Science fiction has become such a mainstay of lumbering franchises that it’s hard not to root for left-field small-scale twists on the genre like the fizzy, funny “Molli and Max in the Future.” Michael Lukk Litwak’s quantum-age rom-com brings futuristic absurdity and nimble timing to a tried-and-true story line of friends turned soul mates.
Molli (Zosia Mamet) and Max (Aristotle Athari) meet-cute when their spaceships collide near an asteroid field, and despite different outlooks — she’s hunting for crystals, he’s an aspiring mecha-fighter — they end up bonding for a while until Molli goes off on a quest. But in the movie’s next chapter, five years later, they cross paths by chance: Molli is now a “passionaut” in a bigamous cult led by a psychic floating head (Okieriete Onaodowan), and Max has legions of fans as a robo-gladiator and a relationship with his own bot (Erin Darke).
The space-age paraphernalia abound — interdimensional travel, digital pickleball, a gabby galactic goddess named Triangulon (Grace Kuhlenschmidt) — but Mamet and Athari take the ridiculousness in stride, which is also funnier. The thread of their on-again-off-again connection is never lost in the film’s pleasingly artisanal, jazz-scored futurescape, which meshes practical and digital effects under the sign of Douglas Adams as much as Adult Swim and anime.
Many of the complications for Molli and Max — like a trash-talking political candidate (Michael Chernus) whom the crowds eat up — echo the present day, and yet as the pair hit their requisite rom-com marks, it’s comforting to think of love as something still reliable in a sea of mind-boggling cosmic tumult.
"Life is so complex… And overwhelming. And it's so hard to figure out what's real and what isn't… What matters and what doesn't. Whether your feelings betray, or if they are your only compass…" Ahhh yes, the eternally mysterious questions about life and love. There's no easy way to answer these ruminations, which is why we tell stories. This is why we make films, sing songs, read books, to spend time with stories that help us figure out our own ways, help us figure out how (or at least guide us) to make sense of the lives we're all living. That is the best intro I can muster for this charming indie romantic comedy discovery. Molli and Max in the Future is a sci-fi romance film written and directed by filmmaker Michael Lukk Litwak as his feature debut, and I fell head over heels for it. The film first premiered at the 2023 SXSW Film Festival earlier this year, stopping at the London & Sitges Film Festivals this fall. I'm glad I took the chance to catch up with it - because this is a real winner. It's legit. Anyone will enjoy it – as long as you're a sci-fi nerd, too.
There's so many details in the film I adore. A hilariously realized recurring giant fighting space robots motif. Zosia Mamet's let-it-all-out emotional performance that isn't trying to be too showy. All the homemade futuristic elements, from the VFX to the sets and props and clunky set decorations. This excellent film is a calling card for Michael Lukk Litwak, not only will I always cherish it but I already want to watch the next five films he makes. Keep watch for Molli & Max, especially if you appreciate smart indie filmmaking + sci-fi. "Love is the thing that keeps us sane in a world gone crazy. - 9/10 “
“"Molli and Max in the Future" is an out-of-this-world adorable romantic comedy that transforms the lowest lo-fi means into charms with a tractor-beam pull. Writer and director Michael Lukk Litwak shoots against a modular LED volume to create a cosmic universe where dating is still Earth-grade awkward. Props remind of resourceful high school theater productions of "Tron" while animation aims for "Blade Runner" or "Real Steel" except no more expensive than catering costs — which is never an issue because Litwak's vision explodes like a starburst of relationship charms. "Molli and Max in the Future" is the textbook definition of an indie darling that executes well above its obvious production restraints, as unique and boundlessly ingenious a film you'll find in today's media landscape.”
“Litwak's resourcefulness throughout "Molli and Max in the Future" is as potent and infectious as his time-jumping narrative is realized with stupendous confidence. “
“SNL's Aristotle Athari and "Girls" alumni Zosia Mamet shoulder "Molli and Max in the Future" like competition bodybuilders. Their chemistry rockets into orbit as warriors on the battlefield of love, navigating friend zones, crippling vulnerability, and fulfilling partnerships with the most honest portrayals despite sitcom cheesy comedy. It's about their uncertain back and forths, the hesitation as they desperately seek answers that might save them both tremendous pain should they ever try dating and fail. Max is always in love with Mollie, and Athari withholds his crush behind disappointed chuckles like a champion. Mamet is the speed talker and straight shooter who chatters while embracing her character's lack of filter that leads to so much scathing social-anxiety humor. They're meant for each other in professional terms, superpowered to the point where "Molli and Max in the Future" handily stands against studio sci-fi pictures on performances alone.”
“The truth is, "Molli and Max in the Future" is one of the better explorations of love put to film in recent memory. Molli and Max are allowed to be infinitely messy, apologetically imperfect, foolish individuals because relationships are sometimes sloppy, complicated, and cause us to do irrational things — but they also give life meaning and inspire us to be better. The same way Michael Lukk Litwak will inspire generations of filmmakers to tell their stories with whatever means available because screenplays this expressive and fearless will forever shine like beacons of originality. The do-it-yourself wholesomeness of special effects is just the cherry on top. Bless Zosia Mamet and Aristotle Athari for opening themselves to every uncomfortable conversational sputter or emotional tailspin in the name of showing dating for what it is, and still finding exceptional optimism through it all. "Molli and Max in the Future" will make you believe in a thing called love — just listen to the rhythm of this knockout indie's throbbing heart.”
/Film Rating: 8 out of 10
“A rom-com in space?–don’t knock it ’til you’ve watched it. While a “When Harry Met Sally” knock-off set in a future galaxy may be too bold a move for some, writer/director Michael Lukk Litwak‘s feature debut mostly makes the concept work. Sure, he’s guilty of recycling an old favorite, setting it against a chroma-key, and doing so on the cheap. But why fault him for that? With its lo-fi sensibility and winning charm, “Molli And Max In The Future” remixes a genre classic that also offers a mild antidote for what ails current American cinema. And what’s the cure? Litwak takes the “green screen galore” template of the MCU (and so much other fare) and infuses it with heart and amateur spirit. This debut refuses to be just another extravagantly crafted, commercially calculated CGI-laden mega movie that amounts to a dead-eyed spectacle.
And given how charming this film is, one wishes Litwak had a Marvel budget for it. As the MCU continues to buckle under the glut of its overwrought and emotionally underdeveloped products, it’s nice to see a low-budget independent film carry its weight in a similar filmmaking model (and doing so with less star power and runtime than “Everything Everywhere All At Once“). But how does the rom-com, a dead genre now relegated to the back catalog of streaming platforms, fare in a sci-fi backdrop? Answer: it may be time to dust off the genre and return it to the big screen in full force. “Molli and Max” endears with a familiar plot, a brisk runtime, and shaggy VFX. And while it’s far from perfect, Litwak breathes enough DIY glamour into the film to make him someone to keep an eye on. “
“And Mamet and Athiras’ chemistry gives Litwak’s script some extra oomph. Mamet bullseyes every zing Litwak gives her, while Athiras complements Molli’s over-assertive chatterbox energy with a dry, contained wit. Deep down, Max always knows that he and Molli love each other, but Athiras plays the slow burn with coy and knowing patience; Billy Crystal would be proud. And certain scenes, like one with a “PUBox” that lets the pair catch up with their clones dating each other in a parallel universe to see where it leads, spice up the rom-com’s inherent rhythm of tension and possibility with giddy panache. While consistently funny, “Molli and Max” is often laugh-out-loud, and both leads help send an already sharp script over the top when it counts most.
Add a puckish approach to VFX from Litwak and his DP Zach Stoltzfus, and this film gives Marvel’s penchant for green screens a crafty makeover. “Molli and Max” builds its galaxy with glee, relying on miniature sets, prosthetics, and animation besides its chroma-key format. It all makes for a spirited combo. But the rough ingenuity on display will make viewers reminisce about earlier sci-fi films and their craft-driven creativity. As the film’s visuals crib from things like “Tron,” “Alita: Battle Angel,” and Ridley Scott‘s “Blade Runner,” Litwak reminds his audience of when sci-fi used to have a lived-in, tactile presence onscreen. Much of this film remains two actors in front of a chroma-key, with aspect ratio jokes slid in for kicks. But Litwak subverts the Marvel movie model with a healthy dose of pluck. No budget? No problem. “Molli and Max” feels livelier than most blockbusters out now.
It also helps Molli and Max act like real adults in all their contradictions. As the pair orbits each other before their paths finally align, it’s easy to forget how refreshing it is to watch flawed human characters again in a CGI-heavy format instead of sexless, borderline adolescent heroes that exist merely to use superpowers and advanced technology to fend off another conflict that might be the end of the world. To be fair, “Molli And Max” is as sexless as a rom-com gets. But Litwak’s premise at least leaks the vexing gray areas of adult relationships into his film’s purview instead of shunning them away as many dramas do nowadays. It may be surface-level subversion, but it’s a wholesome and humane gesture all the same. And in this day and age of movies where scrappy films like this are an increasing rarity, it’s a radical one, too.”
“Perhaps the most exciting thing here isn’t the movie itself – which tries to make a charming virtue of its low budget with reasonable success and wears its influences on its sleeve – it’s the potential in Michael Lukk Litwak. There’s real imagination here, and a way with dialogue that’s funny and elegant. Despite the nods to Ephron, it’s clear there’s a unique voice at play. This could well be his Clerks. Give the brain behind this story a decent budget and a big platform and he might come up with something very special indeed. Cute and smart in its own right, but more importantly, a hell of a calling card for its director. We should await his next move with great interest.”
“Director and writer Michael Lukk Litwak keeps thing grounded with super-realistic dialogue, and Alex Winkler’s jazzy score adds an ease to the proceedings, resulting in a clever, quirky take on the future.”
“ 9/10 - Let’s talk space stuff. This tells a very grounded love story, but the world that Litwak creates fits it like a glove. This world is so wacky, yet somehow the filmmaker never lets the space gimmick fly off the rails or overshadow the sweet romance about two friends afraid of falling in love in fear of breaking what they have.
Molli and Max in the Future is a grand achievement in indie sci-fi filmmaking. Litwak worked on all the special effects, many of which are practical models and scenes shot in the “Volume.” Space is a mere backdrop to a narrative that is mostly Molli and Max talking. This environment allows Mamet and Athiras to be engaged in an activity while talking.
I highly recommend Molli and Max in the Future, particularly if you love romcoms. The space stuff is secondary to a powerful tale, insightful dialogue, and brilliantly developed characters. It’s the perfect nerdy date movie.”
LITWAK: “I started rewatching a lot of my favorites, and eventually came upon When Harry Met Sally, and that movie is a masterpiece and I love it, but I watched it and it felt kind of out of date… I wanted to find a way to bring that to our modern times. When Harry Met Sally… doesn’t talk about kind of how your career factors into your identity and how fascism is rising outside, and there are all these different things that make up who we are and how we define ourselves and what we look for in a partner.”
”When it comes to rom-coms, audiences know just about all the tropes and tricks not limited to, but including: the enemies-to-lovers (10 Things I Hate About You), the catfish (While You Were Sleeping), the makeover (My Fair Lady), the contract (How to Lose a Guy in Ten Days), and, of course, best friends-turned-lovers (When Harry Met Sally). These tropes are so common in storytelling that sometimes the best thing a storyteller can do to switch things up is blow them all up (see: 2019’s surprising Isn’t It Romantic). For his feature-length debut, writer/director Michael Lukk Litwak makes his rom-com offering to the masses in his hilariously sweet Molli and Max in the Future, a film that’s a straight-forward character study of two people across more than a decade that just so happens to include mech fighting, demi-gods, trans-dimensional battles, and an election for ruler of the galaxy. Don’t mistake the fantastique setting as merely set dressing (practical and imaginative as it is), Molli and Max demonstrates that some love stories transcend time and place, everything else is just a foothold for the reality in which they live.”
“Mamet brings about a strength and sweetness without sacrificing Molli’s intelligence or agency. She’s neither a manic pixie dream girl nor fully together; she has goals, understands her sexuality, and is willing to put in the work to get where she wants to be. She is a modern person living in an extraordinary time, recognizing that things aren’t always going to be the same so she should go with the flow. Through Mamet, the audience can see just how much of this is public posturing and authentic, each moment that challenges Molli coming through as honestly as possible. For his part, Athiras plays Max a little bit of an opposite, aware of himself and filled with drive, but not as outspoken or opinionated. The character, too, recognizes the oddness of the period in which he lives, yet adheres to a more (what we would call) traditional outlook. But where other rom-coms might have Max look down on or deride Molli for her choices, he continuously speaks with concern and respectful honesty. That the character opts to respect Molli over trying to change her implies that Litwak switched the gender norms for a rom-com, yet the energies one expects from a genre piece like this remain intact. Perhaps because it’s more character-focused, thereby relying more on talking than doing, both Mamet and Athiras are able to convey the complex shades of each character without being limited to whatever modern expectation audiences have. In fact, even with a brisk 94-minute runtime, there’s no grey area regarding these two characters, in part to the writing and to the actors, making the audience feel like the quest was worth the trials.”
“Sci-fi rarely gets credit for its ability to cross-pollinate genres. Yet many films in the genre borrow elements from other stories to tell a complete story. It’s rare to see a full-fledged rom-com/sci-fi mashup, but Molli and Max in the Future pulls off the challenge. Directed by Michael Lukk Litwak, the futuristic romance takes advantage of its silly premise. The comedy plays through the roof, allowing Zosia Mamet and Aristotle Athari to show off some of their best work.
Set far off in the future, Molli (Mamet) attempts to obtain a power crystal. However, an errant ship crashes into a meteor, causing Max (Anthari) to crash into her windshield. She drives him around, and the two start talking about relationships. Over the next twelve years, they run into each other at different points in their lives, trying and failing in relationships along the way.
Mamet takes control of the film and gets to showcase her rom-com bonafides. She has to commit to some bizarre bits over the course of the film but never falters. She brings relatability to the role. Mamet channels Meg Ryan-comedic timing in her solo moments and becomes extremely endearing. Yet she also displays her wants and desperation with grace.
Athari also gets to showcase his immense talent. Playing an oddball character that’s part-fish (literally), he shines in his role. Mamet may draw more eyes, but Athari shows he can play the frustrations and challenges of a romantic comedy without overshadowing his scene partners. While aspects of Molli and Max in the Future play to his sketch background, he creates and sustains a fully three-dimensional character.”
“When Harry Met Sally isn’t a flippant comparison meant to encompass all of what rom-coms have to offer, it is an acknowledged influence on the structure and theme of Molli and Max, and though that could feel derivative, in this case the outlandish settings work. Litwak’s dialogue attempts to capture the kind of charming back and forth of that classic, while also drawing in influences from ’30s screwball comedies in the form of one of Max’s ill-fated paramours, the wonderfully kitschy Mar14 (Erin Drake), while also letting Mamet and Arthari bring their own personalities and occasional improv to the project. Everyone here wears their hearts on their sleeves, and it’s refreshing.
There is no backstabbing or betrayal, there’s no cheating, no one has nefarious, ulterior motives, there is no sabotage or attempt to throw any kind of monkey wrench into this romance, it just takes the path it must. That path has highs and lows, it has mech-fighting superstardom, demigod tentacle sex, borderline incestuous robot sex, tearful goodbyes and heartfelt reunions, just like all love stories do.”
“Making a rom-com that cuts through the clutter these days can be a tall order. Once a regular date-night megaplex staple, most seem to wind up buried on streaming platforms, easily lost soon after their release. So it’s welcome when a filmmaker comes at the genre with admiration, reverence and ideas about how to make it appealing to a modern audience. In “Molli and Max in the Future,” writer-director Michael Lukk Litwak works from familiar incredients in crafting his story of two mismatched lovers who bicker and feud on their way to realizing that they were meant for each other. There’s fast-talking repartee, witty dialogue and fantastic chemistry between his leads Zosia Mamet and Aristotle Athari.”
“Set in a neon-lit universe constructed of dials and valves, VHS cassettes and bulky monitors, and beautifully realised with DIY models and the odd 3D digital effect, this is a future that is charmingly passé. Even the ball game that Max and Molli regularly play together is like a mix of old-school arcade game Pong and Steven Lisberger’s Tron (1982), while the sentient robot Mar14 (Erin Darke) that Max creates (and for a time dates) delivers her rapid-fire lines as though she were Rosalind Russell or Katherine Hepburn in a screwball comedy, and Alex Winkler’s jazzy score – all piano and sax and double bass – evokes a New York comedy from the peak era of Woody Allen, or indeed of When Harry Met Sally.
Yet despite this merging of future and past, Litwak is very much using his sci-fi trappings to satirise the here and now – everything from the horrors of online dating to the stupidity of social media, and from the panic of pandemic to the blithe dismissal of impending disaster. This is a dumbed-down, decidedly Trumpian universe where everything is branded and corporatised, where everyone is distracted by mass entertainment, where politics is reduced to the manufactured polarisations of reality TV, and where even an openly malicious and bullying demon (Michael Chernus) can be elevated by a bamboozled public from minor television celebrity into Emperor of the Galaxy (on a platform of wanting to kill as many people as possible, and to turn our reality into trash). All the scenarios in this tomorrow look uncannily like today’s – but as Molli will later put it, “we have to go in a circle to move forward”. In such bleak times, be they past, present or future, love may be the only comfort (as well as “the opposite of capitalism”), even if the love goddess Triangulon (Grace Kuhlenschmidt) Herself is as flawed and lost as everybody else.
No matter how absurd the flights of fancy in Molli and Max in the Future, it is always grounded in character. For everyone here is schlubbily human – including the aliens and gods – and even if the central couple must go through parallel universes (via a ‘PU box’), spiritual realms and the quantum zone to find themselves and each other, the results turn out to be surprisingly like any earthbound romantic comedy, only with quirky space opera to paint everything in surreal, subversive colours. This is a true labour of – and about – love that is out of this world.” - Anton Bitel
“I walked into Molli and Max in the Future with no expectations at all, knowing nothing about it, and after an hour and a half, I had experienced one of the funniest and most fresh films in recent memory. Every era has its comedy classics. From His Girl Friday (1940) to Some Like it Hot (1959), Monty Python (the 1970s) to Airplane (1980), there have been a few films throughout cinema’s lifetime that defined the genre of comedy. I would be very disappointed if this film didn’t become a classic of our generation because it feels very emblematic of everything that is Gen Z.”
“Molli and Max in the Future is an inventive, endearing, and entertaining movie. Blending sci-fi details with rom-com tropes and a sharp self-awareness, it charts a daring new path that makes it well worth the watching.”
“Writer-director Michael Lukk Litwak makes a staggeringly inventive feature debut"…”What really makes this film, in collaboration with its sharp, witty script and top-tier performances, is the use of practical visual effects. There is something that feels and looks so simple about placing the actors in front of seemingly flat backgrounds that combine animation, hand-built models, and other creative techniques, and it serves to enhance a story that feels strangely believable enough even if it purposely doesn’t look entirely realistic. That’s the beauty of this approach, one which shows audiences exactly enough of what they need to see to find it credible and produces a fabulously engaging landscape in front of which to watch its protagonists engage with each other.
This film starts out fully loaded with humor and doesn’t let up for a good portion of its runtime before shifting towards the dramatic as it approaches its end. There’s a smoothness and rhythm to the script that works exceptionally well, and its actors deliver completely. Mamet, well-trained in fast-talking and quip-delivering from her time on Girls and The Flight Attendant, brings the perfect energy to Molli, who feels oddly grounded despite the things she concerns herself with and is more than ready to call Max out at every opportunity. Athari, a former Saturday Night Live player, matches her on every beat, reflecting her antics back at her with deadpan delivery. They’re a formidable couple, almost more entertaining when they’re knocking each other down than when they’re actually considering true romance.”
“Festivals play a vital role in a filmmaker’s career and for those directors making the transition from short film to feature, having your film selected at a top tier event can mean both recognition and exposure. For the trio of filmmaker’s we’re talking to today, they all started in shorts and all have features (debut or sophomore) playing at SXSW 2023.
With strong connections to the festival, it’s always exciting for us to see alums in the line-up, but beyond that it allows us a chance to catch up with some of our previously featured filmmakers and gain some insight into how they took those next steps in their career and if they have any advice for anyone looking to traverse the same path.”
This surreal, multicoloured galaxy is brought to life with a fusion of analog tech, neon-soaked skylines, and stop-motion animation–a charmingly clunky mashup of Brazil, Tron, Ghost in the Shell, and Blade Runner aesthetics. The imagination far exceeds the budget, but what is realized via green screen tech fits the tone and quirkiness of the film like a glove.
Even with the slathering of sci-fi, the focus is still on this couple. The chemistry between Mamet and Atharia is palpable, and each does sterling, expressive work to flesh out both their roles as individuals and as a couple. Crucially, they make you root for the success of this pair. Michael Lukk Litwak’s film is clearly a labor of love, with everyone involved reveling in this creative sandbox. An absurdist, offbeat, sci-fi take on current-day cultural issues, along with an ever-so-familiar tale of love, Molli and Max is a rom-com that embraces the alien, but remains ever so human.
“The humour is what makes Litwak’s film worth the investment. It’s weird and wacky, but stops just short of getting too silly. Molli and Max’s sci-fi backdrop offers both a nice distraction to the slight tedium of the love story, but also enables the quirkier elements of the humour to be more easily digested. Where the magic lies in Molli and Max in the Future is in its skewering of our own society. The satire is strong, tackling the horrendous Donald Trump election via a reality television contest to be the next ruler of the galaxy. Litwak also shines a light on climate change, underpinning Molli and Max’s future on whether people can save the world by simply cutting back on cheese. “
“When Harry Met Sally is one of the most beloved romantic comedies of all time (I’d probably peg it as the best of all time if you were to ask me). Many filmmakers have attempted to riff on it in the years since, not always successfully, but writer/director Michael Lukk Litwak puts a fresh spin on it with his feature Molli and Max in the Future, first and foremost with its setting, moving the narrative to another galaxy populated with weird creatures, space travel, and futuristic technology.
There are always parallels to our world, however, which keeps the story grounded no matter how strange everything happening in the surrounding environment is.“
The 2023 South by Southwest Festival has officially unveiled its second wave of headliners and TV premieres, including Opening and Closing Night episodic selections.
VISIONS
Visions filmmakers are audacious, risk-taking artists in the new cinema landscape who defy traditional categorization in documentary and narrative filmmaking.
Molli And Max In The Future
Director/Screenwriter: Michael Lukk Litwak, Producers: Candice Kuwahara, Ben J. Murphy, Mallory Schwartz, Kate Geller, Michael Lukk Litwak
Molli and Max In The Future is a Sci-Fi Romantic Comedy about a man and woman whose orbits repeatedly collide over the course of 12 years, 4 planets, 3 dimensions and one space-cult. Cast: Zosia Mamet, Aristotle Athari, Danny Burstein, Arturo Castro, Okieriete Onaodowan, Erin Darke, Grace Kuhlenschmidt, Michael Chernus, Aparna Nancherla, Matteo Lane (World Premiere)
“From witty writing to creative directing and cinematography, film fest films are one of the best resources for inspiration and insights into where the medium of film is going next.
And while the breakout performances and top-of-the-poster names of directors and DPs will always get the first wave of appreciation, it’s often actually the editing of many film festival projects that really stand out to me personally.
One of the best examples of a well-edited film festival film this year came from the SXSW standout Molli and Max in the Future. It’s a tall task to balance rom-com pacing and sensibilities with high-concept sci-fi and non-stop green screen compositing.
To celebrate this heartwarming film, and to explore the creative process behind it, we chatted with editor Joanna Naugle about cutting this project together — and the unique challenges of turning a fantasy, sci-fi, rom-com into a festival favorite.”
Rounding out cast is Arturo Castro (Broad City), Michael Chernus (Severance), Aparna Nancherla (BoJack Horseman), Okieriete Onaodowan (Broadway’s Hamilton), Paloma Garcia-Lee (Steven Spielberg’s West Side Story), Erin Darke (Good Girls Revolt), Grace Kuhlenschmidt (Search Party), stand-up comedian Matteo Lane and seven-time Tony Award nominee Danny Burstein (Broadway’s Moulin Rouge!).
Athari recurred in HBO’s Silicon Valley and joined the Saturday Night Live cast in 2021, becoming the show’s first male Persian-born featured player.
Molli & Max in the Future is a Whiskey Bear Production in association with Senior Post, The Family, and Choreografx. Producing the picture are Ben J. Murphy, Candice Kuwahara, Mallory Schwartz, Litwak, and Kate Geller, who also acts as casting director. Co-producers are Ted Geoghegan and Ivy Lam, with Mamet and Athari executive producing alongside Josh Senior, Jeanne Elfant Festa, Luke Murphy, and Nicole Murphy.
Mamet is represented by UTA, Industry Entertainment, Janklow & Nesbit Associates, and Weintraub Tobin Chediak. Athari is represented by Hyperion, Brillstein, and GangTyre. Michael Lukk Litwak is represented by Jeff Portnoy at Bellvue Productions.
Yacht Club, a full-service production company with in-house VFX and CGI based in Brooklyn, has announced its new US sales lineup: Sharon Lew of Lew & Co handles East Coast sales; Dave Campbell of Rogue Rep covers the West Coast; and Jack Reed of Jack Reed Reps covers the South and Texas. The Yacht Club roster is comprised of Director/DP Jake Ladehoff (Storytelling, Lifestyle, Docu-style) and Director/DP/Editor Matt Morgan (Tabletop, Food, Health & Beauty), along with directors Michael Lukk Litwak (Comedy, Dialogue) and Fidel Ruiz Healy (Visual, Comedy, Dialogue), who are non-exclusive.
“Stirring music and unmistakable body language make the story immediately immersive. From the group of kids gathering to play a game through the course of an epic adventure, the skilled artists tell a story with their expressions and gestures.
As the knight, elf, and orc embark on a quest to confront an evil witch in the woods, every step of their journey feels like a familiar one to anyone who has rolled a D20 before. That doesn’t make any moment of it boring, however; instead you’re instantly transported to the adventures you’ve had in your own imagination while watching to see what fate and the dice have in store for this group of friends.”
“ In this episode... Michael Litwak is a Brooklyn-based filmmaker and commercial director who was born and raised in Los Angeles. We chat with him about what he's doing to stay busy during this downtime, and how he's coping without work as a freelancer during Quarantine.”
“I’m cautiously optimistic, but I also don’t put all my eggs into one basket anymore, and have settled into the conclusion for every weird overnight success you have in your career, there will be 10x as many things that take a really long time.”
“There's just so much to love about this little film. First off, it's the perfect example of how creativity works. You take seemingly unrelated ideas—like friends drifting apart and spaceship battles—and smash them together to create something new.”
“It transforms the simple sci-fi set-up of space pilots chatting over the radio into a poignant but funny reflection on the loneliness that comes after friendships drift apart—as well as the importance of being open to making unexpected new connections.“
“The short comes off as being a little silly, but I actually really dig the visual designs and effects. It works for the story and it’s just style of the film. I dig it!”
“Here's another funky, fun new sci-fi short film from filmmaker Michael Lukk Litwak. We previously featured his other funky sci-fi short The Life & Death of Tommy Chaos & Stacey Danger in 2014, and he's back again with another cool short film.”
“Making a sci-fi film with loads of VFX can be expensive...even if it's a short film. However, there are a lot of ways to keep costs low, including doing the work yourself (even if you're not a pro).”
“Want to make a short film chock full of practical VFX that look awesome? Here's how.”
“ Yet with Alpha Squadron, today’s world premiere, it feels like Litwak has looped back to his roots, sharing a space-adventure story that brings back his charming DiY models and effects, and which serve to mask the deeply relatable and bittersweet character dynamics undergirding the fantasy.
Still, despite the similarities, the precocious undergrad filmmaker of Life and Death has given way to a more mature filmmaker dealing with his late 20’s. “
Seasons 1 & 2 of SNATCHERS will play at SXSW 2018!
" Something cracked open inside me as the Harvey Weinstein stories broke. The collective horror coupled with catharsis (or is it collective catharsis coupled with horror?) coursed through me, spilling over in texts, e-mails and endless conversation. Before fully grasping why, I had emailed about 60 men I know who work in film — queer, straight, white, not white, young, indie and established Hollywood men. I asked for volunteers willing to sit with me and share candidly about how they’re experiencing this moment in history, to listen to my questions and to pose others in return. " - Article by Taylor Hess
Front Page Adweek: #KingstacheChallenge simply encourages men to grow their own epic staches and share on social media with that hashtag.
"Driven by Will Dagger’s mobile and prickly lead performance, NAPOLEON has the good sense to wear its fantasy frame lightly, leaning instead on Norman Lear-esque living room realism as it follows the kind of family conversation that’s easy to avoid but impossible to escape."
"With it’s laser-wielding dinosaurs and underwater/outer-space adventures, the director’s earlier film was a complex production of set-building, green-screen, puppets and miniatures. His latest film was shot over the course of 3-nights in 2 different locations (the house and the forest).
This more simplistic approach certainly doesn’t mean Napoleon In Exile packs any less of a punch than Tommy Chaos though, in fact, probably quite the opposite. Where Litwak’s earlier short dazzled with its impressive aesthetic, this is a film that impacts due to its strong performances and emotive, relatable themes."
"There were many directors, but there’s no one episode that was shot by one director. It’s more of a team effort. We had to put a different person’s name on each one. The whole concept of how we put this together—because this kind of work in VR hadn’t been done—I wanted to create a film school type environment. Film school to me is collaboration, and it’s filmmakers learning from fellow filmmakers, so I looked at and brought in Jerome (Sable) and Michael (Litwak), who had made short films that I thought were really creative and imaginative, and we became the first three students of a film school class."
INVISIBLE Season 1 goes live on JAUNT
"But story specifics are likely to take a back seat to the question of whether narrative can work in VR in the first place. Liman and the other directors use many of the techniques familiar to TV audiences. Eschewing the wisdom that editing in VR can look like teleportation or induce dizziness — and that pacing needs to be slowed down in a medium this immersive — "Invisible" moves ahead full-throttle, packing each short segment with all the turns of an hourlong TV episode."
CHAOS & DANGER BTS featured on Vimeo Video School.
INVISIBLE VR TRAILER PREMIERE - WIRED
"Michael Lukk Litwak takes the audience on a wild ride with his quirky characters and inventive storyline. Litwak expands on the inspiration behind his work and what was required to bring his submarine set to life."
UPLOAD VR: “This series lets us at Jaunt do more of what we like to do with immersive storytelling while moving us into longer-form content,” Plumer said. “Instead of one 60 or 90-minute experience we decided to do it episodically.”
Doug Liman (Edge of Tomorrow/Gambit/Bourne Identity) teams up with CONDE NAST, SAMSUNG, and JAUNT VR to shoot INVISIBLE VR, a 6-part scripted VR series. Directed by Doug Liman, Michael Lukk Litwak, Jerome Sable. Written by Melisa Wallack (Dallas Buyers Club), produced by Julina Tatlock.
"Litwak's film is delightfully theatrical and wins you over with over-the-top costumes, fantastical set pieces, a swirling folk opera score, and deadpan dialogue."
"simultaneously absurdly hilarious, and charmingly real, with a fun sci-fi edge to boot"
"Sometimes a film charges out of the gate, knocks you on your ass and says "Get Up. Let's ride." When you encounter such a film, the critical part of your brain cedes control to the reptilian."
"Really, it's just ridiculous fun to watch these two impossible heroes and their bumpy romance."
"Entirely unique and fun in it's own way"
"Come for the romance, stay for the dinosaurs and megasharks."
