Billy Palumbo is an experimental filmmaker and the director of the film department's Wide Open Experimental Film Festival. Through unpredictable camera movement and abstracted imagery, his work explores the dizzying impermanence of moving images. His films, including All Clear, Curley: A Historiophoty by Billy Palumbo, and Bound, have screened and won awards at festivals internationally, including Alchemy Film & Arts, Onion City Experimental Film and Video Festival, and Athens International Film + Video Festival. Billy holds a BA and MFA from Emerson College. To learn more about Billy's work, visit billypalumbo.com.

Al Pacino has been set to star in Billy Knight, an indie drama that will mark the feature film debut of writer-director Alec Griffen Roth. Stranger Things star Charlie Heaton and Diana Silvers (Space Force, Booksmart) will also topline the pic, which begins shooting this week in Los Angeles.

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The film's protagonist is nineteen-year-old Billy (a surprising Matteo Oscar Giuggioli), a former child prodigy who at the age of nine invented and ran a successful music podcast and now lives with his eccentric mother Regina (Carla Signoris at ease in the role of the slightly mythomaniac lunatic with a mania for western films) in a small village suspended in the middle of nowhere between Friuli and Veneto. Billy suffers from panic attacks that he mitigates by swallowing 'serenix' pills, is secretly in love with his neighbour Lena (Benedetta Gris), and takes refuge in a disused camper van where he invites 8-12 year olds, future nerds, to try their hand at board games. This fluctuating and wavering uncertainty is interrupted by the arrival in town of Zippo (Alessandro Gassmann), a rocker who disappeared years ago, Billy's childhood idol, who has returned to come to terms with his own conscience as a father who has abandoned more than one child to pursue success.

Every year, one of the Theatre Division's most used collections is the file of newspaper and magazine clippings collected by the staff over the last century. Here, researchers can find reviews, interviews, press releases, and news reports about theatre, film, television, and the people who make them. The very active and extensive nature of this collection means that it's only partially cataloged, so it's sometimes useful to simply request folders by putting in a call slip for the "clippings file" on an individual title and person.

We kept in touch, and he soon shared with me a rough cut of an earlier iteration of Food Roots. So actually, I came on board to the project a bit later after his journey back to the Philippines was already filmed. After hearing my thoughts on how I would shape the film, I officially joined the project.

As a young girl growing up in suburban Maryland, I was made fun of for the Filipino lunches my family packed for me to bring to school. My lunch consisting of rice and chicken adobo or fish looked and smelled very different compared to the lunches my classmates would bring. I became ashamed of Filipino food and I either ate my lunch in secret or threw them away. As you see in the film, this is a feeling and an experience that Billy also shares.

Born in Dallas, Billy Woodberry is one of the founders of the LA Rebellion film movement (also known as the Los Angeles School of Black Filmmakers). He received his MFA from UCLA in 1982 where he also taught at the School of Theater, Film and Television. In 1989, he became a permanent faculty member of the School of Film/Video and the School of Art at the California Institute of the Arts, until he moved to Portugal.

His short documentary, Marseille aprs la guerre (2016), presents a montage from a selection of black-and-white photographs belonging to the collection of the National Maritime Union. A portrait of dock workers in post-WWII Marseille, black and white in solidarity, the film represents the world that Ousmane Sembne,the father of African cinema, experienced when he worked as a docker in Marseille in the 1940s.

Sam Burros is a writer, producer, and cook working with the Food and Lifestyle team at PEOPLE. Prior to working with PEOPLE, he was an editorial fellow for Food Network, a reporter for Heritage Radio Network, and a recipe tester for Alison Roman's third cookbook Sweet Enough. Before making the pivot to food media, Burros studied theatre at NYU Tisch School of the Arts where he met artistic collaborators in theatre, film, and television with whom he created Miss Jordan's Spring 2020 Production, available to stream on Broadstream.

The Jacob Burns Film Center (JBFC) is a nonprofit cultural arts center dedicated to presenting the best of independent, documentary, and world cinema; teaching literacy for a visual culture; and making film a vibrant part of the community.

Pittsburgh native Billy Porter spoke exclusively with KDKA on the set of his new movie that's filming here in town. The award-winning actor wrapped up filming on Tuesday night and took some time to reflect on the city he grew up in.

The Billy Kid Film Festival is a 501(c) 3 non profit organization dedicated to film festival in Hico, Tx the hometown of "Brushy Bill", alias "Billy the Kid". Each entry is entertaining, thought-provoking, inspiring, educational, enjoyable or just flat out fun, based on your passionate tell us a story.

The Billy the Kid Outlaw Film Festival accepts full length (longer than 40 mins less the 75 mins), short films (10-39 mins)and short shorts (1-9 mins). The Festival takes place the First Weekend in November in historic Hico, Texas. It is our mission to celebrate film makers from all over the world, while giving our local film makers and residents a place to come together and appreciate the art of making movies. Our Executive Committee is made up of movie critics, film makers, local business owners and educators. Our mission

Submitting your film you agree that we may select it for screening and award considerations the 2023 Billy the Kid Film Festival Nov 1-3,2024 and clips from any film selected may be sampled to help promote the festival.

What a wonderful festival! BTKFF is fantastic!

1.The venues the films are screened in are beautiful.

2.The events for the film makers are engaging and fun.

3.The BTKFF directors and organizers are welcoming and helpful.

4.The films were amazing.

5.Hico Texas is such a beautiful town with lovely shops and restaurants.

Wonderful festival in a GREAT location. So much fun to meet and interact with so many amazing film makers, producers, casting directors and actors. Exciting to see how fast this festival is growing thanks to the efforts of Philip and Luci Vasquez. Great job on all fronts! THANK YOU for a great weekend!

Thank you Daniel. Congratulations on your award and being part of the festival. Everyone enjoyed Billy the Kid in Silver City on Friday evening. It was a honor to premiere your film at our Festival. We wish you must success.

Thank you for promoting our festival for the last 5 years.

[Monkey See will be at the Toronto International Film Festival (TIFF) through the middle of this week. We'll be bringing you our takes on films both large and small, from people both well-known and not.]

The film is directed by Billy Bob Thornton, who also plays Skip, the most apparently war-scarred of the brothers. The uptight one, Jimbo, is played by Robert Patrick and the hippie one, Carroll, by Kevin Bacon. Their sister Donna, who's married to an obnoxious blowhard but has a couple of pretty daughters, is played by Katherine LaNasa. Playing the British family are John Hurt, Ray Stevenson, and Frances O'Connor. It's a big cast, and naturally, various complications arise as the families get to know each other, the two men who loved the same woman mourn for her in their own ways, and you have your basic long-buried family conflicts bubbling to the surface.

But the whole is oddly unsatisfying and the film feels slow. It feels so slow, in fact, that I commented on the way out that it's very dangerous to place a false ending in anything that slow, because the minute the audience realizes it wasn't the real ending, they become more aware than they were before that they wanted it to be the ending.

[6] This lack of fit between popular ways of reading dance and male dancers is precisely what drives these contemporary male dance films. This is what makes not only the dance scenes in the films but the films themselves compelling spectacles. We want to watch them. We want to read them. We want to understand how paradoxical positions can be made sense of. And so we not only look at the space of dance (as it seems to demand). But in looking there, we find that dance provides us with several options for re-reading common sense ideas about the space of dance itself, male dancers in this space, and how male dance films construct cultural identities in relation to dance.

[10] What I find is most interestingly written in this space is heteronormative masculinity. How contemporary male masculinity films re-write heteronormativity in relation to the space of dance bears investigation because of how these films code dance. While I have suggested that dance can be coded in any number of ways, I find one consistent coding in these films is of dance as a queer space. What do I mean by queer?

[21] How does the film set up its masculinity crisis? In Billy Elliot(as in the other films I mentioned earlier), the masculinity crisis is triggered by a disturbance in the feminine and played out through the father/son relationship. To understand how the film sets up its masculinity crisis, it is important to grasp how father and son are positioned in the film generally and in relation to one another. be457b7860

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