- Sat, Jan 11, following the 4:45 pm screening
INSIDE LLEWYN DAVIS: Conversation with Peter Kurland, production sound mixer on every Coen brothers film for the last 25 years, and Jim Ridley, film writer and editor of the Nashville Scene, following the 4:55pm screening
On Saturday, January 11th, following the 4:55 pm screening of INSIDE LLEWYN DAVIS, a conversation with Peter Kurland, production sound mixer on every Coen brothers film for the last 25 years, and Jim Ridley, film writer and editor of the Nashville Scene. BUY TICKETS
About INSIDE LLEWYN DAVIS:
Guitar in tow, huddled against the unforgiving New York winter, Llewyn Davis (Oscar Isaac) is struggling to make it as a musician, navigating the Greenwich Village folk scene of 1961 against seemingly insurmountable obstacles. Living at the mercy of both friends and strangers, Llewyn’s misadventures take him from the basket houses of the Village to an empty Chicago club—on an odyssey to audition for a music mogul—and back again. Brimming with music performed by Isaac, Justin Timberlake and Carey Mulligan, as well as Marcus Mumford and Punch Brothers, INSIDE LLEWYN DAVIS—in the tradition of O BROTHER, WHERE ART THOU?—is infused with the transportive sound of another time and place. An epic on an intimate scale, it represents the Coen Brothers’ fourth collaboration with multiple-Grammy® and Academy Award®-winning music producer T Bone Burnett.
"Joel and Ethan Coen's wonderful new film is the kind of great work that cuts right through the noise." —Manohla Dargis, The New York Times "A great film by two American masters... A boldly original, highly emotional journey." —Scott Foundas, Variety "...this is not a biopic, it’s a Coen brothers movie, which is to say a brilliant magpie’s nest of surrealism, period detail and pop-culture scholarship. To put it another way, it’s a folk tale." —A.O. Scott, The New York Times "What’s so wonderful about the musical world INSIDE LLEWYN DAVIS creates is that it isn’t simply a re-creation of the Greenwich Village folk scene of the early ’60s, but a ground-up reimagining of it." —Dana Stevens, Slate