By: James Rocchi

(With Baghead's limited release expanding this week, we at Cinematical are re-running our Sundance 2008 interview with Jay and Mark Duplass.)

In Baghead, the writing-directing team of Mark and Jay Duplass (The Puffy Chair) combine not two, but three separate traditions of American Indie Cinema: It revolves around two couples; it celebrates and mocks the world of indie film ... and it takes place in an isolated cabin in the woods where a masked stranger hovers outside in ominous silence. Cinematical spoke with the brothers at the 2008 Sundance Film Festival about delusions of adequacy, clumsy passes, awkward pauses and genre-melding on a minimal budget. Mark tries to sum it up: "Baghead is a movie about the funny, horrific, tragic, terrible life of being a desperate actor. ..."

This interview, like all of Cinematical's podcast offerings, is now available through iTunes; if you'd like, you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:

Don't mess with a man's best friend! I'm borrowing that phrase from our own Eric D. Snider, who used it to describe the plot of Red, a thriller starring the great Brian Cox as a man on a mission to avenge the death of his beloved dog at the hands of a bunch of teenage punks.

As Eric noted, Magnolia Pictures picked up distribution rights for the movie and planned a late summer release. Well, it must be later than we thought, because Dread Central now tells us that Red will be unleashed to theaters in New York and Los Angeles on Friday, August 8, followed by a "slow rollout" to more theaters nationwide.

"An emotionally gripping if slightly overwrought drama," is how Eric described Red in his review from Sundance, where the film premiered. Later he called it "a solid B-minus effort, and Cox's performance makes it eminently watchable." In addition to Cox, the cast includes Tom Sizemore as a bad father, Kim Dickens as a TV reporter, and Robert Englund and Amanda Plummer as white trash parents of one of the juvenile delinquent kids responsible for the death of the titular dog.

I've loved Brian Cox in many roles (Braveheart to Manhunter to 25th Hour to X2: X-Men United to Zodiac), so I have to believe he's a major plus for audiences looking for something a little different in August. How about you? Do you have any interest in seeing the Cox-avenging Red?

As with so many successful screenwriters, John August's work might be more familiar to you than his name. He wrote Go, Charlie's Angels, and a trio of Tim Burton films -- Big Fish, Charlie and the Chocolate Factory, and Corpse Bride -- before making the mind-bending indie flick The Nines (pictured). He directed it, too (his first feature in that capacity), so he had even more personal attachment to it when it premiered at the Sundance Film Festival in 2007.

A few days ago, August posted an entry on his blog in which he dissects his experience with The Nines and uses it to shine some light on the nerve-racking, dog-eat-dog world of independent filmmaking. Clearly this business is not for the faint of heart. He lists what he calls "the Graduating Class of 2007," 21 buzz-generating films from Sundance that year, including his own. All but one were bought by distributors ... and almost all of them totally tanked at the box office.

That's not very encouraging, especially considering these were the cream of the Sundance crop. Only five on his list made more than $1 million in theaters, and many didn't even crack $100,000. The Nines (which was pretty decent, by the way, definitely worth checking out) got a cursory theatrical release in a couple cities, where it made a paltry $63,165, then eventually found its way to DVD.

Cinematical has received this exclusive clip from Gonzo: The Life and Work of Dr. Hunter S. Thompson, a new documentary written and directed by a very talented friend of ours, Alex Gibney (Taxi to the Dark Side, Enron: The Smartest Guys in the Room). The film, which premiered back at the Sundance Film Festival, chronicles, well, the life and times of Dr. Hunter S. Thompson (Fear and Loathing in Las Vegas); Gonzo journalist, author, psychedelic supporter and all-around nutty dude. James reviewed the film back at The Dance, and said: " ... Gibney's documentary captures Thompson's bizarre orbit though American letters and politics with extensive use of archival footage but also through recreations, animation and more." IMDb has it at a 9.2 rating out of 10, and Rotten Tomatoes is showing 82% so far for a film I know a lot of people are anticipating. If there's one man you'd want to see a documentary about, it's Thompson. I'm definitely looking forward to this one. You? (For more, also check out James' audio interview with Gibney.)

Gonzo: The Life and Work of Dr. Hunter S. Thompson hits theaters on July 4th.

On Sunday, I got really, really excited about going to see the documentary Trouble the Water, which was playing in Brooklyn as part of the Sundance @ BAM series. But when I went to buy my tickets on Moviefone, the single showtime was sold out. "Oh well," I thought. "I'll just see it when it's officially released to theaters." Then I discovered that, despite winning the non-fiction Grand Jury Prize at this year's Sundance Film Festival and despite garnering tons of great reviews, including one from New York Times critic Manohla Dargis calling it "one of the best documentaries in recent memory," the film had no domestic distributor.

Two days later, I'm finally relieved. According to The Hollywood Reporter, the Hurricane Katrina doc has been picked up by Zeitgeist Films for a platform release beginning August 22. Fans of the film (including our own Kim Voynar, who picked it as her favorite at Sundance -- read her review here) should be happy that it will at least receive Oscar-qualifying runs in NYC and LA, because everyone who's seen it seems to agree that it will definitely get a nomination. Those of us who haven't seen it should also be happy that it's likely to be given a proper expansion, at least to the major U.S. cities.

Trouble the Water was directed by longtime doc producers Carl Deal and Tia Lessin (Fahrenheit 9/11) and depicts the tragic events of Hurricane Katrina mostly through the eyes and camcorder of Kimberly Roberts and Scott Roberts, who shot footage before, during and after the storm and its subsequent effects.

For an emerging filmmaker, the Sundance Film Festival provides a starting point for the life span of a feature-length work. There's a far greater sense of immediacy, however, for the filmmakers involved in the shorts program, where a wide variety of material tends to begin circulating the festival world before fading into complete obscurity. That's why the short films that screened yesterday as part of the third annual Sundance Institute at BAM (Brooklyn Academy of Music) signified the most important aspect of the two-week event: With few exceptions, the films on display received the kind of exposure that helped validate this frequently neglected format. While some of the titles are available on iTunes, many that were shown to a packed house finally got the long-delayed reception they deserved.

Animated efforts almost always offer the best ingredients in any shorts program, since it's here that you'll find a combination of inspired side projects from gainfully employed studio animators and the works of struggling independent artists. The latest program couldn't beat the sheer brilliance of cult animator Don Hertzfeldt's short Everything Will Be Ok in last year's showcase, but two particularly memorable films left distinct impressions this time around.

Time to play catch up with a couple of indie distribution deals that were completed during the past few days.

In the warm afterglow of Cannes, IFC Films acquired one more title to add to their stockpile, according to The Hollywood Reporter: Italian crime drama Gomorra. Directed by Matteo Garrone, the film is based on a best-selling book and follows five separate stories. "Set in the provinces around Naples," wrote our own James Rocchi, "Gomorra's a sweeping, stirring drama that has the shoot-and-loot tension of the best crime cinema but also has the scope and serious intent of great drama." Gomorra won the Grand Prix at Cannes, which is unofficially considered the "runner-up" prize. IFC plans a theatrical release and will also make it available day-and-date on its video-on-demand service; they are also seeking a cable TV deal of some sort.

Months after it debuted at Sundance, indieWIRE says that Sean McGinley's comedy-drama The Great Buck Howard has finally secured distribution from Magnolia Pictures. Cinematical's Scott Weinberg thought it "might be the most affectionate look back at old-school entertainment since Peter O'Toole boozed his way through My Favorite Year" and called it "a smoothly, strongly appealing comedy." Colin Hanks and Emily Blunt star as an ex-lawyer and a publicist, respectively, trying to help magician Malkovich make a comeback. Magnolia plans a fall theatrical release.

Last night I had the pleasure of attending the opening night premiere of American Teen (in theaters July 25) as part of the third annual Sundance Institute at BAM (Brooklyn Academy of Music). The Sundance fav launched an eleven-day festival of sorts, showcasing the best of the best from this year's Sundance Film Festival; 22 features and 36 shorts in total, plus filmmaker Q&As, parties, art installations and tons of Brooklyn hipster-watching.

The screening itself was completely sold out and held inside the gorgeous BAM Howard Gilman Opera House, where, conveniently, free popcorn and bottles of water were handed out at the door. And as my wife pointed out after we sat down: "They're smart -- free things always put a person in a good mood before a film." Indeed! Before the curtain rose on American Teen, a number of folks approached the mic for some words, while the crowd cheered every time 'Brooklyn' was used in a sentence. The speakers included BAM President Karen Hopkins, Sundance executive director Ken Brecher, Brooklyn Borough President (and an awesome guy) Marty Markowitz, Katherine Oliver, Commissioner of the NYC Mayor's Office of Film, Theatre & Broadcasting, BAM Cinema Club Chairs Maggie Gyllenhaal and Peter Sarsgaard, and, finally, American Teen director Nanette Burstein (sporting a very pregnant belly) and one of the film's teenage stars, Hannah Bailey (pictured above).

Check out a gallery from the premiere, the film and the prom-themed after party below -- then head after the jump for my thoughts on American Teen. (All pictures courtesy of the fine folks at the Sundance Institute and Paramount Vantage.)

It's been clear for several weeks now that the independent distribution company THINKfilm has been suffering from some money troubles. Around the time the Cannes Film Festival kicked off this month, blogger AJ Schnack assembled reports from various sources that the company owed a lot of money to many different places. Now, Nikkie Finke reports that Allied Advertising Ltd. filed a lawsuit in Los Angeles Superior Court today against THINKfilm owner David Bergstein, claiming that THINKfilm failed to pay for Allied's advertising services in a timely manner, while the distributor pretended that wasn't the case. A serious problem indeed.

It's a little unfair, however, for Allied to complain about THINKfilm's decision to continue doing what they do best -- buying films. The lawsuit says that the company embarked on a "lavish film licensing buying spree at various film festivals around the world," rather than exclusively focusing on paying off debt. It's worth noting that THINKfilm remained fairly withdrawn at Cannes this year, and while they did pick up theatrical rights for Marina Zenovich's Roman Polanski: Wanted and Desired at Sundance, the film already had a television deal in place with HBO. Meanwhile, the company has dropped Battle in Seattle, which it originally purchased at the Toronto Film Festival. The "buying spree" sounds like needless exaggeration on Allied's part. Whatever the case, given THINKfilm's track record (they did guide Ryan Gosling to his Half Nelson Oscar nod), one hopes they'll survive this nasty legal snafu.

For those who live in and around the New York City area, tonight the Sundance Institute launches their very popular series at BAM (Brooklyn Academy of Music), in which they'll screen a whole bunch of films (22 features, 36 shorts) from this year's festival over the course of the next eleven days. Yours truly will be in attendance this evening for American Teen, followed by a prom-themed after party. A doc about teens? The prom? I'm soooo there!

Other films of note that will be screening include Man on Wire, Gonzo: The Life and Work of Dr. Hunter S. Thompson, Choke, Frozen River, Captain Abu Raed, American Son, Anvil! The Story of Anvil and Ballast, among others. This Sunday, Cinematical's Eric Kohn will be on hand for Sundance Shorts Sunday, featuring 12 hours of short film programs, Q&As with filmmakers and more. He'll report back on what he sees, hears, learns, etc.

They're screening some excellent films this year and I believe tickets are still available for most, so definitely swing by the official website and check out the scene. Sundance Institute at BAM runs from May 29 through June 8. (And if you make it down there tonight, do say hello!)