Alyssa Lobit + The Things We Carry

When I was down at AAIFF over last weekend, one of the films I wanted to make sure and catch was The Things We Carry - which ended up being one of the best Asian American films, and just movies in general, that I've seen as of late. On every single level - the story, the characters, the acting, the way it was filmed - I got lost inside it.

It took me to that other place.

Afterwards I got a chance to talk with Alyssa Lobit - who both wrote and stars in the film - and who was nice enough to answer some of my questions (even when I had to resort to capturing the interview on my iPhone - because apparently I'm just not that prepared).

Here's some of our conversation.

Did you consciously think about how you were going to portray Asian Americans in this film, or did you just say “We just want to have a story with Asian Americans?”

The latter, definitely. We just wanted to tell the story - and for me it was important to just tell a story where the people in the movie happened to be Asian because that’s kind of my experience in my life.

I’m a person and I happen to be Asian. My mom’s Korean – but I’m also mixed. So I have White culture - or he’s French Scottish by way of Oklahoma. So I have these two things happening. Neither one alone defines me.

I think that especially in the media and in Hollywood the way that’ll we know that Asian Americans are fully integrated in the mainstream is when people stop talking about them being Asian. So I kinda of wanted to go – yeah – and you know show things like they go to Korean food and have the mom speaking Korean because that’s just who she is, and they eat K-food because that’s what they do. It’s not a big deal. It’s not, well let’s all be real Korean and go eat K-Food – it’s just like no – let’s get something to eat. So hopefully we did that, because I wanted it to be that way.

Can you talk about some of the projects you’re working on?

I’ve written an indie romance called It’s All Love and it’s got a similar thing in the unique offbeat characters ‘cause that’s something that always attracts me - similar to Sonny’s friends - and these people that you look at and are like "They’re kind of interesting, or strange, or just, don’t make sense." I like to go talk to those people.

I’m also writing a sci-fi action, which actually, going to the Asian thing - the Asian actor thing - obviously a lot of Asian actors and actresses do the fighting, do the ninja stuff, whatever - and I don’t think it’s a bad thing. I think the same as with The Things We Carry, I’d like to do [in my sci-fi action] bad ass fight scenes - and they just happen to be Asian, not that it’s because it’s the only thing they can do.

Myself, I just think it’s - I don’t mind the roles, I think it’s the lack of roles we get so…

Right.

You know…

Well, and I think hopefully that’s changing and we’ll continue to just be…it’s all about integration, and just integrating everyone into everything. And it happens through festivals like this. And we have played festivals that were not Asian American - which that right there is us going like no - we’re being integrated and we’re integrating ourselves. And at the end of the day we’re all human beings - so I just want to remind people of that.

You kind of talk about the mixed experience. Did you want to say anything personal through the movie about the mixed experience?

No, in the same way that I didn’t want to address over the head that they’re Korean or Asian - kind of just put it out there. I mean we show the dad - he’s White. We show the mom who’s Korean. We don’t have a scene that explains this is my dad, this is my mom, and we are the offspring, which is how I wanted it to be. It’s just that that’s normal. It’s just a natural thing and it’s not a big deal. And in a weird way it ends up being one - other people do think it’s unique - which is cool. I love being mixed - but again, no one thing defines me. I’m not just mixed. I’m also from Los Angeles. I’ve been to UCLA. I have all these different little pieces that make me up.

Ok. Five best things about NYC?

Five Best Things?

Yeah.

Ok. So, well I’m staying at the Chelsea Hotel and it rocks. There’s so much history there and it’s amazing…I think you guys have LA Beat on the public transit, because there’s none in LA…weather, I don’t know…my hair’s a little frizzy so I think LA has that one, and there’s just a lot of artists everywhere. I mean I’ve met people, and they’re not all actors, and I think in LA, most of the people you meet are actors - even though I’m an actor too - but it’s just cool to have a mix.

A true melting pot mix of all these different flavors of people.

Okay I think that was only four…

AAIFF 2010 Round Up, Boy Bands, Kick Ass Film, Feeling Concrete, And That Random French Woman I Met

Now that I'm back home in Minneapolis, rested, sleeping in my own bed (well not now) and have gotten the majority of my pictures off my camera, here's what I've got to say on AAIFF 2010 and other random musing from my quick jaunt out to NYC.

I should note that I'm also rotating between Atmosphere's tracks "God Loves Ugly", "Lovelife" and the "Mko - Memories - Energized Vocal Remix" two of which I'm listing below.





Chill. More Chill. And Feeling Concrete

If day one in the city felt a little hurried, albeit seeing some great film - day 2 was less hurried, the gods of Subway saw it fit to not make me go anywhere I didn't intend too (and a local I was talking too told me how the weekend and current diversions even made his life hard) - and I just walked, enjoyed some great people, some kicking music, one of the best Asian American films I've seen as of late, felt the concrete beneath me with some kick ass techno, and enjoyed the city.

I Have Pictures?

So here's more random thoughts on the festival with pics (which is still going on) and let me say for the record - some of these pictures really do kind of suck - but I try people - and really - isn't that all that counts?

Maybe.



This was the key to tickets. Present your press pass and get tickets for shows you want to see. In a way, it's kind of like a magic fountain and I like magic fountains.



Is it just me or is Toyota everywhere sponsoring everything Asian American these days? I decided not to take a picture of the Prius however for two reasons. One is that I know someone with a Yaris, and two - well - you may or may not already know my history with the Prius (which I blame on the rental people and not looking at something called a manual).



I give you a picture of some of the good folks running the Toyota survey area (who also gives out tote bags btw). I don't think they really knew what to make of me and why this strange and funny looking guy in front of them wanted to take their picture however. Now we know.



When you come into AAIFF you'll be greeted by some of the nice staff/volunteers most of whom I think are under the age of 25 which only shows you that Asian American film is in good hands. And don't they just look sweet and not like they want to beat you down? This is unlike that dude in the Subway who shouted mercilessly at me that I should take the Downtown subway and that my iPhone was full of crap.



This is just some random guy that bummed a smoke off me, and since I paid $8000 for a pack of what we have to now call Marlboro Golds because apparently they're not really Lights, I'm like "Let me take your picture". If only he would have known what the cigarette really cost him...



Random Signage.



These were people who were waiting outside, which I decided to take a picture of, and if you notice the guy in the checkered shirt looking down at some object, that was iPhone 4.0. Asian people + looking at phones + film = isn't that just regular?



This is Louis who I met down as he was covering some films and who's also the Executive Director & Co-Founder of the Soho International Film Festival. Nice guy. Always moving. And extremely photogenic (even though I just snapped him without a 1-2-3).



This is the worst picture that I took of people when I was down there, but I couldn't help but post it because these two were just too cute standing side by side and when I actually said that it made the staffer on the right laugh in a hearty pirate Hello Kitty way which I know doesn't make sense, but trust me - it did happen.



People waiting outside the Interpretations Panel. It was free.



If you ever wondered what the backroom/hospitality area looks like at AAIFF - at least at this one, and at least in the CV theater - wonder no more.



This was Art. I met Art at one of the films I saw on Sunday - and let me just say this for the record. Totally kick ass MF who had a ton of great things to say on Asian America.



This is a picture of Elaine Chin who I cornered, and I say that because the ever so gracious Elaine seemed to be talking with anyone and everyone who wanted to bend her ear about the industry and by the time that I accosted her outside I think she was ready for dinner. But even then, looking to avert my semi-stalker look (because I really do have that look) she still let me bend her ear if only so I could say it was nice hearing the panel speak, be completely random, and ask if she visited any of the great recommendations people gave her on NYC food.

And just for the record, the only reason I think she actually let me take her picture - as she said she preferred to stay behind the camera - was because I used the line "But I'm kinda pathetic and geeky, and you kind of have to say yes because of that."

See my fellow uglies? We do have privileges.



These are some of the good folks who ran the CACF table after the film "The Things We Carry" (CACF also co-sponsored the film) who also confirmed for me that things in Chinatown really do close that early, and - at least this is the word on the street - the only one who really counts in this picture is the girl in the middle.

Because she gets paid.



All I have to say is that I smell boy band. In fact I think JYP should get his ass on down to AAIFF right now to sign this stunning group of kick ass guys who hammed it up for the camera and who I get the feeling really can sing (if only Milli Vanilli style).

Nice.

To The Cheeky Young Staffer

Who as I was walking out saying to my new friend Art that I would be up at the Hospitality lounge after I "feed my habit" said to me "That's a good way to put. Very eloquent." I just wanted to say thank you, because not only does it show that the staffers and volunteers at AAIFF put in their blood, sweat, and tears (especially dealing with people like me) but that they can also have a little fun doing it at the same time. And isn't what it's really about?

One Of The Best Asian American Films I've Seen As Of Late

I end up seeing a decent amount of film (among other things) and I'm just going to put out there that the movie The Things We Carry is one of the best Asian American films I've seen as of late - and one of the better films just in general that I've seen.

But more on that later as I make one final post.

Closing Thoughts On AAIFF

AAIFF is a film festival you definitely want to get out too and support if you haven't already and I say this not having been able to attend every film, every event, and every venue. They show great movies, the staffers and volunteers make sure you get to where you need too, they support great film, offer a venue for emerging productions and audiences, have cool venues and events, and if my time there was any indication - well - it's just a good time.

And To The French Woman I Met

I just wanted to say thanks...

Random First Impressions: AAIFF 2010

This was a random trip for me out to AAIFF - since I don't really utilize the press passes people send my way as much as I should ('cause that involves lots of traveling for me) I was like what the hell - lets pack a backpack and head on out, cause the last time I was out in NYC was for KAFFNY, which was a kicking festival, and before that - years - like a decade.

Oh NYC.

How I loathe and semi-like thee at the same time.

Subways with construction, a cornucopia of little side streets of food and people, the clusterfuck that is Times Square - which has the slowest Starbucks ever btw (because how long does it really take to make an iced coffee? It's coffee + ice. It's not a smoothie) - and just for the record - I didn't actually want to get to Times Square (the Gods Of The Subways Of Construction just happened to will me there).

At this point in the post - because I am dead tired and I really don't know what I'm typing - I'm just going to give a shout out to the Tokyo Subway System and scrap booking (and I can't really tell you about the latter, because that'll just get me thrown into jail even though really, it would be false imprisonment but that's a story for actually, never?).

But This All Has Nothing To Do With Anything

So instead I give you my thoughts on AAIFF so far (whom I'd like to thank for giving me a press pass so I can get into free movies which gives me an excuse to write posts like this).

One other quick note is that while I've taken a picture or two of people - some which are exceptionally horrendous because apparently in some lighting my camera is possessed by Glenn Beck - you get no accompanying photos in this post. But have no fear. My camera, nor I, have any shame whatsoever, so once I get back to what I sometimes like to refer to as my cave of masturbation, I will post pictures.

And without further ado.

• I almost thought I was going to have to get in the middle of an East Coast West Coast War at the Interpretations Panel when the topic came up on NY versus CA for filmmaking and getting your actor vibe on. I thought it was going to come to fisticuffs. Really.
• Who'd a thunk it, but I didn't actually want to touch Ken Leung. I thought when I saw him I might want to poke him or blow him soft kisses and make eyes at him, or at least try to grab some ass just to say "I grabbed Ken Leung's ass", but nothing. Nada. Zilch. Zippo. I bet it's firm though.
• If there was nothing else here that I did except see the film Yang Yang I'd be fine with that because it was just that good.
• Seriously - and you can take this however you want because we all know I'm an ugly MF and you can't always trust the words of The Ugly - but there are just too many outstandingly good looking people that come to this film festival. I can't really say that about the bar I went too down in Chinatown - but AAIFF - if you haven't grabbed a ticket just to be surrounded by good looking people and support some great film - I just don't know if you really like yourself.

And that's my random short thoughts on AAIFF 2010 for right now (because I'm just waking up to finish this from last night).

More later complete with bad pictures.

You Are Here: AAIFF

Well you may not be, but you could be, and that's all that matters - and there's some great film and panels to be had - so if you have nothing to do and want to support some Asian and Asian American film - you know what to do.

All the way through Monday (get your tix now) and hit the sidebar to check out the site and see what's playing this weekend.

AAIFF And The INTERPRETATIONS NY Panel

If you're down at AAIFF this weekend definitely get on out to the YOMYOMF Interpretations Panel where you'll be treated to some moderation Jennifer 8 Lee style along with panelists Elaine Chin, Evan Jackson Leong, and Ken Leung.

Join us as we screen our commissioned shorts on the big screen and engage in a lively discussion about INTERPRETATIONS and the general state of Asian American film with our distinguished panel (see below). We’ve also commissioned a brand-new INTERPRETATIONS short film from actor Ken Leung (Lost) specifically for our NY event so come out and be the first to see that. Ken will also be in attendance.

The event will be on Saturday, July 17, 5 PM at the Clearview Chelsea Cinema. Tickets are FREE and available now along with all the other info you need here. Reserve your seat now before we sell-out.

The panel will consist of:

Jennifer 8 Lee (Moderator)

Jennifer 8. Lee was a reporter at The New York Times for nine years. She harbors a deep obsession for Chinese food, the product of which is the best-selling book, The Fortune Cookie Chronicles, which explores how Chinese food is all-American. At the Times, she wrote about poverty, the environment, crime, politics, and technology. She has been called, by NPR, a “conceptual scoop artist.” One of her better known articles is on the Man Dates, and also on the fastest growing baby name in the history of America. Jennifer is a former member of the Poynter Institute National Advisory Board, a board member of the Asian American Writers Workshop, and has been featured in the Esquire Women We Love issue.

Elaine Chin

Elaine Chin is an independent producer based in L.A. and one of the founding bloggers at YOMYOMF which is launching INTERPRETATIONS. Currently, Elaine is based in Los Angeles, developing and consulting on film projects with writers and directors as Justin Lin (Better Luck Tomorrow, Fast & Furious), Stephen Chin (Gummo, Another Day in Paradise), and Eric Lahey (Century Plaza, Spoons – Sundance Lab 2007) and serves as an adjunct professor at UCLA Extension’s Entertainment Studies Certificate Program and National University’s M.F.A. Program at the School of Media and Communication. She was previously a Director of Development and Production at HBO and 20th Century Fox where she worked on such films as Angels in America, The Notorious Bettie Page and Mongol.

Evan Jackson Leong

Evan Jackson Leong is a 6th generation Chinese American native of San Francisco, California. He graduated from the University of California, Los Angeles with a Bachelor’s Degree in Asian American studies. As a short form filmmaker he has directed numerous music videos, commercials, shorts that have played on MTV in the domestic and international markets. As a long form documentary filmmaker, he has directed two half hour nationally broadcast projects: Him Mark Lai: The People’s Historian and Forging a Feature: The Journey of Better Luck Tomorrow. In his growth as a young filmmaker he has been mentored by Justin Lin with various credits in Better Luck Tomorrow, Fast And Furious 3 and as a co-producer on Finishing The Game. He recently completed a feature length documentary, 1040, which explores the happenings of Christianity in Asia. Evan also directed the boys from Far East Movement in the INTERPRETATIONS commissioned short, Far East Futura.

Ken Leung

Ken Leung is an actor. His film and television work include HBO’s Sopranos, ABC’s Lost, and Showtime’s Sucker Free City directed by Spike Lee. Rumble (Ken’s INTERPRETATIONS short) is his first film as director.

Cool.

33rd Asian American International Film Festival Shorts Lineup

Because you can never have enough film and let's just all hail AAIFF like we know we should.

Asian CineVision (ACV) announced today the short films selected to screen at the 33rd Asian American International Film Festival (AAIFF10). The line up consists of a total of 71 short films that have been divided into 10 presentations. The short films admitted to this year's festival showcase the latest works by filmmakers of Asian descent as well as films that explore themes and issues prevalent to the Asian community. The selection includes two International Premieres, one U.S. premiere, four East Coast premieres, and five New York premieres. Tani Ikeda's Turn of Harvest, which will be making its World Premiere at the AAIFF10, is one of the seven short films up for the Excellence in Short Filmmaking Award.

"We have received an especially strong group of submissions this year that explore a range of genres including comedy, science fiction, and documentary," says Martha Tien, the AAIFF10 Program Manager. "This year's festival also consists of three unique short film programs which pay tribute to their respective countries in the manner of New York, I Love You and Paris J'Taime. Two of the programs are composed of films entirely from Taiwan and one is comprised of films from Malaysia." The two short film programs from Taiwan, Eye on Taiwan and Taipei 24 H, are part of a special joint presentation on New Taiwanese Cinema between ACV and the Taipei Economic and Cultural Office (TECO).

In addition to its international titles, the AAIFF10 short film programs also draws from a very strong pool of local filmmakers, including J.P. Chan's Empire Corner and Greg Pak's Mister Green. A special youth program will also feature the works of filmmakers under the age of 21. The AAIFF10 will run July 15 through July 24 in New York City. Short films will screen at various venues including Chelsea Clearview Cinema, the Quad Cinema, and the Museum of Chinese America. The full short film program line-up is as follows. More details can also be found on the festival website (aaiff.org/2010).


Oh Family, Where Art Thou? (7)
Films that remind us of the complex dynamics that make each family so singularly fascinating and unique.

Mochi directed by Chung Li (Taiwan)
In Space directed by Visra Vichit-Vadanka (Thailand)
Daughters directed by Chloe Zhao (USA)
Hide and Seek directed by Asako Ushio (USA)
Unrest directed by Christina Rubenstein (USA)
Puncture Wounds directed by Jason Ho (USA)
The Hirosaki Players directed by Jeff Sousa (USA)

It's a little bit funny... (5)
Films that offers unexpectedly humorous takes on the lives of its characters.

Kilo directed by Kiel Murray and Phil Lorin (USA)
Father Sister directed by Soyeon Kim (South Korea)
Lychee Thieves directed by Kathleen Man (USA)
Empire Corner directed by JP Chan (USA)
Wu is Dead directed by Rich Wong (USA)

Back to the Future (6)
Films that dabble with the myriad ways time shapes the courses of our lives.

Fish in Barrel directed by Randall Okida (Canada)
Boond directed by Abhishek Pathak (India)
Once More directed by Hiroo Takoaka (USA)
Mr. Green directed by Greg Pak (USA)
Memento Mori directed by Yohko Shiraishi (USA)
Transparent Movement directed by Soyeon Kim (South Korea)

The First Kiss (6)
Films that explore one of the most prevalent themes in storytelling -- one of the certainties in life besides death and taxes, love is never easy!

Lovers directed by Do-yeon Kim (South Korea)
The Queen directed by Christina Choe (USA)
Gareeb Nawaz's Taxi directed by Ritesh Batra (USA)
Tall Enough directed by Berry Jekins (USA)
Works of Art directed by Andrew Pang (USA)
Poi Dogs directed by Joel Moffett (USA)

Eye on Taiwan (4)

Happy Ending directed by Wei Chen Chang (Taiwan)
Sleeping with Her directed by Chih Yi Wen (Taiwan)
Letting Off directed by Hung Ju Chang (Taiwan)
Ketchup directed by Wen Chung Lu (Taiwan)

Untold Stories (5)
Documentary films that cover a range of topics from all corners of the world.

Memory of Forgotten War directed by Deann Borshay Liem and Ramsay Liem (USA)
Born Sweet directed by Cynthia Wade (Cambodia)
Mr. Shanbag's Shop directed by Asha Ghosh (USA/India)
Turn of the Harvest directed by Tani Ikeda (China)
Fine Threads directed by Adele Pham (USA)

CUNY Shorts (7)
AAIFF10 teams up with returning collaborator Asian American / Asian Research Institute of the City University of New York (CUNY) to showcase a range of narrative, documentary and experimental short films from students in CUNY system.

Antithesis directed by Jon-Carlos Evans (USA)
Behold the swelling scene directed by MunJong (Arckii) Kim (USA)
Boundary directed by Pyeunghun Baik (USA)
Ball directed by Jung Eun Kim (USA)
Nurturing the Hybrid Identity directed by Sudip Shakya (USA)
Struggle for Existence directed by Laurie Sumiye (Filiak) (USA)
Undocumented Hope directed by Tanvir Toy (USA)

Youth Shorts (8)
Young filmmakers under the age of 21 experiment with film to sound off on matters important to them

Beauty and the Box directed by Chrystian Rodriguez (USA)
I'm Not Even That directed by Asatha Vohra, Wendy Yuan Zhang, Michelle Kwong, Claudia von Nostitz (USA)
Not That Different directed by Junia Zhang (USA)
Skye directed by Yoomi Park (USA)
Chinese Antique directed by Anthony Ma (USA)
The Prodigy directed by Adam Lee (USA)
White Night directed by Teresa Lee (USA)
My New York directed by Derek Horton (USA)

Taipei 24 H (8)
Taipei 24H invites eight directors to employ their innovative styles and distinct perspectives to create a filmic essay of Taipei City.

Share the Morning directed by Cheng, Feng-feng (Taiwan)
Just A Little Run directed by Niu, Cheng-zer (Taiwan)
Summer Heat directed by Debbie Hsue (Taiwan)
Save the Lover directed by Cheng, Hsian-tse (Taiwan)
Somke directed by Lee, Chi-yuam (Taiwan)
Dream Walker directed by Chen, Ying-jung (Taiwan)
Owl Service directed by An, Je-yi (Taiwan)
Remembrance directed by Lee, Kang-sheng (Taiwan)

15 Malaysia
Uncensored and bold, the fifteen filmmakers featured in this collection speak out on the societal taboos of sex, race, religion and politics in Malaysia.

Potong Saga directed by Yuhang Ho (Malaysia)
Chocolate directed by Yasmin Ahmad (Malaysia)
The Tree directed by Auir Muhammad (Malaysia)
House directed by Linus Chung (Malaysia)
Halal directed by Liew Seng Tat (Malaysia)
The Son directed by Desmond Ng (Malaysia)
Lumpur directed by Kamal Sabran (Malaysia)
One Future directed by Chui Mui Tan (Malaysia)
Slovak Sling directed by Ming Jin Woo (Malaysia)
Gerhana directed by James Lee (Malaysia)
Meter directed by Benji and Bahir (Malaysia)
Duit Kecil directed by Johan John (Malaysia)
Healthy Paranoia directed by Khairil Bahar (Malaysia)
Lollipop directed by Nam Ron (Malaysia)
Rojak! directed by Suleiman Brothers (Malaysia)

About AAIFF

The Asian American International Film Festival is the first and longest running festival in the country devoted to showcasing films created by media artists of Asian descent and about the Asian community. Founded in 1978, AAIFF harbors a unique curatorial vision. More than an expression of collective identity, the festival is anchored by the distinct contributions of its members. It is a platform for filmmakers of all backgrounds to develop the constructs of Asian cinema and cultivate the next generation of talent. 33 years after its inception, AAIFF continues to be a leading showcase for Asian American film and video, placing a substantial focus on local and independent works and working to enrich New York’s Asian cultural community.

About ACV

Asian CineVision, Inc is a not-for-profit national media arts organization dedicated to the development, promotion and preservation of film and video arts by and about people of Asian descent. Founded in 1976 ACV began as a social service media activist organization in New York City’s Chinatown. The organization continues to serve the Asian American community by presenting, promoting and preserving the works of Asian and Asian American mediamakers, and providing a window to the diverse experiences and livelihoods of the Asian diaspora.

AAIFF 2010 Schedule

Because you wanted to know (no - really, you did).

Thurs 7.15

Opening Night Presentation Manila Skies 7:30p CV

Fri 7.16

15 Malaysia 1:15p Quad
For Youth by Youth 4:00p MOCA
Woman on Fire Looks for Water 4:00p Quad
Zoom Hunting 6:00p CV
Copyrights and Wrongs 6:00p MOCA
Oh Family, Where Art Thou? 6:15p CV
It's a Little Bit Funny... 7:00p Quad
Slice 8:45p CV
Wo Ai Ni Mommy 9:00p CV
Back to the Future 9:00p Quad
AAIFF Amplified 9:00p

Sat 7.17

For Youth by Youth 12:00p MOCA
In the Matter of Cha Jung Hee 12:30p CV
The Arrival 1:00p Quad
Youth Workshop 2:00p DCTV
Yang Yang 3:00p CV
9500 Liberty 3:30p Quad
Interpretations 5:00p CV
Mao's Last Dancer 6:00p CV
The First Kiss 6:15p Quad
Eye on Taiwan 7:30p CV
Lt. Watada 9:00p Quad

Centerpiece Presentation Au Revoir Taipei 9:00p CV

Sun 7.18

CUNY Shorts 1:00p Quad
Making it Green 1:00p MOCA
The Things We Carry 2:45p CV
China Online? 3:00p MOCA
Mystery Screening 3:30p Quad
Other Nature 4:00p CV
Raspberry Magic 5:30p CV
Taipei 24H 6:30p CV
Untold Stories 6:30p Quad
Miss Kicki 8:30p CV
At the End of Daybreak 9:00p Quad

Mon 7.19

She, A Chinese 6:00p CV
Work-In-Progress 7:00p Tribeca Cinema
Mountain Thief 9:30p CV

Tues 7.20

Fog 6:00p CV
The Mikado Project 8:30p CV

Wed 7.21

Closing Night Presentation The People I've Slept With 7:30p CV