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Society of the Snow is One of the Most Harrowing films of All Time — and Chilling As Well Story



It’s an understatement to say that I’ve seen lots of films with varying degrees of frightening circumstances informing them. But “Society of The Snow” was one of the most harrowing — well deserving of award nominations including the Oscar for Best International Feature. Though the film is fiction, it’s based on a true story and is done in such a way that you feel yourself actually experiencing the cold, anguish and pain as the story reveals itself.
In 1972, a Uruguayan rugby team chartered a flight to Chile, which catastrophically crashed on a glacier in the heart of the Andes. Of the 45 passengers on board, 29 survived the initial crash, although more would die from injury, disease, and an avalanche over the following weeks. Trapped in one of the most inaccessible and hostile environments on the planet, the survivors were forced to resort to survival cannibalism of those who had already died in order to stay alive. However, rather than turn against each other, the survivors drew upon the cooperative teamwork they learned through rugby, along with their spiritual faith, in order to escape the mountains. Only 16 of the 40 passengers ultimately survived.

Director J.A. Bayona discovered Pablo Vierci’s 2009 account of the crash, “La sociedad de la nieve,” while conducting research for his 2012 film “The Impossible.” He bought the rights for the book when he finished filming that movie. The filmmaker recorded more than 100 hours of interviews with all of the living survivors. The cast is composed of Uruguayan and Argentine actors, most of whom are newcomers. The actors had contact with the survivors and the families of the victims.
The film closed the 80th Venice International Film Festival in an Out of Competition slot. It was theatrically released in Uruguay on 13 December, 2023, then Spain in December, 2023. Before streaming on Netflix in January, 2024, it had a limited theatrical run in the US in December 2023. “Society of the Snow” received positive reviews and won 12 awards including Best Picture and Best Director at the 38th Goya Awards and was nominated for Best International Feature Film, representing Spain, along with Best Makeup and Hairstyling at the 96th Academy Awards.
This Q&A took place in front of an audience a few weeks before Oscar Night.
T2C: “Society of the Snow” was shot in sequence, which is so rare now. Also shooting on location with all the challenges. How important was it to you to have an Uruguayan voice to this film, this passion in your life for the last decade?

J.A. Bayona

J.A. Bayona: This story is not only well-known in the Spanish-speaking world, but also [throughout] the whole world. There are many documentaries about it. There were two movies already done, so we had to do this one right. We spent the time, and we wanted to shoot in Spanish. There was no way to shoot this film in another language than Spanish with a Uruguayan accent, since it was based on a book by a Uruguayan author with a Uruguayan voice and a Uruguayan actor. It took us 10 years to find the financing, find a place where we were allowed to show up and believe in the film, and believe in the level of ambition we were looking for, again in Spanish. 

Once we knew the film was going to be done — actually before then — we did auditions for nine months, looking for the actors. I saw 2,000 self-made tapes, and from those, I started to choose faces and meet actors online, because it was during the pandemic. We finally got our cast. That was at the end of 2020. We did two months of rehearsals — which is a luxury — maybe seven weeks. Then, all the cast met the real people they were portraying or the families of the dead. Then we spent a very long shoot, 140 days, which was extraordinary. We created such a beautiful family. Everything that’s in front of the camera was real. The friendship, the love, the sense of camaraderie, and we were there with our cameras. We captured that. 

T2C: Who was your continuity director? You’ve been recognized for makeup and hair. This was another-level continuity.

J.A. Bayona: I gave the actors a lot of space and freedom to improvise, because they were so well prepared. They spent two months in rehearsals, met the survivors, and read the book. They had all the information, and then they worked in similar conditions, with a context that was constantly stimulating the performance. There was a lot of space to improvise. We shot 600 hours of material. The heroes of this film are the editors because they had to deal with that. There were a lot of continuity issues that we had to deal with in the editorial.

T2C: Enzo [Vogrincic], when it comes to rehabilitation in the hospital, the showers, the emaciated bodies — and being a 2024 film realist — it wasn’t body doubles. Your body weight went from 159 to 103 during the shooting of this film. That was real. How important was it for you, for the living and the dead, to honor your character?

Enzo Vogrincic

Enzo Vogrincic: While we were making the film, as actors, we always thought we owed the people that survived and those that died, to tell their story as realistically as possible. Therefore, when we were filming things such as hunger or cold, we were barely able to move. It was a way of replicating what they had gone through, beyond our acting, because we knew that we had a responsibility to the people and to the characters. This was not a typical shoot whatsoever. It was part of the story, so fundamentally, we were willing to do whatever it took to get that realism in. After putting in 12 hours of filming and besides, we were eating very little, we found that we could set up a gym afterwards. At night, those of us who were not filming, we were training and continuing to lose weight.

T2C: Enzo, how important was it to you that this project be delivered in an Uruguayan voice?

Enzo Vogrincic: This is something that was fundamental to us, because this story has been told before, but not with our voice. I thought that was the key thing to do because, though some theories say we are human regardless of where we took place. But these were the stories lived and survived by actual Uruguayans. We thought that to be able to tell it in the original language, it was important for us to understand the tales of the survivors so we could tell the story better. There were terms, feelings, and all those things which mattered, because it hadn’t been done that way before.

T2C: Juan Antonio, there were scenes that involved faith, the notion of a higher power, permission from God. On the other hand, what kind of God would allow this? Those scenes were directed with great care. Tell us how you approached that?

J.A. Bayona: I always try to be as close as possible to the characters, to the reality, in order to be able to capture them with a sense of authenticity, a sense of place, of being there. And these guys were, most of them, very religious. There was a lot of religious iconography. I like to think the film tries to be more spiritual than religious. I see these people like orphans, abandoned in a place where life is not possible, and they need to reinvent life. 

They need to, somehow, reconsider what is important and what is not, as human beings. By doing so, the movie becomes a mirror of ourselves. They had to start everything from scratch. They were abandoned by the authorities, they were abandoned by their families, so they had to. For them, it was a journey of self-discovery. It was also a way of understanding that God was everywhere, in order to survive. There was not a religious institution in the middle. When we mention cannibalism, when we talk about it, that’s a word they don’t like to use. I think this film makes a big change, in that it’s not about taking. It’s about giving, about giving yourself to others and suffering the same pain that they are suffering. And by doing that, feeling empathy …understanding that you and the other person in front of you are really the same. 

It’s like when Gustavo Zerbino told Roberto Canessa, “You have the strongest legs, you need to walk for us.” [And he did just that, walking out from the crash down the mountain towards civilization until they were found, which saved everyone who remained.] 
There’s an immediate realization that you and the other ones are the same. We are all the same. To me, that feels sacred, spiritual and transcendent. To understand that we are all part of the same thing. That resonates in the world we live in right now especially with young people. We are surrounded by so much conflict, and finally having this story that tells you that we are all part of the same thing, that we are all aboard the same plane. We need to come together to find a solution. We had such an important message. That was our fuel. 
T2C: With today’s GPS, the flight would have landed at its destination safely, one would hope. You had to get the technical details right. The formal report said it was pilot error. That’s clear from your work. How challenging was that, starting with your visit to the crash site? 

J.A. Bayona: We had to give the context to make others understand what they went through, and by doing so, what they did. We put so much effort into all the details, like talking about the type of plane. We went to the Uruguayan Army. We had a very honest conversation with them.  They accepted that it was human error. But it was actually a combination of human error with some kind of an early model of GPS that failed that day. They basically had to do this turn there because that kind of plane was not able to fly at 40,000 feet. So they had to go through a lower pass. And they had to do this kind of U-turn. 

It takes 20 minutes to get from one side to the other. But they turned to the right only when they were six minutes into it. That’s why it’s considered to be a human error because there was no way that the pilot didn’t know that. The pilot had done that journey many times. But we really don’t know what happened in that cockpit. I decided to leave the camera outside of the cockpit out of respect for the pilots. We knew that there was a machine that failed there. But anyway, we decided out of respect not to get into that space so we stayed with the other characters. 

T2C: Enzo, will your life ever be quite the same after the experience of filming this movie? 

Enzo Vogrincic: In life, everything you do changes you. I think you’re never the same after an experience this informative. Of course, I’ve changed. I am different, I like to take every opportunity to continue changing myself.  The biggest changes were on a professional level and in terms of how much I learned. I had to go in depth into my character and we spent one to three years with those people talking about life, death, friendship, love, family and making friends. I’ve made 25 new friends and therefore I like to think that I did change.

T2C: Juan Antonio, talk about your immersion in your new extended family. The family of the living and the family of the dead.

J.A. Bayona: I sent an email to the survivors in 2011 and in that first email, I already sent a line about Roberto Canessa that said, “Talking to the dead, he says, accepting peace, gives us the chance to live other lives we didn’t have the chance to live.” 

I was very struck by that conversation between the living and the dead and that sense of depth towards the dead. The more I was in contact with the survivors and the more we talked, the more I realized that they needed the film to be completed and released even more than I did.

My big question was what was left to say after so many documentaries, books, and movies. Now I realize, after seeing the film with them, that it was not about telling something that wasn’t being told yet. It was more about giving them the chance to say thank you to people who’d been so important. I see how it was like a poetic thing, the fact that people who didn’t make it, they gave everything they had for these people to be alive. And now they are using their testimony to bring these people back, to keep them alive again on the screen. By doing so, I realized that they were comfortable with the story. So it was more about giving these folks a chance to say “thank you” to those who had helped while capturing the mood, feelings and context of what they had gone through so that people seeing the movie would understand what had happened. 

T2C: In the hands of another director, the debate over sheer survival might not have been handled as beautifully as it was with you. There’s a line in the script where Enzo’s character says, “What was once unthinkable became routine.” As the black & white photos are being taken, there’s a shot showing a human rib cage in the background, almost cavalierly, but it mostly was kept out of the photos. The pictures, of course, are still with us today. They’re on the web for people to see. You’ve managed to take on such a life-and-death topic and deal with it matter-of-factly but with great respect and discretion. 

J.A. Bayona: I’m so glad that you asked about that “unthinkable” line because that’s life. That’s life. First, you do what you think is impossible, then you get used to it, and then there’s a moment that you don’t pay attention to it. Our ordinary lives are about that. These people remind us how important every single detail is in our lives. It doesn’t matter if your skin is black or white or if we’re American or Spanish. We each have our chance to live life. But when you meet these guys, you meet people who’ve been given an extra chance. That makes a big difference. Their story helps us realize that sometimes we complain and don’t appreciate what we have, the fact that we do have lives to live.

T2C: Enzo, how cold did it get? At what altitude did most of the filming take place? 

Enzo Vogrincic: Well, I have to admit, it was hard to tell this story. You feel you have to go through the pain, yourself, in order to tell it well. The shooting was hard. Obviously. Because you have to connect the pain with your own body. We had to lose weight and experience the cold. You have to do it until your body becomes part of that character’s story.  

There were experiences that allowed us to feel the pain. We were able to work less on certain things and still retain the emotional tone of the story. The emotions didn’t take over necessarily when your body had to suffer. There were other important components, too, in addition to the pain and the suffering. You were able to see that you had a duty to carry out which took you beyond the pain, because you had a story to tell in a competent way. 

J.A. Bayona: Let me add one story. Enzo did such an extraordinary job. He was so committed to the performance of Numa that when we finished the shoot we had to go back to the Andes because the first time we went, there had been very little snow because of global climate change. We went for one year. Once we finished the shoot, we went back to shoot again in the background. Secretly he was in Uruguay and I called Enzo and said, “What are you doing next Wednesday?” He said, “Nothing.” I said, “I want to take you to the actual place where the plane crashed. I don’t have permission from the other producers but I think I can manage to bring you there. How much is the ticket?” He said, “$400.” I said, “Well, we can pay $400. I can talk with the insurance company and the professional drivers.”

I secretly took Enzo finally with the blessings from the other producers just because he did so much. We had this shoot then we had the person in Germany that was to do this film. I really wanted Enzo to be there and be able to shoot some shots that were very helpful for the film. You can treat the audience by putting in a couple of shots of Enzo there and there. At the same time, Enzo had a closure to that journey. He was able to do these shots, but was also able to stand in front of the great theater. I don’t know what you said there, what you did there, but you had your moment there. To me that was very important. When you do a film, the whole atmosphere affects the final result. I pay attention to these kinds of details. Also, I wanted him to be there and have that closure.

T2C: Having just shared this in a theater, I know that’s what movies are designed for, communal viewing experience. But when someone watches your movie on a streaming device. How does it affect you? And to be honest, can you interpret it for any language that it needs to be interpreted for?  

J.A. Bayona: Can we take the Netflix people out of the room for a second? No, listen, we spent 10 years trying to take the financing for this film. We tried to do this film by conventional windows to the cinemas. Apparently, there is no market for Spanish films that are over $10 or $15 million in budget. We couldn’t do this film with that budget. We spent 10 years and when we were about to give up, Netflix showed up and put in the money and gave us the freedom. They made the film possible. 

At the same time, I come from Spain. To me, it’s more difficult to handle the market in the US than in Spain. I’m quite popular there. We released the film on December 22nd. It was a limited release, 100 cinemas. Normally one of my films would be in 500 cinemas. We released the film in 100 cinemas. I decided to go with the film. Every week, I went to a different city and showed the film. The film is still in the cinemas, in the same number of cinemas. We’ve done 100 million admissions. The film actually is doing better since it’s on Netflix. I’m very happy that Netflix made the film possible and made it accessible to the whole planet. We had 100 million people watching the film in the first 10 days. So it’s not true. There is a market for Spanish films. But, I’m glad that the movie is still in theaters for people who want to see it there.


The Outer Critics Circle (OCC) Awards And You Are There Part 1



The Outer Critics Circle (OCC), awards ceremony for the winners was held on Thursday, May 23, 2024, in the Bruno Walter Auditorium at Lincoln Center’s New York Public Library for The Performing Arts (111 Amsterdam Avenue, NYC).

Current President David Gordon and  Vice President Richard Ridge welcomed everyone. There were celebrity presenters and Tony Danza proved why he is a comedy star. The first award given out was to Outstanding Video/Projections: Peter Nigrini – The Who’s Tommy.

Danza also gave out the awards to Outstanding Orchestrations Marco Paguia – Buena Vista Social Club.

Outstanding Costume Design: Linda Cho – The Great Gatsby

Outstanding Lead Performer in a Broadway Play: Jessica Lange – Mother Play

Receiving the John Gassner Award for New American Play (preferably by a new playwright): Oh, Mary! and a tie for Outstanding Lead Performer in an Off-Broadway Play (tie): Cole Escola left a video message.

Next to present was Montego Glover who gave Outstanding Featured Performer in an Off-Broadway Musical (tie) Judy Kuhn – I Can Get It For You Wholesale

and to Thom Sesma – Dead Outlaw

Outstanding Book of a Musical and Outstanding Score Shaina Taub – Suffs

Outstanding Scenic Design (tie): Paul Tate dePoo III – The Great Gatsby

Outstanding Lighting Design: Brian MacDevitt  The Outsiders

Outstanding Featured Performer in a Broadway Play: Kara Young – Purlie Victorious

Next up Steve Gutenberg gave awards to Outstanding Revival of a Play: Appropriate

Outstanding Sound DesignRyan Rumery – Stereophonic

Outstanding Solo Performance: Patrick Page – All the Devils are Here

Founded during the 1949-50 Broadway season by respected theater journalist John Gassner, The Outer Critics Circle is an esteemed association with members affiliated with more than ninety newspapers, magazines, broadcast stations, and online news organizations, in America and abroad. Led by its current President David Gordon, the OCC Board of Directors also includes Vice President Richard Ridge, Recording Secretary Joseph Cervelli, Corresponding Secretary Patrick Hoffman, Treasurer David Roberts, Cynthia Allen, Harry Haun, Dan Rubins, Janice Simpson and Doug Strassler. Simon Saltzman is President Emeritus & Board Member (Non-nominating) and Stanley L. Cohen serves as Financial Consultant & Board Member (Non-nominating). Lauren Yarger serves as the Outer Critics Circle Awards ceremony executive producer.

Tomorrow Part 2.

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Cabaret and Talks For June



92 Street Y: 1395 Lexington Ave. 6/1 – 3: Wonder of Wonders: Celebrating Sheldon Harnick; 6/11: Daddio: Advance Screening and Dakota Johnson in Conversation with MTV’s Josh Horowitz; 6/15: An Evening with Noah Hawley with Special Guest Jon Hamm and 6/20: Dr. Anthony Fauci in Conversation with Lawrence O’Donnell: On Call.

Birdland Jazz: 315 West 44 St. Every Monday at 5:30 Vince Giordano and The Nighthawks and 9:30pm Jim Caruso’s Cast Party; Every Tuesday at 8:30pm The Lineup with Susie Mosher; 6/1, 8, 15, 22, 29: 6/3: Gabrielle StravellI; 6/3: Gabrielle Stravelli & Billy Stritch “Frequently Secretly Fond of Each Other”; 6/10: Susan Mack “No More Blues”; 6/1: Eric Comstock & Barbara Fasano: “Sun! Skin! Sin! Sinatra!”; 6/ 18 – 19: Stacey Kent and 6/24: Clint Holmes in “Icons”.

Clint Holmes

Cafe Carlyle: 35 E 76th St. 6/1: Ethan Slater; 6/4 – 8 Rumer Willis and 6/11 -24: Aaron Tveit.

Rumer Willis

Carnegie Hall: 881 7th Ave at 57th St. 6/20: FOLLIES in Concert

Norbert Leo Butz, Christine Ebersole, Santino Fontana, Jennifer Holliday, Norm Lewis, Donna Murphy

Chelsea Table + Stage: Hilton Fashion District Hotel, 152 W 26th St. 6/14: Randy Edelman.

Randy Edelman Photo by Jeff Smith

Don’t Tell Mama: 343 W. 46 St. 6/2: Lucille Carr-Kaffashan.

The DJango: 2 Avenue of the Americas.

Klea Blackhurst

Dizzys Club Coca Cola: Frederick P. Rose Hall, Broadway at 60th Street. 6/9: Songbook Sundays Johnny Mercer with Billy Stritch, Klea Blackhurst,Gabrielle Stravelli and more.

54 Below: 254 West 54 St.  6/1: Tony Danza: Standards & Stories; 6/2: Lea DeLaria: Brunch Is Gay; 6/6 – 8 and 10 – 13: Norm Lewis: Summertime (Special Tony Edition; 6/14- 15: Gavin Lee: Steppin’ Out With Fred Astaire; 6/18 and 26: Christine Andreas: Paris to Broadway; 6/21 – 25: Linda Eder and  6/28 – 29: Jackie Evancho: My Story

Linda Eder

The Green Room 42: 570 10th Ave. 6/17: Nicholas King; 6/20: Sally Mayes; 6/23: Reeve Carney and 6/29: Corinna Sowers Adler, Marieann Meringolo and Sandra Piller.

Reeve Carney – Photo by Matthew Tammaro

Sony Hall: 235 W. 46th St. 6/2:Paula Cole; 6/14: Eliane Elias and 6/27: Gino Vannelli.

Eliane Elias

Theatre at the West Bank Café: 407 West 42 St. Every Saturday and Sunday Lucky Cheng’s Drag Brunch; 6/12: Craig Rubano.

The Triad: 158 W. 72 St. 6/19: Timeless Songs from the Silver Screen;

The Town Hall: 123 West 43rd Street. 6/3: Let’s Put On A Show! 35 Years Of Irish Rep Musicals! and 6/20 – 21: Samara Joy

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Events For June



On going is still  Beatrix Potter: Drawn to Nature, is at The Morgan Library & Museum through 6/9.Florals in Fashion highlights the work of designers Hilary Taymour (Collina Strada), Olivia Cheng (Dauphinette) and Kristen Alpaugh, aka FLWR PSTL Also Alicia Keys and Swizz Beatz’s “Giants,”is at the Brooklyn Museum until 7/7. The exhibition features artists who have made and continue to make a significant impact on the art world and contemporary culture. The show features 98 artworks by Black American, African, and African artists including Gordon Parks, Kehinde Wiley, Jean-Michel Basquiat, Mickalene Thomas, Hassan Hajjaj, Barkley L. Hendricks, Lorna Simpson, and Amy Sherald. Until 8/11 the Whitney Biennial, this happens every two years.  This year, the theme is “Even Better Than The Real Thing” and features the work of 71 artists and collectives. Also on display is Apollo: When We Went to the Moon at The Intrepid Museum. The exhibit is included with museum admission and goes until 10/2. The Rubin Museum, is permanently closing its physical space later this year and is open until October. If you’ve never been time to go. Until 10/27: The New York Botanical Garden is getting in on the Mad Hatter fun with a new, garden-wide exhibition for 2024 titled “Wonderland: Curious Nature.”

6/1 -23: How Long Blues at Little Island. Twyla Tharp featuring live music by T Bone Burnett and David Mansfield.

6/6 – 16: Tribeca Film Festival

6/7 – 9: Governors Ball

6/7 – 24: River to River Festival 50th anniversary has celebrations of dance, music, video, installation, and exhibitions. Featuring 13 projects of live art, performances, and participatory events in public spaces throughout Downtown New York, the 2024 River To River Festival explores themes of resonance, reconsideration, and resistance.  All events are free and open to all. Reservations are requested for some performances and events with limited capacity reserve here.

6/9: National Puerto Rican Day Parade

6/10: Movie nights in Bryant Park Forrest Gump (1994)

6/12: The Tony Awards

6/12: NY Philharmonic Concerts in the Parks

6/12 – 30: Summer for the City The Dream Machine Experience and The Bridge Lincoln Center Presents Time travel through an immersive AR experience across our outdoor spaces led by Cyboracle, the larger-than-life virtual avatar portrayed by Nona Hendryx.

6/12: The third annual Summer for the City festival. Over 200 free or choose-what-you-pay events that span a variety of topics, genres and  locations.

6/13 – 16: Juneteenth New York Festival

6/13: Summer for the City The Outdoor Film Series Black Swan Natalie Portman gives an Oscar-winning turn as a sheltered but driven young dancer with a ballet company in NYC who begins to buckle under pressure

6/17: Movie nights in Bryant Park The Talented Mr. Ripley (1999)

6/18 and 20: SummerStage The Metropolitan Opera Summer Recital featuring Leah Hawkins, Mario Chang, Michael Sumuel

6/19 – 30: Black Restaurant Week up to 80 participating venues, including Red Rooster Harlem, Cascade Jerk, Twins BBQ Co., Collective Fare, Tamarind Island, Voila Afrique, Misfits Nutrition, Brooklyn Blend, Negril Village, Lee Lee’s Baked Goods, The Real Mothershuckers and many more.

6/20: Summer for the City The Outdoor Film Series Before Sunrise Jesse (Ethan Hawke) and Céline (Julie Delpy) meet on a cross-Europe train. In Vienna, they walk, talk, look around—and fall unexpectedly in love. Damrosch Park

6/21: Summer for the City Social Dance Abaddón Tango. Get swept up in the majesty and beauty of Argentinian tango at this social dance night featuring the Abaddón Tango sextet.

6/21: 125th birthday of the Bronx Zoo 

6/21: Summer for the City The Outdoor Film Series Before Sunset. Nine years after Before Sunrise’s open-ended finale, Before Sunset’s immediate question—did Jesse and Céline reunite in Vienna—soon gets eclipsed.

6/21: Summer for the City Silent Disco. Strut your stuff under the stars as our popular Silent Disco series returns to NYC’s largest outdoor dance floor with a ten-foot disco ball.

6/22: The Coney Island The Mermaid Parade kicks off at 1pm.

6/22: Summer for the City Mykal Kilgore a concert for all ages featuring GRAMMY-nominated performing artist Mykal Kilgore!

6/22: Summer for the City The Wedding: New York’s Biggest Day Ever dreamed of getting married at Lincoln Center? For the third year in a row, we’re inviting hundreds of couples to celebrate love. Come join us!

6/22 -23: SailGP (Sail Grand Prix) will bring 10 international teams to the waters to race turbocharged F50 catamarans at more than 60 miles per hour. Fans can watch the action in stadium-style seats close to shore along Governors Island.

6/23: Summer for the City Rosanne Cash.  one of America’s leading songwriters and creative voices, performs a live set on the 30th anniversary of her classic album, The Wheel.

6/24 and 26: SummerStage The Metropolitan Opera Summer Recital featuring Brittany Olivia Logan, Hannah Jones, Matthhew Cairns

6/26: Summer for the City ABT Silent Disco With DJ Remeice and Connor Holloway. Celebrate Pride Week with American Ballet Theatre in a silent disco spun by DJ Remeice and co-

6/24: Movie nights in Bryant Park Boomerang (1992)

6/26-29: Robeson at Little Island.

6/29: SummerStage Pride Disco: DJ Trixie Mattel + Amanda Lepore + Jess King

6/30: Pride Fest, The March

6/30: SummerStage Dreamland: Pride In Central Park With John Summit





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Inside 36th Annual Geraldo Rivera Golf Classic Honoring Howard Fensterman




The 36th Annual Geraldo Rivera Golf Classic took place at the Old Westbury Golf & Country Club, Long Island, NY. The event’s host, Geraldo Rivera, Emmy and Peabody Award-winning journalist kicked off the golf classic with a brunch before the golfers hit the course at noon.

Nassau County Executive Bruce Blakeman and town officials from West Babylon came together to proclaim the day of the event as “Geraldo Rivera Day”.  In addition, Geraldo was presented with a commemorative jersey from West Babylon High School and memento’s crafted by children participating in the Life’s WORC program.

This year’s event honored Howard Fensterman, Managing Partner and Co-Founder of Abrams Fensterman, LLP as well as raised funds in support of Life’s WORC and their mission of making a difference in the lives of people with intellectual and developmental disabilities.

Notable attendees included: Geraldo Rivera, Erica Rvera, Howard Fensterman, Bill O’Reilly, Bruce Blakeman, Victoria Schneps, Sean Hannity (Virtual).

For decades, the groundbreaking Golf Classic and other high-profile events have helped bring hope and light to this once-marginalized population. The Life’s WORC team has been together since Geraldo’s critically acclaimed series exposing the deplorable conditions at the Willowbrook State School on Staten Island in January 1972, a half century ago.

Super-stars like John Lennon, Yoko Ono, Stevie Wonder, John Denver, and the Allman Brothers Band have all contributed with their talent and generosity. Like their concerts, charity boxing matches filled Madison Square Garden and brought thousands in celebration in Central Park. These events, including for the last 34 years the Geraldo Rivera Golf Classic, have raised millions and helped improve the lives of countless thousands.

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Tribeca Festival Gears Up



The Tribeca Festival, presented by OKX, announced the 2024 jury members who will select winning projects in the film, games, and audio storytelling sections. The Festival has 17 competition categories in which jurors will honor winning storytellers and creators with artistic awards.

This year’s festival jury includes a diverse roster of groundbreaking filmmakers, award-winning actors, celebrated multi-hyphenate producers, and leaders from entertainment, including David O. Russell, Selma Blair, Asghar Farhadi, Kim Cattrall, Chinonye Chukwu, Nisha Pahuja, Nikyatu Jusu, Sheila Nevins, Francesca Scorsese, Clara McGregor, and more. In addition to the awards in competition categories, the Nora Ephron Award, created to honor the spirit and vision of the legendary filmmaker and writer, will be presented.

“We are thrilled to once again welcome a diverse group of remarkable filmmakers, creatives and industry players as jurors for the 2024 Tribeca Festival,” said Executive Vice President at Tribeca Enterprises Nancy Lefkowitz. “We look forward to their wide-ranging perspectives across storytelling genres and mediums coming together to honor the extraordinary group of submissions this year.”

More than 30 industry leaders were selected to honor feature-length and short film categories, composed of narrative and documentary films. Juries have also been established to honor the best work in games, as well as submissions in Tribeca’s returning audio storytelling category.

The winning films, projects, filmmakers, storytellers, and actors in each category will be announced at the Tribeca Festival ceremony on June 13.


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