Pecker’s Point: December


One of the privileges of working in the non-profit sector is that we get a chance to work with and be inspired by passionate individuals who genuinely want to improve the common good of society. One of those prized individuals is Rick McCarthy, with whom I have had the privilege of working both as a fellow board member and as a true partner, in his capacity as chair of the board of the film society. After more than eight years of service, December marks Rick’s final month on the board. During those years, Rick served as a sounding board, mentor, role model and friend to me and his fellow board members demonstrating in deed and action that above all, service of any kind should be a joyful and uplifting endeavor. While Rick will remain on our Emeritus Board, I have no doubt that Rick will continue to pursue new ways to serve the causes that he cares about so deeply. Because of Rick, PFS and the world is indeed a better place.

L – R, PIFF Director of Development Sarah Nitsch, Emeritus Board President Rick McCarthy, Terrence Meck (from The Palette Fund)

Fortunately, there are others who share the same passion and enthusiasm for doing good in the world and we’re pleased to welcome new board member Christine Barker and advisory board members Javier Morgado and Wynn Salisch to the team.

Board Member Christine Barker
Wynn Salisch

Christine is one of those super women who pretty much excel at everything they do and make it seem effortless in the process. As founder and principal at Ecotekture Development and Design and a real estate investor and developer, Barker is helping us to advance the spirit of social entrepreneurship and innovation that are the hallmarks of a thriving organization.

Javi Morgado

In his role as Executive Producer of CNN’s New Day Show and former positions at NBC and Latina Magazine, advisory board member Javier Morgado combines his strong business and marketing skills with his passion for truth telling in the media and supporting LGBTQ rights and serving communities of color. Fortunately for us, Javier also has a passion for John Waters and the Provincetown Film Festival which will be greatly enriched with his involvement. Wynn Salisch brings more than 50 years of experience of directing more than 1,000 motion picture exhibition operations worldwide, but his passion for preserving the integrity and social function of the art house theater in all communities is what makes Salisch’s willingness to serve as a mentor to our key cinema staff so meaningful and impactful. While all these new board members bring a diverse set of skills and talents to the organization, they share a common attribute– a desire to make the world a better place.

L – R: Advisory Board member Ash Christian, Christine Walker, Javier Morgado

Christine, Javier and Wynn join an illustrious group of board and advisory board members, all of whom are doing extraordinary work, but I need to acknowledge the work of advisory board member and Sundance Festival Director John Cooper who along with Sundance Director of Programming Kim Yutani (a former programmer at PIFF) recently announced important institutional changes in their staffing, programming and tracking that I strongly believe will have a significant and meaningful impact on the number of films directed by women and people of color. Given their stature on the world stage, John and Kim are making bold moves that actually validate and further enables the work that we are doing at PFS.

2019 holds tremendous promise. We are excited to announce a whole slew of new programs in the New Year. Prior to that, you will receive our annual appeal letter or email requesting your much needed support. Until then, from the board, advisory board and staff at PFS, we wish for you the better world that we continue to work and strive for.

Happy Holidays,

Christine Kunewa Walker, CEO


Film Society members since 2013, these two go hand-in-hand, everywhere, all the time. It’s impossible for us to choose to highlight just one of them without the other. Ilene Mitnick and Alli Baldwin, owners of Roux Provincetown, have been loyal members of the film society since they came to town 5 years ago. In fact you’ll find they are loyal to several charities on The Cape that they support including hosting the country’s largest annual lesbian wedding event – Bride Pride.

Like the Pilgrims before them, Alli and Ilene quickly became fixtures of Ptown from the moment they landed. Lucky for us they are avid lovers of all-things-film and have been known to sponsor everything at PFS from the annual honoree dinner for the film festival, to the Women’s Residency Program at the Provincetown Institute and the only annual Women’s Media Summit in the country.

On any given Sunday, one can see these two in the audience of the Waters Edge Cinema with popcorn awaiting the scheduled screening – or better yet smell them donned in their fragrant healing & essential oils from doTERRA – Ilene in her cloche hat and Alli most likely in a captain’s cap. It saddens us to say that these sightings will soon be coming to an end as they embark on a new journey to Sarasota Florida. Always in our hearts, their spirit will continue to fill the seats and we look forward to annual returns at Film Festival time. From the bottom of our hearts, thank you Alli & Ilene for your loyalty and everlasting support.

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Let’s all go to PIFF 2019!

Submissions for the 2019 Provincetown Film Festival are NOW OPEN!
Join us for this 5-day film festival, from June 12—16. Each year, we showcase independent film in America’s first art colony and celebrate the power of artists who continue to operate outside the mainstream.

Now in its 21st successful year, PIFF has permanently established itself as the largest cultural event in lower Cape Cod and Provincetown’s premier cultural event, attracting 10,000 plus film-goers, movie buffs, and arts patrons. This festival showcases over 100 American and international independent narrative, documentary and animated features and shorts as well as panel discussions and special events.



Last month, Thomas Bena, Executive Director of Martha’s Vineyard Film Festival and documentary filmmaker, screened his ground-breaking film, One Big Home, at Waters Edge Cinema. Over ten years in the making, Bena’s film touches on the critical implications of building “mega-mansions” on already limited coastal lands, unnecessarily taxing resources and infrastructure in the townships throughout the cape and islands.

You may wonder, ‘what impact can be made with one person and an independent film?’ But thanks to filmmakers like Bena and the vision of OBH, in 2017 Truro passed a bylaw limiting house size in the National Seashore District; a bylaw now implemented town-wide.

PFS thanks Thomas and OBH for coming to Waters Edge Cinema to provide diverse and engaging dialogue around engaging, independent cinema for the community of Provincetown.

Upcoming screenings:

December 11, 2018 – 6:30 p.m. Barrington Public Library, Barrington, RI
January 17, 2019 – 7:00 p.m. Chelsea Theater Chapel Hill, NC



A non-profit arthouse cinema, operating year-round, and contributing to Provincetown’s tradition as America’s oldest and most vital art colony. Located on the mezzanine between the 2nd and 3rd floor of Whalers Wharf.


Director and American artist, Julian Schnabel, has this to say about his biographic drama on Van Gogh’s life as a painter: “This is a film about painting and a painter and their relationship to infinity. It is told by a painter. It contains what I felt were essential moments in his life; this is not the official history – it’s my version. One that I hope could make you closer to him.”

Based on the novel Boy Erased: A Memoir, this film stars Lucas Hedges as Jared Eamons, who was based roughly on the memoir’s author—Garrard Conley. Director-screenwriter-actor Joel Edgerton skillfully adapts Conley’s struggle in this inspired, empathetic and complex film of family, ignorance, and the hope for reconciliation.

Playing this month in The Provincetown Film Art Series
Curated and hosted by Howard Karren, Arts Editor of the Provincetown Banner

Louis Malle’s first fiction feature gives American noir an early New Wave twist. It’s about two young lovers, Florence and Julien, who have planned the murder of the Florence’s husband, who is Julien’s boss. Totally atmospheric, with its Miles Davis score, the movie helped to turn Moreau into a screen icon. Co-written and directed by Louis Malle, with Jeanne Moreau and Maurice Ronet, in French with English subtitles.

Playing Wednesday, December 12 @ 7pm


We’re so excited to share that we reached our goal for the Cinema 100 Auction! We are so grateful to those who bid, those who donated items, and everyone who supported our efforts. A big shout out to Curtis Speer of CUSP Gallery who hosted our Auction Kick-off Cocktail Party on Black Friday—not only were we able to view his fine art photography (including the beautiful piece he donated to our auction “Tangerine”), but he displayed the full range of this year’s auction items throughout the gallery; he had warm cider at the ready; and to top it all off, we shared snacks from Angel Foods.
If you missed our auction, don’t worry, there’s still time! A few of our amazing auction items are available for purchase for a limited time only. Visit to view our items, which happen to be perfect holiday gifts! Attending PIFF 2019 from June 12 – 16? Buy your passes now at our special discounted price! Get yours before time runs out, Film Festival Passes and Waters Edge Cinema memberships are only available for a short time, at the lowest price of the season!


Julie Rockett
Norah Shapiro

This month’s Launch subject is documentary filmmaker, Nora Shapiro. I hope you were able to see Shapiro’s documentary TIME FOR ILHAN during PIFF 2018. If so, you were most likely delighted by the story of former refugee Ilhan Omar’s successful run for Minnesota State Representative.

Prior to becoming a filmmaker, Norah attended Tufts University (Go Jumbos!) and became a lawyer, working for years as a public defender. We discussed how her unique background gives her an advantage in filmmaking. We also discussed the importance of saving binge-worthy entertainment for the darkest of winter days.

JR: Your documentary TIME FOR ILHAN won our Audience Award for Best Documentary and I believe this was one of some of the awards you’ve accrued this year.
NS: Yes, we won the audience award at Duluth Superior Film Festival and Best US Feature Documentary at The Hot Springs Film Festival.

JR: Working in social media for PIFF, I saw that your film was so popular whenever we posted about it.
NS: And that was before her latest political development. Now she has so many more followers and it’s been amazing to see Ilhan’s profile grow.

JR: How was your experience at Provincetown Film Festival?
NS: I loved it! It was one of the highlights of this year’s festival run for us. It was an enchanting experience and I feel that the festival does everything right.

JR: — I am definitely going to quote you on that!
NS: I mean it. We loved it. They had the right balance… the audience, the way things were staffed, the way filmmakers were treated. It was just really enchanting. And I loved the bikes! We biked everywhere! The whole thing was just a fabulous experience.

JR: In picking your subject, Ilhan Omar, it seems to be a case of divine timing. She’s a former refugee, a Muslim, a mother, a feminist… all things that have been vilified recently. It’s not really a question, but I want to thank you for shining a light on this dynamic person who is so many of the things that some people mistakenly fear.
NS: Well, thank you, first of all. People joke, ‘Do you know how to predict the future?’ or ‘Do you have a crystal ball?’ I picked Ilhan for the reasons you cited. Not because I knew or had a strong feeling that she was going to win. I knew it was going to be a lens for looking at all those things that you identified. I also knew that she was a rising star, whether she won the election or not.

She was a complete underdog when we started to work with her and we couldn’t predict if she’d win, but we hoped she would. I chose to make this film because she was a refugee, and Muslim, and a woman, but her winning became this wonderful bonus to an already extraordinary story.

We had discussed about her pursuing a spot in US Congress someday. Our time line for that was far longer than we thought it would be. And that was a surprise for all of us, but hey, everything that has happened politically in the past few years has been a surprise. I just feel very grateful that it worked out and we were able to capture this moment and illuminate something that turned out to be much bigger.

JR: You’re also a lawyer. Has being a lawyer helped you as a filmmaker?
NS: Yes, I was a public defender and that is a particular type of lawyering and a particular skill set. Those skills are helpful in getting you to ask tough questions or in dealing with conflict and stress. It allows me to synthesize and utilize information quickly and negotiate when resources are less than ideal. Certainly, not being daunted by hearing the word ‘no’ was a major plus that I learned during my time as a public defender.

JR: Was there a documentary that inspired you?
NS: Barbara Kopple’s work HARLAN COUNTY, U.S.A. was a documentary that really highlighted the intersection between my previous work as a public defender and with social justice work and what was possible in the film world. I also loved her Dixie Chick’s movie SHUT UP & SING.

I also loved HOOP DREAMS. Another major influence on TIME FOR ILHAN was STREET FIGHT by Marshall Curry about Cory Booker’s mayoral campaign.

JR: Is there someone that you would love to work with?
NS: If I could follow Barbara Kopple around that would be great. I just saw her most recent documentary and it was so lovely. It was about a camp in Canada for refugee children. It reminded me how much I love her filmmaking.

JR: Have you binged any podcasts lately?
NS: I like the podcasts that are in the crime realm like SERIAL and IN THE DARK. It’s an area that I’m considering for a future project. I’m producing a film about Jacob Wetterling case. When we started the project, it was a 26-year-old unsolved case about a missing boy. In the course of making the film, the case was solved. It’s directed by TIME FOR ILHAN’s Director of Photography. And we focus on Jacob’s remarkable, resilient mother throughout it.

JR: And what about TV binges?
NS: I’m a big fan of THE NEW YORKER’s Emily Nussbaum and I usually like anything she recommends. I read her review of an Australian series called PLEASE LIKE ME. And now I’m nuts about it. I’m also loving MY BRILLIANT FRIEND. I’m saving the second season of THE MARVELOUS MRS. MAISEL. I’m waiting for the dark days of a Minnesota winter to watch those episodes.

JR: Lastly, are there any other projects you’re working on?
NS: Yes! I’ve got something to announce. I’m gonna say it out loud and make it real! It doesn’t have a name yet, but it is beyond the glimmer in my eye. It is going to be a short documentary. It is the story of the first-in-the-nation physical memorial to survivors of sexual violence. It is being developed here in Minneapolis. I’ll work with the woman heading up this memorial project. It’ll be an investigation into what is being memorialized and why, and for whom the memorial is for and what the significance of this memorial is for the community.

JR: I can’t wait to see it. I hope you return to Ptown and show it.
NS: That would be great!



This past month, a ferocious advocate for LGBTQ rights and a tenacious storyteller was silenced with the passing of activist and archivist Tim McCarthy. He was a 20-year mainstay at the Film Festival capturing hundreds of hours of panel discussions, interviews, and conversations with some of the most famous people on the planet. Yet Tim managed to remain more intriguing than most of his subjects. Somehow, once his camera settled on its subject, this cameraman of inexplicable boisterousness and energy understood when his silence was perhaps his greatest form of speech. The board and staff wish to extend our deepest condolences to Tim’s family and friends. He may be silenced but never forgotten.

Tim McCarthy and Christine K. Walker

As we approach this Thanksgiving holiday, I am appreciative of all the filmmakers, like Tim, whose passion for telling stories make the work that we do here at the film society so meaningful and rewarding. Earlier this month, I had the pleasure of sitting in on a panel discussion at the Creative Exchange organized by the Arts Foundation of Cape Cod where a group of artists (Marion Roth, Anne Stott, and Laura Shabbot) spoke about ‘Overcoming Creative Blocks.’ The common theme shared by each of these artists was that the ‘creative blocks’ paled in comparison to the roadblocks that prevent their work from getting out in the world. At PFS, these stories motivate us even more to discover more opportunities to support artists and to support the work even in the earliest stages. Last month, we had the unique pleasure of presenting a staged reading to a packed house by one of the filmmakers of our 2015 residency program. Shelli Ainsworth worked with local actors including our very own marketing manager Glyne Pease, to present two episodes of her drama series AUNT PHYL.

From the early stages to the fully-realized productions, we are thrilled to launch our 13th Annual Provincetown Film Arts Series, co-presented with the Provincetown Art Association and Museum, another champion of artists in our community. The program is not just a true gem, but an insanely awesome program curated by Provincetown Banner Arts Editor Howard Karren and a PFS Persistence of Vision Award recipient, a well-deserved distinction as evidenced by his selection to kick-off the series, Sergio Leone’s 4 hr and 10 minute fully restored director’s cut of ONCE UPON A TIME IN AMERICA. Imagine a film series with back-to-back screenings of Louis Malle’s ELEVATOR TO THE GALLOWS and Kelly Reichart’s WENDY AND LUCY! I cannot emphasize enough how thoughtful and brilliant this program is. If you can’t get to Provincetown, rent the movies and look for Howard’s lecture notes on our website!

Thank you Howard and thank all of our staff, board, and stakeholders who are making Provincetown a WORTHWHILE destination for creative exploration in film.

Arts editor Howard Karren with journalist Kim Masters

Finally, in this Thanksgiving month, I need to acknowledge two unsung heroes in the PFS firmament—our CFO Steven Roderick and our board treasurer Lin Gentemann. Since I started this journey five years ago, Steve and Lin have helped me navigate this organization towards financial stability and accountability. The film society and Provincetown is fortunate to have these folks working hard on our behalf to ensure a better community for all of us.

Lin Gentemann (R) with Board President Anthony Lawson

Happy Thanksgiving to you and yours!

Christine Kunewa Walker, CEO


Whenever one speaks of altruism and charity, it’s no revelation that somewhere in that sentence the name Steve Roderick will appear. So much so, that he was honored last week at Philanthropy Day by Philanthropy Partners of the Cape and Islands for his decades-long past of support to charities throughout the area. The Distinguished Service to Philanthropy highlights four categories to include ‘Outstanding Volunteer’. This is the first time in its’ 20-year run that the honoree was a recipient from the lower cape.

“I worked with the Provincetown Film Society and I have to just kind of say “Wow!” Their CEO Christine Walker, she lights up a room and she makes you want to do more. So much so that I wanted to get the Film Society to start a ‘Democracy in America’ series through film. I knew Christine would be game but I also knew we needed some money; so I went out and applied for a small grant to get us started and now we’re vetting the program. And I’m grateful to them for supporting that.”

In his acceptance speech, on October 30th, Steve humbly reports, “I’ve had so much support. I learned through the McNulty family and the folks at Lobster Pot the importance of giving back, the importance of corporate giving and the importance of just trying to make an impact every day no matter how small it can be. Anyone can volunteer. Volunteer because it gets you vested in the organization.”

At PFS, we are honored to congratulate Steve for the work, love and support he gives to our organization and other nonprofits in The Cape. Thank you Steve, for your service.

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ONE BIG HOME demonstrates the global conversation about ensuring that real estate development practices are conducted for the welfare of the public and the environment, not solely for the highest profit. As a town with a lot of dialogue surrounding the well-being and expansion of its own community, Provincetown is ideal for a screening of ONE BIG HOME. This film encourages discussion around the impact of unfettered, high-profit building projects that threaten not only local residents, but the delicate balance of nature in these secluded vacation towns.

Screenings from November 9 – 11 at 7 PM

Join us November 10 for a special fundraising event and screening with the filmmaker, Thomas Bena

Pre-screening Cocktails, Revere Guest House | 5:30 PM
ONE BIG HOME Screening, Waters Edge Cinema | 7:00 PM
Post-screening Q&A with Thomas Bena and Chris Murphy | 8:30 PM
Reception with the Filmmakers, 1620 Brewhouse | 9:00 PM

November 9, 11 Tickets: $12 for GA/$10 for seniors/$8 for members
November 10 Tickets: $25

Thomas Bena, director

In 2001, while working as a carpenter on Martha’s Vineyard, Thomas founded the Martha’s Vineyard Film Festival. Now in its nineteenth year, the MVFF is a year-round cultural institution. It offers free filmmaking classes in the Island schools, workshops for children, a thriving summer film series, and an annual March film festival. Thomas is looking for land (and/or an old barn) that the MVFF team can convert into a year-round gathering space for the community. In 2004, he started shooting his first documentary feature, One Big Home. The film chronicles his efforts to understand the trend toward extra-large summer homes. It took 12 years to make and has screened in more than 100 venues in the U.S. and abroad, including the National Gallery of Art and the National Building Museum in Washington, D.C. Citizens in Honolulu, Vancouver, Truro, and Provincetown have used the film to galvanize support for their own town/city bylaws limiting house size. Thomas has spent almost three years traveling to speak about One Big Home, and continues to do so. The film is also available on iTunes, DVD, and Blu-ray disc. He has recently launched an interactive website to help the conversation continue to grow:

Traveling along side Thomas Bena is CHRIS MURPHY, a life-long fisherman and a powerful voice in ONE BIG HOME. In the film, Chris asks, “What happens to the community of working people…as the community gentrifies into really rich people and their houses?” Join Chris and Thomas as they explore the weight of what overdevelopment can mean to a community.

Cinema 100 Auction Kick-Off Reception
Friday, November 23
4 – 6 PM
CUSP Gallery, 115 Bradford


A non-profit arthouse cinema, operating year-round, and contributing to Provincetown’s tradition as America’s oldest and most vital art colony. Located on the mezzanine between the 2nd and 3rd floor of Whalers Wharf.


Why remake a movie four times? What makes A STAR IS BORN such a compelling story? Bradley Cooper (in his directorial debut) takes this well-known tale and gives his audience an updated look on love and loss in the music industry as a mega-star and a star-on-the-rise. Starring in her first ever major film role, Lady Gaga shines in her most impressive performance yet. Joining the likes of Whitney Houston and Barbara Streisand, Lady Gaga is a gift that keeps on giving.

Thomas Bena is no stranger to the mega mansion epidemic that is claiming coastlines and open spaces across the United States. Filmmaker and subject of ONE BIG HOME, Bena was actually once responsible for building these monuments to wealth in his home of Martha’s Vineyard. That was until his conscience got the better of him. It was this gut feeling that inspired him to leave his job as a contractor and begin making ONE BIG HOME, originally as an investigation into how and why these houses are made. Butting heads with former employers, coworkers, new residents and local community leaders, Bena examines every side of the argument against massive developments. What follows is his transformation from sleuth to cynic, and finally to community leader over the course of 12 years.

Starring mega-talent Rami Malek, BOHEMIAN RHAPSODY is a foot-stomping celebration of British rock band Queen’s music and their extraordinary lead singer Freddie Mercury. After almost 10 years in production, the long awaited biopic concentrating on the genius of Mercury and the tragedy of his death, this film is sure to rock you.


Julie Rockett
Paul Harding

This month’s Launch is about full-time bibliophile and part-time cinephile, Paul Harding. He is the 2009 recipient of the Pulitzer Prize for Fiction for his celebrated debut novel, Tinkers. He has since written Enon and as of this week he completed his third, as-yet-untitled novel.

Prior to becoming a writer, Paul was a professional drummer and performed with Cold Water Flat. After getting his MFA from Iowa’s Writers’ Workshop, he was a Fellow at Fine Arts Work Center here in Provincetown. But most importantly, he got to be my professor for Fiction Writing at Harvard Extension School. (Just kidding)

Paul’s story is an inspiration to me and many other writers out there. He was let go from his position at Harvard. His wife returned to work to support the family and he became a stay-at-home father. He used those precious minutes while his sons napped to finish his novel. His manuscript was rejected by every publishing house but one, Bellevue Literary Press, a small independent publisher with an office inside Bellevue Hospital. When it was announced that his work was the first independent novel to win since Confederacy of Dunces, The New York Times published a mea culpa to Paul titled, “The One That Got Away.”

I’m a huge fan of tales of perseverance and of the good guy succeeding—and Paul is the protagonist to that feel-good story. It’s a great pleasure to catch up with him and discuss Provincetown and films.


JR: So after graduate school, you joined the Fine Arts Work Center here in Provincetown. Did that time make you feel like you were an honest-to-goodness writer, or maybe you felt that way already at Iowa?

PH: I feel like I didn’t really know how to write in grad school. I wrote the first draft of Tinkers at FAWC. I spent that whole winter trying to turn what I feared was a terrible short story into a terrible novel. But I’m very loyal to the place because it’s the only long-term residency program in the country where you actually get paid. It’s just awesome what they do there. One of the things I loved the most was being on the beaches in the winter and enjoying the light and peace and quiet. And one of the very best parts was being around my cohorts who were visual artists. At the end of a full day of writing, the last thing I want to do is visit Old Colony and stare at another writer over a beer… I really like talking to people who work with a different media about their art. They have a different palette and repertoire and it refreshes your own work.

JR: So what movies have you seen lately?

PH: I just turned 50 and I feel like I’m already a cranky old man (laughs), so not a lot. I did really enjoy James Baldwin’s I’m Not Your Negro. I’m a musical documentary junkie. I will literally watch any documentary about terrible heavy metal bands and love them. The 12-hour documentary about the Eagles? I fucking hate The Eagles but I’ve watched that documentary like ten times. My favorite recent doc was about the jazz trumpet player, Lee Morgan, called I Called Him Morgan. I love to see how bands work. I’m always looking for a good obscure jazz documentary.

JR: What was your first favorite film?

PH: I was twelve or eleven and it was the first Alien movie. I was just obsessed with it from the moment I saw the first ad for it. It was rated R and my mother said that there was no way I was going to see it. I just laid siege to the poor woman day and night until she screamed, “Go see the friggen’ movie!”
I loved that this was a dirty old space ship and it was essentially a bunch of Teamsters working on it and the whole thing is about labor and how they’re being exploited. Management is forcing them to pick up this alien. There’s Harry Dean Stanton and Yaphet Kotto demanding more money… and I loved it. They don’t even show the alien for the first hour and a half. And now if it’s ever on, I just watch. I never tire of it. It’s so immersive and layered. Alien was so nitty gritty. They’re smoking and drinking beers. It’s a space version of noir. It was so wonderfully dingy compared to the pristine look of Star Wars and 2001.

JR: I remember that you’re a fan of films of the 40s and 50s. Is there something about those films that you feel is missing from current films?

PH: I think because of CGI there’s so much pure spectacle and you don’t rely on the nuances of the story as much. I’m a big fan of Val Lewton films. He made these low budget horror movies but he wasn’t interested in horror. So he turned them into these existential movies about alienated people. Horror took a back seat to these intricate stories about loners. I guess I like the way that filmmakers treated the subjects that were on the population’s minds during that time.

JR: Have any films influenced your novels?

PH: That’s a good question… hmm, let me think. Nah. (laughs) I think it’s because one of the ways I know that my writing has gone wrong in some way or another is when I suddenly feel like you could film it. Like the interiority of the characters is coexisting with the exterior.

JR: What are some of your favorite films?

PH: When push comes to shove one of my top three films is the early Stanley Kubrick movie, Paths of Glory, with Kirk Douglas. It has to be the best anti-war movie ever made. It’s so concentrated, it’s like a play. It’s beautifully filmed and it floored me. I’m fond of paranoid Cold War movies like Seven Days In May and Dr. Strangelove. I also really like those films from the 70s where Boston and New York were characters, back when the city was really dirty and shitty. Like Friends of Eddie Coyle, it’s so just so nasty and gritty and beautiful. But the thing is Eddie had no friends! I have a soft spot for actual family films, ones that aren’t specifically directed at only kids like Back to the Future and Labyrinth with David Bowie. It was stupid but it was kind of great, too. One of my secret shame movies that I watch and practically burst into tears every time I see it is Peggy Sue Got Married.

JR: I love that movie!

PH: Literally every time Peggy Sue sees her mother when she’s young I practically cry like a baby.

JR: Thank you, Paul! I hope we get you back to Provincetown very soon!

PH: Me too! It’d be great to visit. Hopefully soon!


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Pecker’s Point: October


The Women in Leadership Conference for the Alturas Institute Pictured from left to right: [TOP] Carole Geitner (Author of IF ONLY), Jeanette Schneider (Financial Analyst, Activist and Author of LORE), Caroline Heldman (Professor, Activist, Lead Researcher of the Geena Davis Institute, Co-Chair of the Women’s Media Summit), Laurie Sammis (Publisher), Gina Bennett (Senior Counter Terrorism Analyst for the CIA) // [BOTTOM] Elizabeth Gutting (Program Director of the Pen/Faulkner Foundation), Christine Walker (Executive Director of PFS), Jody Williams (Nobel Peace Laureate), Joanne Freeman (Yale Professor and Hamilton Scholar)
It’s a widely-held secret that October in Provincetown is the best time of year. The streets are still bustling with part-time residents and tourists. All the shops, restaurants and galleries are still open. We continue to enjoy great performances at our music and theater venues in town, and at the cinema, its that time when awards season kicks into high gear and the race to program the top awards contenders is underway.

The heavy-weight champion in this arena is our long-time former artistic director Connie White of Balcony Booking who enters the ring of high stakes film buying on behalf of ours and dozens of other theaters across the country. Securing the top titles in independent cinema at a small theater when distributors are aiming for the greatest worldwide exposure is not easy, but Connie, who is a bit of a legend in the field for her work at the highly regarded Brattle Theater and preeminent Coolidge Corner Theatre in Boston, and for founding the Art House Convergence, has the leverage, talent and respect from her peers that allows her to deliver a quality program week-after-week.

This month, in addition to our stellar new release programming, we are excited about our upcoming Women’s Week Series held October 8 – 14th during one of the largest annual events for lesbian women in the country. Following our June festival, programming for this week is a reinvigorating activity as we search for fun but impactful material. With fewer titles than the June festival, we get a chance to spend more time with the visiting filmmakers more often than not leading to conversations throughout the week and beyond. Come and meet our visiting artists on Thursday, October 11 at 7 p.m. followed by a staged reading of Shelli Ainsworth’s scripted series AUNT PHYL. Shelli is a 2015 Women’s Residency Fellow.

Another not-to-be missed conversation will be held on Wednesday, October 10 at 2 p.m. with former Banner Editor and author of BOLT RISK Ann Wood, Fine Arts Work Center poet Sophie Starmack, award-winning playwright and activist Myra Slotnick, and stand-up comic and LEZ BOMB actor AB Cassidy. All will talk about the profound and revolutionary impact of Hannah Gadsby’s NANETTE and the ways in which the program has become a cultural touchstone for a current generation of artists.

Another cultural touchstone was The Laramie Project, a play about the horrific 1988 murder of gay student Matthew Shepard in Laramie, Wyoming. Now in its 20th year, the play and subsequent emmy-award winning film raised the conversation about LGBTQ equality and justice to a national level. This month, the play will be performed at The Provincetown Theater with several ‘Talk Back’ forums that are aimed at continuing to raise awareness and prevention of hate crimes for our communities on the Cape and perhaps the entire northeast. On October 14th, I am honored to lead one of the forums with writer director and Provincetown Theater Artistic Director David Drake.
(Click here to purchase tickets.)

It’s astounding and sad that a 20-year old play about hate and injustice is as relevant today as ever. Luckily, Provincetown endures as a haven for artists fighting on the front lines of injustice in America, communicating empathy and compassion through art and culture.

Here’s hoping to see you all at the movies,
Christine Kunewa Walker, CEO


As we pondered the ideas and creations that have provided substance to our community, the Women’s Media Summit soon in its third year has been an indubitable success. It was the first annual women’s summit pertaining to entertainment media in the country launching a year prior to TimesUp and the #MeToo Movement. The white paper (written by summit organizers) that crowned the event has subsequently been used by organizations around the country as a template to move these important initiatives forward.

Ahead of her time, Judy Cicero, raised a family and a legacy; she was a woman from a past generation that challenged convention of the male dominated conventions of career, activism and education. She refused to settle for less and set the example for women everywhere that everything we can do matters. She christened the inaugural Women’s Media Summit with her leadership, feminism and wisdom. With gratitude and humility we honor Judy…we shall remember her by carrying this great initiative forward.

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Each year, our Honoree conversations begin with our Honoree Reels—video compilations of the year’s Filmmaker on the Edge, Excellence in Acting Recipient, or Next Wave Award’s best work throughout their career. Through these reels, we hope to exemplify why we honor these artists, how they continue to be on the edge of creation and innovation, and the exciting things we can expect from them in the future. Now you can enjoy this year’s Honoree Reels over and over on our YouTube channel!


Rep your favorite film festival year round with our 20th Anniversary festival gear! Buy now for 20% off on all hats, t-shirts, and bags!  [BUY NOW]

In 2015, PFS launched the first Women Filmmaker’s Residency Program in the country in response to the alarming lack of gender parity in U.S. Entertainment Media. Since then, awareness surrounding the issue has been bolstered by the #MeToo and Times Up movements. Still, as Frances McDormand put it so eloquently, “we all have stories to tell and projects need financed.” Come get inspired by the great work that our past and present residents are doing and let’s figure out ways to provide continued support. Join some of our visiting Residents and the Women’s Week Filmmakers in conversation, education, and film appreciation.

Cocktails and appetizers will be served.
Suggested Donation: $50
Sponsored by Inn at Cook Street



AUNT PHYL shares the story of a smart, independent young woman from a mid-century factory town, where the most common ambition among her class -of-’49 high school peers is an engagement ring upon graduation. Through the support of a few like-minded friends, she defies the social, sexual mores of the time, all the while seeking – and finding – her own dazzling and often fraught version of The American Dream.

An episodic series visually inspired by early television, AUNT PHYL was conceived during the inaugural Women’s Residency in 2015. The first two episodes will undergo a dramatic reading during this years’ Women’s Week.

Shelli Ainsworth is an award winning writer/director whose narrative feature STAY THEN GO was featured at the 2014 Provincetown Film Festival.

THURS, OCT 11 @ 7:30 PM


“NANETTE should be required viewing if you’re a human being” wrote comedian Tig Notaro to New York Times writer Melena Ryzik and we agree! “Join us for a shared screening and what promises to be a lively and engaging discussion about what Ryzik goes on to describe as “a Netflix special that is the most talked-about, written-about, shared-about comedy act in years, exquisitely timed to the #MeToo era.” Together, let’s explore the reasons why!

Moderator: Ann Wood
Panelists: Myra Slotnick, AB Cassidy, and Sophia Starmack

Ann Wood Ann is a freelance editor and writer, the former award-winning editor of the Provincetown Banner and the author of the novel ‘Bolt Risk.’ She lives in Provincetown year-round.
Myra Slotnick Myra is a proud member of the Dramatist Guild, an award winning playwright and activist. Her plays The Weight of Water, The Shadow Child and The Beachcomber Boys (Book & Lyrics) have enjoyed productions and workshops in Provincetown, NYC and LA. Myra was also a stand-up comic from 1990-’95 and was a regular at Catch a Rising Star, The Laugh Factory and appeared on television in Comedy On The Road with John Byner…ah, those were the days.
AB Cassidy AB is a stand up comedian, writer, actor, and professional lesbian originally hailing from the South Shore of Massachusetts. Now based in Los Angeles, AB performs all over the country with major comics like Carlos Mencia and Tig Notaro. She recently won both the juror and audience award at the San Gabriel Valley Pride Comedy Festival. Catch AB alongside Cloris Leachman and Bruce Dern in her latest feature, LEZ BOMB which is currently sweeping up accolades in the festival circuit.
Sophia Starmack Sophia was a 2014-15 Poetry Fellow at the Fine Arts Work Center in Provincetown, where she currently serves as Writing Fellowship Coordinator. Her poetry and essays have appeared in Barrow Street, Best New Poets, The Threepenny Review, and other publications. Her poetry chapbook, The Wild Rabbit, was published in 2015.



A non-profit arthouse cinema, operating year-round, and contributing to Provincetown’s tradition as America’s oldest and most vital art colony. Located on the mezzanine between the 2nd and 3rd floor of Whalers Wharf.

Award-winning comedy by the director of the smash-hit short film GIRL NIGHT STAND, LEZ BOMB is a multigenerational comedy of errors featuring a young woman (Lauren) who comes home for the holidays with some life changing news. Little does Lauren know, the eccentric cast of characters have their own stirring surprises as well. The result is a hilarious turn of events forcing the family to come together in a ceremonious series of coincidences. As it turns out, there is no good time to drop the Lez Bomb. Filmmakers scheduled to appear.

A candid documentary that features nine, engaging women who share their stories about being in heterosexual marriages, discovering their feelings for women, coming out, and changing their lives. It is an intimate look at the challenges and triumphs of their journey. Filmmaker scheduled to appear at all screenings.
CLAMBAKE charts the growth of Women’s Week in Provincetown, now celebrating it’s 35th Anniversary, from its inception to the thriving lesbian mecca it is today. Documenting its 30-year journey through archival footage, photos and interviews with celebrities and organizers, the film casts a historical and hysterical look at what a few innovative women can accomplish. Filmmaker scheduled to appear at all screenings.

PIFF 2017 excellence in acting award recipient and Academy Award (R) nominee Chloë Sevigny (Boys Don’t Cry, “Big Love”) stars as Lizzie Borden, the notorious woman at the heart of one of the most enduring mysteries in American history. After a lifetime of loneliness, Lizzie finds a kindred spirit in housemaid Bridget Sullivan (Kristen Stewart) and their secret intimacy sparks an unthinkable act. Director Craig William Macneill (The Boy (2015), “Channel Zero: Candle Cove”) explores the days leading up to the savage crimes in a dark tale of repression, exploitation and thwarted dreams.

Led by a standout performance from Ana Brun, The Heiresses takes a thoroughly compelling look at lives little explored by mainstream cinema. Chela and Chiquita, both descended from wealthy families in Asunción, Paraguay, have been together for over 30 years. But recently their financial situation has worsened and they begin selling off their inherited possessions. But when their debts lead to Chiquita being imprisoned on fraud charges, Chela is forced to face a new reality. Driving for the first time in years, she begins to provide a local taxi service to a group of elderly wealthy ladies. As Chela settles into her new life, she encounters the much younger Angy, forging a fresh and invigorating new connection. Chela finally begins to break out of her shell and engage with the world, embarking on her own personal, intimate revolution.

Lovers of film and filmmakers wanting to connect, come enjoy snacks and meet the filmmakers of this year’s 2018 Women’s Week Film Festival and so many other talented filmmakers/heroes in our midst. Learn about upcoming projects and enjoy snacks and delicious beverages.

Thur, October 11 @ 7 PM
Waters Edge Cinema
(237 Commercial St, 2nd Fl)


Julie Rockett
Dawn Smith

Dawn Smith is a freelance political ad producer, which she affectionately refers to as her, “personal form of resistance.” She took time from her very busy Midterm election schedule to discuss films with us.

In addition to making political advertisements she is a writer and filmmaker. She has developed a web series called PAID FOR BY, an episode of which was an official selection for the 2018 Provincetown Film Festival.

She’s is also working on a pilot with Boston-based Comic Kelly McFarland about a comic dealing with OCD and anxiety and how she uses humor to help open herself up to new experiences and to not having to control everything.
Dawn’s love of movies is entwined were her fascinating ‘origin story’. Dawn was raised in an evangelical cult founded by her Grandfather called The Assembly. She said, “I feel like my Grandfather did so much damage that helping people to get out the vote and making people laugh is my way of counteracting that.” This past year she spoke about her childhood and her defection in a TED Talk and during The Moth Radio Hour.


JR: I don’t think you can say how you became interested in films without discussing your own background.

DS: Exactly. I was raised in a hyper-conservative evangelical cult. So movies and television were not allowed. I grew up without a TV. We could listen a very limited amount of religious music, but Amy Grant was considered too secular and worldly to listen to.
We were supposed to behave a certain way because my father was a church elder and ‘uphold our family’s testimony.’ Which essentially means don’t screw up your reputation.

JR: It sounds a little ‘Gilead’ [City from Handmaid’s Tale].

DS: Absolutely. Watching Handmaid’s Tale evokes so many memories. It’s such a good show but at the same time it stresses me out. That said, my parents were actually pretty good about sneaking us out to good movies.
From a young age they really, albeit secretly, taught me to love film. I remember leaving the house at what I thought was really late, it was probably 7 pm, and they took us to see E.T. I think I fell asleep during it but what really excited me was the event of it all. But then, we weren’t allowed to discuss it with anyone, which was rough.

JR: Was your mother supportive as well?

DS: We went to a special school and my mother was the principal. My Mother had a Masters Degree from Cal State Fullerton, which was unheard of in our group. She was an amazing educator and she would occasionally borrow a film projector from the local library and we’d have Film Fridays. The local library only had three films and we watched them over and over.

JR: Do you remember the films?

DS: Yes. There was a short named Bambi Meets Godzilla.

JR: I love that one! But it’s really dark. I can’t believe little religious kids were watching it.

DS: It is totally dark and we loved it so much! We also watched Laurel and Hardy’s Music Box about piano movers, which I also thought was hilarious. And finally there was this weird Appaloosa horse movie which I don’t remember much about.

JR: And nobody objected?

DS: Strangely enough, no… but those movies were such an escape. That’s when I fell in love with film. Later, I was allowed to go to a public high school and I had a British literature teacher who was a great mentor to me. He loved my writing and fostered it. But writing short stories and writing about non-religious subjects was verboten and I had to keep that under wraps. He showed us a few scenes from Monty Python’s Holy Grail. I had never seen that film or heard of Monty Python but I laughed so hard that I was convulsing with tears. Everyone stopped watching the film and started watching me. It was so fun and so irreverent that I thought I was going straight to hell for watching it.

JR: When did you start seeing films regularly?

DS: During the summers my parents would take us on mission trips. They would let us watch TV and movies. They actually loved TV and they would rent films for us all summer. They actually had good taste in films. Like I saw, The Birds, and we saw some classic Westerns. And even though, they were super conservative, I distinctly remember them watching MASH every night after they thought we were asleep.

JR: So you finally left The Assembly for good after college.

DS: Yes, it was then that I started to really binge films. The tough thing about being in a cult is that when you are out on your own, you have to figure out what the world is actually like for yourself. You can no longer rely on parents or others for advice. So I started reading Nora Ephron’s books and saw ‘When Harry Met Sally.’ I loved her voice. She was a strong woman who had gone through a lot and had retained a sense of humor about her.

JR: What filmmakers influence you now?

DS: Yes, they’re a bunch of women filmmakers that I love right now. I saw Desiree Akhavan’s The Miseducation of Cameron Post at the Ptown Film Fest. Vera Fermiga’s Higher Ground… I wish Lake Bell would write and direct more because I loved In A World. I loved A Fine Line and I was so happy to be featured with them during PIFF.
Cinematographers Reed Morano and Rachel Morrison…Loved Morano’s work directing The Handmaid’s Tale, can’t wait to see I Think We’re Alone Now, she’s an amazing cinematographer. If I ever meet Rachel Morrison I will explode. Loved her work on Mudbound. Dee Rees is a writer/director that keeps me inspired, and excited to see what she does next.

Last but not least, Gillian Robespierre. She wrote/directed Obvious Child and Landline, and has also directed television. I thought she did a marvelous job directing an episode of Crashing on HBO, and I’m keeping my eye on her. I get so excited seeing so many talented, hard working, funny women getting work.

To find out more about Dawn and her upcoming projects visit her website or see her 2018 TED Talk.




CEO Christine Walker with Executive Producer Alix Ritchie, Producer Elizabeth Hemmerdinger, Producer Laverne Berry, and director Anne de Mare from CAPTURING THE FLAG

Fall in Provincetown is a great time to visit the Waters Edge Cinema. This month, on September 23rd, we join hundreds of art house theaters nationwide in celebrating the brick and mortar monument to independent film that is art house cinema, and the cultural role it plays in our community. As part of our celebration, we have curated a program of screenings and events that represent the best of what art house cinemas provide—a platform for the most exciting and inspiring voices of our time; an opportunity to share stories that would otherwise go unseen, and an occasion to inspire, provoke, and galvanize discussion around the most compelling ideas of the day.

Among our several events is a special screening of CAPTURING THE FLAG, directed by Anne DeMare, produced by Elizabeth Hemmerdinger and Laverne Berry and executive produced by local dignitary Alix Ritchie. When Laverne Berry asked me to provide a quote for the film, I was truly honored:

Capturing the Flag is one of the most important films of the year, exposing the threats to one of the most revered institutions in American politics. What starts out as a civic exercise by a team of colleagues to ensure that everyone’s vote is counted fairly and accurately unfolds into a fight against the subversive ways in which democracies are broken—slowly and in barely discernible steps. Because of the complex situations that arise, Laverne Berry and her team help us realize that the only way to ensure American democracy is for individuals to actively participate in its safeguarding.

The timely screening is preceded by a free REGISTER TO VOTE WITH THE FILMMAKERS RECEPTION, with cocktails, snacks, and the opportunity to actually register to vote. Following the screening, Board of Select Member Lise King, a fine filmmaker in her own right, will moderate a discussion with Alix and producer Elizabeth Hemmerdinger, who developed the project into fruition.

In October, check out the vast array of happenings in Provincetown during women’s week, October 8 – 14 ( which includes our mini-film festival. Women’s Week is always a huge highlight for the Provincetown Film Society. The program schedule allows us more time to engage with our filmmakers and audiences.

We anticipate thought-provoking fare along with lively discussions. In fact, one of our free programs, LET’S TALK ABOUT HANNAH GADSBY’S NANETTE, promises to yield more than just a discussion, but further insight into the ways in which we can exact more equitable treatment of women and other intersectional communities in media.

Also during women’s week, hear from another rising star Jenna Laureno, whose short film GIRL NIGHT STAND, became an internet sensation garnering over 3M views on Youtube, and was translated into other languages by lesbian fans from around the world. Jenna will present her feature film debut LEZ BOMB.

Women filmmaker residency program alumni Shelli Ainsworth (2014 PIFF director of STAY THEN GO) will also join us to direct a dramatic reading of two episodes of her series AUNT PHYL, developed in Provincetown as part of her residency.

For women and female identifying filmmakers who have participated in the festival, PLEASE take the time to fill out our residency application. This is the simplest and shortest application you will ever encounter. Plus, it’s an opportunity to join the generations of great artists who lived and worked in Provincetown.

Finally, this week, an unexpected gift came in the form of a brief note from Shawn Nightingale of Shawn Nightingale Productions. The note began, ‘So here is what I have,’ followed by an accounting of proceeds from two of his summer productions that he had earmarked to benefit the film society. He has done the same for us in the past, but the work and effort that went into mounting these two recent productions struck me. I can’t begin to know the sacrifices, financial or otherwise, that people make on our behalf, but I do know that we cannot ever take those efforts for granted. Nor can I take the efforts of our staff and board for granted.

So thank you to our patrons, donors, staff and community. Without you, Provincetown would never be the same.


Christine Kunewa Walker, CEO


Michelle Boyaner is an award-winning storyteller, filmmaker, and Provincetown Film Institute’s Women’s Residency Alumnus. She first became acquainted with PFS after she was accepted into the 2015 Provincetown Film Festival with her film PACKED IN A TRUNK: THE LOST ART OF EDITH LAKE WILKINSON. After taking home the HBO Audience Award, she was awarded a slot in our annual women filmmakers residency and developed her current project, IT’S NOT A BURDEN.

After filming for over 2 and ½ years, IT’S NOT A BURDEN is now in post-production. Earlier this year, Boyaner and her team (Cinematographer/Editor Barbara Greene and Executive Producer Katie Ford) attended the 2nd Annual Women’s Media Summit to support fellow women filmmakers in the industry, and she introduced this unique documentary to a panel of film representatives invited to Provincetown during the Film Financing Forum.

This feature-length documentary provides an intimate look at the relationships between aging parents and the adult children who care for them. By examining 32 diverse stories of humor, love and compassion, viewers are able to explore the universality of the challenges these families face and the solutions they discover along the way. For more information on IT’S NOT A BURDEN and how to donate to the the films finishing funds, visit

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Now available on Youtube, our festival trailers from 2014 through 2018!


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As part of the 100-year tradition of Provincetown as America’s oldest art colony, the Women’s Residency Program allows female filmmakers from around the world the opportunity to work in Provincetown during the off-season alongside other artists and writers who use the solitude of the outer Cape Cod area as inspiration for their work.

The Women’s Residency Program is open to any woman-identifying filmmaker who has had an accepted entry in the Provincetown Film Festival. [FIND OUT MORE.]


A non-profit arthouse cinema, operating year-round, and contributing to Provincetown’s tradition as America’s oldest and most vital art colony. Located on the mezzanine between the 2nd and 3rd floor of Whalers Wharf.

The first Hollywood film to feature an all Asian cast since The Joy Luck Club, CRAZY RICH ASIANS is the ultimate romcom. Proving again that diversity sells, the film has topped the box office for the last three weeks, and it’s no question why. This universally relatable story, which passed up a major payday at Netflix so the film could be featured on the world stage, was released in theaters across the country — proving that taking seemingly big risks with racially diverse casts can help reshape the landscape of Hollywood.

Described as “subtle, easy-going, and warm” by Vanity Fair’s Richard Lawson, JULIET, NAKED tells the story of bored curator of local history society, Annie (played by Rose Byrne), and her partner Duncan (Chris O’Dowd), who has an obsessive non-relationship with his favorite musician, Tucker Crowe (Ethan Hawke). Though the all-mighty power of the Internet, Crowe enters Annie and Duncan’s life, and the three find themselves contemplating the regrets one finds themselves living with, and the sadness that comes with this realization. Charming and honest, JULIET, NAKED is full of a tenderness you have to see to understand.



Each year, Art House Theater Day lauds the brick and mortar monument to independent film that is the art house cinema. These institutions provide a curated selection of films to educate and inspire local patrons. They are dedicated to film, providing a platform for artists ranging from Hollywood veterans to new voices on the fringes of the community. Independent movie theaters, like Waters Edge Cinema, are integral to their communities and the craft of filmmaking.

Art House Cinema has the power to share stories that otherwise would go unseen. Through art house film, we empathize with foreign communities and strangers whose struggles were once a mystery, inspire revolutions for equality, and expose tyranny in institutions of greed and dark influence.

Using Art House Theater Day as a platform for community engagement, Provincetown Film Society is demonstrating the incredible reach of film. By providing more opportunities to see powerful PIFF-selection dramas like THE GUILTY, we may expand our connection with other countries, and demonstrate new places to enjoy redoubtable cinema. By encouraging discussion around galvanizing documentaries like CAPTURING THE FLAG, we can influence positive change in the the turbulent nation exposed in FAHRENHEIT 11/9.


11:30 AM | Celebrate Art House Theater Day prior to our first screening of CAPTURING THE FLAG by joining us in the lobby of Waters Edge Cinema for a reception beginning at 11:30 AM. Enjoy snacks, a champagne cocktail, and engage with your fellow cinephiles as we celebrate this year’s picks of incredible indie films! During the reception, in honor of our first screening, we will be hosting a voter registration booth where volunteers can assist anyone with registering to vote in the state of Massachusetts! Come by to learn more about registering, and stay for the first screening to learn how you can do more for helping others!


12 PM | PIFF 2018 Selection | A tight-knit group of friends travel to Cumberland County, North Carolina — the 2016 poster child for voter suppression — intent on proving that the big idea of American democracy can be defended by small acts of individual citizens. What they find at the polls serves as both a warning and a call to action for anyone interested in protecting the “One Man, One Vote” fundamental of our democracy. Dealing with themes that are constantly sensationalized and manipulated by the media – Left vs. Right, North vs. South, Black vs. White – CAPTURING THE FLAG offers instead deeply personal, often surprising perspectives on the 2016 Presidential Election and its aftermath.

Post-Screening Q&A: Producer Elizabeth Hemmerdinger and Executive Producer Alix Ritchie moderated by Provincetown Board of Select Lise King

1:20 PM | Producer Elizabeth Hemmerdinger and Executive Producer Alix Ritchie join us for a thoughtful post-screening Q&A, providing background on how this film got made, the necessity of seemingly-ordinary volunteers like Laverne Berry, Steven Miller, and Claire Wright in our democratic system, and the future of fighting voter suppression in the United States.

Screening: Special Pre-Release of THE GUILTY

7 PM | PIFF 2018 Selection | Alarm dispatcher and former police officer, Asger Holm, answers an emergency call from a kidnapped woman. When the call is suddenly disconnected, the search for the woman and her kidnapper begins. With the phone as his only tool, Asger enters a race against time to save the endangered woman. But soon he realizes that he is dealing with a crime that is far bigger than he first thought.

Screening: FAHRENHEIT 11/9 

Michael Moore’s “Fahrenheit 11/9” is a provocative and comedic look at the times in which we live. It will explore the two most important questions of the Trump Era: How the f**k did we get here, and how the f**k do we get out?




Julie Rockett
AB Cassidy

AB Cassidy is a stand up comic, a self-described “Professional Lesbian”, and she stars in Lez Bomb, a comedy from writer-director, Jenna Laurenzo. Lez Bomb is one of the featured films showing at Waters Edge Cinema during Women’s Week (October 8-14, 2018).

She is also a Massachusetts-native who counts Provincetown as one of her favorite places in the world and shares that enthusiasm with her friends in LA who have, unbelievably not heard of our amazing little town.

After leaving Massachusetts, AB attended the Johnston Center for Integrative Studies at University of Redlands. There she designed her own major: The Art of Storytelling Through Comedy and Feminism. This in turn led her to co-teach a course called Women In Comedy where they invited luminaries like Wanda Sykes to speak.

“When I was a sophomore in college, my only brother died,” said AB. To deal with her grief she says, “I focused on comics who had turned their pain into comedy.” This inspired her to produce a comedy show at University of Redlands to benefit a charity in her brother’s name. She reached out directly to Tig Notaro who had recently performed her famous set at The Largo after being diagnosed with breast cancer and C. Diff following the unexpected death of her mother. Tig along with Bill Burr, Carlos Mencia, Bobby Lee, Jackie Flynn, and the Groundlings all came out to perform that night.

She had been a fan and scholar of comedy for years but it wasn’t until the day Joan Rivers died that she got the nerve to finally take the stage. Or maybe aisle? Her first gig wasn’t on a stage but in the back of a grocery store. Unfortunately, her act wilted in the produce section but soon after she met comedian Jeff Garcia, prior to one of his shows. She told him that she “did comedy” and he, amazingly, offered her a spot that night. She says that at that show all of the other comedians were Latino comics who did their sets in Spanish. “And here I was a 6’, 220 lb, diesel dyke. And I didn’t bomb! I did okay and then started touring with Jeff, who became my mentor.”

AB now headlines her own shows and recently performed at the L-PAC meeting at Town Hall in New York which honored Billie Jean King and featured Melissa Etheridge and Judy Gold. Her next project is Lez Bomb, which recently won Best Narrative Film at Bentonville Film Festival. She describes it as, “Lez Bomb is a movie for everybody. It’s relatable, funny, and has a lot of heart.” Co-stars Cloris Leachman and Bruce Dern, she says, were so entertaining in general that Jenna Laurenzo would just film them improvising. Cassidy marveled at how youthful, octogenarian Leachman is, “She would just start throwing turkeys around on set. It was hysterical!”

I recently spoke with AB and asked her about her favorite films.

JR: Is there an older movie you love that you think more people should see?

ABC: “Some Like It Hot” that’s an absolute must watch, it’s hands down one of the best comedies of all time. Also, this isn’t that old, but, “My Neighbor Totoro”…that movie is gold. Pure gold. Oh, and if you’re studying film, watch “Do the Right Thing”. Top five best movies ever made and an incredibly important one to watch.

JR: Is there a recent film that moved you?

ABC: Honestly, “Moana”. I think it’s one of Disney’s all time bests and I actually listen to one of the songs before I get on stage, no lie. I also really really love the documentary, “Becoming Bulletproof.” If you need to reaffirm your faith in humanity, watch this movie. It follows “Zeno Mountain Farm”, a non profit organization that produces film with people with disabilities, as they take on the challenge of shooting their first western. It’s hilarious and heartwarming and an absolute must watch.

JR: Is there an under-appreciated film that you love?

ABC: “Rabbit Proof Fence” (2002) is one of the best movies I’ve ever seen and it didn’t even get an Oscar nom. Also, “Requiem For A Dream” and “North Country” are two films that got nom’s for acting but should’ve been much more recognized. The writing in “North Country” is incredible and the use of split screen edits in “Requiem For a Dream” is nothing short of brilliant.

Be sure to catch LEZ BOMB during Women’s Week and to find out more about AB Cassidy or to get information about her upcoming shows, visit




Welcome to our new and improved monthly newsletter!

As part of our 20th Anniversary celebration we took Provincetown Film on the road from New York to Palm Springs and Houston to Minneapolis, and engaged with those who have an affinity for America’s oldest arts colony, and who want to support our vision of Provincetown as a global destination for creative exploration in film. This newsletter is our way of continuing the conversation with friends near and far.

At the 20th annual Provincetown Film Festival, our magnificent line-up of films and programs demonstrated that’ Provincetown IS the global destination for creative exploration in film, as well as a premier vacation destination. All of our festival honorees this year chose to extend their visits, a highlight of which was Molly Shannon’s joyful appearance at Showgirls, performed at the infamous ‘A-house’, the oldest gay bar in the country.

For my part, by the time the fourth of July week rolls around, I typically take a much-needed break to my other home-town of Minneapolis, but this year, I couldn’t resist the opportunity to help organize the first pride concert ever at the Provincetown Pilgrim Monument. The HBO-sponsored event was my first meaningful collaboration with Executive Director Dr. David Weidner and Board Trustee John Jay Wooldridge, the monument staff, as well as the wildly creative marketing firm The Gathery. What a pleasure and a blast!

The concert marked the start of the busy summer season in Provincetown, including a series of theme weeks and a revolving door of thousands of visitors from around the world. In addition to great people watching, the different weeks lend themselves to fun and creative opportunities in film programming.

Among my favorite is Family Week when Provincetown turns into a sea of baby strollers and our Waters Edge Cinema becomes the home to HBO’s popular Kids Camp so-sponsored by the Family Equality Council. This year, the program was such a hit that we had to add another. For parents, the camp provides a couple of hours of alone time, but I relish the opportunity to introduce three and four year olds to the experience of screening their favorite content in the dark on a big screen, often for the first time. The reaction is close to wondrous.

A few days later, in that very same theater, a packed audience had the privilege to screen HUMAN FLOW and meet its director Ai Weiwei, one of the most important living Chinese artists and a world-renowned symbol for human rights. The juxtaposition of content and experiences is a fluid reminder of the ways in which art house cinemas afford us the opportunity to express our values, build bridges between cultures, and bring people together regardless of ethnicity, religion, or age.

Through our various programs, one of our top priorities is to level the playing field for diverse storytellers in U.S. Entertainment Media. Unfortunately, we cannot always know the ways in which others are measuring our impact or if intersectional changes are lacking from unconscious bias. In her edifying commentary on this year’s Provincetown Film festival, Heather Kapplow of The Arts Fuse puts our commitment to diversity to the test. Please check out her findings and my comments here.

As much as we appreciate and welcome scrutiny from the media, we are even more eager to hear from you, our patrons. Let us know if there is a particular topic that you’d like us to cover in our newsletter. Should you choose to eliminate the need for yet another email in your inbox, you may unsubscribe by clicking ‘Unsubscribe’ at the bottom of our e-blast.

Meanwhile, even if you can’t make it to Provincetown this August to attend our Friday night John Water’s Films screening series, buy the Special Criterion Collection Edition of Female Trouble, dress up like Divine and host your own screening party. This new version is gorgeous and the extras are tons of fun.

Enjoy the Rest of Carnival Week. Look who’s one of the Grand Marshals this year!!!


Christine Kunewa Walker, CEO


Steps from the beach, and a short walk from town, Harbor Hotel is the largest hotel in Provincetown with 113 spacious rooms. Beach access, amazing views, a pool and Cabana Bar that offers lunch, the Whaler’s Lounge & Restaurant which serves breakfast and dinner, and outdoor fire pit are just a few amenities at this Charlestown Hotels managed property known for innovative hospitality. A new complimentary golf-cart shuttles guests into town, and as part of a collaboration with Coast Provincetown, Harbor Hotel offers URB-E electric bike and Beach Cruiser bike rentals, too, just outside the door to the hotel! Harbor serves as a Platinum Partner during the film festival, housing many attending filmmakers, guests, and staff, and host the Fireside with Filmmakers party.

With the ample parking, Harbor Hotel also serves as the launching pad for the annual Carnival Parade. Floats line up throughout the parking lot, and down snail road in anticipation of the three o’clock start time. The Provincetown Business Guild and Harbor Hotel work together ensuring all goes off without a hitch. During this year’s Parade, guests were treated to a bar stocked with spirits thanks to Harbor Hotel’s partnerships with Fireball Whiskey, Lord Hobo Craft Beer, and Tito’s Vodka.

Harbor Hotel continues to grow in many ways each year, and General Manager Sean Archer hopes to do more within the community. “People of Provincetown have been amazing, eager to assist a person or business in need – which is a huge strength of living here,” said Archer. “With so much history, local pride, inclusion for all and things to see and do, Provincetown is the perfect destination for anyone and everyone.”
Open until November 1st, stop by Harbor and enjoy a cocktail, a meal and the unparalleled view of the sunset. Be sure to check out Harbor Hotel at their website:

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Modern Love: The Podcast transforms the popular reader-submitted New York Times Modern Love essays into an immersive weekly podcast experience that takes listeners on an audio journey, bringing the poignant, honest and hopeful stories to life. Each episode features a reading performed by actors, combined with music and an intricately produced soundscape. Episodes conclude with an update and follow-up conversation with the story’s original author, provoking deeper conversation about love and relationships.

Catfishing Strangers To Find Myself | With Cory Michael Smith

As a teenager in Finland, Kalle Oskari Mattila was trying to figure out who he was. For help, he turned to catfishing — and Pamela Anderson. Cory Michael Smith (“1985,” “Gotham”) performed his story live at the Provincetown Film Festival. [LISTEN HERE]

My Back-Seat View Of A Great Romance | With Chloë Grace Moretz

“What did it mean that the most romantic thing I’d ever been a part of hadn’t even happened to me?” Chloë Grace Moretz (“The Miseducation of Cameron Post”) reads Rachel Monroe’s essay about watching a love story unfold from the sidelines—live from the Provincetown Film Festival. [LISTEN HERE]


Provincetown Film Festival has made MovieMaker Magazine’s Top 25 Coolest Film Festivals in the World for 2018! [SEE THE LIST]


Rep your favorite film festival year round with our 20th Anniversary festival gear! Buy now for 20% off on all hats, t-shirts, and bags!  [BUY NOW]


If you attended this year’s 20th Anniversary Provincetown Film Festival, take this 5-minute survey about your experience! [TAKE THE SURVEY]


As part of the 100-year tradition of Provincetown as America’s oldest art colony, the Women’s Residency Program allows female filmmakers from around the world the opportunity to work in Provincetown during the off-season alongside other artists and writers who use the solitude of the outer Cape Cod area as inspiration for their work.

The Women’s Residency Program is open to any woman-identifying filmmaker who has had an accepted entry in the Provincetown Film Festival. [FIND OUT MORE.]


A non-profit arthouse cinema, operating year-round, and contributing to Provincetown’s tradition as America’s oldest and most vital art colony. Located on the mezzanine between the 2nd and 3rd floor of Whalers Wharf.

Rating: R, 128 minutes

BLACKkKLANSMAN tells the story of Ron Stallworth, an African-American police officer from Colorado, who successfully manages to infiltrate the local Ku Klux Klan with the help of a white surrogate. John David Washington stars as Stallworth in a performance that’s both compelling and indelible. When asked, director Spike Lee said, “I offered him the part. He didn’t have to audition. No meeting, no nothing. I sent him the book and said, ‘See you in September.’ I knew he could do it.” Lauded by critics as potentially Lee’s greatest film, BLACKkKALNSMAN holds a mirror up to today’s America by using one of the most powerful tools of all: our own history.

Rating: R, 94 minutes
Back by popular demand, EIGHTH GRADE was a selection at the 20th Anniversary of the Provincetown Film Festival. After being asked how the 27 year-old, childless, writer and first-time director Bo Burnham was able to just “get” what’s going on in eighth grade, Burnham said he watched hundreds of videos of kids talking about themselves online. He adds that “the boys tended to talk about Fortnite [and] the girls tended to talk about their souls, so I was like, ‘okay this is probably going to be a story about a girl.’ […] I just tried to listen and defer to the kids, and sort of let them author the story as much as possible.” In addition to having eighth graders tell the story, Burnham knew he wanted them to see it too. So, on August 8th, with the help of A24, theaters (like Waters Edge Cinema!) showed free screenings of EIGHTH GRADE, so eighth graders across the U.S. could see the film despite the R-rating. The commonality is that if you’ve been to eighth grade, then EIGHTH GRADE is for you.



Julie Rockett
Kiley Fitzgerald

Since this is the first issue of Pecker’s Point and first of a series called ‘The Launch’, I thought I would interview a comedian that’s about to launch a huge career. Her name is Kiley Fitzgerald and presently you can see her performing with Second City in Chicago. You may have seen her work at the White House Correspondents’ Dinner that was hosted by her friend and former roommate, SNL’s Cecily Strong or seen her one-woman show about growing up in Southie called I Am My Mother’s Daughter.

I initially met Kiley when she was working at the Circle Cinema in Brookline, MA. It was New Year’s Eve, which was also my 20th birthday, and my friends, inexplicably, took me to see Schindler’s List. I remember going to the lobby and seeing Kiley counting down to the New Year. Since then I’ve laughed hysterically at her many shows at Improv Asylum, where she was a cast member, instructor, and director.

–Julie Rockett

Julie: Do you remember the first movie you ever saw?

Kiley: My parents took me to see Jaws when I was an infant but the first movie I remember seeing was Rocky.

Julie: What was the first movie you became obsessed with?

Kiley: Oh yes! I was obsessed with Rocky.

Julie: How did that obsession manifest itself?

Kiley: In so many ways. I ended up in a psychiatrist’s office over my Rocky obsession. I loved Rocky so much that I… I come from a long line of scrappy folks, so I think it’s just in my blood to like that film but right after I saw it I became truly obsessed. So much so that I had these little golden boxing gloves that were signed by Sugar Ray Leonard and I used to put them on. Then I would yell, ‘Ding! Ding!’ and then I would punch my grandmother in the butt. Her butt was right at my punching level and I would just punch her soft big butt. She would never get mad. She’d fake swear something like, ‘Oh cripes!’.

Julie: So how did you end up at a therapist’s office?

Kiley: I started to call myself, Rocky, and I insisted on everyone else calling me that, too. I used to take my shirt off and wouldn’t respond to anything else, to the point where at my own birthday party, my Mother gave me a piece of cake and then I wanted another piece of cake later. My mother said, “That piece of cake was for Rocky. But this piece of cake is for Kiley, not for Rocky.” I lost my mind. I wanted that cake so bad, but I refused to take it. My Mom, to her credit, just let me be. Until I insisted on being called ‘Bowzer’ from Sha-Na-Na.

Julie: If you could program Waters Edge Cinema with a bunch of films that you love, but you feel are underappreciated, what would you pick?

Kiley: (laughs) I feel like everything I like is underappreciated. Maybe my taste is crappy? But, I would say I love the comedy Drop Dead Gorgeous. That comedy goes for the jugular. The scene where the dying girl is getting pushed around in a wheelchair while singing ‘Don’t Cry Out Loud’ kills me every time. And Kristen Dunst is so good in it. I feel like nobody but me likes her.
Julie: Oh, that’s not true. Our theatre manager, Heidi Bolinder, is a Dunst super fan.

Kiley: Thank God! There are others out there! There’s these two other scary movies that I love, See No Evil with Mia Farrow and The Boys From Brazil. Put the boys to sleep, watch them, and see if you can ever fall asleep again.

Julie: When I think of you, I think of comedy. What’s been your experience since leaving Boston and heading to Chicago?

Kiley: We are moving in the right direction, finally. For so long, we saw these beautiful women in comedic roles that were not comedians. That’s a waste of time for everyone. It’s my hope that with the Me Too and Time’s Up movement, that we as women having a controlling voice in how things are getting made and who gets to make them.

I think of Girl’s Trip which was an international phenomenon and I think that two or three years ago, that would have been a direct-to-video film. Its success lets those in charge know that there’s a huge, diverse audience out there. That there’s more to the world than super hero tropes.

I mean women are so good at comedy. We’re the ones that win the Oscars for it. Look at Whoopi, Marisa Tomei, and Mira Sorvino. Those were all comedic Oscar-winning roles.

At Second City, so much has changed in a short period of time. For example, non-binary people are taking on the ‘dad roles’ in sketches, just because they’re so good that you can’t overlook that they’re the best person for the role. Recently, we had a role of an unmarried, slutty mom. My African-American castmate spoke up and said she didn’t want to be cast in that role because she didn’t want to perpetuate this negative stereotype. I know that we didn’t feel like we could object at one point, but that’s not the case anymore… Of course, I volunteered for that role (laughs).

As an organization, we are working toward greater inclusion and transparency. I think that this will only make comedy better. When we’re not trying to make comedy pretty, when it’s just about who’s showing a different point of view and who’s putting out the best work, and when we don’t feel like we have someone’s foot on our neck, that’s when you’re going to see the best work out there. I think that’s the next wave. I can’t wait to see comedy flourish.

Julie: Thank you so much Kiley! I can’t wait to have you come back and visit us in Provincetown.

Kiley: Thank you! Yes, I can’t wait to get back there!


Chloë Grace Moretz on Why She Had to Have The Miseducation of Cameron Post

It’s hard to believe that Chloë Grace Moretz is just 21. Besides her poise, sophistication and groundedness, the Georgia native has amassed a diverse body of work, ranging from genre fare like Kick-Ass and Let Me In to acclaimed indies with renowned directors. She played Isabelle in Martin Scorsese’s Hugo when she was 14, and faced off with Juliette Binoche, as one actress manipulating another on- and offscreen, in Olivier Assayas’ Clouds of Sils Maria. READ MORE ON MPAA

Sean Baker and Molly Shannon Honored at Provincetown Film Festival

Also among special guests at the Cape Cod event’s 20th-anniversary edition was Chloe Grace Moretz, recipient of the Next Wave Award, while audience prizes went to Icelandic feature ‘And Breathe Normally’ and political doc ‘Time for Ilhan.’
It’s not surprising that John Waters — the unofficial godfather of the Provincetown Film Festival and independent filmmaking’s patron saint of outsiders — would feel an affinity for the work of director Sean Baker, who received the 2018 Filmmaker on the Edge Award during the festival’s 20th edition.

Baker’s last three features have steadily broadened his exposure by examining — with compassion, humor, honesty and humanity — characters on the invisible margins of American life. READ MORE ON THE HOLLYWOOD REPORTER.

‘Mapplethorpe’ and the art of life in death

Robert Mapplethorpe wanted the world to view what it considered “obscene” — leather-clad men with exposed genitals, real skulls and crossbones, still lifes of flowers with daggers — as beautiful. And there was no way he was going to accept that his photographs of those subjects didn’t belong alongside a Rodin.

“Mapplethorpe,” the first narrative film written, directed and produced by award-winning documentary filmmaker Ondi Timoner (“Dig!”; “We Live in Public”), chronicles the life of the controversial art photographer and stars Matt Smith, aka Doctor Who, as the man himself. It’s the Closing Night Film at the Provincetown International Film Festival, and Timoner will be there on Sunday when it screens at Town Hall. READ MORE ON WICKED LOCAL PROVINCETOWN.