixar Movie About Dinosaurs, will arrive on November 27, 2013.

The other untitled production directed by Pete Docter, director of Monsters Inc and Up, will be about how the brain works. Described by Docter, it is a comic look at how ideas come together and the inner workings of our brains. The audience will have to wait until May 2014 for more details.

In the meantime and just few months before those two releases, Brave and Monster University movies will keep entertaining the spectators. Brave, from which a new scene was shown at the D23 featuring the suitors trying to win heroine Merida’s hand in marriage, will be on theaters August 17, 2012. Directed by Mark Andrews and Brenda Chapman, this movie was titled at its origin as The Bear and the Bow.

This film is the first Pixar movie directed by a woman and starring a woman. It is also based on a tale. In addition, according to the media outlet Variety, princess Merida will most likely join the Disney Princesses after this movie.

Two days after that premiere, Mike and Sulley will return for Monster University, the sequel to Monsters Inc, on August 19, 2013. The plot is about how they met at the University where they couldn’t stand each other and how that relationship changed until they became best friends.

Monsters University, brings back Billy Crystal who voices Mike, 10 years after the original was released. At a Q&A for a Hero Complex screening of City Slickers where Crystal recently participated he spoke briefly about the movie and he stated that the script was “really funny.”

Discussing Sulley, Crystal said, “John Goodman is a genius and he’s great and we’re really funny together. It’s college pranks with monsters. And I wear a retainer. Mike has a retainer.”

Planes, a spinoff of the “Cars” franchise, is another upcoming produced by DisneyToon Studios that will also hit on Spring 2013. For those who cannot wait until that date Wreck-It Ralph is the movie to go see. Voiced by John C. Reilly, this film is about an arcade game character named Wreck-It Ralph. The film will be opening in November 2012.

Image Courtesy of  http://www.flickr.com/photos/harshlight/

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It is the 10^th annual Tribeca Film Festival! And tonight we watch the Awards show online from Germany, to make a great coverage of what went on, for all our dear readers to grab a look. It just couldn’t get better, with tons of excitement, and the exposure and appreciation of diverse tastes, and talented directors of incredible films, bringing their views and insight to incredible stories and plots, of all types of varieties, and styles.

The Tribeca Film Festival was co-founded by Robert De Niro and has gained special interest and value to all the different directors out there who create independent films. It has become a medium to present their work. The collaboration and founding sponsor American Express, awarded many directors with great prizes.  Tonight’s ceremony was hosted in New York City, at the W. Union Square.

The night started with the awards host, Gideon Yago. He started the awards mentioning that tonight; it’s been the time to see and hear from the filmmakers, directors that brought their talent to the festival.

The evening counted with many festival juries. Chief Geoff Gilmore presented chief creative officer the first two awards of the night. The first award of the evening went to Rider and Shiloh Strong with Dungeon Master.

The best feature film went to Donner Unknown by Jerry Rosswell. The award contain a price of $25.000 by the founding partner American Express, and also an artistic award by Chanel, a piece valued in $35.000. As the awards went on the first jury award, was presented by Ahmed Ahmed Juror. He presented the Student visionary award: Whose prize consisted on a Mac pro Desktop donated by Apple, valued at $35,000. The film was admired by appreciating its detail. “Sometimes Less is more,” said Ahmmed Ahmmed, referring to the film Rooms, by Johanna Jurewicz.

One of the most outstanding films of the night that reflected the experienced trauma in time of war, where a man struggles for his legacy, was the film Incident in New Baghdad by James Spione. He went to the stage and thanked saying: “It is a small firm, which was made by only four people”. He gave special acknowledgements and appreciation to Ethan McCore referring to him as: “A man that went to Irak as one person, and came back as another, what amazed me was his incredible courage in coming back and telling what he experienced there.

The comedian Denis Leary Juror presented the best Narrative Short award. He mentioned that it was a difficult category. “ There were about 40 short films, and we were only able to pick 2 films, very difficult”, he said.  He tried to bring a little bit of the publics attention to the film by saying: “The opening scene in that movie involves a dad shooting his son and its a comedy, it is a terrific movie, terrific acting, and it is their first short film, and the winner is David Leon and Marcus McSweeney, with their film Man and Boy.

The Tribeca Film Festival introduced a new category to the documentary section, the juror, Lauren Hutton presented the Best New Documentary Director. She said, “First I like to give special jury mention, to a film, and honor the films makers of 6 years of hard work, that exposed how a society has collapsed, in the movie Giving Up tomorrow, by Michael Collins.”

The Best new documentary director award went to the film Like Water, by Pablo Croce by opening up a violent world. Croce received his award by saying “This is very Surreal, It was quite a journey, quite an experience personally. We found a treasure behind this whole world.”

A very interesting award category was, the best new narrative director: Which was awarded with 25.000 dollars in cash and 50,000 dollars donated by company 3. The movie was valuated by its extraordinary journey of an outcast. The movie was “emotionally erasing” and the award went to Park Jung-bum, The Journals of Musan.

Later on, Amir Bar-Lev Juror presented the best of the world documentary competition. The award consisted on the best editing, with a prize $5000. The award appreciated the emotional personal narrative exposed in the film, Semper Fi: Always Faithful by Tony Hardmon and Rachel Libert.

Lastly the night ended with several final awards, the final award for best documental feature, for its beauty and literacy the award was given to one of the most outstanding films of the festival Bombay Beach, directed by Alma Har’El. She received the award saying these words “ It was just overwhelming, to see how people just respond to the film” She gave special thanks to her team who were open to do something different, and ended up saying “Go visit Bombay Beach is really cool”.

By the end of the awards, there were other films mentioned and awarded by the precious experience, which take us to various journeys, which make these films special. The juror Rula Jebreal mentioned, the 1^st award best screenplay, which was an anonymously award given by the jury, to the film by Jannnicke Systad, Turn me on Godammit.

The night ended up mentioning and depicting the best cinematography in a narrative feature, for a vivid depiction of external and internal landscape, awarding one of the most noticeable films of the night, Artificial Paradises by Luisa Tillinger.

The night finished with emotion. Where many directors, and filmmakers felt content to have a place where their work can be rewarded and shown. The Tribeca Film Festival has become an open door for many directors out there, who are very talented and wait with an inner sigh hoping to have their work appreciated and valued.

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