Tanner King Barklow

Unmade in China

Gil Kofman, Tanner King Barklow

Unmade in China follows American director Gil Kofman as he travels to Xiamen, China to direct the Republic's first ever thriller. Once there he discovers that the old adage of making a film three times, once in the writing, once in the shooting and once in the editing, is in fact just the opposite in his host country, where his film is unmade three times. Undaunted by his inability to speak or understand the Mandarin language, Kofman directs his frequently recast actors through a translator as government censorship and constant cultural mishaps hijack his script and derail production. Like Man of la Mancha set in Communist China, there has never been a film quite like this.

Camp Blood: The Musical

Jefferson Craig, Thomas Hughes

Sofia Alvarez, Dan Wilcox

The secluded Camp Blood was supposed to be the perfect place to spend the summer. But when six teenage counselors show up the terror begins. To their horror the find a deranged killer determined to pick them off one by one. Hormones, Illegal drugs, an catchy tuns form a recipe for death in... Camp Blood: The Musical.

Lost in the White City

Gil Kofman, Tanner King Barklow

Haley Bennett, Thomas Dekker

The White City tells the story of an emotionally charged love triangle set in the hot political climate of modern Tel Aviv. A young couple take a winter break in Tel Aviv as an opportunity to exercise their creativity. But while Eva writes poetry and parties with friends, Kyle works on a film which expresses his own confused sexuality with Avi, a young ex-soldier; drawing Avi further into the couple’s complex relationship. The White City presents a new slant on the love triangle genre, with the backdrop of Tel Aviv as a cultural counterpoint to the American couple’s life. Cambridge Film Festival 2014 (http://www.cambridgefilmfestival.org.uk/films/2014/the-white-city)

America: Land of the Freeks

Ulli Lommel

Ulli Lommel, Tanner King Barklow

Ulli Lommel was an obsessive and productive filmmaker of the Fassbinder era. He died in December 2017 leaving behind his 64th film, an angry but not entirely gloomy satire about the state of his adopted country, the USA.