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Look, I know there are a lot of substantive problems in the world and I don’t want to take any time, energy, or political power away from addressing them… BUTTTTT it’s way past time someone said it: The popcorn is too damn expensive. A small bag for $10? A large for $13!?! This isn’t what Nicole Kidman meant when she said “Heartbreak feels good in a place like this.” If we’re all going to be out here beating the drum for the communal cinematic experience, the theaters have to meet us halfway. Price gauging is for airlines, not independent rep houses. $6. I will accept $6 as the price of a small bag of popcorn. [BANGS GAVEL]. Thank you for hearing me out, I hope this message finds the right people…
Here’s what’s happening this week:
On May 15, IFC will premiere a 55th anniversary 4K restoration of Elaine May’s wonderful offbeat romantic comedy, A New Leaf.
On May 19 at 8:30 pm, Eddy Frumkin and and William George-Louis’ third screening of All-Starrs at Starr Bar in Bushwick. They’ll be screening films from Kristian Mecado Figueroa (Peacock’s If You Were the Last), Jay Giampietro, Olivia Erlanger with Callie Hernandez (Invention), and 2026 Tribeca Filmmakers Doron Max Hagay (She Keeps Me Young, Liza Mandelup (Grandmasters), and Jess Zeidman and Camille Casmier (Human Theories)
Tickets are $10.
A Bunch of Savages, a Filipino-led filmmaking initiative, is seeking volunteers to work a screening on Sat, 6/6 from 3-8 PM at Planet X Studios in Brooklyn. They’ll be screening American Baby, a new short doc by Raymond Knudsen, along with hosting an after-party. Any capacity is helpful, even a few hours. If interested, please email: info@abunchofsavages.com.
Cannes begins Tuesday and runs through May 23. My three most anticipated films in the main competition are 1. Paper Tiger, from James Gray, 2. Fjord, from Cristian Mungiu, and 3. Hope, from Na Hong-jin. Outside of the main competition, there’s A LOT out of France, but also new work from American indie scenesters Jane Schoenbrun (and edited by Graham Mason) and Jordan Firstman (co-produced by Pete McClellan).
A big study from Eventive found that festival “attendance rebounded from the pandemic and stabilized at a higher baseline. Average attendance per festival is up roughly 34 percent since 2021, while revenue per ticket reached its highest level on record.” Indiewire EIC Dana Harris-Bridson analyzes the disconnect between festival popularity and sales, arguing that something’s gotta give if festivals want to continue to attract filmmakers.
Thanks to everyone who came out to the 3:00 PM screening of The Python Hunt on Sunday afternoon. I had fun moderating the Q&A with director Xander Robin. Read our conversation in last week’s newsletter if you missed it. And if you’re in Texas next week, catch Xander at the Dallas Angelica.
Chris Cassingham brought In Review Online to Substack last week.
And Film Comment has a nice new website and a great new article from Blair McClendon.
Please give some love to your favorite actor the world doesn’t know about yet.
What are your favorite filmmaking tools? As a documentarian, Penny Lane recommends ReMarkable, Canva, and Trello.
My friend Pete McClellan invented a fantasy casting game — like fantasy football but for actors. Points are awarded for box office and awards. Fifteen people met up to do an auction draft yesterday, and the most money ($75 out of a $100 budget) was shelled out for Zendaya, followed by Robert Pattinson ($70) and Sandra Huller ($58). I’ll keep you updated on how this goes.
Purchase tickets for Screen Slate’s benefit gala June 3, featuring an all-star lineup of hosts and guests.
For those wanting to play pick-up soccer this June, sign up here!
If you would like to list in a future issue, email nothingbogus1@gmail.com with the subject “Listing.” (It’s FREE!) Include your email and all relevant details (price, dates, etc.)
THE FEATURE PRESENTATION
How Frank Mosley Came to Know Everyone and Be in Everything
On mentorship, collaboration, and balancing art with a day job.
by Julian Sol Jordan
As a character actor, there’s no role that’s too strange or different for Frank Mosley. He’s portrayed a 1930s coal miner, an anthropomorphized television, a cannabis farmer, an Appalachian farmhand, and a time-traveling outlaw, just to name a few. And similarly, as a writer-director, he’s drawn to abstract worlds that are minimalist and experimental — psychological chamber pieces that explore identity and memory. But beyond being a risk-taking artist, Frank Mosley is a kind person and generous collaborator. Anyone who knows him will say the same, which sometimes feels like… everyone! He is the current indie scene’s Kevin Bacon: everyone is just a few degrees of connection away from him.
Last year, I edited a feature called, El Tonto Por Cristo, in which Frank played an ex-circus clown turned monk. And I witnessed first-hand how thoughtful and humble he is, while also being fierce and risk-taking. The performance was haunting, and the experience was inspiring. Since then, Frank has grown to be a great friend and mentor. While completing my solo essay film in college, an experimental doc I made about being in one’s early twenties, Frank helped guide me through the process, sending long, voice memos that were always highly insightful.
And yet, somehow I still had more questions for him! I was curious about some of his recent projects like Albert Birney’s Obex and Jessica Barr’s upcoming The Plan; what excites him most about the current and ever-evolving world of independent film; and how we as artists can support each other on “this crazy ship.”
Julian Sol Jordan: I’ve been a big fan of the films you’ve been working on recently, and I wanted to know, what makes you say “yes” to a specific project?
Frank Mosley: Lots of things, but first and foremost: Is it a good script and/or a director whose vision or body of work I admire? Other considerations include: Are there other actors in it I get to work with who I’ve always wanted to do that with? Will it require learning a trade or craft that I’ve always been interested in anyway? Does it mean traveling somewhere I’ve always wanted to go, or push me outside my comfort zone in a way that would be interesting?
I always look for something new or fresh that pushes me to a new place internally or externally — even if it feels scary. In fact, if it’s really scary, it probably means I should do it, as long as it’s safe on a logistical level.
The work can feel wonderfully dangerous, but the parameters for making the film should feel safe. I think the safer the environment, the more you’re able to incite an internal chaos.
JSJ: How do you see the independent film landscape evolving right now? What excites you? And how do you think it’s changed since you started out?
FM: In some ways, it feels the same. I do think true “indie” films aren’t recognized at festivals as much anymore. Like, the truly low budget work of Sundance of 1992 is not the fare that people would show now. To seek out that type of work now, you have to look at the steady regional film festivals like FilmFort, New/Next, Slamdance, and others that program films that aren’t already pre-sold or ones that don’t have recognizable faces in them.
But we have more options to shoot things and show things. There are so many platforms for streaming. I feel sorry for burgeoning filmmakers because you could easily get lost amidst it all. But it’s also an exciting time because of all these options. I love working with younger filmmakers who have such an energy and verve in their work. It’s inspiring.
I’ve been lucky to work with and become great friends with some immensely talented filmmakers — people like Fernando Andres on Rent Free and Jessica Barr on The Plan — who are so tenacious and so daring. It makes me want to keep exploring and kicking in my own way. There’s always electricity in the air; some people just know how to bottle it. And some of us, as we age, can simply forget.
JSJ: What has your thinking been throughout your life and creative career in terms of not just chasing your passions and building something creatively fulfilling but healthily sustaining it over the years?
FM: You gotta know your priorities, but those change over time, too. I’m now 42, and I am finally wanting to have a family. And because of that, I am thinking of being more picky about projects that would take me away from that. Do I really want to go out of state for three days? Does the project mean that much to me? When I was younger, I was hungry to do any and everything to build a resume, garner experiences, and to push myself. So right now, the idea of a more stable job is enticing, and yet that doesn’t mean the art has to go away. Time is just allocated in a different way.
My dad always pushed me to follow my dreams, but to always be able to take care of myself and survive. He said, “Get a degree in something that you can always fall back on if/when you need it.” I have an English literature degree because of that. I love English literature, I love teaching. It’s not a subject I can only tolerate, it’s something I’m in love with.
I think you have to listen to your needs and self-evaluate every so often in your career: Am I still not losing sight of my other priorities? Of my own health? There’s no right way to do anything. Your path, and which moments in time you face these questions, will be different from mine. We’re all following the tunes on our own radio, so the road is different for everybody.
JSJ: Me and many of my younger creative friends have started to come face-to-face with different crossroads in our journey. Was there ever a moment you seriously questioned your path as a filmmaker and actor? And what helped you keep walking?
FM: Yes, there have been moments that I questioned it as a professional career. But I always knew I would make films and act until I’m old and dead. It helps when you have a supportive spouse or partner in the thick of it — one who has your back and you have theirs. It’s good for accountability too.
There was a moment in my twenties when I imagined forgoing all film and doing a nine-to-five job in my hometown and I got physically ill. That’s how I knew I would never give it up. But what I’ve gone through — and am going through now — is questioning just how much I can do it. Should it be more of a hobby for now instead of my profession? Remember, it can always swing back the other direction too. Never say never.
Everybody should listen to their gut in the moment. I just think they should always keep the door open. Never shut it. I find it so courageous and beautiful when people in their fifties and sixties start acting after wanting to for so long.
JSJ: What gives you creative energy and inspiration right now, for yourself and for the work?
FM: I look for characters I’ve always wanted to play, or themes I’ve always wanted to explore. My wife and frequent creative partner, Joslyn Jensen, is so inspiring. She is a disciplined writer, and it’s amazing that we can bounce ideas off each other all the time.
I am driven, also, by how I feel politically. The feelings I have as a friend, husband, teacher, artist, as a son. Those things can spool out into characters and interests that you want to see on film or on stage. My biggest hurdle is learning to let go of certain projects that I’ve always wanted to do but haven’t. Realizing that maybe they weren’t meant to be made. They were meant to inspire me at this next step, after having not made it. The negation of it spurs creation of something else in its stead. I’m always learning to let things go and to listen to the new thing that’s exciting to me rather than clinging to an idea because it’s been sitting around for so long.
JSJ: You are such a strong advocate and supporter for other actors and filmmakers. It’s inspiring. Everyone seems to know who you are! I’ve always wondered what motivates you to offer this support. And how can others adopt this practice?
FM: I guess when you’ve been floating around long enough, people start to remember you. This is an industry of who you know. I mean, the work should speak for itself, but it doesn’t always. It’s tricky. I’ve had people cold-write me before and say: “Can you hook me up with this festival?” or “Can you give me some advice?” or “Can you read my script and give me feedback?” I used to write everybody back because I admire their directness. I simply have that teacher in me (I’ve been a substitute public school teacher since 2018 and have mentored/advised young filmmakers at USC, Brooklyn College, Northwestern, etc.). I also know what it feels like to need help. I like to pass the ladder back down — though, I prefer ladder across, actually.
But that kind of mentorship takes time and energy, too. For that reason, I started Script Eater with Joslyn, a company to provide screenplay feedback. I also started paid mentoring through Sidetime. If enough people are writing you with these questions, it’s because there’s a need. And in order to not stretch yourself thin and to value your time and experience, it can feel right to transition a lot of this into a professional sphere instead. But I do think kindness and transparency is key in this business. Some people don’t want to share stories or advice because of some competitive bullshit — and fuck that shit. We’re all on this crazy ship together. We gotta hang on tight and hold on to each other. The truth is, nobody’s knocking on your door. You gotta get after it. Go to the festival, go to the micro cinema, go to the Vimeo Staff Pick screening, go to the play. My career has been built on relationships and not being afraid to reach out to people.
This is a business of transactions, but it doesn’t have to be. Sometimes you can do it because you simply believe in someone. Just remember, it doesn’t always circle back.
JSJ: What are you working on now? Where do you want to go creatively next?
FM: I’m venturing back into using my Hi-8 camera that I made movies on growing up! I have a few no budget short ideas I want to do. Joslyn is writing a script that she will star in with our friend Anthony Oberbeck, which I’ll direct, and hopefully that’ll be later this year. I’m also slated to appear in a feature or two by some friends over this summer. Otherwise I am full steam ahead with Required Reading, and I am waiting for some of last year’s projects to finally come out! This Sundance feature by my buddy Albert Birney, Obex, is finally out on VOD, and Jess’s film, The Plan, is playing the fest circuit now.
I also just had my first L.A. retrospective of my directing work, and it was surreal. It put some things into perspective and showed me certain patterns. And it also just got me itching to make something new. I’m going to inch toward making a new feature very soon, but seeing those films gave me the push to set pen to paper again. First step, after all!
Some of my favorite moments on set were with Mr. Mosley!
FRANK the G.O.A.T. 💖