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Movie Review

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Photo from Staller Center Facebook

This summer marks a major milestone as the Stony Brook Film Festival  celebrates its 30th anniversary at Stony Brook University’s Staller Center for the Arts. Running from Thursday, July 17, through Saturday, July 26, audiences are invited to experience ten nights of extraordinary films from around the world, including world premieres, U.S. debuts, and must-sees that you cannot see anywhere else.

Early Bird Passes are on sale now, offering the best value for access to the film screenings and festival events. Pass options include the VIP Gold Pass, Regular Pass, and the Flex Pass, which grants access to any five days of the festival. Whether you’re a longtime attendee or a first-time guest, there’s a pass to match your interest and availability. Pass prices increase after June 9, so film lovers are encouraged to secure their passes early for the best price at stonybrookfilmfestival.com.

What began in 1995 as a modest campus initiative to enliven the quiet summer months has grown into a nationally recognized festival known for its bold storytelling and strong community of filmmakers and filmgoers. Over the past three decades, the festival has remained a champion of hard-to-find films, selected from over 2,000 annual submissions, and continues to thrive as a live, in-theater experience. This year’s lineup features 36 amazing short films and powerful feature-length dramas, thrillers, and comedies—many of which are screening for the very first time. These exceptional American independent and international titles cannot be seen in local theaters or streamed on any platform. They are only available on the region’s largest screen at Staller.

All passholders receive guaranteed Priority Seating, entry to filmmaker Q&As, eligibility to vote for the Audience Choice Awards, discounts at local partner businesses, and a commemorative festival gift. Each pass level includes its own set of perks, which can be found at stonybrookfilmfestival.com/pass.

Take this opportunity to be part of a cinematic tradition 30 years in the making. For more information and to purchase Early Bird Passes, visit stonybrookfilmfestival.com.

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The Long Island Music & Entertainment Hall of Fame (LIMEHOF) in Stony Brook recently hosted Huntington Film Director Sean Quincy King  who screened his latest film ScreamWalkers on May 17. This event was part of LIMEHOF’s Monthly Local Filmmakers Series putting the spotlight on Long Island Directors and their films.

“We’re so appreciative of the spotlight and the opportunity to screen here,” said King. “Having a place like LIMEHOF to screen local movies and feature local talent is so invaluable because it gives other people the opportunity to see what’s happening locally and to inspire. For someone who just started a band or just picked up a movie camera for the first time…to see that there is a place here that is interested and is willing to feature you and give you a chance. Filmmakers beg for that kind of opportunity.”

The film series is sponsored by Rob Eberle of Magnetic Vine and G&R Events. Following the screening, there was a Q&A panel emceed by LIMEHOF Vice Chairman Tom Needham. Director Sean King, Bob Heckman, Will Puntarich, Glenn McBride Jr. and Peter Bune Jr. participated.

“The LIMEHOF Local Filmmakers Series is a celebration of the incredible filmmaking talent emerging from our region,” said Needham. “Each month, we showcase the creativity, passion, and dedication of local filmmakers, providing them with a platform to share their work and connect with audiences who appreciate the power of storytelling. This series is an important part of our mission to support the arts and highlight Long Island’s impact on the entertainment industry.”

Sean Qunicy King is an award-winning director, cinematographer, producer and actor whose films and TV credits include the cult classic comedy/horror TV show The Ghouligans! (2005-2015). He is also known for his cinematography work on the award-winning films Night For Day (2008), The Night Never Sleeps (2012), Send No Flowers (2013), and Cigarette Soup (2014). King has also worked as director on many commercials, documentaries, feature and television projects as well, such as Lost Suburbia (2007), This Mortal Coil (2010), and Hunter’s Moon(2015).

Screamwalkers was shot on Long Island in Huntington, Northport, Farmingville, and Setauket and stars actors from Long Island including Elizabeth Davoli, Glenn McBride Jr., Sasha Graham, Andy Rowell, Jason Seidl, Celia Spero, Rose Stark, Will Puntarich, Dino Castelli, Jen Elyse Feldy, Bernard Jackson, Ariann Huether, Ed Huether, Arabelis Griffin, Talia Griffin, Aidan P. Finnegan, Joe Winchell and Matt Weir.

The next LIMEOHF Local Filmmaker series film series event will be on June 21st and feature West Babylon Film Director Joe Pomarico. LIMEHOF welcomes nominations of local film directors and movies for consideration to feature in the series. For more information: Contact LIMEHOF at [email protected]

About LIMEHOF

Founded in 2004, the Long Island Music and Entertainment Hall of Fame is a 501(c)(3) organization dedicated to the idea that Long Island’s musical and entertainment heritage is an important resource to be celebrated and preserved for future generations. The organization, which encompasses New York State’s Nassau, Suffolk, Queens, and Kings (Brooklyn) Counties, was created as a place of community that inspires and explores Long Island music and entertainment in all its forms.  In 2022, LIMEHOF opened its first Hall of Fame building location in Stony Brook, New York. To date, the organization has inducted more than 130 musicians and music industry executives, and offers education programs, scholarships, and awards to Long Island students and educators.

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From left, Lorraine Bracco, Talia Shire, Brenda Vaccaro and Vince Vaughn in a scene from 'Nonnas'. Photo by Jeong Park/Netflix

Reviewed by Jeffrey Sanzel

At Enoteca Maria we celebrate cultural diversity by serving cuisines from around the world, but we do it in the most uniquely authentic way possible. Real grandmothers from every country across the globe are invited and hired as chefs to cook the recipes handed down to them that they cook at home for their families, that make up the fabric of the culture they were born and raised in. We aspire to build cultural connections through the universal language of cooking […].

Culture is a resource worth preserving. After all a tree can’t grow and change without its roots. 

— from the Enoteca Maria website

In Nonnas, Netflix offers a highly fictionalized but loving celebration of Joe Scravella’s Staten Island restaurant, Enoteca Maria. Novelist-turned filmmaker Stephen Chboksy leaves his edge behind in directing Liz Maccie’s by-the-numbers screenplay and presents a heartfelt but wholly predictable salute to family and food.

The film opens with young Joe (Theodore Helm) and a Sunday dinner in Brooklyn, watching his mother and grandmother in the kitchen, while the extended clan eats, sings, and dances in the living room. Observing his grandmother add ingredients to the sauce pot, the boy asks, “How do you know how much to use?” His grandmother responds: “You feel it in your heart. You put in your heart.” The rest of Nonnas’ two hours fall along the same line in simplicity and intent.

The story fast forwards several decades. The grown Joe (Vince Vaughn) has lost his mother to cancer. Saddened and more than a little broken, he stares into the emptiness stretching before him. After some emotional struggle, he uses the two hundred thousand dollars inherited from his mother’s insurance policy to open a restaurant to honor her memory. His concept is simple: he will hire “nonnas” (Italian grandmothers) as chefs.

He first recruits his mother’s best friend, the irascible Roberta (Lorraine Bracco). He then runs an ad in Craig’s List, garnering a “retired” nun, Teresa (Talia Shire), and Antonella (Brenda Vaccaro), the neighbor of Joe’s high school prom date, Olivia (Linda Cardellini). His mother’s hairdresser, Gia (Susan Sarandon), rounds out the staff, serving as pastry chef. His childhood friend, Bruno, with a touch of strong-arming from Bruno’s wife, Stella (Drea de Matteo), reluctantly serves as contractor. 

Nonnas follows this rag-tag crew as they benignly bicker and quickly join forces to open the restaurant. They face predictable challenges—code issues, building violations, a kitchen fire (from an incinerated sheep’s head used for Capuzzelle), opening in a thunderstorm to no business, a snobbish food critic (Campbell Scott), etc. The problem is that the hurdles feel artificial; therefore, nothing plays on two levels—whether grief or goals. No point is allowed to simmer; everything must come to an immediate boil, then taken off the stove. There is a brief food fight, a makeover montage, and a vague drinking scene with personal revelations, but no surprises.

The dialogue is a string of clichés and aphorisms: “The tomato is the heart of your dish. If you don’t have heart, you don’t have nothin’.” “You make the food. People eat the food. You make people happy.” “Food is love.” “Age is not a disease.” And, stated more than once, “One does not grow old at the table.” 

Vince Vaughn is not plumbing any depths; his performance falls into his long line of likable everymen. But his wide-eyed charm and easy earnestness hold center. The same is true of the entire cast. The quartet of kitchen cooks play to type but are delightful as they do so. Cardellini’s widow is just the right romance-light that Joe—and the story—needs. Everyone seems to be in on the celebration and having a terrific time. 

While Nonnas could easily be accused of overly sentimental (tipping occasionally into saccharine), its genuine sincerity comes through. The combination of food-porn-with-a-point and making the family you need synthesize in this Italian Valentine. Borrowing from another culture’s cuisine, Nonnas is pure schmaltz.

Enoteca Maria opened in 2007 and, unlike as portrayed in its cinematic counterpart, was an immediate success and continues to thrive. If Nonnas is not quite art, it cannot help being a boon for the restaurant and its mission.

Rated PG, the film is now streaming on Netflix.

See trailer here.

 

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Huntington film director Sean Quincy King

The Long Island Music and Entertainment Hall of Fame (LIMEHOF), 97 Main St, Stony Brook will welcome Film Director Sean Quincy King for a special screening his latest film, Screamwalkers, on Saturday, May 17th at 1 p.m. The event is part of LIMEHOF’s Monthly Local Filmmakers Series putting the spotlight on Long Island Directors and their films. The event is free with general admission ticket purchase and free to LIMEHOF members.

“Being born and raised here on Long Island, having my work showcased in the LIMEHOF is beyond a dream,” said King, a resident of Huntington. “It is a privilege to be able to make movies and television here on the island near my friends and family, and to have even a small involvement with the LIMEHOF humbles me greatly.”

The film series is sponsored by Rob Eberle of Magnetic Vine and G&R Events. Following the screening, there will be a Q&A penal emceed by LIMEHOF Vice Chairman Tom Needham. Sean King (Director), Glenn McBride Jr. (Actor), Celia Spero (Actor), and Peter Bune Jr. (Producer) are expected to participate.

“The LIMEHOF Local Filmmakers Series is a celebration of the incredible filmmaking talent emerging from our region,” said Needham. “Each month, we showcase the creativity, passion, and dedication of local filmmakers, providing them with a platform to share their work and connect with audiences who appreciate the power of storytelling. This series is an important part of our mission to support the arts and highlight Long Island’s impact on the entertainment industry.”

Sean Qunicy King is an award-winning director, cinematographer, producer and actor whose films and TV credits include the cult classic comedy/horror TV show The Ghouligans! (2005-2015). He is also known for his cinematography work on the award-winning films Night For Day (2008), The Night Never Sleeps (2012), Send No Flowers (2013), and Cigarette Soup (2014). King has also worked as director on many commercials, documentaries, feature and television projects as well, such as Lost Suburbia (2007), This Mortal Coil (2010), and Hunter’s Moon(2015). 

Screamwalkers was shot on Long Island in Huntington, Northport, Farmingville, and Setauket and stars actors from Long Island including Elizabeth Davoli, Glenn McBride Jr., Sasha Graham, Andy Rowell, Jason Seidl, Celia Spero, Rose Stark, Will Puntarich, Dino Castelli, Jen Elyse Feldy, Bernard Jackson, Ariann Huether, Ed Huether, Arabelis Griffin, Talia Griffin, Aidan P. Finnegan, Joe Winchell and Matt Weir.

LIMEHOF welcomes nominations of local film directors and movies for consideration to feature in the series. For more information: Contact LIMEHOF Vice Chairman Tom Needham at 631-394-8387.

About Screamwalkers

https://www.imdb.com/title/tt31911908/

From the creators of the cult hit show “The Ghouligans!”, and the renowned haunted attraction “Dark Night Halloween World” comes “Screamwalkers”, an original 90’s style shot-on-video slasher movie.

Synopsis- In the quiet town of Marblehead, a chilling pattern emerges as the body count steadily rises. At the heart of these bizarre killings stands CJ Wyatt (Elizabeth Davoli), a student grappling with the recent loss of her boyfriend, the latest victim of a ruthless murderer.

Each murder among her circle of friends draws the killer ominously closer to CJ. Detective Joe Penny (Glenn McBride Jr.) becomes her sole ally in a police force plagued by dysfunction. Amidst mounting pressure, he races against time, piecing together clues that might lead to the killer’s identity. With every passing day, the list of victims grows, pushing CJ and Penny to confront the terrifying reality of the “Screamwalkers”!

The fresh approach to the production of “Screamwalkers” has been the talk of the micro budget film community for much of 2024. The $12,000 budget allowed minimum time and resources, which made the producers adapt with creativity. The movie runs 65 minutes and was shot using an analog Canon camcorder from 1994. “Screamwalkers” has already won “Best Feature Film” at the Long Island International Film Expo and continues to garner overall very positive reviews from both critics and audiences.

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The cast of 'Miss Austen'. Photo courtesy of PBS

Reviewed by Jeffrey Sanzel

The following is based on viewing Part One of Masterpiece’s presentation of ‘Miss Austen.’

Jane Austen’s correspondence was vast, with an estimation of her penning thousands of letters: Only 160 remain. For reasons unknown, years after Austen’s death, her sister, Cassandra, burned the bulk of Jane’s letters.

Gill Hornby’s intriguing and entertaining Miss Austen: A Novel of the Austen Sisters (2020) speculates why. Hornby’s fictional explanation captures Jane Austen’s style, tone, and diction, with Hornby remarkably echoing Austen’s sly wit and keen observations. Hornby’s book could be seen as a seventh novel in Austen’s sadly small canon. 

A scene from ‘Miss Austen.’ Photo courtesy of PBS

Played in two timelines, the story follows the older Cassandra, in 1830, traveling to Kintbury on the pretext of helping Isabella Fowle, who is mourning her father’s death. However, Cassandra’s true motivation is retrieving the letters written by Jane and herself to Eliza Fowle, Isabella’s mother. Hornby uses Cassandra’s discovery and reading of the cache to flashback to the late 18th and early 19th century. 

In the teleplay, Andrea Gibb puts Isabella’s father, Reverend Fowle, on his deathbed (flickering candles and soft focus), imparting Cassandra a dying wish for Isabella. In this moment, the series sets itself at odds with the source—darker and leaning into the drama (or even melodrama)—rather than the edgier, droller, but more inspired world of the novel. Both touch on the themes of women in society, family obligations, and the pressure for marriage and children. But the approaches are distinctly different, with Gibb’s version trodding heavily, highlighting the romantic elements. The teleplay’s tone (and Aisling Walsh’s direction) departs from Hornby, and in essence, Austen: the author’s brilliance was balancing heartbreak with humor, satire with a sense of humanity. Lacking these vital elements, the filmed version seems bleached and untextured. 

Keeley Hawes is particularly effective as the older Cassandra, conveying thought with subtlety and presenting the older Austen sister as a woman missing nothing but keeping her own counsel. Synnøve Karlsen easily matches her as the young Cassandra, giving an equally rich performance. Patsy Ferran makes Jane quirky and likable and easily drops the few bon mots expected of the witty writer. However, along with Madeline Walker’s pleasant Eliza Fowle, the relationships feel more Little Women than Mansfield Park. 

Rose Leslie’s Isabella is lovely if reinvented as a more traditional heroine. Jessica Hynes’ waspish sister-in-law, Mary, is more ominous than necessary due less to her choice than the approach to her plotline. The same is true of the always wonderful Phyllis Logan, who plays matriarch Mrs. Austen. The book’s Mrs. Austen possesses more than a few shades of Mrs. Bennett; instead, she is given a less colorful portrait to create. Mirren Mack, in her brief appearance, manages the right blend of “respectful impudence” as the Fowles’ maid, Dinah. As for the men, they do little but respond or spout platitudes. 

Ultimately, the major point is legacy. When clergyman Mr. Dundas (Thomas Coombes, in a delightfully wicked cameo suggesting Pride and Prejudice’s unctuous Mr. Collins) suggests to Cassandra that the world is lacking a definitive biography so the public could know the real Jane Austen, she rebukes him. “Everything one needs to know about Jane Austen is to be found in the pages of her novels. There is nothing more.” In essence, this is the thesis. Jane’s life should be defined only by what she offered the public, and her private life and thoughts should remain just that—private. 

Miss Austen offers an interesting—if fictional—glimpse into one of the great literary figures of all time. That said, it is clearly the old saw: “The book was better.” 

The four-part series streams Sundays on PBS.org through May 18.

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ABC Photo Archives

Local PBS stations THIRTEEN, WLIW and NJ PBS; arts and culture hub ALL ARTS; and NPR station WLIW-FM present special programming on-air and online throughout Spring

The WNET Group, home to New York PBS stations THIRTEEN and WLIW; New Jersey’s statewide public television network NJ PBS; arts and culture media provider ALL ARTS; and Long Island’s only NPR station WLIW-FM presents Broadway and Beyond (thirteen.org/Broadway), a collection of must-see theater and arts programming, for a second year.

This special programming collection includes Great Performances’ eighth annual “Broadway’s Best” line-up, premiering on THIRTEEN Fridays at 9 p.m. and on pbs.org/gperf. This year’s offerings include the Tony Award- and Pulitzer Prize-winning musical Next to Normal (May 9 at 9 p.m.); Tony Award-nominated Broadway comedy Yellow Face (May 16 at 9 p.m.) from Roundabout Theatre Company featuring Daniel Dae Kim; Tony Award-winning musical Girl from the North Country (May 23 at 9 p.m.); and Cole Porter’s Kiss Me, Kate (May 30 at 9 p.m.) with the Tony Award winner Stephanie J. Block in her West End debut. Great Performances will be receiving a 2025 Tony Honor for Excellence in Theatre at the 78th Annual Tony Awards.

With a stage offering nearly every day, ALL ARTS offers a star-studded, insider’s look at an iconic Broadway theater in Playing the Palace (Tuesday, May 13 at 9 p.m. AllArts.org, app and broadcast); NJ PBS will release all episodes of American Songbook at NJPAC available to stream at any time on njpbs.org/Broadway; and Broadway to Main Street, simulcast on WLIW-FM and wliw.org/radio, features the greatest songs of the American Musical Theater every Sunday at 3 p.m.

Broadway and Beyond programs are available across all of The WNET Group’s public media channels and platforms: THIRTEEN, WLIW/WLIW-FM, ALL ARTS, and NJ PBS. Below is a selection of broadcast and streaming options. Broadcast schedules are available to livestream at thirteen.org/live, wliw.org/live and MyNJPBS.org/live.

For an additional selection of broadcast and streaming options, visit thirteen.org/Broadway.

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Actor Laura Dern, center, with 'Common Ground' directors Rebecca Harrell Tickell and Josh Tickell.

Reviewed by Jeffrey Sanzel

According to the Chesapeake Bay Foundation, regenerative agriculture “describes holistic farming systems that, among other benefits, improve water and air quality, enhance ecosystem biodiversity, produce nutrient-dense food, and store carbon to help mitigate the effects of climate change. These farm systems are designed to work in harmony with nature, while also maintaining and improving economic viability.” Regenerative agriculture includes practices like no-tillage, planting cover crops, reducing chemical use, and planned grazing. 

In 2017, Josh Tickell published Kiss the Ground: How the Food You Eat Can Reverse Climate Change, Heal Your Body, & Ultimately Save Our World. The book purports that climate change is reversible through changing diets based on harvests from soil-nourishing, regenerative agriculture. 

Tickell (along with Rebecca Harrell Tickell) produced and directed the documentary Kiss the Ground (2020), which explored the issues raised in the book. The film shares interviews with farmers, scientists, and environmentalists. The focus is the power of healthy soil and its healing powers for humanity and the earth as a whole. Narrated by Woody Harrelson, the film features the well-known {model/ U.N. Good Will Ambassador Gisele Bünchden, NFL quarterback Tom Brady, etc.) along with authors and environmentalists. Kiss the Ground was lauded for its good intentions but received criticism for an often simplistic approach to the solution, especially concerning climate change. 

The follow-up, Common Ground, which launched globally on Amazon Prime on April 22 in honor of Earth Day, covers some of the same territory, with a spotlight on preservation of the soil. Again, central is the importance of properly cultivating the soil through regenerative agriculture. 

Common Ground opens with a letter “written” by various celebrities. Each is presented with a sonorous voiceover steeped in gravitas. The letter ends with, “It’s a matter of life and death.” If the information presented in Common Ground is even twenty percent accurate, this dark statement is harbinger of long-term and perhaps irrevocable damage. The film begins with a detailed explanation of regenerative agriculture, comparing it to the other less environmentally-friendly approaches. 

The film is most interesting and effective when it addresses agribusiness issues driving the market. Following the money trail exposes the private sector’s influences on government and education, with money filtered through land grant universities. Larger corporations have suppressed scientists and pressured the USDA, influencing the Farm Bill and driving subsidies into soy, wheat, and corn—all commodity crops. Agribusiness possesses the largest lobbying industry with twenty-three registered lobbyists for every member of Congress.

An exploration of the rise of industrial farming in post-World War II highlights the uses of chemicals in the forms of pesticides and toxic herbicides, labeled “the Green Revolution.” Most notably, Monsanto Company’s glyphosate product, Roundup, led to the 1980s genetically engineered crops—“ready grains”—that could resist Roundup. Gradually, revelations held Roundup responsible for damaging the health of thousands, leading to multiple successful lawsuits. (Monsanto sold the company to the German Bayer AG for sixty-three billion dollars.)

Common Ground gives a bleak picture of the small farmer who lives in hundreds of thousands of dollars of debt. The Farm Bill Cycle of Debt is a cyclical trap of the system dictating what (and how) to grow, boosting corporate profits, consumer illness, and farmers’ debt. Suicide rates among farmers are five times higher than the general population. Additionally, Common Ground touches on the racial disparity in farming, with the system showing an overwhelmingly biased preference towards white people. The discriminatory nature of the industry has only increased over the years.

While the film emphasizes much of the negative, it celebrates those who have succeeded in abandoning industrial farming. The alternatives are shown to have health and economic benefits—all linked back to regenerative agriculture.

The tone and style—and much of the documentary—shift from dark shadows to pastoral sunshine to peripatetic imagery. At times, Common Ground feels like clumsy public service announcements; at other points, it plays with the jarring cuts of a music video, with blaring, on-the-nose lyrics. The “behind the scenes” look at the stars — Laura Dern, Jason Momoa, Woody Harrelson, Ian Somerhalder, Donald Glover, Rosario Dawson, and many others recording their narratives is oddly and ineffectively “meta.” But Common Ground is well-paced and presents a clear path to transformation. 

Documentaries habitually select their focus as the greatest existential threat. Whether AI, plastics, water pollution, corporate manipulation, or conspicuous consumption, each sees its topic as the direst and the most important to be solved. Many point to the destruction of the environment, but each selects a different “demon” as the most dangerous. Common Ground is no different in this respect, and therefore, even in its specificity, it lands as a generic call-to-arms (or farms, as the case may be).

“The quality of what you eat determines the quality of your health. And a living soil is where it all begins.” While it might not convert the doubters, Common Ground is another reminder that through commitment and collaboration, environmental change is possible. 

The documentary is now streaming on Amazon Prime.

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Documentary screening of 'Gotta Dance' at Theatre Three. Photo by Steven Uihlein/Theatre Three Productions, Inc.
Documentary screening of 'Gotta Dance' at Theatre Three. Photo by Steven Uihlein/Theatre Three Productions, Inc.
Documentary screening of 'Gotta Dance' at Theatre Three. Photo by Steven Uihlein/Theatre Three Productions, Inc.

On April 27, Theatre Three, in collaboration with the Greater Port Jefferson Arts Council, held a screening of Gotta Dance, the documentary which is the basis of their upcoming production Half Time The Musical, in its New York premiere. The evening opened with the cast of Half Time  presenting “A Number,” the opening of the show. Following the documentary, Artistic Director Jeffrey Sanzel led a talkback with the documentary’s producer/director Dori Berinstein.

From the creators of The Wedding Singer, The Drowsy Chaperone, The Prom and Legally Blonde, Half Time is based on the incredible true story of ten determined dreamers who audition to dance at halftime for a major basketball team. They have three things in common: they love to dance, they have something to prove, and they are all over 60 years old! Only after making the cut, do they learn they won’t be dancing tap, salsa or swing – instead they will bring down the house with hip-hop!

Theatre Three, 412 Main St., Port Jefferson presents Half Time on the Mainstage from May 24 to June 22. Tickets are $40 adults, $32 seniors and students, $25 Wednesday matinees and children ages 5 to 12. To order, call 631-928-9100 or visit www.theatrethree.com.

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Rabbi Amichai Lau-Lavie in still from Sabbath Queen. 2024. Sandi Simcha DuBowski. Image courtesy of Roco Films
The Long Island Jewish Film Festival is returning to the Cinema Arts Centre for its third year! The festival will span six days, May 1st – May 6th, and present a selection of films at the forefront of Jewish cultural storytelling. The festival will feature films that include innovative documentaries, riveting dramas, and hilarious comedy, all curated by David Schwartz, Curator at large at the Museum of the Moving Image, who will also host filmmaker interviews and audience discussions after many of the festival’s screenings.

The Long Island Jewish Film Festival was organized to help celebrate the rich cultural traditions and history of the Jewish community in America and abroad.

The festival will begin on Thursday, May 1st with a screening of the powerful documentary, Elie Wiesel: Soul on Fire, with the second day of the festival focusing on the recently rediscovered and restored drama, The Heiresses.

The third day of the festival will feature screenings of three films: the fascinating documentaries Ain’t No Back to a Merry-Go-Round & Janis Ian: Breaking Silence, as well as the new biopic Midas Man, on Beatles manager Brian Epstein.

Sunday, the fourth day of the festival, will feature a screening and discussion of the documentary Ada: My Mother the Architect, in addition to a showing of the hilarious comedy Bad Shabbos, and an encore screening of The Heiresses. Monday will feature repeat screenings of both Midas Man & Elie Wiesel: Soul on Fire, and the festival will conclude with a screening & discussion program highlighting the documentary film, Sabbath Queen.

There will be encore screenings for most of the films featured on Friday & Saturday for those who observe Shabbat. Tickets are $16 per film, $10 members.

The Films:
Elie Wiesel: Soul on Fire
Thursday, May 1 at 7 PM
With editor/producer Michael Chomet in person
& Monday, May 5 at 7 PM
With director Oren Rudavsky in person
Eighty years after his liberation from Buchenwald, we seek to understand the man behind the searing memoir Night. Told largely through his own words and eloquent voice, Elie Wiesel: Soul on Fire seeks to penetrate to the heart of the known and unknown Elie Wiesel (1928-2016) – his passions, his conflicts and his legacy as one of the most public survivors of the Holocaust. With unique access to archives, interviews and employing hand painted animation, the film illuminates Wiesel’s biography as a survivor, writer, teacher and public figure. (2024, 87 mins)

The Heiresses
Friday, May 2 at 7 PM
& Sunday, May 4 at 7 PM
Isabelle Huppert stars in this recently rediscovered and restored drama from Hungarian filmmaker Márta Mészáros. Huppert plays Irèn, a young Jewish seamstress in 1936 Budapest, who is recruited by the wealthy Szilvia (Lili Monori), to conceive a baby with her military officer husband so that Szilvia can inherit her father’s fortune. Meanwhile, the rise of Nazism has begun to poison Hungary’s ruling classes, complicating Irèn’s entrée into high society. Laying bare the complicated processes of class, motherhood, inheritance, and fascism. (1980, 100 mins)

Ain’t No Back to a Merry-Go-Round
Saturday, May 3 at 1 PM
When five Howard University students sat on a segregated Maryland carousel in 1960, the arrests made headlines. When the largely Jewish community living near the amusement park joined the Black students in picketing, the first organized interracial civil rights protest in US history was born, eventually leading to the creation of the Freedom Riders. With never-before seen footage, and immersive storytelling by Emmy-award winning director Ilana Trachtman, four living protesters rescue this untold story, revealing the price, and the power, of heeding the impulse to activism. (2024, 89 mins)

Janis Ian: Breaking Silence
Saturday, May 3 at 4 PM
& Tuesday, May 6 at 4 PM
With prerecorded interview with director Varda Bar-Kar
At the height of the Civil Rights movement, Janis Ian, a Jewish teenage singer-songwriter from New Jersey became a sensation after releasing a hit song about an interracial relationship, “Society’s Child.” Ian would go on to jam with Hendrix, party with Janis Joplin, and play duets with Dolly Parton and Willie Nelson. But she also had to work to overcome the stigma of her debut, homophobia, industry misogyny, and serious illness. With access to Ian’s music, archive, collaborators, and music journalists, this in-depth documentary chronicles the singer’s epic life journey. (2024, 114 mins)

Midas Man
Saturday, May 3 at 7 PM
& Monday, May 5 at 4 PM
Brian Epstein is recognized today as the man who signed The Beatles, and in doing so, created the blueprint for music artist management. From his formative years to wild, unprecedented global success and the ensuing chaos as he managed and promoted some of the biggest acts in the world, Midas Man brings to life the untold story of one of the world’s most significant outsiders. (2025, 112 mins)

Ada: My Mother the Architect
Sunday, May 4 at 1 PM
With director Yael Melamede in person
Ada Karmi Melamede is one of the most accomplished female architects in the world, but very little is known about her outside her home country of Israel. Ada – My Mother the Architect is a deeply moving portrait of an extraordinary woman directed by her daughter, filmmaker, and former architect, Yael Melamede. Ada is a true pioneer whose work gave physical form to some of Israel’s highest democratic ideals, most notably in the acclaimed Supreme Court building in Jerusalem, the Open University, and Ben Gurion Airport. (2024, 81 mins)

Bad Shabbos
Sunday, May 4 at 4 PM
Kyra Sedgwick and Cliff “Method Man” Smith lead a hilarious ensemble cast in the award-winning comedy that took home the Audience Award at the 2024 Tribeca FilmFestival. When David and his fiancé Meg gather for his family’s traditional Shabbat dinner on New York’s Upper West Side, things spiral faster than you can say “hamotzi” when an accidental death (or…murder?) derails the evening entirely. With Meg’s devoutly Catholic parents due any moment to meet David’s very Jewish family, soon Shabbat becomes a comedy of biblical proportions. (2024, 84 mins)

Sabbath Queen
Tuesday, May 6 at 7 PM
With director Sandi Dubowski in person
Filmed over 21 years, Sabbath Queen follows Rabbi Amichai Lau-Lavie’s epic journey as the dynastic heir of 38 generations of Orthodox rabbis including the Chief Rabbis of Israel. He is torn between rejecting and embracing his destiny and becomes a drag queen rebel, a queer bio-dad and the founder of Lab/Shul—an everybody-friendly, God-optional, artist-driven, pop-up experimental congregation. (2024, 105 mins)

The Cinema Arts Centre is located at 423 Park Ave., Huntington. Get tickets and find more info here: https://cinemaartscentre.org/long-island-jewish-film…/

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In celebration of its 50th anniversary, Monty Python and the Holy Grail will return to select theaters nationwide on Sunday, May 4, and Wednesday, May 7, courtesy of Fathom Entertainment.

“Fathom Entertainment has prided itself in bringing classic and cult classic films back to the big screen where they deserve to be enjoyed by fans – old and new alike. Few classic comedy films top the great Monty Python and the Holy Grail in terms of legendary status. Fathom is delighted to bring it back to theaters upon its 50th anniversary,” said Ray Nutt, Chief Executive Officer at Fathom Entertainment.

Grossing the highest box-office of any British film in the U.S. when released in 1975, this “cult classic” comedy from the Monty Python team loosely follows the legend of King Arthur (Graham Chapman), along with his squire (Terry Gilliam) and his Knights of the Round Table (John Cleese, Eric Idle, Terry Jones and Michael Palin), as they embark on a fearless quest in search of the elusive Holy Grail.

Locally, participating theaters include AMC Loews Stony Brook 17, Island 16: Cinema de Lux in Holtsville, Regal Cinemas in Deer Park, Showcase Cinemas de lux in Farmindale and Regal UA in Farmingdale.

Tickets for the event can be purchased at Fathom Entertainment in advance or at participating theater box offices.

 

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