Michael Palmieri

5/ Thanks to @zoandbehold.bsky.social and @erininthemorning.com for allowing us to spend time with them. Thanks to @newyorker.com for backing us. Finally Kim, it has been an enormous honor to edit and score the film for you. See you all hopefully at the awards!

4/ We’ve always looked for the right moment to work on something together, and "Seat 31: ZZ" represents the first of many projects we have embarked on together as a team over the past few years.

3/ We recognized one another in the shuttle as we were all from various overalapping arts scenes in SF, but we had never met in person. That 2 hour shuttle was filled with a lot of lightning, wind, rain, ice and so much wonderful conversation. We have been closed friends ever since.

2/ The film is a collaboration between three close friends who first met on a cold wet shuttle bus in St. Louis on the way to True/False all the way back in 2008. Kimberly Reed was showing "Prodigal Sons" and we were showing our first feature "October Country".

1/ I’m so proud that “Seat 31: Zooey Zephyr “made the academy shortlist for best short doc. I'm enormously proud of the people we made this film about, individuals who face down gross discrimination by just ignoring it and replacing it with joy, every goddamned day of the year, Sundays included.

Mistress Dispeller coming in hot!

Dumpling

James Baldwin, 1959

Enjoy IDFA!! Give Owra a kiss for me.

Ugh. I'll discuss w/ u in person. I predict this film's shelf life will be about as long as Elizabeth Sparkle's time on the substance.

The blame is entirely on her. I don't think the filmmaker addressed exoneration. What did you think?

Where to start? The endless Kubrick references to the Shining? The Elephant Man slash Carrie slash The Fly slash Society mashup ending? The film is preposterous with its references. It's not a critique of the male-based image, it ends up blaming women for being victimized by the beauty industry.

"The Big Clock" (1948) absolutely slaps. Charles Laughton as the heavy, Ray Milland at his finest, and the great Elsa Lanchester! One foot firmly planted in noir, the other in comedy as graceful as the camerawork. Catch this hot potato while it's streaming on Criterion.
@criterion.bsky.social

First post here goes.

I do not mind filmmakers who steal from other films, plays or novels in meaningful, purposeful ways. A wonderful recent example of this is "The Lighthouse". I cannot say the same for "The Substance".

I would suggest watching "The Wicker Man" from 1973 if you have not seen it. Midsommar draws heavily from it - and the Wicker Man is so much better imho.