“Birth/Rebirth” writer-director Laura Moss joined her cast, Judy Reyes, Marin Ireland and Breeda Wool, at the Variety Studio presented by Audible, to celebrate Moss’ directorial…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
“Birth/Rebirth” writer-director Laura Moss joined her cast, Judy Reyes, Marin Ireland and Breeda Wool, at the Variety Studio presented by Audible, to celebrate Moss’ directorial debut at Sundance Film Festival.
Moss’ “Birth/Rebirth” stars Judy Reyes as Celie, single mother to Lila, who unexpectedly encounters pathologist Rose after their lives suddenly intersect. It’s revealed that Rose has a particular obscure obsession: the pathologist is fascinated with the reanimation of the dead. Soon, the “two women and young girl embark on a dark path where they are forced to confront how far they are willing to go to protect what they hold most dear,” according to the film’s logline.
Discussing the imaginative film, Wool expressed her excitement with the direction the horror genre is headed. “There’s so many women horror fans out there,” she said. “Women like me, they’re like freaky weirdos that want to see ourselves reflected, and this film just doesn’t hold back on showing the experience.”
Wool went on to commend Moss for creating a horror film that deals with grief, motherhood and morality, explaining how “Birth/Rebirth” examines the “giant morality question… of when you die, should you remain dead? And if your mom is the one making the choices, how it could get morally gray.”
Alongside Reyes, Ireland and Wool, the film stars newcomer A.J. Lister as the 6-year-old Lila. “Birth/Rebirth” was written and directed by Moss, with Mali Elfman and David Grove Churchill serving as producers alongside executive producers David Newhouse and Brendan J. O’Brien.
“Birth/Rebirth” debuted at Sundance Film Festival.