THE MAN WHO KILLED DON QUIXOTE
2018, Screen Media Films, 132 min, Dir: Terry Gilliam

Toby (Adam Driver), a cynical advertising director, finds himself trapped in the outrageous delusions of an old Spanish shoemaker (Jonathan Pryce) who believes himself to be Don Quixote. In the course of their comic and increasingly surreal adventures, Toby is forced to confront the tragic repercussions of a film he made in his idealistic youth - a film that changed the hopes and dreams of a small Spanish village forever. Can Toby make amends and regain his humanity? Can Don Quixote survive his madness and imminent death? Or will love conquer all?


THE MAN WHO INVENTED CHRISTMAS
2017, Bleecker Street Media, 104 min, Ireland/Canada, Dir: Bharat Nalluri

Based on the book by Les Standiford, this delightful film tells of the magical journey that led to the creation of Ebenezer Scrooge (Christopher Plummer), Tiny Tim and other classic characters from A Christmas Carol. Mixing real-life inspirations with his vivid imagination, Charles Dickens (Dan Stevens) conjures up unforgettable characters and a timeless tale, forever changing the holiday season into the celebration we know today. With Jonathan Pryce.


DARK BLOOD
2013, Cinemavault, 86 min, USA, Dir: George Sluizer

Boy (River Phoenix), a young widower with native American roots, lives in a desert in the USA contaminated by nuclear tests. In this desolate place, surrounded by katchina dolls which the indigenous population believes possess magical powers, he awaits the end of the world. His refuge is suddenly invaded by Harry and Buffy (Jonathan Pryce and Judy Davis), a couple second honeymooning in an attempt to save their marriage. When their Bentley breaks down in the middle of nowhere, Boy offers to help. But then, hoping to cross over into a better world with Buffy, he starts treating them like prisoners. When Dark Blood’s leading actor River Phoenix died suddenly ten days before the end of the shoot in 1993, the film’s insurance company became the owner of the unfinished material. Years later, director George Sluizer managed to save his footage from being destroyed. In January 2012 he decided to edit the unfinished film. The resulting work is an existentialist latter-day Western which derives much of its evocative power from the presence of its leading man, who was himself teetering on the brink of death.


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