Trouble Every Day Presents: Jesus’ Son (1999) in 35 mm + Director Q&A
July 30 @ 7:00 pm - 10:00 pm
Jack Black, Michael Shannon, Billy Crudup and Samantha Morton before they were famous.
One of Greta Gerwig’s favourite films.
Top 10 Films Of 1999: New York Times, Los Angeles Times, Roger Ebert.
20th anniversary screening.
Based on Denis Johnson’s classic short story collection.
A film by Alison Maclean (CRUSH, Natalie Imbruglia’s “Torn”, PERSONS OF INTEREST, THE REHEARSAL).
Wesley Morris: “Maclean’s film is a handsome dance with Johnson’s words, a dialogue with the cycles of lucidity, a filmmaker’s intercourse with another author’s mood… A dashing fusion of the literary and the cinematic, the film is a menagerie of preludes, postludes, interludes and Quaaludes.”
Trouble Every Day Presents is a film screening series celebrating the best of forgotten and undiscovered cinema. Programmed by Marko Orlic.
Trouble Every Day Presents:
JESUS’ SON (1999)
35 mm Presentation
Skype Intro and Q&A with director Alison Maclean
Innis Town Hall Theatre
Tuesday, July 30, 2019
Billy Crudup (TWENTIETH CENTURY WOMEN, ALMOST FAMOUS, SPOTLIGHT)
Jack Black (SCHOOL OF ROCK, MARGOT AT THE WEDDING, BERNIE)
Michael Shannon (REVOLUTIONARY ROAD, TAKE SHELTER, MIDNIGHT SPECIAL)
Dennis Hopper (BLUE VELVET, APOCALYPSE NOW, THE AMERICAN FRIEND)
Samantha Morton (MORVERN CALLAR, MINORITY REPORT, SYNECDOCHE NEW YORK)
Holly Hunter (THE PIANO, RAISING ARIZONA, BROADCAST NEWS)
Denis Leary (THE NEON BIBLE, THE THOMAS CROWN AFFAIR, THE REF)
Miranda July (MADELINE’S MADELINE, ME AND YOU AND EVERYONE WE KNOW, THE FUTURE)
Will Patton (AFTER HOURS, REMEMBER THE TITANS, AMERICAN HONEY)
Cinematography: Adam Kimmel (CAPOTE, NEVER LET ME GO, BEAUTIFUL GIRLS)
Winner: Little Golden Lion & OCIC Award – Venice Film Festival
Nominee: Best Male Lead – Film Independent Spirit Awards, Best Performance By An Actress In A Supporting Role – Satellite Awards
Official Selection: Toronto International Film Festival, Telluride Film Festival
JESUS’ SON is the intense, often hilarious story of a young man’s circuitous journey from drug dependency and petty crime to a life redeemed by a startling discovery of compassion. Whomever he meets and wherever he goes, his attempts to prove his worth are either oddly touching, farcically futile, or often both simultaneously. Told in the way a person might recount a series of anecdotes over a drink — with all the mistakes and exaggerations, false starts and shuttling back in time that inevitably occurs — it is a stunning glimpse into the way one man’s heart and mind work.
“Like Phillip Seymour Hoffman, Jack Black has become impossible to ignore… He dominates the entire central section of a film which feels likes a record of an era’s misconnections and failures – personal and touchingly wounded.” – Antonia Quirke, INDEPENDENT
“A dream cast of offbeat Hollywood talent… Maclean is an exceptionally talented maker of images, shooting people and their surroundings with an unphony clarity she didn’t learn in film school.” – Andrew O’Hehir, SALON
“JESUS’ SON surprises me with moments of wry humor, poignancy, sorrow and wildness. It has a sequence as funny as any I’ve seen this year, and one as harrowing… This is not a drug movie like any you’ve seen.” – Roger Ebert, CHICAGO SUN-TIMES
“Unpredictable yet stylistically controlled… Morton is the most riveting, non-actressy actress working today.” – Lisa Schwarzbaum, ENTERTAINMENT WEEKLY
Evinces a talent for atmosphere… Crudup creates an extraordinary portrait of utter guilelessness… There is no sense of contrivance or studied performance at all; it’s a lovely, gracefully naturalistic turn.” – Todd McCarthy, VARIETY
“Crudup and Morton own the film… This project should earn them more of the popular recognition they so justly deserve… Maclean’s images are so grounded in reality that there’s a genuine authenticity to this New Zealander’s gray Iowa streets of the early Seventies and the hallucinogenic aberrations of her characters.” – Marjorie Baumgarten, AUSTIN CHRONICLE
“One of the pleasures of JESUS’ SON is watching a filmmaker take risks and discover new resources of style.” – A.O. Scott, NEW YORK TIMES
Born in Ottawa, raised in Canada and New Zealand, and currently residing in Brooklyn, Alison Maclean is the award-winning director of Cannes competition title CRUSH (1992), Natalie Imbruglia’s legendary “Torn” music video (1998), Sundance documentary PERSONS OF INTEREST (2004), and TIFF drama THE REHEARSAL (2016). Her television credits include episodes of Homicide: Life On The Street, Sex And The City, Carnivàle, and The Tudors.