From Joe Swanberg (ALEXANDER THE LAST, HANNAH TAKES THE STAIRS) and co-director Adam Wingard, AUTOEROTIC follows four interconnected Chicago couples as they explore the boundaries of self-pleasure and sexual exploration. Through a unique blend of outrageous comedy and in-your-face sex, AUTOEROTIC insightfully illuminates the private sexual lives of America’s urbanites. (Source)
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An official selection of Cannes Critics Week and winner of the Special Jury Prize at SXSW, THE MYTH OF THE AMERICAN SLEEPOVER is a youthful and tender coming-of-age drama from first-time writer/director David Robert Mitchell. In the tradition of free-wheeling tributes to adolescence like DAZED & CONFUSED, the film follows four young people (a cast of brilliant young newcomers in their feature film debuts) on the last night of summer – their final night of freedom before the new school year starts. The teenagers cross paths as they explore the suburban wonderland they inhabit in search of love and adventure – chasing first kisses, elusive crushes, popularity and parties – and discover the quiet moments that will later resonate as the best in their youth. (Source)
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Joe Swanberg and Adam Wingard’s AUTOEROTIC follows four interconnected Chicago couples as they explore the boundaries of self-pleasure and sexual exploration. Through a unique blend of outrageous comedy and in-your-face sex, AUTOEROTIC insightfully illuminates the private sexual lives of America’s urbanites. (Source)
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This story follows four young people on the last night of summer – their final night of freedom before the new school year starts. The teenagers cross paths as they explore the suburban wonderland they inhabit in search of love and adventure – chasing first kisses, elusive crushes, popularity and parties. While looking for the iconic teenage experience, they discover the quiet moments that will later become a part of their youth they look back on with nostalgia. (Source)
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An official selection of Cannes Critics Week and winner of the Special Jury Prize at SXSW, THE MYTH OF THE AMERICAN SLEEPOVER is a youthful and tender coming-of-age drama from first-time writer/director David Robert Mitchell. In the tradition of free-wheeling tributes to adolescence like DAZED & CONFUSED, the film follows four young people (a cast of brilliant young newcomers in their feature film debuts) on the last night of summer – their final night of freedom before the new school year starts. The teenagers cross paths as they explore the suburban wonderland they inhabit in search of love and adventure – chasing first kisses, elusive crushes, popularity and parties – and discover the quiet moments that will later resonate as the best in their youth. (Source)
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You’re awake when everyone else is asleep. You’re standing still as traffic is whipping by at 70mph. Your off hours are spent trying to figure out why you’re here, whether you want to stay, and how to leave.
In ‘The Off Hours,’ Amy Seimetz (‘Tiny Furniture’) alluringly commands the screen as Francine, a waitress whose liberation from her mundane existence is long overdue. In the dreamlike and restless world of the night shift at a highway diner, Francine’s life consists of casual encounters and transient friendships. What she wants is out of reach-or is it that she’s lost track of wanting anything at all? When a banker turned big-rig driver (‘Baghead”s Ross Partridge) becomes a regular, he sparks hope in Francine. As change begins to invade the quiet diner, Francine is reminded that it is never too late to become the person she was meant to be. (Source)
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You’re awake when everyone else is asleep. You’re standing still as traffic is whipping by at 70mph. Your off hours are spent trying to figure out why you’re here, whether you want to stay, and how to leave. In THE OFF HOURS, Amy Seimetz (TINY FURNITURE) alluringly commands the screen as Francine, a waitress whose liberation from her mundane existence is long overdue. In the restless world of the night shift at a highway diner, Francine’s life consists of casual encounters and transient friendships. What she wants is out of reach–or is it that she’s lost track of wanting anything at all? When a banker turned big-rig driver (BAGHEAD’s Ross Partridge) becomes a regular, he sparks hope in Francine. As change begins to invade the quiet diner, Francine is reminded that it is never too late to become the person she was meant to be. (Source)
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