"I Origins" - Soundtrack

 I've always loved film soundtracks.
For a long time, I even thought that it should be the most satisfying job in the world, writing music for films, creating the emotions for a storyline, for characters. Also because I didn't know how controlled it could be.

 I still do love some soundtracks. I could post so many here. But just discovered this one.

 I'm a writer but really I can confess that, although I love words so much, and lyrics in particular, music is truly the most powerful language of all...

 Just sharing...

"I Origins" - music video

Published on 21 Jul 2014

Music video for "Driverless Car", taken from the soundtrack to Mike Cahill's I Origins, released by Fox Searchlight.

Video Directed by Rupert Cresswell at MPC Creative in London

Music by Fall On Your Sword

Soundtrack album available on Milan Records



"I Origins" Soundtrack - 

01 "Message to My Future Self"

 "I Origins" Soundtrack - 03 "Lucky Elevens"

"I Origins" - Soundtrack - 13 "Salomina"


Marseille: M A T I È R E N O I R E - Gonzalo Borondo show - D-8

 Heading to Marseille in a week for this very unique art event:
More soon!!

M A T I È R E  N O I R E
Gonzalo Borondo show

Oct 7 – Jan 31 | Galerie Saint Laurent, Marché aux Puces, Marseille
Opening reception Saturday October 7 – h 18.00 / 06pm
On October 7 th, Catherine Coudert and Galerie Saint Laurent proudly presents Matière Noire, international artist Borondo’s biggest exhibition to date in the heart of Marseille’s famous antique Marché aux Puces, one of the largest markets in Europe.

Curated by Carmen Main, the show is co-produced by Gonzalo Borondo himself and Italian artist, and his close friend, Edoardo Tresoldi. The three artists have already worked together in Borondo’s last exhibition ‘Animal’ in London.
Matière Noire deals with the dark matter - everything we cannot directly see or detect but allows the universe to exist - as a metaphor of the invisible in our perception. The show is a reflection upon different cultural, social and generational realities and the media through which they are filtered, from earlier forms of representations to contemporary digital technologies.

In the 4,000-square-meter exhibition, Borondo will present its universe for the first time through more than 30 in-situ artworks - animations, holograms, installations, paintings, videos - in collaboration with 8 international multidisciplinary artists under 30, all born before the digital boom: BRBR FilmsCarmen MainDiego López BuenoEdoardo TresoldiIsaac CordalRobberto AtzoriSbagliato and A.L. Crego, author of the exhibition's dynamic visual content, such as gifs and videos.

The objects found on site are the raw material used for most of the works; they represent the fil rouge for the whole exhibition as opposed to the digital archive of our times. As Borondo has said: “When I entered into the market for the first time I felt like I was in a limbo of objects waiting to find a new life through the viewers’ gaze. A reserve of collective memory that inspires constant search and the feeling of being able to find something unique, belonging to personal history”.
Divided in 3 acts – projectionperception, and interpretation – the exhibition casts doubts on the uniqueness of reality and its representations, penetrating and questioning the edges of human perception; from Plato’s allegory of the cave to a 2.0 reality which shows a world flowing behind a screen, to the free creative contribution of each artist.
During the 3-month art residency in Marché aux Puces, the artists have lived and worked together, curating and organizing every detail of the show, sharing the space with the merchants of the iconic market in the heart of a disappearing neighborhood, the dark matter of Marseille. 

Borondo makes use of collective symbols and myths, and touches archetypes and latent unconscious, bringing the audience to a kaleidoscope of infinite universes to explore and capture. They are drafts of an invisible past without which our existence would not be possible, as the dark matter of our present.


Matière Noire

From Thursday to Saturday from 10.00 am to 06.00 pm

Sunday from 10.00 am to 01.00 pm

Private visits on appointment+33 06 76 91 42 61


Hall des Antiquaires

Marché aux Puces

130 Chemin de la Madrague Ville 

13015 Marseille 

FILM: The Young Karl Marx

"Haitian director Raoul Peck knows how to make films that move you and shake you to the core."

More about the first film I ever worked on, as a journalist, researcher, writer, for the amazing filmmaker Raoul Peck, in English:

FILM: The Young Karl Marx

29 September 2017

THE YOUNG KARL MARX **** (vo German, French, English)

Haitian director Raoul Peck knows how to make films that move you and shake you to the core.

The Young Karl Marx - Trailer [en]

As a political militant, he makes films about history, humanity and injustices that cause you to reflect and feel the larger truths with your gut, literally.
The first film of his that I saw was I AM NOT YOUR NEGRO, a searing documentary on James Baldwin and the assassinations of three great black figures. It was a haunting experience. In this film he has taken up the life and works of Marx, instigator of one of the most important social revolutions in history, along with his friend Frederick Engels.
To go from documentary to a feature film based on historical facts is not a given, but Peck has managed it with both mastery and discretion. From the excellent dialogue, acting, editing, the intermingling of languages depending on the locations, and the delicate music, he pulls us into the young lives of Marx and Engels in the 1840s, as they took on the incredible idea of setting workers free and giving them decent wages. It was a dangerous and revolutionary idea for the times.
From Germany to Manchester, Paris, London and Brussels, Peck follows dedicated men and women who believed in the new idea of equality and freedom from the slave labor of the Industrial Revolution – a revolution that had benefited the industrialists and condemned the workers to poverty and horrific living conditions.
This is an eye-opener of the first order, above and beyond our knowledge of the Communist movement or our opinion of it. As in I AM NOT YOUR NEGRO, Peck seems to be continuously capable of transmitting larger ideas. Here he makes us witness to the details and importance of the ideals of the Communist movement, rather than the flaws in its later manifestations.


Massive Attack's 3D on His Graffiti Art in 1985/6 in Bristol

This footage shows the graffiti ability of the man known as 3D, aka Robert Del Naja, at the centre of my book.

Shared in July by the BBC West of England, it was finally shared by the man himself today on his band's Facebook page.

It contains a very interesting interview about the street art scene in the middle of the 1980s, which has dramatically changed since. It is also a great footage showing the artist at work, at a time when spraying was still largely illegal or possible on a few private walls.

BBC Inside Out West
July 26
This previously unbroadcast footage of young graffiti artist Robert Del Naja - 3D from Massive Attack - is a priceless piece of social history. 
Produced by Philip Johnson for his open access Video Workshop at Filton Technical College circa 1985/86, it shows 3D painting a piece on the facade of the original Westworld clothing shop in Lower Park Row, Bristol, filmed by student Morris Weeks as part of a group project. 
This is intercut with an interview with the man himself by Philip, with whose permission we're able to share this with you.


According to now famous street artists from Bristol, like Inkie, Nick Walker and of course Banksy, 3D inspired them all and really made graffiti special in this era. His adventures at the time are recollected in the fourth and fifth chapter of my book...

Enjoy this rare piece of recent history!! 


About Giles Duley’s interactive exhibition for refugees

 Must see in London in October.

Link: http://trumanbrewery.com/cgi-bin/exhibitions.pl

Article published in the British Journal of Photography today:

Helping refugees starts in London with Giles Duley’s interactive exhibition

Murad, 5 years old, from Idlib – Bekaa Valley, Lebanon. Feb. 2016. © Giles Duley/UNHCR
Hosted at The Old Truman Brewery, Giles Duley's exhibition, I Can Only Tell You What I See, featuring images from his photobook of the same name, promises collaborative conversations to bring people together on the issue of refugees.
“They gave me the greatest brief a photographer can be given: ‘Follow your heart’,” says Giles Duley of the moment the UNHCR asked him to work with them on documenting the refugee crisis in Europe in 2015, with many of the photographs featuring in upcoming exhibition, I Can Only Tell You What My Eyes See. “That was it really, I was free to do as I saw fit.
“I started by documenting the journey, the journey from Greece and the boat landing there, up through the Balkans and on towards Germany and Berlin,” he continues. “But that was only really one part of the story. The real crisis is happening in the Middle East in Iraq, in Lebanon, in Jordan. So most of the project then was concentrated in those countries.”
Duley travelled throughout the region for eight months, returning time and again to refugee camps and conflict zones in Iraq, Lebanon and Jordan. He jokes that he didn’t have a day off for over half a year – but adds that he needed to take time to get to know the people he was photographing.

Shamah Darweesh, over 90 years old, from Homs – Al-Mafraq, Jordan. March 2016 © Giles Duley/UNHCR

Hussein, 8 years old, from AL bab near Aleppo – Bekaa Valley, Lebanon. February 2016 © Giles Duley/UNHCR

Ibrahim, 25 years old from Idlib – Bekaa Valley, Lebanon. February 2016 © Giles Duley/UNHCR
“You need to spend time with people, you need to respect these people, you have to get to know them, becoming friends before you start talking about making photographs,” he says. “Too many people turn up and start taking photographs immediately, and you’ve created a barrier. I’m a photographer whose camera spends more time in the bag than it does out of it. I can spend days and even weeks with people before I even bring out my camera.”
Yet the journey to take these photographs has not always been easy. In 2011 Duley sustained massive injuries after stepping on an Improvised Explosive Device (IED) in Afghanistan, losing both legs and one arm. Continuing his work in photojournalism has been a mammoth task, especially given the fact he carries all his own equipment and works in sometime hostile environments. “I don’t think my photos are as much in focus anymore. Focus is overrated though,” he laughs.
“But photography is absolutely everything in my life and the only time I don’t feel like I have a disability, the only time I don’t feel in pain, is when I am taking a photograph,” he continues. “There are a lot of extra challenges which almost make it impossible, but I think the people I document look at me and hear my story and immediately we have something in common. They meet me and they know that it’s not easy for me to be there; they see me struggling, in pain, really making all the effort I can and challenged to take their photograph.”
Duley says his desire to see the refugees helped outweighs his personal difficulties, and that’s an ethos that carries through to the exhibition of his work coming up at The Old Truman Brewery. He’s chosen to make it an interactive display, hopeful that this will empower those who come to see it, inspiring them to reach out to those in need.

Ibraheem Alazam teaches math to his two sons – Ajloun, Jordan, April 2016 © Giles Duley/UNHCR

Aya screams “Faster Donkey, faster!” while being pushed in her wheelchair by her brother Mohamad. Tripoli, Lebanon, 2016 © Giles Duley/UNHCR

On arriving in France, Sihan (Aya’s mother) said – ‘Aya struggles to sleep, but on the first night I was able to say to her, “It’s ok Aya, this is your home now”.’ Laval, France, June 2016 © Giles Duley/UNHCR
“The world at the moment can feel overwhelming. What I want to do is remind people that any small act can make a difference,” he says. “Don’t think globally – it’s ridiculous to think that you can end the war in Syria individually. Of course you can’t. But can you bake a cake and take it down to your local refugee centre? Of course you can.”
The show will also involve other artists, with Semaan Khawam will be the artist-in-residence, creating new work every night of the exhibition, and Rob Del Naja of the band Massive Attack has creating a soundscape to go with it. A supper gathering each evening will host up to 100 people, featuring cuisine from a Syrian couple who have set up a food outlet in London. Perhaps the most intriguing part of the exhibition will be paintings from children living in the Zaatari refugee camp in Jordan, an addition which is made possible through the support of Sir Bobby Charlton’s charity, Find A Better Way. The pictures depict both the horrors the children have escaped, and the conditions they continue to endure.
“The exhibition just becomes this transition point – there will be new artwork created by the exhibition,” says Duley. “I think that’s exciting, it means it becomes alive. These often tragic stories will continue living in other forms, whether through painting or through music, so it’s about making the exhibition a place of life and a celebration of that life.”
He hopes that in doing so he can promote a positive, enriching experience, far away from the current political polemic surrounding migrants and migration. “I have a ‘Burning House’ theory,” he explains. “Even right now, we hear people have extreme views and there’s a lot of hatred in the world. But I believe most people, if they were going past a burning house and they saw someone in the window, would not ask ‘Is that person black or white, is that person straight or gay, is that person Muslim or Christian?’
“Their instinct would be to try and save that person. My job is to make sure that people see refugees in the same way they would see people in a burning building, because the situation is the same.”
I Can Only Tell You What My Eyes See runs daily at The Old Truman Brewery, 4 October – 15 October. Giles Duley’s photobook of the same name is available now, published by Saqi books, with all profits being donated to the work of the UNHCR.

A train carrying Iraqi, Syrian and Afghan] refugees – FYR Macedonia. 28 November 2015 © Giles Duley/UNHCR

FYR Macedonian military use razor wire to construct a border fence – Idomeni, Greece. 29 November 2015 © Giles Duley/UNHCR

Greek/FYROM border – Idomeni, Greece. 28 November 2015 © Giles Duley/UNHCR

Thanasis, a local fisherman in Lesbos, rescues a boat that had become stranded. He had brought in boats everyday since June. November 2015 © Giles Duley/UNHCR

Migrant workers from Pakistan warm their hands against the freezing temperatures – Idomeni, Greece. 30 30 November 2015 © Giles Duley/UNHCR

Nighttime at the border crossing between Greece and FYR Macedonia – Idomeni, Greece. 30 November 2015 © Giles Duley/UNHCR

Caught at the border, Sara, Mohammad and Asea from Homs, Syria try to keep warm in donated clothes as they prepare for another night without shelter – Idomeni, Greece. 03 December 2015 © Giles Duley/UNHCR

Malak’ Alazam with her three daughters. In 2014, whilst the family relaxed on their rooftop in Syria, a rocket hit their house. Two of her daughters were killed, another lost an eye and ‘Malak’ herself lost her leg – Ajloun, Jordan, April 2016 © Giles Duley/UNHCR

“I never wanted to go to Europe. I never wanted to be so far from Syria,” Ayman said before leaving Lebanon. “But if this gives my children a chance of a future, then I will go.” © Giles Duley/UNHCR
A boat carrying over 40 Afghans approaches Lesvos after crossing the Aegean from Turkey – Lesbos, Greece. 31 October 2015 © Giles Duley/UNHCR


"How Music Powered Basquiat"

 The New York Times graces us with this articles about the importance of Britain in Jean-Michel Basquiat's life...

Must read!

Bowie, Bach and Bebop: How Music Powered Basquiat

Jean-Michel Basquiat, pictured in 1981, sold his first painting that year to Debbie Harry of Blondie for $200.

LONDON — In 1979, at 19, the artist Jean-Michel Basquiat moved into an abandoned apartment on East 12th Street in Manhattan with his girlfriend at the time, Alexis Adler. The home, a sixth-floor walk-up, was run-down and sparsely furnished. Basquiat, broke and unable to afford canvases, painted with abandon on the walls and floor, even on Ms. Adler’s clothes.
The one item that remained undisturbed was Ms. Adler’s stereo, which had pride of place on a shelf scavenged from the street.

“The main thing for us was having big speakers and a blasting stereo. That was the only furniture I purchased myself,” said Ms. Adler, who still lives in the apartment. When Basquiat was around, she recalled, “music was playing all the time.”

On Thursday, the exhibition “Basquiat: Boom for Real” opened at the Barbican Center in London. The show focuses on the artist’s relationship to music, text, film and television. But it is jazz — the musical style that made up the bulk of Basquiat’s huge record collection — that looms largest as a source of personal inspiration to him and as a subject matter.

The first major retrospective of his work in Britain, it is a kind of homecoming for Basquiat’s art: In 1984, the first institutional show of his work opened at the Fruitmarket Gallery in Edinburgh, and then traveled to the Institute of Contemporary Arts in London. In a satisfying closing of a circle, a large drawing that Basquiat made in London for the institute’s exhibition, but that ended up not being shown there, will go on display at the Barbican.

Basquiat’s tastes were eclectic: Curtis Mayfield, Donna Summer, Bach, Beethoven, David Byrne,
Charlie Parker, Miles Davis, Aretha Franklin, Public Image Ltd.’s “Metal Box” album. “And he had his favorite tracks that he would just play and play,” Ms. Adler said. “Bowie’s ‘Low,’ definitely. And the second side of ‘Heroes.’ The influence of music was huge.”

Basquiat eventually amassed a collection of more than 3,000 albums. It spanned blues, classical, soul, disco and even zydeco, a type of popular music from southern Louisiana. He also made his own music: as the leader of Gray, an experimental art noise quartet; as the producer of the single “Beat Bop”; and as a D.J. at venues like the scene-setting Mudd Club in TriBeCa.

Basquiat made frequent references in his work to the musicians he most admired. He paid homage to Parker, whose nickname was Bird, in paintings such as “Bird on Money,” “Charles the First” and “CPRKR.” “Max Roach” was a nod to the vision and style of the jazz drummer of that name.
And in “King Zulu,” a masterly painting inspired by the history of early jazz that occupies a prominent place at the Barbican, Basquiat summoned the memory of the trumpeters Bix Beiderbecke, Bunk Johnson and Howard McGhee. In the center of the painting’s intense blue background, a face in minstrel makeup stares out, the image culled from a photograph of Louis Armstrong disguised as a Zulu king at Mardi Gras in New Orleans in 1949.

Basquiat was especially devoted to bebop, the restlessly inventive genre typified by the likes of Parker, Davis, Ornette Coleman and Thelonious Monk. Basquiat’s love of bebop fueled his art, said Eleanor Nairne, co-curator of “Boom for Real.”

“Bebop was quite an intellectual movement,” she said. “It was also quite iconoclastic in wanting to break away from these older jazz harmonies. That idea of a kind of rupture, and of these musicians who were very young, vibrant powerful forces; there were lots of parallels he found with his own work and life.”

Basquiat, who died of a drug overdose at 27, attained dizzying heights during his short career. His first sale, the painting “Cadillac Moon,” was to Debbie Harry, the frontwoman of Blondie, in 1981. She paid $200.

Within months, his works were selling for tens of thousands of dollars. By his early 20s, he had made his first million. Yet Basquiat was discomforted by success. He was acutely conscious of his place as one of very few African-Americans in a predominantly white art world, where he was regarded by some as little more than an interloper.

The American art critic Hilton Kramer once described Basquiat as “a talentless hustler, street-smart but otherwise invincibly ignorant, who used his youth, his looks, his skin color and his abundant sex appeal” to win fame.

According to Ms. Nairne, Basquiat was “hugely, uncomfortably, constantly aware of the racist ways he was constantly being pigeonholed.” And he found a telling parallel between his position and that of his jazz heroes.

“These are musicians who are, in one sphere of their lives, incredibly celebrated,” Ms. Nairne said. “And in other aspects, on a daily basis and in the most banal terms, consistently reduced to the color of their skins. They are literally having to use the back entrance of clubs. There’s no way you can divorce their music from their treatment in society. There was a lot of identification in there.”

Ultimately, Basquiat felt more at home in downtown New York. He had first come to prominence in the late ’70s as a graffiti artist with a “SAMO” tag, scrawling the streets of Lower Manhattan with sardonic and elusively poetic maxims: “SAMO for the so-called avant-garde”; “Samo as an end 2 the neon fantasy called ‘life.’ ”

The downtown scene was a famously antic fusion of emergent art trends, street style, graffiti, trendsetting nightspots like the Mudd Club and Area, and upstart musical genres like New Wave and hip-hop.

Its flourishing took place against a wider backdrop of MTV, sampling, scratching, semiotics and postmodernist theory; a time when the creation and dissemination of culture seemed an increasingly fluid, boundary-free process.

“It was all merging,” Ms. Adler said. For Basquiat, “it was a period of discovery.”
"I wanna go back," by Gray.

The multifaceted nature of the scene gave Basquiat license to crisscross artistic forms on the way to developing his own style. He performed poetry onstage and produced the a mesmeric hip-hop “Beat Bop,” by the graffiti artist Rammellzee and the rapper K-Rob, that remains a genre classic.
In the band Gray, he played the synthesizer and the clarinet, and made Steve Reich-style sound experiments, looping snatches of audio on a reel-to-reel tape recorder. The group performed only sporadically but drew admirers including Mr. Byrne and the hip-hop pioneer Fab 5 Freddy. An Interview Magazine review described them as “an easy listening bebop industrial sound effects lounge ensemble.”

Basquiat pulled out of Gray in 1981, when painting started to command his attention in a serious way. But music still remained a significant marker of his creative achievement.
David Bowie, writing after Basquiat’s death, hailed him as a kindred spirit whose sensibility belonged as much to rock as to art.

“His work relates to rock in ways that very few other visual artists get near,” the musician noted. “He seemed to digest the frenetic flow of passing image and experience, put them through some kind of internal reorganization and dress the canvas with this resultant network of chance.”

Basquiat himself was less forthcoming. “I don’t know how to describe my work,” he once reflected. “It’s like asking Miles, ‘How does your horn sound?’”


Basquiat dancing at the Mudd Club in 1979.


Basquiat - GRAY - "I wanna go back"


France Culture reçoit Raoul Peck pour parler de Marx

L'émission de la semaine!

I have always had a thing for geniuses, for big brains, thinkers, revolutionary minds.
Here are two of the most important men of my life, reunited...


Par les temps qui courent  par Marie Richeux

Raoul Peck : "Si vous voulez rencontrer Voltaire, Rousseau, Hegel en un, il faut rencontrer ce jeune homme"


Réalisateur, scénariste, producteur, Raoul Peck est notre invité ce soir, à l’occasion de la sortie de son film « Le jeune Karl Marx » (le 27 septembre).

La lutte des classes doit-elle se structurer autour d'idées claires ? Si l'on répond oui, quelles conditions doivent être réunies pour que ces idées soient produites ? Quelles conditions matérielles ? Quelles conditions affectives ? Quelles amitiés, quels liens, quels silences...? Le jeune Karl Marx, à la fin du film, demande à se reposer un peu. Parce que qu'écrire des livres, faire naître ou structurer une pensée, est un travail de longue haleine, comme vivre l'amour, comme faire des enfants, demandent du temps et de l’énergie. Tandis qu'ils prennent part à un tournant fondamental du 19ème siècle, Karl Marx et Friedrich Engels éprouvent aussi leur jeunesse...
L'écriture du scénario a été un très long processus qui a duré plusieurs années (...), s'attaquer à Karl Marx, c'était s'attaquer à la tête la plus géniale de ces deux derniers siècles (...) il fallait rester dans le cadre du cinéma et en même temps, ne trahir à aucun moment l'évolution de cette pensée.
[Du cadrage] Il fallait être à l'intérieur, ...de cette détresse, de cette violence, il fallait qu'on sente les coups.... C'est une manière pour moi aussi, de parfois utiliser les instruments du cinéma hollywoodien qui nous a tous éduqués, tout en les déconstruisant, et il fallait utiliser ce qu'il a de bien pour faire sentir les choses.....
Engels et Marx, c'est la rencontre entre deux génies. (...) et en même temps, la soumission de l'un d'eux à l'autre. (...) C'est une rencontre essentielle.
(...) Et ça, ça me plaisait, ces rencontres d'intelligences, de volontés...

Le jeune Karl Marx Crédits :  Kris Dewitte



Those who know me might remember I have been writing short stories about weird, meaningless but indeed so meaningful encounters for years... And stories about siblings. Sib-links. This mystery link between people that make that, though we are so different, we feel related, or that, though we feel so alike, we are somehow taken away from each other by life...

Randomly, looking for something intuitively, some knowledge related to the scientific theory of quantum entanglement, i found this movie trailer:


Published on 16 May 2017

“Silicon Valley” star Thomas Middleditch gives a brilliant, deadpan comedic performance as a man in a downward spiral who uncovers his parents’ secret: They adopted and then gave up a baby girl before he was born. Now he’s on a mission to find his missing sister.

Director: Jason James
Writer:Jason Filiatrault

Seattle Film Festival - Official Selection
Brooklyn Film Festival - Opening Night Film




1. The state of being entangled.
2. A difficult or complicated relationship.
3. Scientific phenomenon that occurs when two particles are fundamentally connected so that the state of one cannot be described without the other.


A comedy about learning to let go, and how everything is amazingly and incredibly connected. Newly divorced Ben (Thomas Middleditch, "Silicon Valley") has hit rock bottom, but fate seems to intervene each time he tries to kill himself. 

Six months after his best suicide attempt, he's doing slightly better thanks to therapy and the kindness of his neighbor Tabby (Diana Bang, "Bates Motel") until he gets some life-altering news: His parents had adopted a baby girl but gave it up once they found out that they were pregnant with Ben. 

Armed with adoption-agency records, he believes he's found his "sister" in Hanna (Jess Weixler, "The Good Wife"), a textbook manic pixie dream girl he'd coincidentally met at the pharmacy the day before.

There's a strange, otherworldly spark between them, and against their better judgement they find themselves falling for each other. 

But sometimes things are too good to be true, and Ben soon learns that the world might just be more inexplicable than he ever imagined. 

'Entanglement' is a fascinating piece of cinema, a philosophical comedy with a twisted heart about how life teaches us lessons in the strangest possible ways.


JASON JAMES is an award winning producer/writer/director based in Vancouver and Los Angeles. He recently directed/produced the indie feature THAT BURNING FEELING (starring John Cho, Tyler Labine, and Paulo Costanzo). The film played numerous festivals, won Best Feature at VIFF, and was released in both the USA and Canada by eOne Films and Search Engine Films in 2014.


I'm looking for a release date...