Jessica Chastain Says ‘IT: Chapter Two’ Has Bloodiest Scene in Horror Film History (Video)

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Jessica Chastain revealed quite the spoiler during her appearance on “The Tonight Show Starring Jimmy Fallon” about her upcoming film, “IT: Chapter Two” — that it has a scene that might have the most blood in the history of horror films.

“OK, I’m going to say something, and I think I’m going to be in trouble, but I’m going to do it,” Chastain said on Wednesday’s late-night show. “It might be a spoiler. But in the movie, there’s a scene that someone said on set that it’s the most blood that’s ever been in a horror film in a scene. And I’ll tell you, the next day I was like pulling blood out of my eyeballs. Fake blood.”

Really? Bloodier than “Suspiria,” “Carrie” or “The Shining?”

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“IT: Chapter Two” takes place 27 years after the events of last year’s monster hit, as the members of the “Losers Club” have all grown up and moved out of Derry… until a devastating phone call brings them back.

Bill Skarsgard will return as Pennywise the Clown. Other cast members include Bill Hader (Richie Tozier), James McAvoy (Bill Denbrough), Jay Ryan (Ben Hanscom), James Ransone (Eddie Kaspbrak), Isaiah Mustafa (Mike Hanlon) and Andy Bean (Stanley Uris).

Also Read: ‘IT Chapter Two’: Warner Bros Gives First Sneak Peek of Adult Cast

“IT” grossed $327.5 million in the U.S. and Canada in 2017, and $700.4 million worldwide, on a $35 million production budget. The film had the No. 1 opening weekend for a fall release, and was 2017’s No. 7 highest-grossing movie.

“IT: Chapter Two” will hit theaters on Sept. 6.

Watch the video above.

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Matthew McConaughey’s ‘Beach Bum,’ Olivia Wilde’s Directorial Debut to Premiere at 2019 SXSW Film Festival

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South by Southwest Conference and Festivals has announced its feature lineup for the 2019 film festival, which will include Matthew McConaughey’s “The Beach Bum,” Olivia Wilde’s directorial debut “Booksmart” and Shia LaBeouf’s “The Peanut Butter Falcon.”

Jordan Peele’s “Us” was previously announced as the festival’s Opening Night film.

Annabelle Attanasio’s “Mickey and the Bear,” starring Camila Morrone and James Badge Dale, “The Highwaymen” starring Kevin Coster, Woody Harrelson and Kathy Bates, Logan Marshall Green’s “Adopt a Highway” starring Ethan Hawke and Elaine Hendrix, “The Day Shall Come” starring Anna Kendrick and Denis O’Hare, and “Villains” starring Bill Skarsgard and Maika Monroe have also been added to the lineup.

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Nearly 8,500 films were submitted this year. Feature films in the lineup screen in the following categories: Narrative Feature Competition, Documentary, Feature Competition, Headliners, Narrative Spotlight, Documentary Spotlight, Visions, Midnighters, 24 Beats Per Second, Global, Festival Favorites and Special Events.

‘As we head into our 26th edition, we couldn’t be more excited to once again share a completely fresh SXSW 2019 slate with our uniquely smart and enthusiastic SXSW audience,” said Janet Pierson, director of Film. “As always, we looked for a wide range of work, contemplating scale, style, tenor and tone. We hope that this year’s outstanding array of films from accomplished to emerging talent will entertain, surprise, and provoke.”

The 2019 SXSW Film Festival will take place from March 8 to March 17 in Austin, Texas.

Also Read: Jordan Peele’s ‘Us’ to Open 2019 SXSW Film Festival

See below for the lineup.

NARRATIVE FEATURE COMPETITION

Alice (France)
Director/Screenwriter: Josephine Mackerras
She did everything right until it all went wrong. Cast: Emilie Piponnier, Martin Swabey, Chloe Boreham (World Premiere)

Extra Ordinary (Ireland)
Directors/Screenwriters: Mike Ahern, Enda Loughman
Rose, a mostly sweet and mostly lonely small-town driving instructor, must use her supernatural talent to save the daughter of Martin (also mostly sweet and lonely), from a washed-up rockstar who is using her in a satanic pact that will reignite his fame. Cast: Maeve Higgins, Barry Ward, Will Forte, Claudia Doherty (World Premiere)

Go Back to China (China, United States)
Director/Screenwriter: Emily Ting
After spoiled rich girl Sasha Li (Anna Akana) blows through half of her trust fund, she is cut off by her father (Richard Ng) and forced to go back to China and work for the family toy business. Cast: Anna Akana, Richard Ng, Lynn Chen, Kelly Hu, Kendy Cheung, Aviva Wang (World Premiere)

Mickey and the Bear
Director/Screenwriter: Annabelle Attanasio
A headstrong Montana teenager navigates a loving but volatile relationship with her single, veteran father. In a desperate search for independence and her own identity, she risks family, heartbreak and her standing in the only place she can call home. Cast: Camila Morrone, James
Badge Dale, Calvin Demba, Ben Rosenfield, Rebecca Henderson (World Premiere)

Ms. White Light
Director/Screenwriter: Paul Shoulberg
Lex Cordova’s business is dying. She has a unique ability to connect with her clients that are terminally ill. It’s just everyone else that she has a problem with. Valerie is a no bullshit woman who loves living her life. Her only way out is thru Lex. Cast: Roberta Colindrez, John Ortiz,
Judith Light, Carson Meyer, Zachary Spicer (World Premiere)

Pig Hag
Directors: Sam Probst, Colby Holt, Screenwriter: Colby Holt
Jodie, a woman in her mid-thirties, struggles with the pressure to find a partner and have children. When she attends a Guns N’ Roses concert, she thinks she may have met a potential match–until he immediately ghosts on her. Cast: Anna T Schlegel, Tony Jaksha, Pete Zias,
Michael Henry, Nate Stoner, Maxwell Esposito, Amanda DeSimone, Alex Myerchin, Andrew Kudla (World Premiere)

Porno
Director: Keola Racela, Screenwriters: Matt Black, Laurence Vannicelli
When a group of naive teens working at a movie theater in a small Christian town discover a mysterious film hidden in its basement, they unleash an alluring succubus who gives them a sex education…written in blood. Cast: Evan Daves, Larry Saperstein, Jillian Mueller, Glenn Stott,
Robert Tann, Bill Phillips, Katelyn Pearce, Peter Reznikoff (World Premiere)

Saint Frances
Director: Alex Thompson, Screenwriter: Kelly O’Sullivan
At the start of the summer, Bridget has an abortion just as she lands a much-needed job in affluent Evanston, Illinois – nannying a six-year old. Cast: Ramona Edith-Williams, Kelly
O’Sullivan, Lily Mojekwu, Charin Alvarez, Jim True-Frost, Max Lipchitz, Mary Beth Fisher,
Francis Guinan, Bradley Grant Smith (World Premiere)

South Mountain
Director/Screenwriter: Hilary Brougher
When her teenagers head off to camp and her husband abruptly leaves her to begin a new family, Lila is left to her own curious and chaotic devices for a summer in her rural home in the Catskill mountains. Cast: Talia Balsam, Scott Cohen, Andrus Nichols, Michael Oberholtzer, Naian Gonzalez, Midori Francis, Macaulee Rusnak Cassaday, Isis Masoud, Violet Rea, Guthrie Mass (World Premiere)

Yes, God, Yes
Director/Screenwriter: Karen Maine
After an innocent AOL chat turns racy, a Catholic teenager in the early 00s discovers masturbating and struggles to suppress her urges in the face of eternal damnation. Cast:
Natalia Dyer, Timothy Simons, Wolfgang Novogratz, Francesca Reale, Susan Blackwell, Parker
Wierling, Alisha Boe, Donna Lynne Champlin (World Premiere)

DOCUMENTARY FEATURE COMPETITION

Ernie & Joe
Director: Jenifer McShane
Ernie & Joe follows two officers with the San Antonio Police Department mental health unit who are diverting people away from jail and into mental health treatment — one 911 call at a time. (World Premiere)

For Sama (United Kingdom)
Directors: Waad al-Khateab, Edward Watts
For Sama tells the epic story of a young woman’s journey through love, war and motherhood across five years of the uprising in Aleppo, Syria. (World Premiere)

Museum Town
Director: Jennifer Trainer, Screenwriters: Noah Bashevkin, Pola Rapaport, Jennifer Trainer
From the ashes of a deserted factory, an ambitious center for contemporary art has emerged. With MASS MoCA, a familiar story of deindustrialization in a rural American town finds an
unconventional route to recovery. (World Premiere)

Nothing Fancy: Diana Kennedy (United Kingdom, U.S.)
Director: Elizabeth Carroll
Award-winning cookbook author, diehard environmentalist and feisty British nonagenarian Diana Kennedy reflects on an unconventional life spent mastering the cuisines of Mexico (World Premiere)

Stuffed (Canada, U.S.)
Director: Erin Derham
Stuffed is a documentary feature film about the surprising world of taxidermy and the passionate artists across the world who see life where others only see death. (World Premiere)

Tread
Director: Paul Solet
Pushed to his breaking point, a master welder in a small town at the foot of the Rocky Mountains quietly fortifies a bulldozer with 30 tons of concrete and steel and seeks to destroy
those he believes have wronged him. (World Premiere)

Vision Portraits
Director/Screenwriter: Rodney Evans
A feature-length documentary that chronicles the creative paths of blind and visually impaired artists including a photographer (John Dugdale), dancer (Kayla Hamilton), writer (Ryan Knighton) and the film’s director, Rodney Evans. (World Premiere)

We Are The Radical Monarchs
Director: Linda Goldstein Knowlton
Meet the Radical Monarchs, a group of young girls of color at the front lines of social justice. Set in Oakland, the film documents the journey of the group as they form, grow, and earn badges for units like “Black Lives Matter” and “Radical Beauty” (World Premiere)

Well Groomed
Director/Screenwriter: Rebecca Stern
Well Groomed travels the humorous, visually stunning world of Competitive Creative Dog Grooming alongside the colorful women transforming their beloved poodles into living
sculptures. (World Premiere)

Why Can’t I Be Me? Around You
Directors/Screenwriters: Harrod Blank, Sjoerd Dijk
Rusty, a male race enthusiast, decides at 53 to get breasts. His father cuts his pay, his motorcycle friends abandon him and the women he dates all reject him. Rusty pursues her new
identity and only hopes to gain acceptance from others. (World Premiere)

HEADLINERS

The Beach Bum
Director/Screenwriter: Harmony Korine
The Beach Bum follows the hilarious misadventures of Moondog (Matthew McConaughey), a rebellious rogue who always lives life by his own rules. Co-starring Snoop Dogg, Zac Efron, and Isla Fisher, The Beach Bum is a refreshingly original and subversive. Cast: Matthew McConaughey, Snoop Dogg, Isla Fisher, Stefania Lavie Owen, Jimmy Buffett, Zac Efron, Martin Lawrence (World Premiere)

Booksmart
Director: Olivia Wilde
Told from a wildly original, fresh and modern perspective, Booksmart is an unfiltered comedy about high school friendships and the bonds we create that last a lifetime. Capturing the spirit of our times, the film is a coming of age story for a new generationCast: Kaitlyn Dever, Beanie
Feldstein, Jessica Williams, Will Forte, Lisa Kudrow, Jason Sudeikis (World Premiere)

Good Boys
Director: Gene Stupnitsky, Screenwriters: Lee Eisenberg, Gene Stupnitsky, Beth Stelling, John Phillips
The writers of Superbad and the producers of Sausage Party take on sixth grade in Universal Pictures’ Good Boys, an R-rated comedy about three friends on an epic one-day odyssey of bad decisions. Cast: Jacob Tremblay, Keith L. Williams, Brady Noon, Molly Gordon, Midori Francis, Josh Caras (World Premiere)

The Highwaymen
Director: John Lee Hancock, Screenwriter: John Fusco
The outlaws made headlines. The lawmen made history. From director John Lee Hancock (The Blind Side), THE HIGHWAYMEN stars Kevin Costner and Woody Harrelson in the untold true story of the legendary detectives who brought down Bonnie and Clyde.
Bates, Kim Dickens (World Premiere)

Untitled Seth Rogen/ Charlize Theron Comedy
Director: Jonathan Levine, Screenwriter: Dan Sterling
An ambitious diplomat with a spotless reputation and a hard-partying journalist hilariously redefine “international relations” as they try to keep their red-hot romance under wraps. Cast: Seth Rogen, Charlize Theron, O’Shea Jackson Jr., Andy Serkis, June Diane Raphael, Ravi Patel and Alexander Skarsgård (World Premiere)

Us
Director/Screenwriter: Jordan Peele
An original nightmare from Oscar-winner Jordan Peele (Get Out), starring Lupita Nyong’o and Winston Duke, Us pits an average American family against a terrifying opponent:
doppelgängers of themselves. Cast: Lupita Nyong’o, Winston Duke, Elisabeth Moss, Tim Heidecker, Yahya Abdul-Mateen II, Anna Diop, Evan Alex, Shahadi Wright-Joseph, Madison
Curry, Cali Sheldon (World Premiere)

NARRATIVE SPOTLIGHT

Adopt a Highway
Director/Screenwriter: Logan Marshall-Green
After being released from prison following a 20-year sentence for a minor offense, an ex-con must learn to navigate the world while coming to terms with his own life which has moved on – all while caring for an abandoned baby he finds in a dumpster. Cast: Ethan Hawke, Elaine
Hendrix, Diana Gaeta Marshall-Green, Betty Gabriel, Mo McRae, Chris Sullivan, Nate Mooney,
Christopher Heyerdahl, Anne Marie Johnson (World Premiere)

The Art of Self-Defense
Director/Screenwriter: Riley Stearns
“The Art of Self-Defense” stars Jesse Eisenberg and is set in the world of karate. Eisenberg plays a man who is attacked on the street and enlists in a local dojo, led by a charismatic
Sensei (Nivola), in an effort to learn how to defend himself. Cast: Jesse Eisenberg, Alessandro Nivola, Imogen Poots (World Premiere)

Come As You Are
Director: Richard Wong, Screenwriter: Erik Linthorst
Three young men with disabilities embark on a road trip to a brothel in Montreal catering to people with special needs to lose their virginity and embrace their independence. Inspired by a true story and remake of the Belgian film Hasta La Vista. Cast: Grant Rosenmeyer, Hayden Szeto, Ravi Patel, Gabourey Sidibe, Janeane Garofalo, C.S. Lee, Jennifer Jelsema, Martha
Kuwahara, Delaney Feener, Asta Philpot (World Premiere)

The Day Shall Come (United Kingdom, United States)
Director: Chris Morris, Screenwriters: Chris Morris, Jesse Armstrong
An impoverished preacher who brings hope to the Miami projects is offered cash to save his family from eviction. He has no idea his sponsor works for the FBI who plan to turn him into a criminal by fueling his madcap revolutionary dreams. Cast: Marchánt Davis, Anna Kendrick,
Danielle Brooks, Denis O’Hare (World Premiere)

Frances Ferguson
Director: Bob Byington, Screenwriter: Scott King
A small town’s reaction to scandal. Cast: Kaley Wheless, Nick Offerman, Keith Poulson, David Krumholtz (World Premiere)

I’m Just F*cking With You
Director: Adam Mason, Screenwriters: Gregg Zehenter, Scott Barkan
A young man and his sister endure a night of increasingly frightening practical jokes while spending the night at a secluded motel. Cast: Keir O’Donnell, Hayes MacArthur, Jessica McNamee (World Premiere)

Mother’s Little Helpers
Director/Screenwriter: Kestrin Pantera
When Joy Pride, a groovy 70’s burn-out on the caboose of the flower power movement learns she has weeks to live, her estranged children come together to do right by a mother who always did them wrong. Cast: Breeda Wool, Melanie Hutsell, David Giuntoli, Sam Littlefield, Kestrin Pantera (World Premiere)

Olympic Dreams
Director: Jeremy Teicher, Screenwriters: Alexi Pappas, Jeremy Teicher, Nick Kroll
In the Athlete Village at the Olympic Winter Games, Penelope (Alexi Pappas), a cross-country skier, befriends Ezra (Nick Kroll), a volunteer dentist, after a disappointing finish in her race. Penelope and Ezra share a special but limited time together. Cast: Nick Kroll, Alexi Pappas, Gus Kenworthy, Morgan Schild, Jamie Anderson (World Premiere)

The Peanut Butter Falcon
Directors/Screenwriters: Tyler Nilson, Michael Schwartz
A young man with Down syndrome runs away from the retirement home where he lives to chase his dream of becoming a professional wrestler. Cast: Shia LaBeouf, Dakota Johnson, Zack Gottsagen, John Hawkes, Bruce Dern, Thomas Haden Church, Jon Bernthal, Jake “The Snake” Roberts, Mick Foley (World Premiere)

Pink Wall (United Kingdom)
Director/Screenwriter: Tom Cullen
Six scenes. Six years. Six moments that shaped the relationship of Jenna and Leon. Pink Wall examines what defines us, the pressures of gender expectations, and our perpetual struggle between life and ambition. Cast: Tatiana Maslany, Jay Duplass (World Premiere)

Run This Town (Canada)
Director/Screenwriter: Ricky Tollman
A political aide tries to corral his brash, outspoken boss when a young researcher at a newspaper gets word of a scandal that could make or break both of their careers. Cast: Ben
Platt, Nina Dobrev, Mena Massoud, Damian Lewis, Jennifer Ehle, Scott Speedman (World Premiere)

Sword of Trust
Director: Lynn Shelton, Screenwriters: Lynn Shelton, Mike O’Brien
A curmudgeonly pawnshop owner and his man-child sidekick team up with an out of town couple to cash in on a family heirloom: a sword believed by alt history conspiracy nuts to be
proof that the South won the Civil War. Cast: Marc Maron, Jon Bass, Michaela Watkins, Jillian Bell, Toby Huss, Dan Bakkedahl, Tim Paul, Whitmer Thomas (World Premiere)

Villains
Directors/Screenwriters: Dan Berk, Robert Olsen
When a pair of amateur criminals break into a suburban home, they stumble upon a dark secret and two sadistic homeowners who will do anything to keep it from getting out. Cast: Bill Skarsgard, Maika Monroe, Kyra Sedgwick, Jeffrey Donovan (World Premiere)

The Wall of Mexico (U.S., Mexico)
Directors: Zachary Cotler, Magdalena Zyzak, Screenwriter: Zachary Cotler
A young white handyman, hired by a wealthy Mexican-American family to upkeep their ranch, finds himself caught between disgruntled locals and the family’s outrageously decadent daughters and discovers that something quite unusual is happening at the ranch. Cast: Jackson Rathbone, Esai Morales, Marisol Sacramento, Carmela Zumbado, Alex Meneses, Moises Arias, with Mariel Hemingway, and Xander Berkeley (World Premiere)

DOCUMENTARY SPOTLIGHT

Any One Of Us
Director: Fernando Villena
Through the inspiring journey of a recovering athlete, Any One of Us offers an unprecedented glimpse into the traumatic world of spinal cord injuries. (World Premiere)

Autonomy
Director: Alex Horwitz
A feature documentary about the emerging technology of self-driving vehicles and the big questions they raise: what is control and who do we become as we relinquish it to machines? (World Premiere)

Bellingcat – Truth in a Post-Truth World (Netherlands)
Director/Screenwriter: Hans Pool
Bellingcat – Truth in a Post-Truth World explores the exclusive world of Bellingcat, a highly- skilled and controversial collective of “citizen investigative journalists” dedicated to redefining breaking news in the 21st century. (North American Premiere)

Breakthrough
Director/Screenwriter: Bill Haney
Breakthrough tells the story of a renegade, blues playing, Nobel prize winning, Texas scientist who created a cure for the world’s deadliest disease. Narrated by Woody Harrelson with a country-blues soundtrack. (World Premiere)

Building the American Dream
Director: Chelsea Hernandez
In Texas, construction workers face the deadliest conditions in the country. Building the American Dream follows three immigrant families who are rising up to seek justice and equality in an industry rife with exploitation. (World Premiere)

Community First, A Home for the Homeless
Director: Layton Blaylock
Community First, A Home for the Homeless, is a feature documentary about a totally unique concept for mitigating homelessness. Conceived and created in Austin, Texas, Community First! Village is truly transforming the lives of homeless people. (World Premiere)

Human Nature
Director: Adam Bolt, Screenwriters: Adam Bolt, Regina Sobel
A once-in-a-lifetime scientific discovery called CRISPR gives us the power to change what it means to be human. Now it’s up to us to decide how far we should go. (World Premiere)

I Love You, Now Die: The Commonwealth Vs. Michelle Carter
Director: Erin Lee Carr
Teen Michelle Carter’s actions shocked a nation – but what really happened behind closed doors? This HBO special showcases the prosecution’s point of view and alternately the
defense’s. Which side do you fall on? (World Premiere)

It Started As a Joke
Directors: Julie Smith Clem, Ken Druckerman
It Started As a Joke documents the decade-long run of the Eugene Mirman Comedy Festival. The film celebrates Eugene’s unique brand of humor and reminds us of the healing properties of comedy – even in the most challenging of life’s circumstances. (World Premiere)

Jump Shot
Director: Jacob Ryan Hamilton
Jump Shot uncovers the inspiring true story of Kenny Sailors, the developer of the modern day jump shot in basketball, and how he defined the game, but why the game never defined him. (World Premiere)

Kathy Griffin: A Hell of a Story
Director: Troy Miller, Screenwriter: Kathy Griffin
In her first ever concert film, Comedienne Kathy Griffin details the aftermath following the release of her now infamous photo depicting President Donald J Trump. (World Premiere)

Qualified
Director: Jenna Ricker
In the world of motor sports, the Indianapolis 500 has long been considered the only race. In May 1977, Janet Guthrie- the first woman to attempt Indy- earned herself a spot in the
prestigious field of 33. (World Premiere)

Red Dog
Directors: Casey Pinkston, Luke Dick
In the early 1980s, the only family that toddler Luke knew were the strippers, bouncers, and outcasts that made OKC’s rowdiest strip club their home. (World Premiere)

The River and the Wall
Director: Ben Masters
Five friends venture into the unknown wilds of the Texas borderlands to document the environment before a wall is built. As the wilderness gives way to the bustling Rio Grande
Valley, they encounter the unexpected & enter uncharted emotional waters. (World Premiere)

Running with Beto
Director: David Modigliani
Follow Beto O’Rourke behind the scenes of his breakaway campaign to unseat Ted Cruz in the US Senate. With intimate access to the candidate, his family and team, the film captures Beto’s rise from a virtual unknown to a national political sensation. (World Premiere)

Sunset over Mulholland Drive (Germany)
Director: Uli Gaulke, Screenwriters: Uli Gaulke, Marc Pitzke
The vital power of creativity – a behind the scenes look into Hollywood’s retirement home. (North American Premiere)

VISIONS

Becoming LESLIE
Director: Tracy Frazier, Screenwriters: Sandra Guardado, Tracy Frazier
Becoming LESLIE reveals the inner and bizarre world of Leslie Cochran, a cross-dressing homeless misfit who became the most iconic and unlikely civic symbol of Austin, Texas. (World Premiere)

The Garden Left Behind
Director: Flavio Alves, Screenwriters: John Rotondo, Flavio Alves
A Mexican trans woman struggles to build a life for herself as an undocumented immigrant in New York City. Cast: Michael Madsen, Ed Asner, Carlie Guevara, Danny Flaherty, Alex Kruz, Anthony Abdo, Dawn Young, Tamara M. Williams, Miriam Cruz, Brock Yurich (World Premiere)

J.R. “Bob” Dobbs and The Church of the SubGenius
Director: Sandy K Boone, Screenwriters: Sandy K Boone, Jason Wehling
This film explores the underground movement that has galvanized the imaginative, the artistic, the nerdy, even the deranged – to examine the simmering dystopia in their culture, and do absolutely nothing about it… except, maybe, poke fun at it all. (World Premiere)

Jezebel
Director/Screenwriter: Numa Perrier
A true story. In the last days of her mother’s life, 19-year-old Tiffany crashes with five family members in a Las Vegas studio apartment. In order to make ends meet, her sister, a phone sex operator, introduces her to the world of fetish cam girls. Cast: Tiffany Tenille, Numa Perrier,
Stephen Barrington, Bobby Field, Brett Gelman, Rockwelle Dortch, Zoe Tyson, Dennis Jaffee, Jessa Zarubica (World Premiere)

Leave the Bus Through the Broken Window (Hong Kong, United States)
Director: Andrew Hevia
A broken-hearted filmmaker navigates an unfamiliar city, an international art fair and his personal baggage in this intimate, playful and unexpectedly comedic documentary. (World Premiere)

One Man Dies a Million Times (Belarus)
Director/Screenwriter: Jessica Oreck
Set in the future, a story about seeds and genetic diversity, about growth and decay, about love and war, and about hunger of all kinds. Cast: Alyssa Lozovskaya, Maksim Blinov (World Premiere)

Red 11
Director: Robert Rodriguez, Screenwriters: Robert Rodriguez, Racer Rodriguez
Rob, an independent filmmaker, loses his investor’s money only to find out his investors are the Cartel. He checks himself into a medical research facility to pay off his debt, but quickly realizes it won’t be that easy. Cast: Roby Attal, Lauren Hatfield, Carlos Gallardo, Alejandro Rose Garcia,
Rebel Rodriguez, Racer Rodriguez, Eman Esfandi, Steven Brudniak, Brently Heilbron, Pierce Foster Bailey (World Premiere)

Romantic Comedy (United Kingdom)
Director: Elizabeth Sankey
Musician and writer Elizabeth Sankey investigates the past, present and future of romantic comedies, assisted by a chorus of critics, actors and filmmakers. (World Premiere)

Sakawa (Belgium, Netherlands)
Director/Screenwriter: Ben Asamoah
What human story lies behind the phenomenon of ‘internet fraud’? In Sakawa we meet three Ghanaian youngsters who, out of desperation, turn to internet scamming with the help of black magic. (North American Premiere)

Tito (Canada)
Director/Screenwriter: Grace Glowicki
A desperate man seeks refuge from the predators hunting him by befriending a cheerful intruder. Cast: Grace Glowicki, Ben Petrie (World Premiere)

EPISODIC PREMIERES
David Makes Man
Showrunner: Dee Harris-Lawrence, Screenwriter: Tarell Alvin McCraney
A richly layered, deeply personal work about a 14-year-old prodigy from the projects who is haunted by the death of his closest friend. Set in South Florida, the series is inspired by events in McCraney’s own life, exploring childhood trauma and the power of imagination. Cast: Akili McDowell, Nathaniel McIntyre, Isaiah Johnson, Ade Chike Torbert, Cayden Williams, Jordan Bolger, Travis Coles, Phylicia Rashad, Alana Arenas (World Premiere)
NOS4A2
Showrunner/Screenwriter: Jami O’Brien
NOS4A2 introduces Vic, a young woman who has a supernatural ability to find lost things. This ability puts her on a collision course with the evil and immortal Charlie Manx, a supernatural villain who feeds off the souls of children. Cast List: Zachary Quinto, Ashleigh Cummings, Jahkara J. Smith, Olafur Olafsson, Virginia Kull, Ebon Moss-Bachrach (World Premiere)
Ramy
Showrunner: Bridget Bedard, Screenwriter: Ramy Youssef
Ramy, a first-generation American Muslim on a spiritual journey, explores the challenges of being caught in between an Egyptian community that thinks life is moral a test, and a millennial generation that thinks life has no consequences. Cast: Ramy Youssef, Mohammed Amer, Hiam Abbass, Amr Waked, May Calamawy, David Merheje, Laith Nakli, Steve Way (World Premiere)
Shrill
Showrunner: Alexandra Rushfield, Screenwriters: Alexandra Rushfield, Lindy West and Aidy Bryant
From Executive Producers Lorne Michaels and Elizabeth Banks comes Shrill, a comedy series starring Aidy Bryant (Saturday Night Live) as Annie, a fat young woman who wants to change her life — but not her body. Annie is trying to start her career while juggling bad boyfriends, a sick parent, and a perfectionist boss. Cast: Aidy Bryant, Lolly Adefope, Luka Jones, Ian Owens, John Cameron Mitchell (World Premiere)
What We Do in the Shadows
Showrunners: Jemaine Clement, Paul Simms, Screenplay: Jemaine Clement
Based on the feature film of the same name from Jemaine Clement and Taika Waititi, FX’s new comedy What We Do in the Shadows follows vampire roommates who have lived together for hundreds and hundreds of years. Cast: Matt Berry, Kayvan Novak, Natasia Demetriou, Harvey Guillén, Mark Proksch (World Premiere)

24 BEATS PER SECOND

Amazônia Groove
Director/Screenwriter: Bruno Murtinho
Leaving Belem and crossing much of the Para State Amazon region, its towns and riverside villages, Amazônia Groove reveals artists and their traditions, faith and mysticism, music and life that pound in the northern region of Brazil. (North American Premiere)

Bluebird
Director: Brian Loschiavo
Discover the origin stories of megastars like Garth Brooks and Taylor Swift while following emerging singer-songwriters as they chase their dreams inside The Bluebird Cafe, Nashville’s
accidental landmark that has altered the course of music history. (World Premiere)

The Boy Band Con: The Lou Pearlman Story
Director: Aaron Kunkel
The Boy Band Con: The Lou Pearlman Story charts the life and crimes of boy band impresario Lou Pearlman. The film tracks his life from discovering NSYNC and Backstreet Boys, to his perpetration of one of the largest ponzi schemes in US history. (World Premiere)

Boy Howdy! The Story of CREEM Magazine
Director: Scott Crawford, Screenwriters: Scott Crawford, Jaan Uhelszki
Ripping back the curtain on legendary rock rag CREEM Magazine’s wild and disruptive newsroom; a dysfunctional band of unruly outsiders who weren’t all that different from the artists they covered. (World Premiere)

Brainiac: Transmissions After Zero
Director: Eric Mahoney
The film explores the seminal 90’s band Brainiac from Dayton, OH and its creative force Tim Taylor. Just days before signing a major record contract Taylor was killed in a bizarre auto accident leaving his family and bandmates to pick up the pieces. (World Premiere)

Carmine Street Guitars (Canada)
Director: Ron Mann, Screenwriter: Len Blum
Five Days in the life of Greenwich Village guitar shop Carmine Street Guitars.

The Chills: The Triumph and Tragedy of Martin Phillipps (New Zealand)
Director: Julia Parnell
New Zealand music genius Martin Phillipps fights his creative demons, conquers the music world, inspires a generation, and then retreats into depression, addiction and anonymity. (World Premiere)

David Crosby: Remember My Name
Director: A.J. Eaton
David Crosby reflects on his life of music stardom, while forging new paths to relevancy at his
age of 77 in this deeply personal documentary. (World Premiere)

Everybody’s Everything
Directors: Sebastian Jones, Ramez Silyan
Everybody’s Everything is the story of artist Lil Peep (Gustav Ahr) from his birth in Long Island and meteoric rise as a genre blending pop star & style icon, to his death due to an accidental opioid overdose in Arizona at just 21 years of age. (World Premiere)

The Gift: The Journey of Johnny Cash
Director: Thom Zimny, Screenwriter: Warren Zanes
Johnny Cash stands among the giants of 20th century American life. But his story remains tangled in mystery and myth. This documentary brings Cash the man out from behind the legend. (World Premiere)

Mr. Jimmy
Director: Peter Michael
Dowd Akio Sakurai has dedicated his life to honoring Jimmy Page. For 30 years he recreated vintage Zeppelin concerts note-for-note in small Tokyo clubs. Moving to L.A. to pursue his tribute dream, cultures clash and Akio’s idyllic vision meets reality. (World Premiere)

Nothing Stays The Same: The Story of The Saxon Pub
Director: Jeff Sandmann, Screenwriters: Jeff Sandmann, Jeffrey Brown, Lisa Kay Pfannenstiel
Nothing Stays the Same celebrates the last 30 years of live music in Austin, while also examining the challenges faced by musicians and music venues in one of the fastest-growing
cities in the country, all through the lens of the legendary Saxon Pub. (World Premiere)

Show Me The Picture: The Story of Jim Marshall (United Kingdom)
Director: Alfred George Bailey
Jim Marshall was a maverick with a camera. An outsider who captured the heights of Rock’N’Roll music and the seismic changes of an era, from the Beatles and Jimi Hendrix, to the civil rights movements and some of the most iconic moments of the 60’s. (World Premiere)

Strange Negotiations
Director: Brandon Vedder
A documentary exploring the existential, artistic and family life of musician and former evangelical, David Bazan (Pedro The Lion), set against America’s own crisis of faith highlighted during the 2016 presidential election. (World Premiere)

Teen Spirit (United Kingdom)
Director/Screenwriter: Max Minghella
The film follows Violet, a shy teenager who enters an international singing competition with the help of an unlikely mentor. Driven by a pop-fueled soundtrack, Teen Spirit is a visceral and stylish spin on the Cinderella story. Cast: Elle Fanning (U.S. Premiere)

Who Let The Dogs Out (Canada)
Director: Brent Hodge, Screenwriters: Brent Hodge, John Diemer, Jasleen Kaur
The origin story of the smash hit “Who Let the Dogs Out” goes back further than anyone could have imagined; steeped in legal battles, female empowerment and artist integrity, which beckons the question: will we ever know who let the dogs out? (World Premiere)

Wild Rose (United Kingdom)
Director: Tom Harper, Screenwriter: Nicole Taylor
A musician from Glasgow dreams of becoming a Nashville star. Cast: Jessie Buckley, Julie Walters, Sophie Okonedo (U.S. Premiere)

GLOBAL

Aleksi (Serbia)
Director/Screenwriter: Barbara Vekarić
A character piece about funny and troubled girl in her 20s, forced to move back in with her overbearing family. Cast: Tihana Lazović, Goran Marković, Sebastian Cavazza, Nataša Janjić, Jason Mann, Aljoša Vučović, Neda Arnerić, Leon Lučev (North American Premiere)

Aurora (Finland)
Director/Screenwriter: Miia Tervo
Aurora, a commitment-phobic party animal, meets Iranian Amir one night at a hot-dog stand in Lapland. Amir is running from death and Aurora is running from love. They need each other in order to finally stop running. Cast: Mimosa Willamo, Amir Escandari, Oona Airola, Hannu-Pekka Björkman, Miitta Sorvali (North American Premiere)

Being Impossible (Venezuela, Bolivarian Republic of)
Director: Patricia Ortega, Screenwriters: Patricia Ortega, Enmanuel Chávez
A young woman discovers she was submitted to several surgeries to correct her intersexual body as a baby. She has to find her own self outside gender binaries. (North American
Premiere)

Cachada: The Opportunity (El Salvador)
Director/Screenwriter: Marlén Viñayo
Five Salvadoran saleswomen want to take their cruel life stories to the stage. During the rehearsal process of their play, they’ll discover themselves as victims and victimizers in a cycle of violence that has plagued their families for generations. (World Premiere)

Days of the Whale (Colombia)
Director/Screenwriter: Catalina Arroyave Restrepo
Two young graffiti artists of Medellín defy a criminal gang when they decide to paint the mural of a whale over a threat written in a wall. Cast: Laura Tobón, David Escallón, Carlos Fonnegra, Christian Tappan, Julián Giraldo, Natalia Castaño, Margarita Restrepo (World Premiere)

La Mala Noche (Ecuador, Mexico)
Director/Screenwriter: Gabriela Calvache
She is the perfect woman until she decides to be free. Cast: Nöelle Schönwald, Cristian Mercado, Jaime Tamariz, Ariana Freire (World Premiere)

Vai (New Zealand)
Directors: Nicole Whippy, ‘Ofa-Ki-Levuka Guttenbeil-Likiliki, Matasila Freshwater, Amberley Jo Aumua, Mīria George, Marina Alofagia McCartney, Dianna Fuemana, Becs Arahanga
Vai is a portmanteau feature film by nine Polynesian directors and filmed on seven different pacific islands. It is about the journey of empowerment through culture, over the lifetime of one woman, Vai. (World Premiere)

X&Y (Denmark, Sweden)
Director: Anna Odell, Screenwriters: Anna Odell, Jakob Beckman
Swedish director and visual artist, Anna Odell (The Reunion), conducts a social experiment in which she aims to challenge the gender roles that men and women have in the society of today. Cast: Anna Odell, Mikael Persbrandt, Trine Dyrholm, Vera Vitali, Shanti Roney, Sofie Gråbøl,
Jens Albinus, Thure Lindhardt (North American Premiere)

SPECIAL EVENTS

How Rednecks Saved Hollywood with Joe Bob Briggs
Director/Screenwriter: Joe Bob Briggs
America’s drive-in movie critic uses 200 video clips and photos to tell the 500-year history of the American redneck in a multi-media comedy performance.

Love, Death & Robots
Showrunners: David Fincher, Tim Miller, Josh Donen, Jennifer Miller
Love, Death & Robots, an animated anthology series presented by Tim Miller and David Fincher, is a genre orgy of Not-Suitable-For-Mainstream shorts. (World Premiere)

Ra: Path of the Sun God
Director: Lesley Keen
Austin based electronic and experimental label Holodeck Records is partnering with Austin Film Society for a special live re-score screening of the 1990 animated film Ra: Path of the Sun God,  a beautiful re-telling of one of Ancient Egypt’s most famous myths.

Rebel Without A Crew: Filmmaking Master Class with Robert Rodriguez
Join Robert Rodriguez as he gives a master-class in micro-budget guerilla filmmaking, featuring behind the scenes moments from his new $7,000 film, RED 11. The event will be followed by the World Premiere of RED 11.

Untitled Rick Rubin Project ( Work-in-Progress)
Directors: Morgan Neville, Jeff Malmberg
An intimate look at the creative process through the lens of legendary music producer Rick Rubin.
True Stories
Director: David Byrne, Screenwriters: Stephen Tobolowsky, Beth Henley, David Byrne
David Byrne’s 1986 musical comedy, inspired by theater director Robert Wilson, tabloid newspapers, and filmmakers Robert Altman and Federico Fellini, remains a unique artistic vision that celebrates the singular citizens of a fictional Texas town. David Byrne will appear in-person for Q&A following screening of new 4K restoration.
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‘Castle Rock’ Finale Teases the Truth About Ruth Deaver’s Condition

Read on: TheWrapTheWrap.

(Note: This post contains spoilers for the finale episode of “Castle Rock.”)

Throughout the first season of Hulu’s “Castle Rock,” Ruth Deaver has struggled to deal with her life as an Alzheimer’s patient — but the show has teased that something more might be going on with her.

The finale episode seems to finally come down on the truth, one way or the other. And it seems that the condition Ruth (Sissy Spacek) has been grappling with all season is more than Alzheimer’s disease.

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The suggestion that more was going on started back in Episode 7, “The Queen,” when we spent a whole episode seeing everything Ruth was experiencing from her perspective. Her life with her condition means she experiences time out of order and out of sync — sometimes she’s in the present with other people, and other times, she’s reliving events from her past.

Ruth places chess pieces around her house in the present, which she explains help her maintain her grip on where and when she is; if she finds a chess piece, she knows it’s “now,” essentially, and finding a chess piece helps bring her back to the present.

In “Romans,” the last episode of the season, though, finds Ruth standing on the edge of a bridge in the middle of Castle Rock, as we’ve seen her do before (and the one time that she actually jumped). She’s discovered by Molly (Melanie Lynskey), and Ruth says that she and Molly have had this conversation many times before. Every time, nothing Molly says is enough to dissuade Ruth from choosing to jump rather than live with the knowledge that she killed Alan Pangborn (Scott Glenn).

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This time, though, Molly intuits what’s been happening to Ruth, and asks her a question based on her conversations with the Kid (Bill Skarsgard). She asks her one question: do her memories include her leaving her husband, and she and Henry (Andre Holland) leaving Castle Rock behind with Alan?

Ruth says that Molly has never asked her that question before, and the implication is that she has, in fact, experienced that before. And that’s an element of the alternate universe version of Castle Rock that the Kid (Bill Skarsgard) described last week in Episode 9, “Henry Deaver.”

It seems that what Ruth is actually experiencing is that she’s briefly bouncing between the different realities that converge on Castle Rock, known as “the schisma,” as Odin Branch (Charles Jones) explained in Episode 6, “Filter.” That would track with some of the things we saw in “The Queen,” like Alan coming to investigate the gunshot that seemed to be the one fired when Ruth killed him, and the fact that she seemed to find herself holding the queen chess piece somewhere other than the present.

Also Read: ‘Castle Rock’ Reveals What Really Happened to Henry Deaver’s Dad

Ruth’s conversation with Molly on the bridge suggests that Molly has experienced the bridge situation many times before in many other realities, but this is the first time that Molly has had this conversation with Ruth and given her an idea that the other realities she’s seeing are real. And that’s enough to stop Ruth from stepping off the bridge.

Between “The Queen” and that final revelation in “Romans,” it seems clear that Ruth’s condition goes beyond simple confusion about her own memories. She might not have traveled between the two worlds, like the Kid claims he and Henry have done, but it seems the schisma affects more than those few people who can hear it.

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(Note: This post contains spoilers for the Sept. 11 episode of “Castle Rock.”)

The final episode of “Castle Rock” runs two stories in parallel: the present action that has the Kid trying to convince Henry to help him, and the past, in which we finally see (some of) what happened to Henry when he was 12.

We’ve been getting tidbits of this story all season, partially because Henry doesn’t seem to remember all of it, and partially because he refuses to tell anyone what really happened. The broad strokes that everyone in Castle Rock knows are these: One day, Henry Deaver (André Holland, with his younger counterpart played by Caleel Harris) went into the woods with his adopted father, Reverend Matthew Deaver (Adam Rothenberg).

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Later, Matthew was found at the base of a cliff, badly hurt from a fall and near death, and Henry had disappeared. Search parties looked for Henry for the next six days. Meanwhile, Matthew hung on and seemed like he might even recover while being nursed at home over the next few days, but then abruptly died in his bed, seemingly succumbing to his injuries.

When Henry was found six days after he disappeared out on the frozen Castle Lake, he hadn’t been hurt, nor had he suffered any ill effects from the cold. It seemed that he had been inside and well-cared for during those six days. Because nothing seemed to be wrong with him, the people of Castle Rock started to speculate that Henry had pushed Matthew and gone to hide out somewhere, faking his disappearance.

Whether Henry, as a boy, actually tried to kill his father has been an open question all season, and something that clearly plagues Henry. The final episode, “Romans,” answers the question definitively by showing us what happened to Henry and Matthew that day. The pair went out into the woods to hear the sound that Matthew called the Voice of God and that others have called “the schisma.” There, Matthew told Henry that he meant to kill Ruth Deaver (Sissy Spacek), his wife and Henry’s adopted mother.

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Matthew tells Henry that he knows about Ruth’s affair with Sheriff Pangborn (Scott Glenn, with his younger version played by Jeffrey Pierce). That transgression, and her encouraging Henry to lie about hearing the schisma in order to protect himself from the increasingly erratic Matthew, are sins that Matthew uses to justify his plan to get rid of her. The name of the episode is a reference to Matthew’s biblical reasoning for killing Ruth. He quotes Romans 6:23: “The wages of sin is death.”

When Henry hears this, he realizes what he’s dealing with when it comes to his father, and runs away from him in the snowy wilderness. In a great callback to “The Shining,” Stephen King’s story about a father trying to kill his son, Henry runs out to the cliff above Castle Lake, then carefully steps back through his own footprints so he can trick Matthew. He hides in the woods and waits for his father to follow his prints to the cliff. When Matthew does, Henry pushes him over the side.

We know that Matthew survived the fall, though, and we also know that it wasn’t Henry who ultimately killed his dad. Henry’s former friend and neighbor in Castle Rock, Molly Strand (Melanie Lynskey, with Cassady McClincy playing the character as a child), told Henry that she actually killed Matthew in his bed after his fall.

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Molly told Henry that she could sense the fact that Henry wanted Matthew dead, and that’s what made her do it for him. In fact, she said, it was as if Henry completed the act of murder through her.

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In the end, Henry’s act was to protect his mother from his frightening, ever-more deranged father. Henry even asked the Kid what would have happened in the other world — and the Kid (Bill Skarsgård) agreed that Matthew would have murdered Ruth, but in the Kid’s version of Castle Rock, Ruth and Pangborn took the Kid and left town.

Whether Henry believes the Kid, or believes that he was justified in what he did to Matthew, is another story. After all, as Matthew said, the devil tells people what they want to hear.

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(Note: This post contains spoilers for the finale episode of “Castle Rock.”)

The final moments of the first season of “Castle Rock” wrapped up most of the plotlines of the show, but it also ended with a whole lot of ambiguity.

In last week’s episode, the Kid (Bill Skarsgard) explained his own identity and where he came from to Molly (Melanie Lynskey). The Kid claimed he was the child of Ruth (Sissy Spacek) and Matthew Deaver (Adam Rothenberg) from another, parallel reality — and that he’d been trapped in this world by Shawshank State Penitentiary Warden Lacy (Terry O’Quinn) for more than 15 years.

The Kid wanted Henry (Andre Holland) to take him to the woods, since Henry could see the gateway between the worlds that would allow the Kid to travel back to his home reality.

The episode ends with a time skip that finds that Henry didn’t do what the Kid wanted. Instead, Henry climbs down into the bowels of the now-defunct Shawshank, to the cage where the Kid was found — and we see that he has locked the Kid back up, the same way Lacy did.

The Kid insists that he is trapped in the wrong reality, an alternate version of Castle Rock, and that the same thing happened to Henry when he was young — Henry just doesn’t remember. Eventually, he will, the Kid says, and when that happens, Henry will release him. Henry doesn’t seem to believe him, though. In the last seconds of the episode, Henry leaves the Kid in the darkness with some food, and a flicker of a smile crosses the Kid’s face.

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So what does it all mean? There’s room for interpretation, but the Kid’s final reaction to Henry imprisoning him pushes one major one: that Warden Lacy might have been right about the Kid’s actual identity.

At the start of the show, when Lacy commits suicide, we learned that he imprisoned the Kid because he thought he was the devil, thanks to the horrific things that happened wherever the Kid went. Last week, the Kid appeared to explain why that was the case: He claimed to be from another universe, an alternate Castle Rock, and the fact that he was trapped in a universe that wasn’t his own created the weirdness that made tragedies happen around him.

It seems, though, that Henry didn’t buy it. When the Kid dragged Henry at gunpoint out into the woods in order to make Henry help him find the gateway between the realities, Henry managed to get the gun away from the Kid. Rather than helping him get home, the time skip reveals that Henry put the Kid back in the cage — so obviously he never found the gateway that the Kid claimed was real.

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So what’s happening here, and why is the Kid smiling? One way to look at it is that Lacey was right, and Henry believes his interpretation: The Kid really is the devil. And Henry is staying in Castle Rock in order to make sure the Kid stays in his cage and can’t harm anyone else.

The thing is, the Kid told his story about coming from another universe, and he claimed that Henry also crossed that barrier and was trapped in the other reality for years — but Henry can’t remember those events. The only place that information comes from is the Kid, and it’s unverified. Like Matthew, Henry might be seeing this whole thing as the devil telling him what he wants to hear.

The turning point for Henry was the series of events that took place in the jail. He and the Kid were locked up together when a bus full of Shawshank inmates was brought in to be held in the jail. In the Kid’s presence, the prisoners staged a breakout, murdering all the deputies in the office, as well as Willie (Rory Culkin). As Henry watched the murders, the keys to the cell he and the Kid were held in came straight to the Kid’s feet.

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That moment recontextualizes everything that happened with the Kid throughout the series. The Kid previously acted like tragedy followed him almost accidentally, as a result of him being out of place in this universe. But when Henry sees the Kid get exactly what he wants out of the tragedy in the jail, he sees the Kid’s intent — the way he uses horrific things to get what he wants. The same thing was true of the shooting at Shawshank earlier in the season, and the off-screen arson at Juniper Hill, the mental institution where the Kid was housed once he was released from the prison.

So, if the Kid really is the devil, or at least some kind of evil manipulator, there’s still the question of why he smiled in the last moments. The smile suggests the Kid succeeded in whatever his goal was, even if he’s still caught in the cage. That’s a powerful piece of evidence for the Kid being the devil, in fact; he doesn’t mind being incarcerated, because he managed to keep Henry in Castle Rock, and turn him into his jailer.

In a major way, the Kid has corrupted Henry, convincing him to do something that caused Lacey to kill himself. The Kid even mentions how the same thing that Henry is doing didn’t work out so well for Lacey.

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That last-minute smile seems to suggest that the Kid is not who he says he is — and that might mean that everything he said last week, and throughout the season, is untrue. It throws into question everything we thought we knew about “Castle Rock.” In Henry’s eyes, clearly the Kid is not who he says he is. With the first season of “Castle Rock” concluded, the question for audiences to figure out for themselves is who the Kid actually is.

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(Note: This post contains spoilers for the Sept. 5 episode of “Castle Rock.”)

Throughout the first season of Hulu’s Stephen King-inspired series “Castle Rock,” fans have been wondering what the deal is with the character known only as “The Kid.” In Episode 9, “Henry Deaver,” we finally found out — along with the show pretty much explaining all its mysteries.

That doesn’t mean the explanation was extremely clear, even if it was well-executed. In Episode 9, “Castle Rock” shook up everything, rewrote its timeline, and gave viewers a ton of information about The Kid (Bill Skarsgård). You’d be forgiven for not fully understanding what you were seeing, since it completely re-contextualized everything viewers knew about “Castle Rock.”

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To follow what “Castle Rock” was showing fans with its reveal of The Kid’s identity, you have to think back two full episodes to one key piece of information. It came up when Henry (André Holland) ventured into the woods in Episode 6, “Filter,” and met Odin (CJ Jones) and Willie (Rory Culkin). During their conversation, Odin explained that the ringing Henry hears  in his ears is “the Schisma” — essentially, what Henry and his father were hearing for all those years was the existence of other, alternate universes.

Episode 9 confirms the theory that there are alternate universes intersecting in the town of Castle Rock. It starts with The Kid, not cracked by his years of being kept in a cage by Warden Lacey (Terry O’Quinn), but living a normal life as a doctor and Alzheimer’s Disease researcher. We also found out his real name: Henry Deaver.

What we’re seeing throughout the course of Episode 9 is one of those alternate universes, one of those “other heres, other nows,” that Odin described in “Filter.” Earlier in the season, we learned from Henry’s mother, Ruth (Sissy Spacek), that she lost a baby before she and her husband, Pastor Matthew Deaver, adopted Henry. Episode 9 is showing us a whole other universe, where Ruth didn’t lose that baby. The Kid is also named Henry Deaver — to some degree, The Kid and Henry are two versions of the same identity.

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The Kid’s universe includes key changes from the version of Castle Rock we’ve been seeing on the show up to now. First, Henry Deaver in this universe is The Kid, and therefore, Ruth and Matthew never adopted. The Kid grew up with basically the same childhood as the Henry we’ve seen so far, which included his father hearing “the Voice of God” in the woods, which we now know is the Schisma, the presence of alternate universes. Just like Henry, the alternate universe version of Matthew took his son, The Kid, out to try to hear the Schisma as well. Unlike Henry, though, it seems The Kid never could.

Ruth in The Kid’s world didn’t hang around when Matthew started to get scary and abusive. Instead, she took up Alan Pangborn (Scott Glenn) on his offer when The Kid was young, and ran away with him, leaving Matthew. Apparently, The Kid’s relationship with Matthew was basically non-existent. In this universe, Matthew never died during his son’s childhood, instead living another 15 or so years before committing suicide, which is what drew The Kid back to Castle Rock.

What The Kid finds in his father’s home is the big reveal of the episode: A child in a cage. Mirroring the first episode of the season, the discovery shakes up the town, as well as The Kid. Even more confusing, the child in the cage says he’s Henry Deaver. When The Kid listens to Matthew’s recorded tapes of years of hearing the Schisma, we discover what’s really going on.

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The child in the cage is Henry Deaver, and what’s more, he’s the same character we’ve been following so far throughout “Castle Rock.” The tapes explain the missing time in Henry’s life when he was about 12 and disappeared for several days in the woods, which has been referenced since the show’s first episode. It seems that young Henry (Caleel Harris) unknowingly traveled through the Schisma and entered an alternate universe — and another Castle Rock.

When he eventually found Matthew in the new universe, Henry told him that he was his son and that he heard the Voice of God. That shook Matthew significantly, because in his universe, Henry was The Kid; he’d never adopted. What’s more, despite Matthew’s hope that his Henry would hear the sound in the woods, The Kid never did. Matthew came to think that young Henry was actually the devil, promising him what he’d always hoped for. That prompted Matthew to lock young Henry in a cage for years.

Somehow, despite being trapped for more than a decade, Henry didn’t age, and remained 12 for the entire time. After The Kid rescues him, Molly (Melanie Lynskey) and The Kid take Henry into the woods, where he tries to find the Schisma again. Molly winds up getting shot accidentally (she previously saw a vision of herself dying in the woods in Episode 8, but didn’t understand it), and The Kid and Henry somehow travel back into the other universe, which is the version of Castle Rock we’ve been watching all season.

Though Henry was locked in Matthew’s cage for something like 15 years, he’s only been missing for six days in his original universe, and is discovered in the middle of a frozen lake by Sheriff Pangborn. Apparently Henry repressed, or otherwise couldn’t remember, his whole ordeal. That’s probably as a result of being so traumatized by the cage, coupled with the fact that, even though a ton of time had passed, he never aged or grew up. Back in his own universe, Henry does grow up, to become the protagonist of the show as we know him.

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Meanwhile, The Kid has now left his universe, where he is Henry Deaver, and is trapped in the alternate universe. He’s eventually discovered by Warden Lacey, who doesn’t believe him when he explains that he is Henry Deaver. After at least some time, Lacey imprisons The Kid in the cage in Shawshank Penitentiary. Like Henry, despite being in the cage for years, The Kid never ages. Lacey kills himself at the beginning of the season, just like Matthew did in The Kid’s universe, and that leads to the Shawshank guards finally finding him in the cage in Episode 1. When the guards ask him his name at the start of the season, The Kid says “Henry Deaver” — it turns out, he really was giving his name, and not just asking for this universe’s version of Henry.

So now we know what happened to Henry when he disappeared for those six days when he was young: he traveled to an alternate universe version of Castle Rock, and was imprisoned there. And we know where The Kid came from: he’s Henry from that other universe, who doesn’t exist in the version of Castle Rock we’ve been watching all this time.

We’ve also learned a few interesting tidbits about what’s going on with The Kid. Throughout Season 1, wherever The Kid goes, tragedy, madness and death seem to follow. That’s why Warden Lacey locked him up to begin with, and said he was the devil. It turns out the same thing was true of Henry when he was in the wrong universe, according to Matthew, which was also part of why Henry was caged. It seems that people who don’t belong in the universe they’re in have adverse effects on things and people — the out-of-place element apparently warps and twists the world around them.

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The question now is, what will all this mean for the characters as the first season of “Castle Rock” comes to a close? Will The Kid be able to return to his own universe, and the life he left there — and how would he cope after all that’s happened to him? What effects might arise from attempting to return the Kid to where he belongs? How will the Schisma affect Molly, who clearly can sense the other universe?

And maybe most importantly: if The Kid and Henry could travel between the universes, what else could make its way into Castle Rock?

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James McAvoy has mixed it up with Pennywise the Dancing Clown on the set of “IT: Chapter 2,” and apparently it didn’t go super well.

McAvoy instagrammed the aftermath of his battle with the evil shape-shifting clown (played by Bill Skarsgard) during shooting. According to the post, the result was “two pulled thighs.” The photo shows McAvoy in his chair on set, using “Compresse Froide” (“cold compress” in French — the movie’s shooting in Toronto, which is sorta close to French-speaking Quebec) — to ease the pain.

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While McAvoy might have lost this go-round with Pennywise, he promised he wasn’t done with the fight against Pennywise via a hashtag: “#gonnatakehimdowntoclowntown.” We assume that, despite Pennywise being a clown, “Clown Town” is a euphemism for a beat-down and not a place he would actually want to go.

In the second movie of the two-part “IT” film adaptation, McAvoy plays the grown-up version Bill Denbrough, played as a kid by Jaeden Lieberher in the first “IT.” Bill is something of the leader of the group of kids known as the “Losers Club,” and he led them down into the sewers beneath Derry, Maine, (Clown Town?) to fight the demonic clown — and they even managed to defeat it.

Given the dirty look of McAvoy’s clothes and the discussion of fighting Pennywise, it’s a fair guess that McAvoy and the rest of the cast were filming what might be the climactic final battle between the Losers Club and their clown arch-nemesis. In the first “IT,” the final fight between the kids and Pennywise took place in a huge, cavernous room beneath the city, but while they hurt the clown, they didn’t manage to kill it before it escaped down a pipe. If the novel (and McAvoy’s clothes in the shot) are any indication, the final fight between the Losers and Pennywise will likely take them even deeper into the earth, to stop Pennywise from escaping a second time.

Just what that final battle will be like is an open question, however. In the Stephen King novel on which the movie is based, Pennywise isn’t the true form of the creature the kids are hunting, but one of its many shapeshifting masks. The real monster looks more like a giant spider, something we haven’t seen yet.

Also Read: ‘Castle Rock’ Just Explained Why So Many Stephen King Stories Happen There

And then there’s the question of the fight itself. The movie version of the battle with Pennywise in “IT” included some spooky trickery and an emphasis on the kids refusing to be afraid of the clown, which drained its powers, but they still wound up smashing its head with a pipe. The novel battle is different — it’s all mental, with Bill facing down the spider-monster on another plane of existence, beating it with what is basically the pure power of belief. When the adults show up 27 years later, the fight with the spider is pretty similar to that battle.

If McAvoy’s Bill is straining to fight Pennywise (or maybe the spider version of the clown), that suggests a more physical confrontation with the creature than what’s in the novel. That could mean that trying to predict the outcome of “IT: Chapter 2” from the way King’s novel shakes out might be a lost cause. We’ll have to wait for the movie’s release in September 2019 to find out.

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‘Castle Rock’: Stephen King-Inspired Hulu Series Renewed for Second Season

Read on: TheWrapTheWrap.

Get ready to spend some more time in Castle Rock.

Hulu announced Tuesday that it has renewed its Stephen King pseudo-adaptation, “Castle Rock” for a second season.

“Castle Rock,” which has been billed as a limited series, is the re-imagining of the entire Stephen King canon into one universe and touches on some of King’s most iconic stories and characters. The fictional Maine town sits at the center of the King universe, appearing in numerous books including “Cujo,” “The Dead Zone,” and “The Body” (the novella that “Stand By Me” was based on).

Hulu did not divulge any plot details or if any new Stephen King stories that were not used in the first season, would be adapted for the follow up.

Also Read: ‘Castle Rock’ Showrunners Say the Scariest Part of Stephen King’s World Is ‘the Monsters Are Human’

The first season — the sixth episode premieres Wednesday — centers on Henry Deaver (Andre Holland), a death-row attorney who returns to the eponymous town years after a tragic accident killed his father, for which he is blamed. “Castle Rock” also stars King veterans Sissy Spacek, who plays Henry’s dementia-stricken adopted mother, and Bill Skarsgard as a feral inmate who’s found in the bowels of Shawshank State Penitentiary (yes, that Shawshank). Scott Glenn plays Alan Pangborn, the now-retired Castle Rock sheriff, who has been portrayed in films “The Dark Half” and “Needful Things” by Michael Rooker and Ed Harris.

Sam Shaw and Dustin Thomason developed the series for television and serve as showrunners and executive producers, along with J.J. Abrams, Mark Lafferty, Ben Stephenson, Liz Glotzer and Stephen King. “Castle Rock” is from Bad Robot Productions in association with Warner Bros. Television.

“Castle Rock” is the second Stephen King-inspired series for Hulu. The first, a straight adaptation of King’s novel “11.22.63,” ran in 2016.

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Castle Rock is too busy remembering other stories to tell its own

Read on: The A.V. Club.

“Remember the dog? The strangler? Sure you do.” Early in Castle Rock’s second episode, Dale Lacy’s voice-over sets the tone for “Habeas Corpus.” In the title sequence (introduced in this episode), torn pages from Stephen King’s oeuvre allude to horrors…

‘Castle Rock’ Showrunners Say the Scariest Part of Stephen King’s World Is ‘the Monsters Are Human’

Read on: TheWrapTheWrap.

It may be Stephen King’s world, but “Castle Rock” showrunners Dustin Thomason and Sam Shaw are more than happy to live in it.

“The things that are the most enduringly disturbing about [King’s books] are that the monsters are human,” Shaw told TheWrap. “The monsters may be the protagonist.”

The setting for Hulu’s drama is Castle Rock, Maine, a place where monsters a-plenty have roamed around in King’s works. The fictional town sits at the center of the King universe, appearing in numerous books including “Cujo,” “The Dead Zone,” and “The Body” (the novella that “Stand By Me” was based on).

Also Read: Stephen King’s ‘Castle Rock’ Trailer: There’s ‘Something Wrong’ With Bill Skarsgård (Video)

“It took a big leap of faith to even approach him with the idea of coming back to Castle Rock,” said Thomason. “We took some pretty big swings in this first season with some of his cherished stories, locations and even characters.” The showrunners said they were “terrified” of King’s opinion on the finished product, but J.J. Abrams, who’s Bad Robot produces the show with Warner Bros., forwarded an email from King giving them his approval. “About as good a vote of confidence as we could have gotten,” said Shaw.

The series centers on Henry Deaver (Andre Holland), a death-row attorney who returns to the eponymous town years after a tragic accident killed his father, for which he is blamed. “Castle Rock” also stars King veterans Sissy Spacek, who plays Henry’s dementia-stricken adopted mother, and Bill Skarsgard as a feral inmate who’s found in the bowels of Shawshank State Penitentiary (yes, that Shawshank). Scott Glenn plays Alan Pangborn, the now-retired Castle Rock sheriff, who has been portrayed in films “The Dark Half” and “Needful Things” by Michael Rooker and Ed Harris.

Though not technically a King character, Jane Levy plays “Jackie Torrence,” a clear nod to Jack Nicholson’s Jack Torrence from “The Shining.” The series premieres Wednesday with the first three episodes.

Also Read: Ted Cruz Rips ‘Limousine Liberal’ Stephen King for ‘Scary’ Endorsement of Opponent: ‘Like Carrie Riding Cujo’

“It can seem like we assembled an Avengers of Stephen King,” said Shaw. Though they had no idea just how big Skarsgard’s turn as Pennywise the Clown would be, which helped “It” storm the box office to a tune of more $700 million worldwide last fall. “When we cast Bill, ‘It’ had not come out yet.”

There have been roughly 90 different TV and film adaptations of King’s works, to varying degrees of success. Self-described “lifelong” King fans, Shaw and Thomason said the trap that many of the lesser adaptations fall into is “this temptation to fixate on all the scares.” Arguing that King invented the character-driven horror genre, they say the scariest part of his works is the terrifying decisions that normal people make, rather than the supernatural monsters.

“‘The Shining’ is terrifying to me because it’s a story of a father who’s taken to this place where he could harm the people he’s supposed to be protecting,” said Shaw. “You’re trying to compact [a novel] into the three-act structure of a 90 minute or two-hour movie, what gets jettisoned is the depth of character.” And some of King’s novels can run over 1,000 pages.

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But with “Castle Rock” they get to empty King’s toy chest and create a story designed for the medium of television. “It’s a new story in the key of Stephen King,” says Thomason.

This included using Shawshank in a very different way than the 1992 film. “The story of Shawshank is so specific to Andy Fufresne and Red, and to that story that happens in that time,” said Thomason. “We were really interested in the idea that Shawshank kind of loomed over the town of Castle Rock.”

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‘Assassination Nation’: Sundance Darling Captures Hall H Crowd With Provocative Footage – Comic-Con

Read on: Deadline.

The Sam Levinson-directed Assassination Nation drew the biggest acquisition and became the buzziest title at January’s Sundance Film Festival. Today, the shocking and provocative film shoved aside the superheroes and usual fanboy fare from Hall H…

Stephen King’s ‘Castle Rock’ Trailer: There’s ‘Something Wrong’ With Bill Skarsgård (Video)

Read on: TheWrapTheWrap.

Welcome to Castle Rock, the creepy setting of Stephen King’s latest TV adaptation.

On Tuesday, Hulu dropped the official trailer for “Castle Rock,” its upcoming psychological-horror series from King and J.J. Abrams and starring Bill Skarsgård in a role that might make you forget all about how much he freaked you out as Pennywise in “IT.”

In the 2-minute, 25-second video, we’re introduced to the titular town that has been the setting of so many haunting tales in the King universe and immediately meet Skarsgård’s latest spooky persona: an inmate at Shawshank (Yes, that Shawshank) who just shows up out of the blue. As soon as this guy shows up, a series of chilling events begin to occur, as it’s pointed out to us “there’s something wrong with that kid.”

Also Read: Here’s Everything That’s Coming to and Leaving Hulu in July

Along with Skarsgård, the show stars Sissy Spacek, Allison Tolman, Scott Glenn, André Holland, Terry O’Quinn and Jane Levy.

Here’s the official logline for “Castle Rock,” per Hulu: A psychological-horror series set in the Stephen King multiverse, “Castle Rock” combines the mythological scale and intimate character storytelling of King’s best-loved works, weaving an epic saga of darkness and light, played out on a few square miles of Maine woodland. The fictional Maine town of Castle Rock has figured prominently in King’s literary career: “Cujo,” “The Dark Half,” “IT” and “Needful Things,” as well as novella “The Body” and numerous short stories such as “Rita Hayworth and The Shawshank Redemption” are either set there or contain references to Castle Rock. “Castle Rock: is an original suspense/thriller — a first-of-its-kind reimagining that explores the themes and worlds uniting the entire King canon, while brushing up against some of his most iconic and beloved stories.

Watch the trailer above.

“Castle Rock” premieres July 25 on Hulu.

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‘IT Chapter Two’: Warner Bros Gives First Sneak Peek of Adult Cast

Read on: TheWrapTheWrap.

Filming for “IT” Chapter Two” began late June, and now Warner Bros.’s New Line Cinemas has a released a sneak peek of the adult versions of the “Losers Club.”

A photo posted on the film’s Twitter account shows a table read with the actors playing the adult versions of the “Losers Club” – Jessica Chastain (Beverly Marsh), Bill Hader (Richie Tozier), James McAvoy (Bill Denbrough), Jay Ryan (Ben Hanscom), James Ransone (Eddie Kaspbrak), Isaiah Mustafa (Mike Hanlon) and Andy Bean (Stanley Uris).

Back to Derry with these Losers. ????#ITMovie pic.twitter.com/dvg0fEP9Ts

– IT Movie???? (@ITMovieOfficial) July 2, 2018

“IT: Chapter Two,” takes place 27 years after the events of last year’s monster hit, as the members of the “Losers Club” have all grown up and moved out of Derry… until a devastating phone call brings them back.

Also Read: James McAvoy Photos From ‘IT: Chapter 2′ Suggest More to the Kids’ Story

Bill Skarsgard will return as Pennywise the Clown. The film is set to be released September 2019.

“IT” grossed $327.5 million in the U.S. and Canada in 2017, and $700.4 million worldwide, on a $35 million production budget. The film had the No. 1 opening weekend for a fall release and was 2017’s No. 7 highest-grossing movie.

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Inside the Insane Bank Heist That Gave ‘Stockholm Syndrome’ Its Name (Podcast)

Read on: TheWrapTheWrap.

If you’re like most people, you’ve gone through life vaguely aware that “Stockholm syndrome,” the phenomenon of captives coming to sympathize with their captors, had something to do with a hostage situation in Sweden.

But did you know that the hostage situation unfolded from an utterly insane 1973 bank heist in which a series of improbable, extraordinarily 1973-kind-of-things happened? It’s the subject of our latest “Shoot This Now” podcast, which you can listen to on Apple or below:



Every week on “Shoot This Now,” we talk about a different story that should be a movie. The story of “Stockholm syndrome” is one of those stories that would seem fake if it hadn’t all happened — which may explain why it hasn’t gotten the big-screen treatment it deserves.

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The story begins with Jan-Erik Olsson (we’d cast Swedish “It” star Bill Skarsgard in the role) walking into a bank in August 1973. He took down two guards, and commanded one to sing. Then he took hostages and locked them in the bank’s vault.

Next, he made demands — ridiculous demands. First: He wanted Sweden to release his old prison buddy, Clark Olofsson, a celebrity criminal known in Sweden as a “pop gangster.” We’d cast Armie Hammer as Clark.

Inexplicably, the authorities agreed to reunite Olsson and Olofsson. And so they met again, within the bank’s walls.

Even more surprisingly, the pair soon won over their captives. One of them told Prime Minister Olof Palme she was more afraid of the police than she was of Olsson and Olofsson.

“I think you are sitting there playing chequers with our lives,” Kristin Ehnmark told the prime minister during hostage negotiations. “I fully trust Clark and the robber. I am not desperate. They haven’t done a thing to us. On the contrary, they have been very nice. But you know, Olof, what I’m scared of is that the police will attack and cause us to die.”

The situation got stranger still, as Matt Donnelly and I discuss on the podcast. And so the concept of Stockholm Syndrome was born.

“Stockholm syndrome” is perhaps most often associated with Patty Hearst, the heiress who was kidnapped by the bizarre Symbionese Liberation Front in 1974 and later helped the group stage its own bank robbery.

Hearst’s case — and “Stockholm syndrome” — are investigated in Jeffrey Toobin’s excellent book “American Heiress,” which provided part of the inspiration for today’s episode of “Shoot This Now.”

If you like the podcast, please tell a friend or give us five stars on iTunes.

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