A new film premiering at the Seattle Film Festival is set in the San Francisco modern dance scene of 1985, and chronicles a gay romance in the early days of the AIDS epidemic.
Transformers producer Lorenzo di Bonaventura is making his first foray into the digital world, joining with Break Media on thriller Higher Power (see trailer below). Produced by Di Bonaventura Pictures and the digital video company’s SVP Entertainment Development Greg Siegel and Evan Cholfin, the film is a sci-fi thriller about a regular guy who acquires the power of a demi-God. The plan is to shoot Higher Power as a feature but release it in several formats. As one example, the movie will be reformatted into chapters to be distributed online through Break Media’s male-targeted network. Higher Power will also come out as a feature through more traditional distribution options including Netflix and Amazon, VOD and international film and television channels. 300 and X-Men Origins: Wolverine VFX specialist Matthew Santoro is slated to direct from a script by Julia Fair. “We are very excited about the opportunity to partner with Greg, his team at Break Media, and Matt and Julia on this project, which I believe can be a new model for bringing high-concept, long-form content to the public,” said di Bonaventura in a statement today. Both di Bonaventura and Santoro are repped by CAA. Check out the trailer here:
A topless painting of Bea Arthur is expected to fetch between $1.8-$2.5 million when it hits the auction block at the Christie’s Post-War and Contemporary Art Sale in New York City tonight.
John Currin’s 1991 portrait, called “Bea Arthur Naked,” depicts Arthur around the time she starred as a middle-aged politically liberal suburban woman in the 1970s sitcom Maude. Derived from a photograph of a fully clothed Arthur, Currin — known for what art critic Peter Schjeldahl once called his “acrid fantasy portraits of menopausal women” – says he used artistic license to create the portrait of the actress in the flesh.
“I had a vision in my head of Bea Arthur, and I found a picture of her. I was going to put a scarf ensemble on her like that from her Maude days, and I drew the body just to drape it. It was then that I realized that the painting was fantastic as it was,” reads a quote from the artist in the Christie’s lot notes. “I loved being repelled by those two black eyes and falling back into these wonderful, soft breasts, which draw you back in.”