“All the artifacts, including the film itself was literally one second away from being discarded and tossed in the trash,” Thompson told Deadline. And for me, that’s one of the scariest things imaginable that if a brilliant monumental festival falls down in the forest, there’s no one around to hear it, did it actually happen,” the artist continued.įailing to secure a sale and find a place in America’s canon, the hours and hours of footage of the celebration of Black music, culture, politics (yes, the Black Panthers were there, as security for a while actually) and pride sat for decades on a shelf in producer Hal Tulchin’s Tri-state basement. “You know, it was almost like an exact parallel. “It was definitely not lost on me that not only were the circumstances that occurred before 1969 and during 1969 that caused the festival to even happen in the first place they were mirroring exactly what was happening in the time of 2018, 2019, 2020,” declares Thompson. Until now, in an America equally if not more battered than the nation of 50 years ago. Still, competing against Woodstock itself, the Moon landing and later the likes of the free and fatal concert at Altamont and 1972’s Wattstax, the 300,000 attended Harlem Cultural Festival and all its implications in those tumultuous times was forgotten. Occurring on weekends between June 29 – Augin Harlem’s Mount Morris Park, the portions of the extravaganza many called ‘Black Woodstock’ was shown on local NYC TV that summer. King, Max Roach, the glory that is Mahalia Jackson, Gladys Knight and the Pips. The literally found footage features ebullient performances by Sly and the Family Stone, Nina Simone, Stevie Wonder, the Staple Singers, B.B. Documentary Competition category, Summer of Soul is a backbeat driven piece of hidden history of 1969’s heavyweight packed Harlem Cultural Festival. And if it wasn’t for this Garland-penned gem, shows like The Walking Dead probably wouldn’t exist.Set to make its world premiere tonight at the semi-virtual Sundance Film Festival and a contender in the U.S. Shot with guerilla-style DV cameras, 28 Days Later looks and feels like a raw and unfiltered eyewitness experience that doesn’t relent in the slightest. With a script by Ex Machina and Annihilation helmer Alex Garland, Boyle’s film stars Cillian Murphy as Jim, a bicycle messenger who wakes up from a coma, in a totally abandoned and dilapidated London.īut not long after his revival, Jim’s initial perambulation of this strange new world is violently interrupted by the arrival of blood-hungry humans infected with a virus called “Rage.” Now forced to fight for his life, alongside a small band of fellow survivors, there’s danger around every corner, and amongst the non-infected, few can be trusted. But before the two aforementioned brain-eating flicks, there was director Danny Boyle’s 2002 film 28 Days Later. Zombies aren’t exactly known for their tremendous speed, although recent genre entries like Train to Busan and World War Z would have you think differently about the on-foot capabilities of the undead. Filled with unforgettable scares from start to finish, It is a brilliant example of how grand things can get when filmmakers develop and produce for the big screen versus television. Known as Pennywise (Bill Skarsgård), the infamous monster preys on unsuspecting children, and after murdering the younger brother of de facto leader Bill (Jaeden Lieberher), a thirst for vengeance carries the pre-teens deep into the Derry sewers to confront the harrowing beast. Swapping the small-town ‘50s for a suburban ‘80s backdrop, It follows a group of misfit kids known as “the Losers Club.” But far beyond a safe place for the bullied and forgotten to thrive, each of the Losers is plagued by disturbing visions of a cannibalistic clown. And while we have to respect Tommy Lee Wallace’s creepy ‘90s miniseries starring Tim Curry as Pennywise the Clown, the source text received a much bigger-budget homage in the form of director Andy Muschietti’s cinematic two-part chronicling of the classic King story. The world had long been waiting for Stephen King’s iconic dictionary-sized novel It to receive a proper cinematic interpretation.
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