YOU WILL DIE AT TWENTY

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Co-Presented with the Arab American National Museum

Winner of the Lion of the Future Award for best Debut Feature at the Venice Film Festival, YOU WILL DIE AT TWENTY is visually sumptuous “coming-of-death” fable. During her son’s naming ceremony, a Sheikh predicts that Sakina’s child will die at the age of 20. Haunted by this prophecy, Sakina becomes overly protective of her son Muzamil, who grows up knowing about his fate. As Muzamil escapes Sakina’s ever-watchful eye, he encounters friends, ideas and challenges that make him question his destiny. Sudan’s first Oscar submission, YOU WILL DIE AT TWENTY is an auspicious debut and a moving meditation on what it means to live in the present.

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IDENTIFYING FEATURES

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Middle-aged Magdalena (Mercedes Hernandez) has lost contact with her son after he took off with a friend from their town of Guanajuato to cross the border into the U.S., hopeful to find work. Desperate to find out what happened to him—and to know whether or not he’s even alive—she embarks on an ever-expanding and increasingly dangerous journey to discover the truth. At the same time, a young man named Miguel (David Illescas) has returned to Mexico after being deported from the U.S., and eventually, his path converges with Magdalena’s. From this simple but urgent premise, director Fernanda Valadez has crafted a lyrical, suspenseful slow burn, equally constructed of moments of beauty and horror, and which leads to a startling, shattering conclusion. Winner of the World Cinema Dramatic Audience and Screenplay Awards at the 2020 Sundance Film Festival.

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FILM ABOUT A FATHER WHO

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Over a period of 35 years between 1984 and 2019, filmmaker Lynne Sachs shot 8 and 16mm film, videotape and digital images of her father, Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah. Film About a Father Who is her attempt to understand the web that connects a child to her parent and a sister to her siblings.

With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. With this meditation on fatherhood and masculinity, Sachs allows herself and her audience to see beneath the surface of the skin, beyond the projected reality. As the startling facts mount, she discovers more about her father than she had ever hoped to reveal.

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THE SALT OF TEARS

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Veteran filmmaker Philippe Garrel once again fashions a pinpoint-precise and economical study of young love and its prevarications, which ever so gradually blossoms into an emotionally resonant moral tale. Handsome Luc (Logann Antuofermo), following in his aging father’s footsteps to study the craft of furniture joining, doesn’t appear to have any trouble meeting and dating women; as the film opens he’s aggressively courting Djemila (Oulaya Amamra) at a Paris bus stop. Skeptical yet ultimately trusting, Djemila will not be Luc’s one and only. Constructed and composed with crystalline austerity, and co-written with Jean-Claude Carrière and Arlette Langmann—who collaborated on Garrel’s last two films, In the Shadow of Women and Lover for a Day —The Salt of Tears is a pocket portrait that demonstrates the persistent vitality of one of French cinema’s great observers of the callowness of youth.

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TO THE ENDS OF THE EARTH

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Yoko (former J-pop idol Atsuko Maeda) travels with a small crew to Uzbekistan (breathtakingly captured by veteran DP Akiko Ashizawa) to shoot an episode of her reality TV travel show. In front of the camera her persona is carefree and happy-go-lucky, but behind the scenes she is cautious and introverted.  Despite her best efforts, all the shootings end unsuccessfully. Frustrated by the failed filming, she takes to the streets of this mysterious country on her own. Lost in the streets of Tashkent, she finds herself adrift and alone, confronting her deepest fears and hidden aspirations.

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ASSASSINS

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The audacious murder of the brother of North Korea’s Supreme Leader Kim Jon Un in a crowded Malaysian airport sparked a worldwide media frenzy. At the center of the investigation are two young women who are either cold-blooded killers or unwitting pawns in a political assassination. ASSASSINS goes beyond the headlines to question every angle of this case, from human trafficking to geo-political espionage to the secretive dynamics of the North Korean dynasty.

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ANOTHER ROUND

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There’s a theory that we should be born with a small amount of alcohol in our blood, and that modest inebriation opens our minds to the world around us, diminishing our problems and increasing our creativity. Heartened by that theory, Martin and three of his friends, all weary high school teachers, embark on an experiment to maintain a constant level of intoxication throughout the workday. Initial results are positive, and the teachers’ little project turns into a genuine academic study. Both their classes and their results continue to improve, and the group feels alive again! As the units are knocked back, some of the participants see further improvement and others go off the rails. It becomes increasingly clear that while alcohol may have fueled great results in world history, some bold acts carry consequences.

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MARTIN EDEN

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Adapted from a 1909 novel by Jack London yet set in a provocatively unspecified moment in Italy’s history, Martin Eden is a passionate and enthralling narrative fresco in the tradition of the great Italian classics. Martin (played by the marvelously committed Luca Marinelli) is a self-taught proletarian with artistic aspirations who hopes that his dreams of becoming a writer will help him rise above his station and marry a wealthy young university student (Jessica Cressy). The dissatisfactions of working-class toil and bourgeois success lead to political awakening and destructive anxiety in this enveloping, superbly mounted bildungsroman.

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