From the opening night film through the Orpheus Awards, which will close the event on June 9, women are front and center at the Los Angeles Greek Film Festival, taking place this week at the Egyptian Theatre in Hollywood.
Fest opener “Meltem,” a feature directed by Greek-French helmer Basile Doganis, examines the refugee crisis through the eyes of a young woman played by Daphne Patakia (pictured above). And opening night short “Patision Avenue,” directed by Thanasis Neofotistos, looks at a day in the life of a young mother in Athens.
Another feature screening at the fest, “Pause,” helmed by Cypriot director Tonia Mishiali, explores the margins of femininity as the heroine defies expectations and stereotypes.
“I Am Mackenzie,” an American short by Artemis Anastasiadou, tells the coming-of-age story of a teenage girl growing up in rural Texas. And short “37 Days,” from Nikoleta Leousi, tackles themes of pregnancy and the right to work.
Fest opener “Meltem,” a feature directed by Greek-French helmer Basile Doganis, examines the refugee crisis through the eyes of a young woman played by Daphne Patakia (pictured above). And opening night short “Patision Avenue,” directed by Thanasis Neofotistos, looks at a day in the life of a young mother in Athens.
Another feature screening at the fest, “Pause,” helmed by Cypriot director Tonia Mishiali, explores the margins of femininity as the heroine defies expectations and stereotypes.
“I Am Mackenzie,” an American short by Artemis Anastasiadou, tells the coming-of-age story of a teenage girl growing up in rural Texas. And short “37 Days,” from Nikoleta Leousi, tackles themes of pregnancy and the right to work.
- 6/5/2019
- by Peter Caranicas
- Variety Film + TV
CHICAGO -- "Twilight of the Golds" sparkled in the opening-night glow of the 32nd annual Chicago International Film Festival.
Native Chicagoans play major roles in the production, most prominently director Ross Marks and executive producer/actor Garry "Go U Northwestern" Marshall, and so the cable project that Showtime hopes to release as a theatrical was met with almost pep-rally enthusiasm.
A sobering drama about a young married couple who learn through a scientific test that the baby the wife is carrying will become gay, the project grapples with a number of philosophical and moral points. Starring Jennifer Beals as the pregnant wife, Suzanne, and featuring a cast that includes Faye Dunaway, Brendan Fraser and Jon Tenney, a savvy distributor could generate some first-weekend interest among target interest groups, in this case, primarily women's-rights groups and gays.
Genetically, however, this thoughtful drama is of the panel-discussion species. Each respective family member or friend posits his or her point of view regarding the having of the child until all philosophical permutations are exhausted. And, most unfortunately, the characters are fashioned pretty much as representative types -- no one really surprises you.
Based on the play by Jonathan Tolin, "Twilight" radiates around Suzanne and her husband the doctor, Rob (Tenney). Suzanne is a mousy and timid sort who has always avoided risks, much to the chagrin of her supportive and rather bossy parents (Dunaway and Marshall). Cocooned by her family's affluence, she's settled into a sheltered life, running a tony clothing store.
When she learns she's pregnant, Rob suggests that she take a new test, one that he's helped develop, which will enable them to learn all sorts of information about the baby -- even its future sexual preference. Like their conscientious and competitive yuppie friends, they want "the best."
When the test reveals that the baby will be a boy who will most likely be gay, it gives them both pause. They want to do the right thing: In fact, Suzanne's loving brother David (Fraser) is gay, and her parents seem quite modern in their thinking. On the other hand --
At this juncture, screenwriters Tolin and Seth Bass begin the roundelay of discussion. They present a spectrum of perspectives taken from this evenly comprised cast, each bringing a personal viewpoint or bias as to whether or not Phyllis should "keep" the baby.
The dramaturgy seems to Bend Over backward to be philosophically fair and, indeed, provokes a number of interesting discussions on a number of social and scientific points. That's both the strength and the weakness: Inevitably, it takes on the gray flavor of a symposium.
And, each type, be it the "objective" man of science, the gay director, the establishment parent or the manly doctor, espouses orthodoxy according to their sexuality, life station and expectation. Eventually, the talk runs out and push comes to shove; woefully, that's almost the literal case here as a boozy homophobe causes the pregnant woman to hit the pavement. Bonk, she makes up her mind.
What gives this drama its most nutritious intellectual fiber are the superb performances. Admittedly, Beals is hampered by the shallow, wishy-washy nature of her character and never much engages our sympathies beyond a low simmer. However, others bring prickly passion to their roles.
In particular, Dunaway and Marshall stand out as her good-hearted, buttinski parents, while Rosie O'Donnell is characteristically a hoot as Suzanne's abrasive, infertile co-worker.
Fraser, as the gay brother, brings the most to the proceedings, showing the tumult beneath his affable and accommodating public nature and erupting into real rage when he feels he might have been aborted had his parents known he would be gay. That's the moment when "Twilight" reaches its highest light.
Under Marks' fluid and gentle hand, the production is as carefully assembled and presented as the drama.
Once again, that's the project's strength and weakness. In this insular Beverly Hills world, all colors are coordinated: Food complements sweaters, and sport coats mesh with plants. In short, where are the unexpected colors -- in personality, viewpoint and setting? That's "Twilight"'s ultimate fading, artificially and too carefully coordinated in both characters and colors.
TWILIGHT OF THE GOLDS
Showtime presents
In association with Hallmark Entertainment
A Repeat Entertainment/
Below the Belt production
A Film by Ross Marks
Producers Paul Colichman, John Davimos,
Mark R. Harris
Director Ross Marks
Screenwriters Jonathan Tolin, Seth Bass
Based on the play by Jonathan Tolin
Executive producer Garry Marshall
Director of photography Tom Richmond
Line producers John Schouweiler, Lisa Levy
Co-producers Valorie Massalas,
Stephen P. Jarchow
Casting Valorie Massalas
Music Lee Holdridge
Costume designer Molly Maginnis
Production designer Amy B. Ancona
Editor Dana Congdon
Color/stereo
Cast:
Suzanne Jennifer Beals
Walter: Garry Marshall
Phyllis Faye Dunaway
David Brendan Fraser
Rob Jon Tenney
Jackie Rosie O'Donnell
Brandon Patrick Bristow
Dr. Adrian Lodge John Schlesinger
Running time -- 89 minutes
No MPAA rating...
Native Chicagoans play major roles in the production, most prominently director Ross Marks and executive producer/actor Garry "Go U Northwestern" Marshall, and so the cable project that Showtime hopes to release as a theatrical was met with almost pep-rally enthusiasm.
A sobering drama about a young married couple who learn through a scientific test that the baby the wife is carrying will become gay, the project grapples with a number of philosophical and moral points. Starring Jennifer Beals as the pregnant wife, Suzanne, and featuring a cast that includes Faye Dunaway, Brendan Fraser and Jon Tenney, a savvy distributor could generate some first-weekend interest among target interest groups, in this case, primarily women's-rights groups and gays.
Genetically, however, this thoughtful drama is of the panel-discussion species. Each respective family member or friend posits his or her point of view regarding the having of the child until all philosophical permutations are exhausted. And, most unfortunately, the characters are fashioned pretty much as representative types -- no one really surprises you.
Based on the play by Jonathan Tolin, "Twilight" radiates around Suzanne and her husband the doctor, Rob (Tenney). Suzanne is a mousy and timid sort who has always avoided risks, much to the chagrin of her supportive and rather bossy parents (Dunaway and Marshall). Cocooned by her family's affluence, she's settled into a sheltered life, running a tony clothing store.
When she learns she's pregnant, Rob suggests that she take a new test, one that he's helped develop, which will enable them to learn all sorts of information about the baby -- even its future sexual preference. Like their conscientious and competitive yuppie friends, they want "the best."
When the test reveals that the baby will be a boy who will most likely be gay, it gives them both pause. They want to do the right thing: In fact, Suzanne's loving brother David (Fraser) is gay, and her parents seem quite modern in their thinking. On the other hand --
At this juncture, screenwriters Tolin and Seth Bass begin the roundelay of discussion. They present a spectrum of perspectives taken from this evenly comprised cast, each bringing a personal viewpoint or bias as to whether or not Phyllis should "keep" the baby.
The dramaturgy seems to Bend Over backward to be philosophically fair and, indeed, provokes a number of interesting discussions on a number of social and scientific points. That's both the strength and the weakness: Inevitably, it takes on the gray flavor of a symposium.
And, each type, be it the "objective" man of science, the gay director, the establishment parent or the manly doctor, espouses orthodoxy according to their sexuality, life station and expectation. Eventually, the talk runs out and push comes to shove; woefully, that's almost the literal case here as a boozy homophobe causes the pregnant woman to hit the pavement. Bonk, she makes up her mind.
What gives this drama its most nutritious intellectual fiber are the superb performances. Admittedly, Beals is hampered by the shallow, wishy-washy nature of her character and never much engages our sympathies beyond a low simmer. However, others bring prickly passion to their roles.
In particular, Dunaway and Marshall stand out as her good-hearted, buttinski parents, while Rosie O'Donnell is characteristically a hoot as Suzanne's abrasive, infertile co-worker.
Fraser, as the gay brother, brings the most to the proceedings, showing the tumult beneath his affable and accommodating public nature and erupting into real rage when he feels he might have been aborted had his parents known he would be gay. That's the moment when "Twilight" reaches its highest light.
Under Marks' fluid and gentle hand, the production is as carefully assembled and presented as the drama.
Once again, that's the project's strength and weakness. In this insular Beverly Hills world, all colors are coordinated: Food complements sweaters, and sport coats mesh with plants. In short, where are the unexpected colors -- in personality, viewpoint and setting? That's "Twilight"'s ultimate fading, artificially and too carefully coordinated in both characters and colors.
TWILIGHT OF THE GOLDS
Showtime presents
In association with Hallmark Entertainment
A Repeat Entertainment/
Below the Belt production
A Film by Ross Marks
Producers Paul Colichman, John Davimos,
Mark R. Harris
Director Ross Marks
Screenwriters Jonathan Tolin, Seth Bass
Based on the play by Jonathan Tolin
Executive producer Garry Marshall
Director of photography Tom Richmond
Line producers John Schouweiler, Lisa Levy
Co-producers Valorie Massalas,
Stephen P. Jarchow
Casting Valorie Massalas
Music Lee Holdridge
Costume designer Molly Maginnis
Production designer Amy B. Ancona
Editor Dana Congdon
Color/stereo
Cast:
Suzanne Jennifer Beals
Walter: Garry Marshall
Phyllis Faye Dunaway
David Brendan Fraser
Rob Jon Tenney
Jackie Rosie O'Donnell
Brandon Patrick Bristow
Dr. Adrian Lodge John Schlesinger
Running time -- 89 minutes
No MPAA rating...
- 10/16/1996
- The Hollywood Reporter - Movie News
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