DUCK BUTTER (Miguel Arteta, 2018)
Tribeca Film Festival: Thursday, April 26, Regal Cinemas Battery Park 11-10, 9:00
Village East Cinema
181-189 Second Ave. at 12th St.
Opens Friday, April 27
The behind-the-scenes story of the making of Duck Butter, having its final world premiere screening at the Tribeca Film Festival on April 26 before opening at the Village East the next day, turns out to be better than the film itself. That doesn’t mean there isn’t lots to appreciate about the too-intimate drama, which chronicles the ups and downs, fears and desires of two women experiencing a full relationship in a twenty-four-hour period. Director Miguel Arteta (Beatriz at Dinner, Chuck & Buck) and actress Alia Shawkat (State of Grace, Arrested Development) initially wrote a script about an eighteen-month relationship between a man and a woman that featured a twenty-four-hour period in which they get to know each other by having sex once every sixty minutes. One friend advised that they instead make the movie just about the twenty-four hours, so they began looking for a male actor to star opposite Shawkat. After coming up empty, they decided that Laia Costa (Bandolera, Victoria), who had already been cast in a smaller role, was right for the part. They stripped the script down to its bare essentials, allowing the two actresses to improvise most of their dialogue as the main section of the film was claustrophobically photographed by Hillary Spera in about twenty-seven hours, giving it a cinéma vérité feel.
After being fired by Mark and Jay Duplass from a show starring characters played by Lindsay Burdge and Kumail Nanjiani, the uptight, overly contemplative Naima (Shawkat) calls the free-spirited Sergio (Costa), a singer she met at a lesbian club. Sergio suggests that they forego the standard dating rituals — “We can skip time!” Sergio declares — and instead spend the next twenty-four hours inside, making love once every hour as they explore who they are and speak only the truth, not playing any romantic games. But what starts out being exciting and sexy soon transforms into something else as they go through in one day what new partners usually go through in years. The film was executive-produced by the Duplass brothers, who portray themselves; Shawkat recently played the bisexual Lila on Transparent, which stars Jay Duplass as Josh Pfefferman. Duck Butter — the title phrase is explained in the film, but you might want to Google it when you’re not at work — also features Hong Chau as Glow and Kate Berlant as Kathy, a lesbian couple who are friends of Naima’s. Costa (who is also an associate producer on the film) and Shawkat (also an executive producer) have a sweet chemistry, but the film is extremely bumpy, jumping around too much as Arteta attempts to squeeze too much into ninety minutes. Some scenes will get you hot, some will make you laugh, but others will make you cringe. The whole experiment is an intriguing idea; perhaps it might have worked better if there were less back story, or more. It ends up being so private at times that you practically have to look away, which is not generally what a filmmaker wants from the audience.
Don’t be scared off by the title of House Two; it’s not a sequel to a horror film you didn’t see. But that doesn’t mean it isn’t downright frightening. On November 19, 2005, the Haditha Massacre took place, in which a small unit of U.S. Marines shot and killed two dozen Iraqis, including women and children, in a bedroom in a location identified as “House Two.” The Marines were searching for those responsible for setting off an IED nearby. The next year, following a Time magazine story about the incident, Oscar-nominated, Emmy-winning director Michael Epstein decided to make a film about the trial of Staff Sergeant Frank Wuterich, who was charged with eighteen counts of murder. In order to get as much behind-the-scenes information as possible without having to surrender it to the court or the military, Epstein actually became an official part of Wuterich’s defense team, gaining full access to its strategy and all those involved, beginning with Wuterich himself. In exchange, the legal team agreed that Epstein would have ownership of all footage he shot and that he could use it in any way he saw fit; thus, he had complete control over the documentary, and the legal team would even indemnify him for any resulting libel claims from them or Wuterich. What Epstein found out about the case is utterly shattering, a widespread conspiracy to cover up the incident — which recalled the 1968 My Lai Massacre in Vietnam — with a shocking revelation of who was ultimately in charge of the whitewashing.
What was expected to take about eighteen months turned into a ten-year saga for Epstein, who met with Wuterich extensively as well as with his family, even returning to the scene of the crime to help Wuterich remember exactly what happened and who pulled the triggers when. Epstein speaks at length with Wuterich’s legal team, consisting of former Marine Corps Judge Advocate Neal Puckett, former Marine major Haytham Faraj, and Lt. Col. Colby Vokey, former head of the Regional Defense Council West for the Marine Corps. He also interviews NCIS special agents Michael Maloney and Thomas Brady, who discuss the forensic evidence in great detail and what likely happened at House Two, which doesn’t mesh with the prosecution’s case. But the more the agents and Wuterich’s legal team discover about four other members of the unit who were present at House Two (and House Four) — Private First Class Umberto Mendoza, Corporal Sanick DelaCruz, Lance Corporal Justin Sharratt, and Lance Corporal Stephen Tatum — the more doubt is cast on who actually was responsible for the killings, raising questions that top Marine brass seem to want to sweep under the rug as soon as possible.
House Two is a tough, tense procedural that goes beyond fly-on-the-wall docs, immersing the viewer in the narrative, particularly as new facts are brought to light but not everyone is willing to accept them. Epstein’s camera reaches some remarkable places as he reveals more about the Marines who were in Haditha at the time of the massacre and exposes a series of lies that keep growing bigger and bigger. Because he was part of the legal team, Epstein (The Battle over Citizen Kane, LennoNYC) has a clear bias; at times he can be heard off camera leading his interview subject onto a certain path. But as he later shows, there appears to be no legitimate other side of the case, as the Marine prosecutors rely on a shaky, and shady, house of cards that is destined to fall. It’s fascinating listening to Maloney, an expert who was among the first to question the original story; Faraj is also a riveting figure, not afraid to get right in Wuterich’s face to find out what happened in what he calls “a very ugly chapter in Marine Corps history.” But by the end, justice and the truth don’t matter; the reputation of the U.S. military is more important than a bedroom full of innocent dead Iraqis. As Epstein notes in his director’s statement, looking at all the evidence, “a clear, unambiguous picture emerged: In Haditha the Marines under Wuterich’s command committed murder.” That doesn’t mean anyone will pay for the crime. House Two has one more world premiere screening left at the Tribeca Film Festival, on April 26 at 8:45; its previous screenings caught the attention of the Pentagon, which is reviewing the incident and deciding what, if anything, to do next.
EVERY ACT OF LIFE (Jeff Kaufman, 2018)
Tribeca Film Festival
Monday, April 23, SVA Theater 2 Beatrice, 8:00
Tuesday, April 24, Cinépolis Chelsea 6, 5:00
Wednesday, April 25, Cinépolis Chelsea 2, 6:15
Thursday, April 26, Cinépolis Chelsea 9, 4:00
Four-time Tony winner Terrence McNally and his husband, producer Tom Kirdahy, appeared in the 2015 documentary, The State of Marriage, about marriage equality, but director-producer Jeff Kaufman and producer Marcia Ross were surprised to learn that no one had made a film about McNally himself. So they did. The result is Every Act of Life, an intimate portrait of the Texas-born activist and playwright, who has also won two Obies, four Drama Desk Awards, and an Emmy and has been a fixture in the theater community for six decades, writing such popular and influential works as Frankie and Johnny in the Clair de Lune; The Lisbon Traviata; Lips Together, Teeth Apart; Master Class; Kiss of the Spider Woman; and Love! Valour! Compassion!
Kaufman and Ross combine archival footage of many of McNally’s works with personal photos and new interviews with an all-star lineup that includes Angela Lansbury, Nathan Lane, Audra McDonald, Larry Kramer, Edie Falco, F. Murray Abraham, Tyne Daly, Billy Porter, Chita Rivera, John Slattery, Rita Moreno, Joe Mantello, and Christine Baranski, among many others. The film follows McNally through every act of his life, from his childhood in Texas living with abusive, alcoholic parents to his homosexuality, from his relationships with Edward Albee, Wendy Wasserstein, and others to his bout with lung cancer and marriage to Kirdahy. Every Act of Life is having its world premiere at the Tribeca Film Festival on April 23, with Kaufman, Mantello, Abraham, Lane, and McNally participating in an “After the Screening” conversation moderated by Frank Rich. (The film is also being shown April 24, 25, and 26.) Just as the festival got under way, Kaufman, who has also directed Father Joseph, The Savoy King: Chick Webb and the Music That Changed America, and Brush with Life: The Art of Being Edward Biberman, discussed the project via email in this exclusive twi-ny talk.
twi-ny: You first interviewed Terrence McNally and his husband, Tom Kirdahy, for The State of Marriage. How familiar were you with him and his work at that time?
Jeff Kaufman: Marcia grew up in Mt. Vernon, just outside of NYC, and the great love of her youth was coming into the city to go to the theater. It shaped much of her life that followed. I grew up near Seattle with a love of classic movies and art, so my discovery of the theater came a bit later (in part by subscribing to the Fireside Theatre Book Club). We both loved Terrence’s work but also made some lasting discoveries through making this film.
twi-ny: Do you have a favorite play of his?
JK: For Marcia, her favorite play by Terrence (of many) is Love! Valour! Compassion! She says it speaks so beautifully about relationships. There are many characters and moments and plays of Terrence’s that keep reverberating for me, but I would mention (so others can look them up) the spiritual moments in A Perfect Ganesh and Corpus Christi, the sense of family and scope of life in L! V! C!, and the deep connection to the power of the arts in Master Class.
twi-ny: What made you think he would be a good subject for a full-length documentary? Was it difficult to get him to agree to the film?
JK: When we interviewed Terrence and Tom for The State of Marriage, we were so impressed with how direct and open and full of feeling Terrence could be. His life and work have changed many lives, and launched many careers, so his story is about a community of remarkable people as well. Through Terrence’s life and work we connect to a history of the theater, the struggle for LGBTQ rights (as Nathan Lane says, “Terrence has always been ahead of his time”), overcoming addiction (thanks in large part to Angela Lansbury), and what it means to keep searching and growing (and loving) throughout your life. So, for us Terrence, like his plays, speaks to a lot of important concerns.
And since we worked well together in the previous film, it wasn’t hard to get him and Tom to agree. They’ve been great to work with throughout the project.
twi-ny: Terrence gives you remarkable access to his life. Did that happen early on in the process, or did you have to establish a rapport?
JK: Our first conversation about doing this film was with Tom Kirdahy, a theater producer and former AIDS attorney who is also Terrence’s husband. Tom understood completely that honesty and access are essential. None of us wanted a fawning tribute. Terrence wasn’t comfortable with every aspect of our interviews, but he was remarkably forthcoming and unvarnished. I’ve interviewed hundreds of people, but Terrence is unique.
twi-ny: Were there any times he asked for the camera to be turned off?
JK: When he decides to open the door, he opens it all the way. There may have been a few things he pushed back on a bit, but we always got what we needed.
twi-ny: Terrence is known for being a perfectionist and, at times, demanding, yet he is very relaxed throughout the film. Did the making of the film actually go that smoothly? Whose idea was it to have numerous scenes in which two characters speak very comfortably to each other?
JK: I always try to put interview subjects in a positive frame of mind (even while asking a lot, on several levels). Marcia is a great ally in this as well. Often when I’m working with the film crew to set up the shot, Marcia engages in her singular way (and depth of theater knowledge) to help keep the subject engaged and relaxed. Then I conduct the interview. Since you asked, I came up with the idea for the various sequences (Edie and Murray talking about Frankie and Johnny, etc.).
twi-ny: You have amassed a terrific cast of characters from both his personal and professional life for the film. What was that experience like, “casting” the documentary? Was there someone you really wanted to interview but was unavailable?
JK: Casting is key in documentaries, narrative films, and the theater. Also important for our work is to get people to tell stories that put the audience in a scene with the subjects of our films. We were pretty much able to talk to everyone on our list . . . but I would have loved to go back in time and film Terrence with some of the people who are no longer living. We got as close as possible to that by finding unseen footage of Edward Albee and Wendy Wasserstein, having Bryan Cranston read an amazing letter to Terrence about what a writer needs to keep going, and getting Meryl Streep to read a letter from Terrence’s beloved high school English teacher.
twi-ny: In the film, Terrence and the actors talk about the importance of collaboration, which even extended to many of the documentary participants helping the Kickstarter campaign by contributing special rewards for donors. How does collaboration in theater compare with collaboration in film?
JK: Both are essential, and as Terrence says, life is about collaboration as well. I have a strong vision for what I want the documentary to be and say. So does Marcia. However, that only comes together through the work and vision and talent of many people.
twi-ny: What was the single most surprising thing you learned about theater and Terrence McNally while making the film?
JK: I don’t know if this qualifies as a surprise, but Marcia and I were both impressed by finding in Terrence, and others in the film, great artists who could easily rest on their laurels but who instead are still inspired, still learning, and still striving to do new and better work.
IN THE SOUP (Alexandre Rockwell, 1992)
SVA Theater 1 Silas
333 West Twenty-Third St. between Seventh & Eighth Aves.
Tuesday, April 24, $25.94, 7:30
Tribeca Film Festival runs April 18-29
The 2018 Tribeca Film Festival might be hosting gala anniversary screenings of Scarface and Schindler’s List at the Beacon with impressive rosters of superstar guests and high price tags, but the one to see is Alexandre Rockwell’s 1992 black-and-white indie cult classic, In the Soup, which is being shown April 24 at the SVA Theater. The twenty-fifth anniversary screening is a case of life imitating art (imitating life): The black comedy is about the fabulously named Adolpho Rollo (Steve Buscemi), a ne’er-do-well New Yorker living in a run-down apartment building, working on his master opus, a five-hundred-page screenplay called Unconditional Surrender that he believes will change the face of cinema itself. A familiar New York story? Perhaps, but the film was largely unfamiliar to almost everyone but the most dedicated enthusiasts, since it has been out of circulation for most of its existence. A few years ago, In the Soup was down to one last, damaged archival print, but distribution company Factory 25 began a Kickstarter campaign to restore the film in time for its quarter-century anniversary, somewhat mimicking Adolpho’s efforts to get his movie made — which, in turn, is based on Rockwell’s attempts to make In the Soup in the first place, as many of the characters and situations in the film are based on real people and actual events. With wanna-be gangster brothers Louis Barfardi (Steven Randazzo) and Frank Barfardi (Francesco Messina) breathing down his neck for the rent, Adolpho decides to sell the last thing of value (at least in his mind) that he owns, his screenplay. (In real life, Rockwell sold his saxophone to help get In the Soup financed.) His first offer is not quite what he imagined, involving a pair of cable TV producers played by Jim Jarmusch and Carol Kane. But next he meets Joe (Seymour Cassel), an older, white-haired teddy bear of a man who may or may not be connected. Joe is so excited about making a movie that he can’t stop hugging and kissing — and even getting in bed with — a confused Adolpho, who really has nowhere else to turn. Adolpho wants his next-door neighbor, Angelica (Jennifer Beals, who was married to Rockwell at the time), to star in his film, but she wants nothing to do with him, although he does succeed in making Angelica’s estranged, and plenty strange, husband, Gregoire (Stanley Tucci), mighty jealous. Adolpho is also terrified of Joe’s mysterious, apparently rather dangerous, brother, Skippy (Will Patton). Little by little, the money starts coming in, but Adolpho and Joe start having creative differences about fundraising and moviemaking, leading to a series of even odder situations with more bizarre characters.
A kind of cousin to Jarmusch’s 1984 gem, Stranger than Paradise, Rockwell’s third feature (following Hero and Sons) was made on a shoestring budget, shot in color by cinematographer Phil Parmet but then transferred to black-and-white to obtain a stark, drenched look. Veteran character actor and Cassavetes regular Cassel and up-and-coming actor/fireman Buscemi form a great comic duo, Cassel filling Joe with an unquenchable thirst for all life has to offer, Buscemi imbuing Adolpho with a rigid, sheltered view of existence, a young man lost in his own warped reality. “My father died the day I was born. I was raised by Fyodor Dostoevsky and Friedrich Nietzsche,” Adolpho says, as if that’s a good thing. Patton is a riot as the menacing Skippy, while Beals and Tucci have fun with their accents. The fab cast also includes Debi Mazar as Suzie, Elizabeth Bracco as Jackie, Sully Boyar as the old man, Pat Moya as Joe’s companion, Dang, Ruth Maleczech as Adolpho’s mother, Michael J. Anderson as a drug dealer, and Sam Rockwell (no relation to Alexandre) as Angelica’s brother, Pauli. In the Soup is also a great New York City film, with several awesome locations. The film won the Grand Jury Prize at Sundance, beating out Allison Anders’s Gas Food Lodging and Quentin Tarantino’s Reservoir Dogs (Cassel also won for acting), but the distribution company handling the picture went bankrupt shortly after releasing it, resulting in its scarce availability, which was a shame, because it’s an absolute treasure. But now it’s back and looking better than ever. (Coincidentally, Rockwell, Anders, and Tarantino were three of the quartet of directors who made the 1995 omnibus Four Rooms, along with Robert Rodriguez.) Alexandre Rockwell, who went on to make such other films as Somebody to Love, 13 Moons, and Pete Smalls Is Dead (with many of the actors from In the Soup), will take part in a conversation following the Tribeca Film Festival screening, joined by Buscemi, Beals, Sam Rockwell, and Parmet.
Tribeca Film Festival
As you scout around the Tribeca Film Festival guide and schedule, you might notice that a lot of the events are not exactly cheap, with most screenings running between twenty-five and forty-five bucks and some special presentations costing several hundred dollars. But there are a bunch of free programs as well, including film screenings, master classes, and gaming, particularly on April 27, which is free Friday. Make sure to check whether advance registration is necessary or it’s first come, first served.
Friday, April 20
Tribeca Talks: Master Class — Sound & Music Design for Film, moderated by Glenn Kiser, SVA Theater 2 Beatrice, 4:00
Sunday, April 22
Special Screenings: Hotel Transylvania (Genndy Tartakovsky, 2012), with a dance parade, costume parade, trivia contest, character meet-and-greets, Manhattan Youth performance, and more, BMCC Tribeca PAC, 9:00 am
Tuesday, April 24
Tribeca Talks: Master Class — BAO Animation Workshop, SVA Theater 2 Beatrice, free, 3:00
Tribeca Talks — 30 for 30 Podcast: Bikram, discussion with reporter and producer Julia Lowrie Henderson and host and editor Jody Avirgan, Cinépolis Chelsea 4, 7:15
Friday, April 27
Shorts: Animated Shorts Curated by Whoopi G, Cinépolis Chelsea 2, 3:45
Tribeca Games: A Special Preview of Shadow of the Tomb Raider, BMCC Tribeca PAC, 4:00
Phantom Cowboys (Daniel Patrick Carbone, 2018), Cinépolis Chelsea 6, 5:00
After the Screening: Little Women (Vanessa Caswill, 2017), followed by a conversation with executive producers Colin Callender and Rebecca Eaton, cast member Maya Hawke, and dramatist Heidi Thomas, SVA Theater 1 Silas, 5:00
Crossroads (Ron Yassen, 2018), Cinépolis Chelsea 1, 5:15
Say Her Name: The Life and Death of Sandra Bland (Kate Davis & David Heilbroner, 2018), Cinépolis Chelsea 3, 5:30
O.G. (Madeleine Sackler, 2018), Regal Cinemas Battery Park 11-3, 5:45
Ryuichi Sakamoto: Coda (Stephen Nomura Schible, 2017), Regal Cinemas Battery Park 11-10, 6:00
Tribeca Games — Reimagining God of War: The Inside Story, BMCC Tribeca PAC, 6:00
Diane (Kent Jones, 2018), Cinépolis Chelsea 7, 6:00
Tribeca TV: The Last Defense, conversation with executive producers Viola Davis and Julius Tennon, SVA Theater 2 Beatrice, 6:00
Momentum Generation (Jeff Zimbalist & Michael Zimbalist, 2018), Regal Cinemas Battery Park 11-5, 6:30
Shorts — NY Shorts: Homemade, Cinépolis Chelsea 8, 6:30
Shorts: Magic Act, Cinépolis Chelsea 2, 6:45
Shorts: Make or Break, Cinépolis Chelsea 9, 7:00
Special Screenings: Netizens (Cynthia Lowen, 2018), Cinépolis Chelsea 4, 7:30
Special Screenings: Radium Girls (Ginny Mohler & Lydia Dean Pilcher, 2018), SVA Theater 1 Silas, 8:00
Tanzania Transit (Jeroen van Velzen, 2018), Regal Cinemas Battery Park 11-9, 8:00
Time for Ilhan (Norah Shapiro, 2018), Regal Cinemas Battery Park 11-6, 8:15
Special Screenings: The Girl and the Picture (Vanessa Roth, 2018), Cinépolis Chelsea 3, 8:30
The Elephant and the Butterfly (Amélie van Elmbt & Amelie van Elmbt, 2017), Regal Cinemas Battery Park 11-4, 8:30
It’s a Hard Truth Ain’t It (Madeleine Sackler, 2018), Regal Cinemas Battery Park 11-3, 8:45
The Serengeti Rules (Nicolas Brown, 2018), Cinépolis Chelsea 7, 9:00
Nico, 1988 (Susanna Nicchiarelli, 2017), Regal Cinemas Battery Park 11-10, 9:00
Mapplethorpe (Ondi Timoner, 2018), Regal Cinemas Battery Park 11-5, 9:30
The Night Eats the World (Dominique Rocher, 2018), Cinépolis Chelsea 8, 9:30
Shorts: Into the Void, Cinépolis Chelsea 2, 9:45
Shorts: Loose Ends, Cinépolis Chelsea 9, 10:00
Saturday, April 28
Tribeca Film Institute: Tribeca Teaches Showcase, BMCC Tribeca PAC, 10:00 am
Tribeca Talks: Master Class — Show Runners and Writing for TV, with Robert and Michelle King, Steve Bodow, and Jennifer Flanz, SVA Theater 2 Beatrice, 2:00
Tribeca Campus Docs: Campus Movie Fest, Regal Cinemas Battery Park 11-9, 3:00
Tribeca Film Festival
April 18-29, $33.15 - $43.45
The Tribeca Film Festival’s “After the Screening” series features conversations, panel discussions, live performances, and Q&As following screenings of more than two dozen films and television episodes, not including the special shows at the Beacon Theatre. Most of the events, held at the SVA Theater, BMCC Tribeca PAC, Cinépolis Chelsea, and the festival hub at Spring Studios, cost between $25.94 and $43.45, except on April 27, when they’re free. Among the guests appearing “After the Screening” are Viola Davis, Sam Rockwell, Paris Hilton, André Leon Talley, Jennifer Beals, Steve Buscemi, Sandra Bernhard, Alexandre Rockwell, Brian Grazer, Joy Reid, Terrence McNally, Christine Baranski, F. Murray Abraham, Chita Rivera, Matthew Broderick, Antonio Banderas, Katie Couric, Tom Sturridge, Natalie Dormer, Paul Sparks, Kathleen Cleaver, Alex Gibney, Emily Mortimer, Alessandro Nivola, Ron Perlman, Kyle Abraham, Ralph Macchio, DJ Jahi Sundance, the Last Poets, Jason Reitman, and Tamara Jenkins. Tickets are still available for most of the presentations, although some are already at rush and limited status.
Thursday, April 19
Tribeca Talks: Director’s Series: Tully (Jason Reitman, 2018), conversation with Jason Reitman and Tamara Jenkins, BMCC Tribeca PAC, $43.45, 5:15
Westworld, discussion with Jonathan Nolan, Lisa Joy, Evan Rachel Wood, Thandie Newton, Jeffrey Wright, and James Marsden, BMCC Tribeca PAC, rush, 8:30
Friday, April 20
Rest in Power: The Trayvon Martin Story (Julia Willoughby Nason & Jenner Furst, 2018), conversation with codirectors Julia Willoughby Nason and Jenner Furst, the parents of Trayvon Martin, Sybrina Fulton and Tracy Martin, executive producers Mike Gasparro and Chachi Senior, and special guests, moderated by Joy Reid, BMCC Tribeca PAC, $33.15, 5:45
Genius: Picasso, conversation with showrunner Ken Biller, executive producers Brian Grazer and Francie Calfo, and cast members Antonio Banderas, Alex Rich, Clémence Poésy, Poppy Delevingne, and Samantha Colley, moderated by Cynthia Littleton, BMCC Tribeca PAC, $33.15, 8:30
Saturday, April 21
Bathtubs over Broadway (Dava Whisenant, 2018), conversation with members of the cast and a special performance inspired by the film with surprise guests, BMCC Tribeca PAC, $33.15, 2:00
Freaks & Geeks: The Documentary (Brent Hodge, 2018), conversation with director Brent Hodge and Freaks and Geeks creator Paul Feig, Tribeca Festival Hub, $33.15, 8:00
Sunday, April 22
Netizens (Cynthia Lowen, 2018), conversation with director Cynthia Lowen and subjects Tina Reine, Carrie Goldberg, and Anita Sarkeesian, SVA Theater 2 Beatrice, rush, 2:00
To Dust (Shawn Snyder, 2018), followed by Tribeca Film Institute conversation with writer/director Shawn Snyder, producers Emily Mortimer, Alessandro Nivola, and Ron Perlman, cast members Geza Rohrig and Matthew Broderick, and biologist Dawnie Steadman, hosted by Alfred P. Sloan Foundation, SVA Theater 1 Silas, rush, 6:00
Mr. Soul (Melissa Haizlip & Samuel Pollard, 2018), followed by #SOUL50: A 50th Anniversary Tribute to SOUL! hosted by Blair Underwood and featuring performances from Robert Glasper, Lalah Hathaway, Kyle Abraham, DJ Jahi Sundance, Sade Lythcott, Kathleen Cleaver, and the Last Poets: Abiodun Oyewole, Umar Bin Hassan and Felipe Luciano, Tribeca Festival Hub, $33.15, 8:00
Monday, April 23
Every Act of Life (Jeff Kaufman, 2018), conversation with director Jeff Kaufman, playwright Terrence McNally, actor/director Joe Mantello, and actors F. Murray Abraham, Christine Baranski, and Chita Rivera, moderated by Frank Rich, SVA Theater 2 Beatrice, rush, 8:00
Blue Note Records: Beyond the Notes (Sophie Huber, 2018), followed by special guest performance by Blue Note artists Robert Glasper, Derrick Hodge, and Kendrick Scott, Tribeca Festival Hub, rush, 8:00
Tuesday, April 24
In the Soup (Alexandre Rockwell, 1992), conversation with director Alexandre Rockwell, actors Steve Buscemi, Jennifer Beals, and Sam Rockwell, and cinematographer Phil Parmet, SVA Theater 1 Silas, $25.94, 7:30
Cobra Kai, conversation with writers, directors, and executive producers Hayden Schlossberg, John Hurwitz, and Josh Heald and series stars and executive producers Ralph Macchio and William Zabka, SVA Theater 2 Beatrice, rush, 7:45
Wednesday, April 25
Bobby Kennedy for President (Dawn Porter, 2018), conversation with director Dawn Porter and Ambassador William vanden Heuvel, SVA Theater 1 Silas, $33.15, 5:00
Woman Walks Ahead (Susanna White, 2017), conversation with director Susanna White, actor Sam Rockwell, and others, BMCC Tribeca PAC, $25.94, 5:45
Phenoms, conversation with executive producers David Brooks and Mario Melchiot, producer Arbi Pedrossian, creative director Chris Perkel, producer and editor Thomas Verette, and directors Jane Hicks, Jeff Zimbalist, and Michael Zimbalist, SVA Theater 2 Beatrice, $33.15, 8:30
The Gospel According to André (Kate Novack, 2018), conversation with director Kate Novack, subject André Leon Talley, producers Andrew Rossi and Josh Braun, and executive producer Roger Ross Williams, moderated by Sandra Bernhard, BMCC Tribeca PAC, $33.15, 8:30
Thursday, April 26
Sweetbitter, conversation with creator, executive producer, and writer Stephanie Danler, showrunner Stuart Zicherman, and cast members Ella Purnell, Caitlin FitzGerald, Tom Sturridge, and Paul Sparks, moderated by Katie Couric, SVA Theater 1 Silas, rush, 5:00
Enhanced, conversation with executive producer Alex Gibney and directors Chai Vasarhelyi and Jesse Sweet, moderated by Marisa Guthrie, Cinépolis Chelsea 7, $33.15, 6:00
RX: Early Detection a Cancer Journey with Sandra Lee (Cathy Chermol Schrijver, 2018), conversation with director Cathy Chermol Schrijver and subjects Sandra Lee and Kimber Lee, SVA Theater 1 Silas, $25.94, 7:45
Drunk History, conversation with cocreator, director, and host Derek Waters, cocreator and director Jeremy Konner, and special guests (and two complimentary drink tickets), Tribeca Festival Hub, $33.15, 8:30
Friday, April 27
Little Women (Vanessa Caswill, 2017), conversation with executive producers Colin Callender and Rebecca Eaton and cast member Maya Hawke, SVA Theater 1 Silas, free with advance ticket, 5:00
The Last Defense, conversation with executive producers Viola Davis and Julius Tennon, SVA Theater 2 Beatrice, free with advance ticket, 6:00
The American Meme (Bert Marcus, 2018), conversation with director Bert Marcus and subjects Paris Hilton, Kirill Bichutsky, Brittany Furlan, the Fat Jew, and Hailey Baldwin, Tribeca Festival Hub, limited, 8:00
Saturday, April 28
The Staircase, conversation with creator and director Jean-Xavier de Lestrade and producers Matthieu Belghiti and Allyson Luchak, SVA Theater 2 Beatrice, $33.15, 6:00
Picnic at Hanging Rock (Larysa Kondracki, 2018), conversation with director Larysa Kondracki, executive producer Jo Porter, and cast member Natalie Dormer, SVA Theater 1 Silas, $33.15, 8:00