Galaxie 500 have announced a new archival compilation, Uncollected Noise New York ’88-’90. The double album is due out September 20th via Silver Current Records, but to hold fans over, the indie rock act also shared two previously unreleased songs, “Shout You Down” and “I Wanna Live.” Listen to them both below.
Uncollected Noise New York ’88-’90 marks the first release of vaulted material for Galaxie 500 in nearly three decades. Featuring B-sides, outtakes, and non-album material, the compilation also boasts eight never-before-heard cuts.
“There is a sweetness in hearing the progression of us finding our own sound, our own collective voice. The Proustian power of music,” bassist Naomi Yang said in a statement. “Listening to these early recordings I can hear myself figuring out how I wanted to play bass — finding my way up the neck to where the notes would cut through, where there could be a counter-melody to the singing.
Uncollected Noise New York ’88-’90 marks the first release of vaulted material for Galaxie 500 in nearly three decades. Featuring B-sides, outtakes, and non-album material, the compilation also boasts eight never-before-heard cuts.
“There is a sweetness in hearing the progression of us finding our own sound, our own collective voice. The Proustian power of music,” bassist Naomi Yang said in a statement. “Listening to these early recordings I can hear myself figuring out how I wanted to play bass — finding my way up the neck to where the notes would cut through, where there could be a counter-melody to the singing.
- 7/10/2024
- by Jonah Krueger
- Consequence - Music
Beloved dream-pop trio Galaxie 500 have announced a new collection featuring unheard recordings from the band’s heyday.
Uncollected Noise New York ’88-’90, the group’s first post-breakup release of archival material in over 30 years, features two dozen recordings Galaxie 500 made at the studio Noise New York during those titular years, some of which have been released via B-sides and previous box sets. However, eight tracks in the new collection are entirely unreleased.
“Opening up these tape boxes was like looking into an old journal or datebook. I had forgotten most of this happened at all,...
Uncollected Noise New York ’88-’90, the group’s first post-breakup release of archival material in over 30 years, features two dozen recordings Galaxie 500 made at the studio Noise New York during those titular years, some of which have been released via B-sides and previous box sets. However, eight tracks in the new collection are entirely unreleased.
“Opening up these tape boxes was like looking into an old journal or datebook. I had forgotten most of this happened at all,...
- 7/10/2024
- by Daniel Kreps
- Rollingstone.com
As the summer in quarantine winds down, and many cities remain in half-lockdown, half-reopened states of purgatory, it’s become harder and harder to pass the time in the heat. There’s only so many times you can go to the beach (while social distancing) or sip to-go drinks in the park before you begin to long for an air-conditioned movie theater, or spontaneously hugging friends at a crowded bar. Appropriately, the music I’ve listened to this summer skews less towards party jams and more towards the slower, mellower stuff — guitar reverb,...
- 8/8/2020
- by Claire Shaffer
- Rollingstone.com
On Sunday, indie-rock fans were pleasantly shocked to see that the Tennessee Titans had posted a video message honoring David Berman, of the Silver Jews and Purple Mountains, who died earlier this year. “Nashville (and the world) will always love David Berman,” the message on the Nissan Stadium jumbotron read.
Berman, who moved from Charlottesville, Virginia to Nashville around the same time Nashville got its NFL franchise, was a Titans fan who sometimes put football into his songs and writing, like this 2016 poem honoring Darius Van Arman, founder of the Charlottesville indie label Jagjaguwar,...
Berman, who moved from Charlottesville, Virginia to Nashville around the same time Nashville got its NFL franchise, was a Titans fan who sometimes put football into his songs and writing, like this 2016 poem honoring Darius Van Arman, founder of the Charlottesville indie label Jagjaguwar,...
- 11/13/2019
- by Jon Dolan
- Rollingstone.com
Strokes frontman Julian Casablancas, the Yeah Yeah Yeahs, the National, TV on the Radio and more have created custom Tidal playlists of their favorite Velvet Underground songs for The Velvet Underground Experience, a multimedia exhibition on the band coming to New York that has officially partnered with Tidal.
The music that Lou Reed, John Cale, Sterling Morrison and Moe Tucker made together, starting with their classic 1967 debut, The Velvet Underground & Nico, has been a crucial influence on generations of rock & roll dreamers and art-world rebels. Brian Eno famously said that...
The music that Lou Reed, John Cale, Sterling Morrison and Moe Tucker made together, starting with their classic 1967 debut, The Velvet Underground & Nico, has been a crucial influence on generations of rock & roll dreamers and art-world rebels. Brian Eno famously said that...
- 10/4/2018
- by Simon Vozick-Levinson
- Rollingstone.com
The Meyerowitz Stories comes to Netflix this week, so Chris looks back at Noah Baumbach's last farce...
It's not uncommon for a hip song to singularly define a film, but rarely do they also unlock or embody a character with equal force. When Mistress America does so with “You Could’ve Been A Lady” by Hot Chocolate it’s working with a character that wants to similarly been seen as a lot of things, but most importantly cool. As if Great Greta Gerwig could ever be seen as something less than complex and cool as heck.
Mistress America takes off musically with a more subdued approach. Lola Kirke’s Tracy arrives at college, one of the times where we we allow music to outwardly define us, whether it’s a dorm poster or conversation starter. It's no surprise that college films lean in heavy on contemporary musical hipness for their identity.
It's not uncommon for a hip song to singularly define a film, but rarely do they also unlock or embody a character with equal force. When Mistress America does so with “You Could’ve Been A Lady” by Hot Chocolate it’s working with a character that wants to similarly been seen as a lot of things, but most importantly cool. As if Great Greta Gerwig could ever be seen as something less than complex and cool as heck.
Mistress America takes off musically with a more subdued approach. Lola Kirke’s Tracy arrives at college, one of the times where we we allow music to outwardly define us, whether it’s a dorm poster or conversation starter. It's no surprise that college films lean in heavy on contemporary musical hipness for their identity.
- 10/11/2017
- by Chris Feil
- FilmExperience
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question:
Last Friday saw the release of Garth Davis’ “Lion,” the musical score for which is the gorgeous result of a collaboration between two giants of the neo-classical movement, Dustin O’Halloran and Hauschka. It’s just the latest indication that we’re living in a fascinating, vibrant time for movie music, and December boasts a number of films that will only add more fuel to that fire. With that in mind, we asked our panel of critics to name their favorite film score of the 21st Century.
Tasha Robinson (@TashaRobinson), The Verge
There are some really striking contenders out there, topped by Susumu Hirasawa’s manic,...
This week’s question:
Last Friday saw the release of Garth Davis’ “Lion,” the musical score for which is the gorgeous result of a collaboration between two giants of the neo-classical movement, Dustin O’Halloran and Hauschka. It’s just the latest indication that we’re living in a fascinating, vibrant time for movie music, and December boasts a number of films that will only add more fuel to that fire. With that in mind, we asked our panel of critics to name their favorite film score of the 21st Century.
Tasha Robinson (@TashaRobinson), The Verge
There are some really striking contenders out there, topped by Susumu Hirasawa’s manic,...
- 11/28/2016
- by David Ehrlich
- Indiewire
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
Note: With Black Friday approaching and many deals already underway, this week’s column will be dedicated to the event as we highlight some of our favorite deals (see all of them here).
Hell or High Water (David Mackenzie)
David McKenzie’s Hell or High Water is a gritty, darkly humorous, and fiendishly violent neo-western. Or, in other words, the type of film you might expect from a non-American director working in the United States. It borrows heavily...
Note: With Black Friday approaching and many deals already underway, this week’s column will be dedicated to the event as we highlight some of our favorite deals (see all of them here).
Hell or High Water (David Mackenzie)
David McKenzie’s Hell or High Water is a gritty, darkly humorous, and fiendishly violent neo-western. Or, in other words, the type of film you might expect from a non-American director working in the United States. It borrows heavily...
- 11/22/2016
- by The Film Stage
- The Film Stage
It’s that time of year. Sleigh bells have been rung, gifts have been given and we have officially closed the door on what was 2015. A year that saw us once again take a journey into a galaxy far, far away, revisit the post apocalyptic landscape of Mad Max and the ever expanding reach of world and documentary cinema, 2015 has been one of the greatest of film years, arguably the very best since 2007 (probably cinema’s greatest year?) and as one has likely already one hundred top [insert arbitrary number] films list, why not make it one hundred and one? Be it a group of young women attempting to break free of the backwards patriarchy that has them oppressed or a bravura, epic-length satire from one of world cinema’s foremost artists, these are the ten best films that 2015 had to offer.
Honorable mention: Have you heard about this new thing called television?...
Honorable mention: Have you heard about this new thing called television?...
- 1/4/2016
- by Joshua Brunsting
- CriterionCast
'The Peanuts Movie': 2016 Best Original Score Oscar contender along with 111 other titles. Oscar 2016: Best Original Score contenders range from 'Mad Max: Fury Road' to 'The Peanuts Movie' Earlier this month (Dec. '15), the Academy of Motion Picture Arts and Sciences made public the list of 112 film scores eligible for the 2016 Oscar in the Best Original Score category. As found in the Academy's press release, “a Reminder List of works submitted in the Original Score category will be made available with a nominations ballot to all members of the Music Branch, who shall vote in the order of their preference for not more than five achievements. The five achievements receiving the highest number of votes will become the nominations for final voting for the award.” The release adds that “to be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must...
- 12/24/2015
- by Mont. Steve
- Alt Film Guide
The Academy of Motion Picture Arts and Sciences today announced that 112 scores from eligible feature-length motion pictures released in 2015 are in contention for nominations in the Original Score category for the 88th Academy Awards.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
"Adult Beginners,” Marcelo Zarvos, composer
"The Age of Adaline,” Rob Simonsen, composer
"Altered Minds,” Edmund Choi, composer
"Alvin and the Chipmunks: The Road Chip,” Mark Mothersbaugh, composer
"Anomalisa,” Carter Burwell, composer
"Ant-Man,” Christophe Beck, composer
"Beasts of No Nation,” Dan Romer, composer
"The Big Short,” Nicholas Britell, composer
"Black Mass,” Tom Holkenborg, composer
"Bridge of Spies,” Thomas Newman, composer
"Brooklyn,” Michael Brook, composer
"Burnt,” Rob Simonsen, composer
"By the Sea,” Gabriel Yared, composer
"Carol,” Carter Burwell, composer
"Cartel Land,” H. Scott Salinas and Jackson Greenberg, composers
"Chi-Raq,” Terence Blanchard, composer
"Cinderella,” Patrick Doyle, composer
"Coming Home,” Qigang Chen, composer
"Concussion,...
The eligible scores along with their composers are listed below, in alphabetical order by film title:
"Adult Beginners,” Marcelo Zarvos, composer
"The Age of Adaline,” Rob Simonsen, composer
"Altered Minds,” Edmund Choi, composer
"Alvin and the Chipmunks: The Road Chip,” Mark Mothersbaugh, composer
"Anomalisa,” Carter Burwell, composer
"Ant-Man,” Christophe Beck, composer
"Beasts of No Nation,” Dan Romer, composer
"The Big Short,” Nicholas Britell, composer
"Black Mass,” Tom Holkenborg, composer
"Bridge of Spies,” Thomas Newman, composer
"Brooklyn,” Michael Brook, composer
"Burnt,” Rob Simonsen, composer
"By the Sea,” Gabriel Yared, composer
"Carol,” Carter Burwell, composer
"Cartel Land,” H. Scott Salinas and Jackson Greenberg, composers
"Chi-Raq,” Terence Blanchard, composer
"Cinderella,” Patrick Doyle, composer
"Coming Home,” Qigang Chen, composer
"Concussion,...
- 12/17/2015
- by Michelle McCue
- WeAreMovieGeeks.com
Whether he realizes it or not, a gravitational nexus has been pulling filmmaker Noah Baumbach (“The Squid And The Whale”) towards some similar ideas. March’s “While We’re Young” explores notions about the evolution of authenticity in art and the schism of age, but it also examines when protege/mentor relationships go wrong and the dark side of ambition. Very similar ideas pop up in “Mistress America,” the second film that Baumbach has released in 2015 (yep, he’s been working at a quick clip of late). But hardly anyone can accuse him of making the same film. If “Where We’re Young” is perhaps a send-up of aging hipsters and opportunistic millennials, “Mistress America” is very different. For one, it has female leads at its center, in Greta Gerwig and up-and-comer Lola Kirke (“Gone Girl”), a dreamy synth sheen by Britta Phillips and Dean Wareham, and it’s arguably...
- 8/13/2015
- by Rodrigo Perez
- The Playlist
Dean Wareham and Britta Phillips have been longtime musical collaborators with Noah Baumbach. Their former band Luna co-scored the director's "Mr. Jealousy," while contributing songs and music across many of his films since. And "Mistress America" (read our review) marks the second time the duo have been tasked with scoring a Baumbach picture, and they rise to the challenge. Read More: Watch: First Clip from Noah Baumbach's 'Mistress America' With Lola Kirke & Greta Gerwig Today we have an exclusive listen at three tracks from Wareham and Phillips score for the the film: the titular theme song, "Tracy & Tony," and "Tracy In New York." And the trio of tunes put the duo's trademark dream synths up front, bringing a vibrant energy to backdrop Baumbach's New York City tale. It's beautiful stuff, and with the soundtrack rounded out by tunes from Orchestral Manoeuvres In The Dark, Paul McCartney, Suicide,...
- 7/22/2015
- by Kevin Jagernauth
- The Playlist
Title: Frances Ha IFC Films Director: Noah Baumbach Screenwriter: Noah Baumbach, Greta Gerwig Cast: Greta Gerwig, Mickey Sumner, Charlotte d’Amboise, Adam Driver, Hannah Dunne, Michael Esper, Grace Gummer, Patrick Heusinger, Josh Hamilton, Cindy Katz, Maya Kazan, Justine Lupe, Britta Phillips, Juliet Rylance, Dean Wareham Screened at: Dolby88, NYC, 5/6/13 Opens: May 17, 2013 Among the self-help books that flood the marketplace annually are a number that concentrate on happiness; not necessarily how to achieve this state of contentment or bliss, but an analysis of people of different ages. Surprisingly the ones I’ve read note that folks in their twenties are the least happy while those in the seventies are flourishing. [ Read More ]
The post Frances Ha Movie Review appeared first on Shockya.com.
The post Frances Ha Movie Review appeared first on Shockya.com.
- 5/12/2013
- by Harvey Karten
- ShockYa
After Dean Wareham left the epochal dream-pop group Galaxie 500 in 1991 to form Luna, the remainder of the band—husband-and-wife rhythm section Damon Krukowski and Naomi Yang—almost immediately released its beautiful debut, More Sad Hits. Since then, Damon & Naomi has rarely disappointed. But the duo has also rarely dazzled, preferring instead to keep its mystery to a whispery minimum. Damon & Naomi’s new full-length, False Beats And True Hearts, maintains the steady momentum; the mood stays wistful, and the pace is ever glacial. But the album shifts sideways a bit, specifically into the ’70s folk-rock of Sandy Denny ...
- 5/17/2011
- avclub.com
Galaxie 500 and Luna while critically adored, tend to be overlooked and in this music lover's opinion, remain two of the most under appreciated bands of my lifetime. Frontman Dean Wareham moved on from Galaxie and then from Luna with his lovely bandmate, Britta Phillips, married her and the two began recording as Dean & Britta. Sort of a rock and roll Bonnie and Clyde -- I mean that in the most French way possible.
Their latest project, endorsed and by invitation of the Andy Warhol Museum, is a collection of soundtracks made to accompany 13 of Andy Warhol's "Screen Tests." Boring or brilliant, they were originally conceived by Warhol as portraits, portraits on film rather than canvas, and feature some people who are ridiculously famous. It's all in the eye of the beholder of course, if you're fascinated by Bob Dylan oder Edie Sedgwick you'll want to ogle their "Screen Test.
Their latest project, endorsed and by invitation of the Andy Warhol Museum, is a collection of soundtracks made to accompany 13 of Andy Warhol's "Screen Tests." Boring or brilliant, they were originally conceived by Warhol as portraits, portraits on film rather than canvas, and feature some people who are ridiculously famous. It's all in the eye of the beholder of course, if you're fascinated by Bob Dylan oder Edie Sedgwick you'll want to ogle their "Screen Test.
- 8/3/2010
- by Brandon Kim
- ifc.com
Considering Luna’s hypnotically bouncy take on Velvet Underground riffing, its collaborations with Sterling Morrison, and an appearance on the I Shot Andy Warhol soundtrack, who better to score the 13 Most Beautiful: Songs For Andy Warhol’s Screen Tests DVD than indie power couple Dean Wareham and Britta Phillips? The screen tests themselves—which include Lou Reed lazily shilling for Coca-Cola and Nico fidgeting in chiaroscuro—are something like Warhol’s photo-booth portraits, with a slow-burning intensity that meshes perfectly with the understated space-rock and loping guitar jams that populate the soundtrack. With the exception of a cover of ...
- 7/27/2010
- avclub.com
As the Velvet Underground's "Heroin" blared through the loudspeakers at the New York Public Library on 42nd Street last night, a spotlight focused on a lone turntable and the band's Lou Reed, Maureen "Moe" Tucker and Doug Yule took seats alongside Rolling Stone's David Fricke. The special occasion: a rare discussion of everything from the Velvets' first paying gig at Summit High School in New Jersey ($80 for the night) to their success with Andy Warhol. "Warhol was one of the greatest people I've met in my life," Reed remarked.
- 12/9/2009
- by Joshua Penn
- Rollingstone.com
When the Andy Warhol Museum decided to commission a live soundtrack to accompany Warhol’s silent film portraits, known as “screen tests,” they called up old friends Dean Wareham and Britta Phillips. The duo was a natural sonic choice: From their early years in the band Luna (and Wareham in Galaxie 500), up through their current incarnation as Dean & Britta, their music has often carried traces of the trademark tonalities of Warhol’s Factory house band, The Velvet Underground.
- 3/9/2009
- Pastemagazine.com
The Squid and the Whale
PARK CITY -- A wry exercise in acute observation and emotional distancing, Noah Baumbach's "The Squid and the Whale" represents what's best in autobiographical filmmaking. By re-examining the pain and confusion of growing up, then filtering that through the comic lens of fiction, Baumbach has made a deft and downright funny movie about what happens to kids when mom and dad break up. Starring Jeff Daniels and Laura Linney as the warring but not uncaring parents, "The Squid and the Whale" should do good business in and possibly outside the art house circuits.
In the Park Slope section of Brooklyn in 1986, teenager Walt (Jesse Eisenberg) and his adolescent brother Frank (Owen Kline) live in what they believe is a normal though bookish Jewish household. Bernard (Daniels) and Joan (Linney) Berkman both have doctorates in English lit, so books are a natural design element and dinner conversation revolves around the classics. Indeed, dad's dining-table pronouncements, containing as they do a whiff of intellectual pretension, sound like extensions of his college lectures.
An undercurrent of disharmony between the adults goes largely unnoticed by the youngsters until that fateful day they are told to return home directly after school for a family conference. Dad winds up moving into depressing digs with peeling paint across the Park. The kids hate the place but must stay there on his days.
Dad pleads his case to both sons: His flagging career as a novelist, heading in the opposite direction from that of his wife's, is what sparked the separation, he insists. Walt buys his explanation and momentarily turns against his mom, but Frank still prefers being around her. And his cat.
The split happens just as the boys struggle to create their own identities through artistic or athletic pursuits. Walt also discovers girls. First he develops interest in Sophie (Halley Feiffer). However, his parents' situation make him wonder how "committed" he wants to be with any female.
Then dad unwisely offers a flirtatious female student (Anna Paquin) a room in his ramshackle house. Her presence stirs the sexual appetites of both father and elder son. Meanwhile, Frank takes to smearing his semen on various objects at school.
Because Baumbach is drawing from life, the Berkmans do not behave as most movie parents do. Dad never bothers to challenge Frank's use of obscenities when playing sports because he is too busy using them himself. Mom never seems to call either offspring by his real name, preferring Chicken for Walt and Pickle for Frank.
Dad obsesses about finding parking spots near his house. Mom is careless in her love life, especially when she dates Frank's tennis coach (a funny performance by Billy Baldwin).
Baumbach recalls all this pain -- and even the humiliation of discovering one of your parents actually slept with a buddy's parent -- with humor rather than anger. The film is, perhaps, an act of forgiveness. The things that move his characters to rage and anguish bemuse him. He notices how everyone seems to have a talent for making bad situations worse. In looking back on his childhood, Baumbach seems to take comfort in this: It might have been a bitch, but he got a really good comedy out of it.
THE SQUID AND THE WHALE
An Original Media and Ambush Entertainment Presentation in association with Andrew Lauren Prods. of an American Empirical/Peter Newman-Interal Prod.
Credits:
Writer-director: Noah Baumbach
Producers: Wes Anderson, Peter Newman, Charlie Corwin, Clara Markowicz
Executive producers: Reverge Anselmo, Miranda Bailey, Greg Johnson, Andrew Lauren
Director of photography: Robert D. Yeoman
Production designer: Anne Ross
Music: Dean Wareham, Britta Philips
Costume designer: Amy Westcott
Editor: Tim Streeto
Cast:
Bernard: Jeff Daniels
Joan: Laura Linney
Walt: Jesse Eisenberg
Frank: Owen Kline
Sophie: Halley Feiffer
Lili: Anna Paquin
Ivan: Billy Baldwin
No MPAA rating
Running time -- 81 minutes...
In the Park Slope section of Brooklyn in 1986, teenager Walt (Jesse Eisenberg) and his adolescent brother Frank (Owen Kline) live in what they believe is a normal though bookish Jewish household. Bernard (Daniels) and Joan (Linney) Berkman both have doctorates in English lit, so books are a natural design element and dinner conversation revolves around the classics. Indeed, dad's dining-table pronouncements, containing as they do a whiff of intellectual pretension, sound like extensions of his college lectures.
An undercurrent of disharmony between the adults goes largely unnoticed by the youngsters until that fateful day they are told to return home directly after school for a family conference. Dad winds up moving into depressing digs with peeling paint across the Park. The kids hate the place but must stay there on his days.
Dad pleads his case to both sons: His flagging career as a novelist, heading in the opposite direction from that of his wife's, is what sparked the separation, he insists. Walt buys his explanation and momentarily turns against his mom, but Frank still prefers being around her. And his cat.
The split happens just as the boys struggle to create their own identities through artistic or athletic pursuits. Walt also discovers girls. First he develops interest in Sophie (Halley Feiffer). However, his parents' situation make him wonder how "committed" he wants to be with any female.
Then dad unwisely offers a flirtatious female student (Anna Paquin) a room in his ramshackle house. Her presence stirs the sexual appetites of both father and elder son. Meanwhile, Frank takes to smearing his semen on various objects at school.
Because Baumbach is drawing from life, the Berkmans do not behave as most movie parents do. Dad never bothers to challenge Frank's use of obscenities when playing sports because he is too busy using them himself. Mom never seems to call either offspring by his real name, preferring Chicken for Walt and Pickle for Frank.
Dad obsesses about finding parking spots near his house. Mom is careless in her love life, especially when she dates Frank's tennis coach (a funny performance by Billy Baldwin).
Baumbach recalls all this pain -- and even the humiliation of discovering one of your parents actually slept with a buddy's parent -- with humor rather than anger. The film is, perhaps, an act of forgiveness. The things that move his characters to rage and anguish bemuse him. He notices how everyone seems to have a talent for making bad situations worse. In looking back on his childhood, Baumbach seems to take comfort in this: It might have been a bitch, but he got a really good comedy out of it.
THE SQUID AND THE WHALE
An Original Media and Ambush Entertainment Presentation in association with Andrew Lauren Prods. of an American Empirical/Peter Newman-Interal Prod.
Credits:
Writer-director: Noah Baumbach
Producers: Wes Anderson, Peter Newman, Charlie Corwin, Clara Markowicz
Executive producers: Reverge Anselmo, Miranda Bailey, Greg Johnson, Andrew Lauren
Director of photography: Robert D. Yeoman
Production designer: Anne Ross
Music: Dean Wareham, Britta Philips
Costume designer: Amy Westcott
Editor: Tim Streeto
Cast:
Bernard: Jeff Daniels
Joan: Laura Linney
Walt: Jesse Eisenberg
Frank: Owen Kline
Sophie: Halley Feiffer
Lili: Anna Paquin
Ivan: Billy Baldwin
No MPAA rating
Running time -- 81 minutes...
- 1/27/2005
- The Hollywood Reporter - Movie News
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