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Tribeca Film Festival 2017: 20 Movies We Can’t Wait to See

From docs on Puff Daddy and Public Image Ltd. to British comedies and Aussie horror – your complete guide to the downtown NYC film fest

tribeca film festival 2017, public image limited documentary

Courtesy of 2017 Tribeca Film Festival, Scott Gries/Getty, Ray Stevenson/Rex

When Robert De Niro and Jane Rosenthal first started the Tribeca Film Festival back in 2002, the idea was to revitalize a downtown neighborhood still suffering from a post-9/11 slump. It was a modest, and somewhat local affair. Fast-forward nearly 15 years later, and this little NYC shindig has become a beast: a vast, sprawling event filled with competitions, big-name gala premieres, a bleeding-edge V.R. and multimedia presence, a TV-centric sidebar, some truly inspired celebrity-interviews-celebrity events and more sponsorship than you can shake an across-the-board branding initiative at. The programming remains thrillingly eclectic, frustratingly erratic and left-field exhilarating. Its aims have become more and more ambitious, yet it still remains, first and foremost, about the movies.

The question is really, out of the dozens upon dozens of choices, what do you need to see when this year’s fest starts up on April 19th – which is where we come in. We’ve singled out 20 films you’ll want to check out, or keep an eye out for: music docs on everyone from Puff Daddy to Public Image Ltd.; portraits of going-too-far stand-ups and gone-too-soon movie stars, ex-punk Buddhists and transgender activists; another road-movie Britcom from Steve Coogan and Rob Brydon; an Aussie horror flick for the ages and one genuinely unclassifiable Estonian movie involving witches, twig demons and flying cows. Consider this your complete guide to the 2017 edition. Please view responsibly.


Courtesy of 2017 Tribeca Film Festival


From its first five minutes – in which a rolling bone-demon with a steer skull kidnaps a cow and “helicopters” it away – Estonian writer-director Rainer Sarnet drops you into a world that’s part Grimm fairy tale, part Eastern European folklore and all fever dream. Sure, it’s your typical boy-meets-girl, boy-falls-in-love-with-local-baroness, girl-casts-spell-on-her-romantic-competition chestnut, rendered in some of the most gorgeous black-and-white cinematography in recent memory. But where most old-world yarn spinners would take the building blocks of freaky Freudian bedtime stories (sleepwalking damsels, deals with the devil, witches, werewolves, class warfare) and milk them dry, Sarnet doesn’t stop until he’s fried them (and your frontal lobe) to a crisp. It’s a beautiful as it is profoundly weird-as-fuck. DF

'The Public Image Is Rotten'

Courtesy of 2017 Tribeca Film Festival

‘The Public Image Is Rotten’

This is not a love song to John Lydon’s band/company/project – call it what you will, a rose by any other name smells as wonderfully rotten – though the songwriter’s incredibly ambitious, musically experimental post-Sex Pistols group most certainly deserves one. Instead, actor-turned-documentarian Tabbert Fiiller doggedly charts the bad decisions, bad gigs, burnt bridges and burnt-out musicians left in PiL’s wake, in addition to the highs of making incredible, often uncategorizable music and some legendary albums. (Seriously, have you listened to Second Edition lately?!) It feels like the closest fans will ever get to a complete-ish history of Public Image Ltd., as well as an insightful look at the artist at the center of it. To paraphrase the singer of another collective: You will not get the feeling you’ve been cheated. DF

'The Reagan Show'

Ronald Reagan Presidential Library.

‘The Reagan Show’

It was the administration that set the stage for much of the post-Goldwater modern conservative movement – as well as what one journalist declared would be remembered as the most PR-savvy Presidential run ever. Filmmakers Sierra Pettengill and Pacho Velez revisit the Reagan era via the massive treasure trove of in-house archival footage of Rockin’ Ronnie’s time in office, complete with scandal deflections, stiff photo ops, goofs, gaffs, private moments and his political showdown with the Soviet Union. It can lapse into cutesy cleverness (enough with the whimsical music; using Reagan’s old-movie footage as a diss was already old-news when hardcore punk was young). But when it uses these clips to construct a media-fed narrative that doubled as a political feedback loop, this doc says volumes about then and now. DF

'The Trip to Spain'

Courtesy of 2017 Tribeca Film Festival

‘The Trip to Spain’

At this point, Steve Coogan and Rob Brydon have refined their screen double act – the one they literally take on the road – down to a science, and the third film in their unofficial Trip trilogy doesn’t stray from the previous movies’ recipe. In a nutshell: Take two established British comedians, have them drive and eat their way through a region (this time: Spain), add lots of hilarious impersonations (this time: dueling Mick Jaggers) and just a dash of middle-aged malaise to bring out the flavoring. And like the other films, this combination of passive-aggressive one-upmanship and culinary tourist-porn is remarkably consistent in quality; the gents and director Michael Winterbottom know they’ve hit on a successful formula and work the duo’s annoyed glares and ability to crack each other up for all it’s worth. Genius, this. DF

'When God Sleeps'

Amin Khelghat

‘When God Sleeps’

While your average pop star complains about the “trappings of fame,” Iranian singer-songwriter Shahin Najafi is reading Websites showing the assassination of his avatar as thousands of Muslims, led by religious clerics, wish for his death. Banned in his native country for his iconoclastic lyrics, the musician moves to Berlin while he, his band and manager navigate death threats and apostasy accusations. Director Till Schauder and his crew aren’t afraid to immerse themselves into Najafi’s precarious world. JN

'Whitney. "can I be me,"'

David Corio

‘Whitney: ‘Can I Be Me?’

Nick Broomfield’s previous forays into music documentaries include outlandish, gonzo-ish conspiracy theory-filled films on rock stars (Kurt & Courtney) and rap feuds (Biggie & Tupac). This time, the filmmaker plays it straight, staying behind the camera and letting the late singer’s friends, family members and record label associates trace how a shy New Jersey girl became the most awarded female vocalist ever. Broomfield examines the myriad and complicated factors leading to her death in 2012, but unlike past portraits, this celebrates her life even as it unpacks her death. It’s also a nice dissection on race and the marketing of an image in the music industry, as one fan’s golden voice is another’s selling out. JN

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