Screenplay by Chris Rossi
To be directed by Sheldon Candis
THE LIGHTS comes at a time when artists and audiences alike are hungry for stories that address issues of racism, classism and the complicated relationships born from our city’s diversity in a Trump-era Los Angeles. Stories that bring us together and fight the rising tides of division.
Ours tells the story of five, diverse Los Angelenos whose lives intersect as they each choose to confront a haunting mistake from their past. Their road to atonement leads them to corners of Los Angeles not often seen, where they discover that redemption may not always come from forgiveness, but from the simple act of trying. Black, White, Latino… Rich, Poor, Homeless… Our characters introduce us to the Los Angeles that we don’t often see in film about people coming together from all walks of life... At a time when many are seeing to alienate and divide.
Based on a Novel by Felicia Yap
Screenplay by Justin Lader
How do you solve a murder when you can only remember yesterday?
Imagine a world in which classes are divided not by wealth or religion but by how much each group can remember. Monos, the majority, have only one day's worth of memory; elite Duos have two. In this stratified society, where Monos are excluded from holding high office and demanding jobs, Claire and Mark are a rare mixed marriage. Clare is a conscientious Mono housewife, Mark a novelist-turned-politician Duo on the rise. They are a shining example of a new vision of tolerance and equality-until...
A beautiful woman is found dead, her body dumped in England's River Cam. The woman is Mark's mistress, and he is the prime suspect in her murder. The detective investigating the case has secrets of his own. So did the victim. And when both the investigator's and the suspect's memories are constantly erased--how can anyone learn the truth? Told from four different perspectives, that of Mark, Claire, the detective on the case, and the victim--Felicia Yap's staggeringly inventive debut leads us on a race against an ever-resetting clock to find the killer. With the science-fiction world-building of Philip K. Dick and the twisted ingenuity of Memento, Yesterday is a thriller you'll never forget.
Based on the novel by Melanie Raabe
Screenplay by Phaedon Papadopoulos
To be directed by Elika Portnoy
She doesn't know him. But he knows everything about her.
Philip Petersen, a wealthy businessman, disappears without trace on a trip to South America. His wife, Sarah, is left to bring up their son on her own. Seven years later, out of the blue, Sarah receives news that Philip is still alive. But the man who greets her before a crowd of journalists at the airport is a stranger—and he threatens Sarah. If she exposes him, she will lose everything: her house, her job, her son…her whole beautiful life.
Melanie Raabe began her working life as a journalist but secretly wrote books by night. Her debut novel, The Trap, was an international bestseller. Her second, The Stranger, remained on Der Spiegel’s bestseller list for almost six months when it was first published in 2016.
Screenplay by Roshan Sethi & Hayley Schore
JIMMY tells the story of Dr. Sidney Farber — an intense, obsessive-compulsive pathologist at the Children’s Hospital of Boston who suffers from the disdain of fellow faculty members and the rampant anti-semitism at Harvard Medical School. Farber has the unimaginably grim job of performing autopsies on children who have died from cancer. Most of them had leukemia. All of them died. Farber befriends an Indian janitor in the hospital — whose doctorate in biology did not transfer to the United States — and together they contemplate the insane idea of chemically poisoning children to cure their cancer. Farber faces resistance from parents, and colleagues. But eventually he enrolls his first patient, an impish, charming boy named JIMMY. Incredibly, the treatment — which they call Chemotherapy — works. Farber enrolls more patients and just as the victory begins to feel too good to be true — it stops working. The leukemia, held at bay for weeks, returns. Farber watches as the children begin to relapse and die, one by one. Except for Jimmy, whose parents take him away.
We follow Farber over years as he eventually finds the solution in a cocktail of drugs, curing the first cohort of children with leukemia. But he never tracks down Jimmy. The movie ends in 1998 when a 62 year old truck driver walks into the lobby of Dana-Farber, goes up to the receptionist and says, “Hi, I’m Jimmy. I heard you were looking for me.” This actually happened almost 20 years ago. It turns out, Jimmy did survive. He returned to Maine, where he lived with his parents — both potato farmers who kept thinking his cancer would come back. It didn’t. He married, raised a family, had grandchildren. Generations that almost never existed were it not for Sidney Farber.
Screenplay by Tiller Russell
To be directed by Tiller Russell
Based on the Rolling Stone article, “Dead End on Silk Road” by David Kushner. SILK ROAD is a true crime epic about the criminal mastermind who unleashed the Dark Net and the ’Jurassic Narc’ bent on bringing down the young kingpin's billion dollar empire. In the tradition of Scorsese’s Goodfellas and The Departed, it’s a gangster film for the millennial generation.
Screenplay by Adam Curley
To be directed by Hannah Fidell
In 1973, Betty Ford is tired. She’s raised four kids, suffers from chronic pain, and is waiting for her husband, Minority Leader Gerald Ford, to retire. Suddenly, in the wake of Vice President Spiro Agnew’s resignation, she’s Second Lady. Less than a year later, after Richard Nixon’s, she’s First. Forced to suddenly navigate the pitfalls of being one of the most visible people in the world, she enlists the services of the young Sheila Weidenfeld as her Press Secretary, who helps her craft her public image in front of a country desperate for honest, open, candid leadership from the White House in the wake of Watergate. And despite facing considerable misogyny from the West Wing, the team of Betty and Sheila present just that.
Betty’s outspoken views and Sheila’s masterful working of the Press help make Betty one of the most beloved First Ladies of the modern era, as she shares her progressive attitudes toward abortion, premarital sex, marijuana, and support of the ERA with an evolving nation. Betty’s innate skill set as a performer - through her training in her youth with the Martha Graham dance company - ensures that she shines, and is a hit with the American People. Yet all the while, she carries with her the burden of her struggle with painkillers, an addiction Sheila becomes increasingly aware of, and tries to protect Betty from any public scrutiny that could reveal it. With a 75% approval rating going into the 1976 election, President Ford’s mercenary advisors (Donald Rumsfeld and Dick Cheney) deploy Betty mercilessly as a popular campaign surrogate, even as her addiction spirals out of control. In this story of two women of different generations trying to make a difference for all women across America, it’s up to Sheila to not only protect Betty’s image, but Betty herself.
Screenplay by Dan Marshall
The first high school in the United States started in 1635, Brie has been a junior ever since. Making her way across the country from Boston, she's traveled through pretty much every city and small town in America. But she's learned one fact, though times change, technology grows and fashion has certainly taken its share of turns over the years (her 80s side pony still plagues her), being a high school Junior is pretty much the same proposition regardless of the century. Brie never made it to her Senior prom, she's eternally too young for a driver's license, she'll never be old enough to buy a legal beer or be able to forge a lasting relationship. This is why despite what school she goes to or what town she ends up in - Brie is thought of as the outcast. That is until she meets her ultimate match – Finn. Fed up with the high school hierarchy, he's a guy who has trouble fitting in because he gives zero F's about what you think. Finn has a rare form of cancer and despite his best efforts at treatment – he’s been given an expiration date on life. Brie and Finn go on a journey to Salem, Massachusetts, Brie’s birthplace, in search of a cure for Finn’s terminal illness and a chance for them to stay together, forever.
FOX IN THE WOLF’S LAIR
Screenplay by Bob Eisele
King Boris of Bulgaria, traumatized by combat in World War One – and robbed of his self-confidence by his royal father – faces a dilemma at the dawn of World War Two. Should he ally himself with Hitler, or resist and risk Bulgaria’s destruction? Boris avoids allying his country with the Nazis through acts of cunning, cleverness and diplomacy. But to save Bulgaria’s soldiers from dying on the battlefield, the king must ultimately join Hitler’s alliance. As fascism seeps into Bulgarian life, Boris plays a metaphoric “chess game” with the Führer to protect the Jews as the Nazi death machinery is put into motion. At the eleventh hour, Boris – the wily fox who’s held Hitler at bay – must decide to take a stand that threatens his life and the lives of his family, or watch his Jewish subjects journey to their deaths. When Boris finally confronts the Führer in a Nazi command bunker called “the Wolf’s Lair,” the destinies of 50,000 souls hang in the balance...of World War Two’s greatest untold story.