spotlights

In recent years, film festivals haven’t felt all that festive. Audiences have dwindled, streaming has upended viewing habits and the pandemic and Hollywood strikes have rattled the industry, leaving even the most glamorous events to fight for their place on the cultural calendar.

Then there’s Telluride. For more than a half-century, the tiny mountain gathering has thrived as a kind of anti-festival: no red carpets, no prizes, no tuxedos, just movies. Perched 8,750 feet up in a box canyon in the Colorado Rockies, it’s reachable only by twisting roads or a white-knuckle drop into one of the nation’s highest airports. Festival passes are pricey and limited in number, which makes Telluride feel at once intimate and exclusive. With its mix of industry insiders and devoted film lovers, that isolation and tight-knit atmosphere have become part of Telluride’s mystique, and the promise of early Oscar buzz keeps filmmakers, stars and cinephiles making the pilgrimage. Since 2009, only five best picture winners have skipped Telluride on their way to the top prize.

“It’s so hard to get to Telluride — you don’t end up here by accident,” festival director Julie Huntsinger says by phone. “We’ve always felt it’s incumbent on us to show either brand-new things or extraordinary things that make your time worth it. You know how cats will bring you a mouse? I always feel like I’m bringing you a mouse or a bird, and I just hope you’ll like it.”

Rolling out over Labor Day weekend, the 52nd Telluride Film Festival will supply a slate of fresh offerings, including a handful of world premieres. Scott Cooper’s “Springsteen: Deliver Me From Nowhere” drops Jeremy Allen White into the boots of the Boss, tracing the creation of his stark 1982 album, “Nebraska.” Chloé Zhao’s “Hamnet” unites Jessie Buckley and Paul Mescal in a haunting portrait of grief. Edward Berger’s “Ballad of a Small Player” finds Colin Farrell wandering Macau as a gambler chasing luck and redemption. And Daniel Roher’s “Tuner” gives Dustin Hoffman a rare return to the screen in a crime thriller about a piano tuner who discovers his ear is just as effective on safes as on Steinways.

Also in the mix are a number of films coming from Cannes and Venice: Yorgos Lanthimos’ “Bugonia,” Noah Baumbach’s “Jay Kelly,” Kelly Reichardt’s “The Mastermind” and Richard Linklater with a double bill, “Blue Moon” and “Nouvelle Vague,” proof that Telluride remains a haven for auteurs.

At last year’s Telluride, politics dominated the conversation on- and off-screen. Hot-button issues, from abortion access to climate change to the Israeli-Palestinian conflict, ran through the program, while guests such as Hillary Clinton, James Carville and special prosecutor Jack Smith joined the usual roster of actors and filmmakers. Ali Abbasi’s “The Apprentice,” a searing portrait of Donald Trump’s early years, was one of the buzziest titles.

This year the lineup is broader, though politics still runs through it. Ivy Meeropol’s “Ask E. Jean” follows writer E. Jean Carroll through her legal battles with Trump, while Kleber Mendonça Filho’s “The Secret Agent” uses a 1970s-set thriller to revisit Brazil’s military dictatorship, with Wagner Moura (“Narcos”) as a professor on the run. “This year is pretty political too,” Huntsinger insists. “There are a couple of films that, if you’re paying attention, have important things to say. I just hope everybody feels a little braver after a lot of the things we show.”

German-born director Edward Berger, who brought his papal thriller “Conclave” to last year’s edition, returns with a strikingly different film in “Ballad of a Small Player.”

“I would defy anyone to stack up his films and say they’re by the same filmmaker,” Huntsinger says. “This is a beautiful, very dreamlike, nonlinear exercise in spirituality and introspection. ‘Conclave’ felt disciplined — not that this film is undisciplined but it exists on a totally different plane.”

Zhao, who won the directing Oscar for 2020’s “Nomadland,” has adapted “Hamnet” from Maggie O’Farrell’s acclaimed novel about the death of Shakespeare’s only son in what Huntsinger describes as one of the festival’s most emotionally powerful selections.

“Chloé is a person of immense depth,” Huntsinger says. “She has such a deep feel for human beings. This is a sad, mournful but beautiful meditation on loss. People should be prepared to cathartically cry. There isn’t a false note in it.”

Another festival favorite, Lanthimos makes his third trip to Telluride with “Bugonia,” a darkly comic sci-fi satire that reunites him with Emma Stone following their earlier collaborations on “The Favourite” and “Poor Things.” A remake of the 2003 Korean cult film “Save the Green Planet!,” it follows a conspiracy-minded beekeeper (Jesse Plemons) who kidnaps a powerful pharma executive (Stone) he believes is an alien bent on destroying Earth.

“Be prepared to get your a— kicked,” Huntsinger says. “Emma is outstanding, and we should never take her for granted, but Jesse Plemons steals the show. He next-levels it in this one.”

Baumbach also marks his return to Telluride with the dramedy “Jay Kelly,” which centers on an actor (George Clooney) and his longtime manager (Adam Sandler) as they journey across Europe, looking back on the choices and relationships that have shaped their lives. Huntsinger likens the film to a cinematic negroni: “It’s substantial but also fun, with an almost summery feel. It’s about where you’re headed after a certain stage in life, told without heavy-handedness.”

The filmmaker and screenwriter, who previously brought “Margot at the Wedding,” “Frances Ha” and “Marriage Story” to the festival, will be honored this year with a Silver Medallion. He shares the award with Iranian director Jafar Panahi, whose drama “It Was Just an Accident” won the Palme d’Or at Cannes, and Ethan Hawke, represented in the lineup with Linklater’s “Blue Moon” and his own documentary about country singer Merle Haggard, “Highway 99: A Double Album.”

Few films in the lineup will be more closely watched than Cooper’s Springsteen biopic, with Emmy-winning “The Bear” star White channeling the Boss during the making of one of his most uncompromising albums. “Jeremy delivers in the same way that Timothée Chalamet did in [the Bob Dylan biopic] ‘A Complete Unknown,’ where you just think, Jesus, what can’t this kid do?” Huntsinger says. “Scott’s a great filmmaker, and the movie delivers on its promise.”

The music thread continues with Morgan Neville’s documentary “Man on the Run,” drawn from never-before-seen home movies Paul McCartney shot in the early 1970s, not long after the Beatles’ split. The footage shows McCartney retreating to Scotland with his family and offers what Huntsinger describes as a revelatory glimpse at a less-mythologized moment. “You also understand there wasn’t a villain in the Beatles breakup,” Huntsinger says. “It’s an expansion on history that’s really needed.”

Elsewhere in the documentary lineup, Oscar-winning filmmaker Laura Poitras returns with “Cover-Up” (co-directed by Mark Obenhaus), an exploration of investigative journalist Seymour Hersh’s career that builds on her politically charged films like “Citizenfour” and “All the Beauty and the Bloodshed.”

For all its flannel-and-jeans ethos, Telluride isn’t immune to the economics of 2025. Lodging and travel costs have soared, amplifying concerns that the showcase has become a festival largely for the well-off. Huntsinger concedes the expense but points out pass prices haven’t budged in more than 15 years as she works to keep it accessible.

“I was concerned for a while because our audience was aging, but we’ve really worked on making sure that younger people and people on fixed incomes can come,” she says. “I can see the difference — it’s not just people of means. And I promise you, I’ll keep fighting for that. I hope the lodging people will realize they got a little out of hand and start lowering prices too.”

For all the turbulence and doomsaying that has rattled Hollywood in recent years, Telluride has managed to hold fast to its identity.

“The devotion people have to this weekend makes me think there’s hope,” Huntsinger says. “They’re not coming here for anything but film-loving. To hear people say, ‘I would not miss this for the world’ makes me really proud and hopeful. After everything we’ve all been through, I think we still have reason to keep doing this crazy little picnic.”

Sophie Williams’ decade-long dance career has taken her across the globe, from the English National Ballet in London to the Royal New Zealand Ballet and the Texas Ballet Theater, where she’s currently a member of the corps de ballet.

Yet she can count on one hand the number of works she’s performed by a female choreographer.

So when Williams started her own nonprofit ballet company, Pointeworks, in 2023, she knew she wanted to spotlight women, whether choreographers, dancers, costume designers or composers.

“Whenever there is an opportunity, I will utilize the platform to try and bring balance within the ballet world, which most of us haven’t seen in our careers,” Williams, Pointeworks’ artistic director, told The Times.

From its inception, Pointeworks has strived to fill in gaps. Williams was inspired to start the company as a way to provide work for professional dancers during their unpaid summer layoffs. With a lack of opportunities and an abundance of talent in the ballet world, Williams decided to create a group that performs during the off-season.

“[Pointeworks] is a very artist-forward company. It’s creating opportunities for the dancers — giving them new works, collaborations, things that can elevate their careers outside of their structured company season, and be able to provide them a platform during that time as well,” Williams said. “And also for audiences who don’t get to see ballet during the summer because companies are off, they get to see Pointeworks.”

Pointeworks debuted last June with a sold-out performance at the 500-seat Conrad Prebys Performing Arts Center in Williams’ hometown of San Diego. This year, the company expanded to the East Coast with three shows at New York City’s Alvin Ailey Citigroup Theater in March. After a successful return to San Diego last week, the group is preparing for its first Orange County show Friday at the Irvine Barclay Theatre.

Before the Irvine show, Pointeworks will host its first mentorship program for local students who intend to pursue a professional dance career. Selected dancers will participate in a Pointeworks class on Friday and be paired with a mentor from the company who will continue to guide them over the next year. As of Wednesday, seven students had applied and been accepted, according to marketing and outreach coordinator AvaRose Dillon.

Sisters Claire, Nicole and Emma Von Enck rehearse for their performance of “Chasing Shadows” with Pointeworks.

(Raquel Beauchamp)

Williams received more than 400 applications from choreographers for this season overall, she said. While her goal is to highlight female creatives, anyone is welcome to submit ideas.

Among the pieces commissioned for the New York shows was Laine Habony’s “Chasing Shadows,” choreographed for sisters Claire, Emma and Nicole Von Enck — who had never performed together professionally. Nicole, the eldest sister and Williams’ colleague at Texas Ballet Theater, leapt at the opportunity to collaborate with her siblings, who both dance for New York City Ballet.

Habony, also from New York City Ballet, wanted the project to be accompanied by an original score. So she enlisted Welsh composer Katie Jenkins, whom she met at Revolve Dance Project in Providence, R.I., last summer. The duo later recruited pianist and recent Juilliard graduate Joshua Mhoon to play the live score.

For the Irvine show,Williams, Paige Nyman and Adeline Melcher, all from Texas Ballet Theater, will perform the piece. This will mark the first time that Williams will dance to a composition by a female composer, she said.

“[‘Chasing Shadows’] is just very unique in the sense that it’s a female composer behind the music and a female voice behind the choreography, female costume designer behind what we’re wearing, female lighting designer behind what’s going on the stage,” Nyman said. “It’s just an entirely sisterhood piece.”

In addition to “Chasing Shadows,” the Irvine program includes new commissions from choreographers Reka Gyulai and Heather Nichols; DaYoung Jung’s “It’s Deep, It’s Dark,” which debuted in New York; and Christopher Wheeldon’s “Carousel,” a 2002 pas de deux set to music from Rodgers & Hammerstein’s musical of the same name.

“I think it gives a variety to the audience by commissioning new works, contemporary works, new classical works, but also putting in iconic classics — and ‘Carousel’ is one of those,” Williams said.

Dance careers don’t last forever, so it’s important to take advantage of every moment, Williams said. That’s why she’s passionate about maximizing opportunities both on and offstage.

Sisters Claire, Nicole and Emma Von Enck perform together for the first time professionally.

(Nathan Carlson)

In October, Williams hired interns to help with administrative tasks. Among them was Dillon, Pointeworks’ marketing coordinator and a corps de ballet member at Texas Ballet Theater. This month, she began dancing with Pointeworks as well.

“I want to make sure that Pointeworks is for the dancers first,” Williams said. “So by having dancer perspectives in just every angle — whether that’s marketing, administration, development — if you know what it is to be a dancer and you have been a dancer, I think that it’s a lot more cohesive, putting those interests first.”

In addition to dancing professionally, Dillon takes online classes at Texas Tech University, where she studies public relations and strategic communications.

“I feel like [Pointeworks has] been the perfect supplement to my education, because I’m taking classes on how to write press releases and then I’m writing press releases for Pointeworks,” Dillon said. “I could have never comprehended such a perfect opportunity to align with my goals as an artist and future arts leader and an arts advocate.”

While Dillon is just starting her career, Pointeworks also provides opportunities for more seasoned dancers. For instance, retired dancer Christian Griggs-Drane — previously with the Royal New Zealand Ballet — is the company’s development and fundraising coordinator.

Three years after retiring as a ballerina, Jung continues to work as a choreographer, rehearsal director and dance educator. She and Williams met at Oklahoma City Ballet about nine years ago and reconnected at last year’s National Choreographers Initiative in Irvine.

Even though Jung created “It’s Deep, It’s Dark” with her dancers in just 10 days, she said she appreciated the opportunity to work with such a professional, open-minded group of individuals.

“[Pointeworks] is not just about giving artists a platform. It’s about reshaping the dance landscape, ensuring women’s voices are heard and their vision brought to life,” Jung said. “I feel like I could really take risks, experiment and develop my own artistic language without the limitation in traditional structure. And I think Pointeworks was perfect at it, that I could really explore myself as an artist and as a choreographer.”

In 2022, Kyra Davis Lurie heard a story on KCRW’s “Curbed Los Angeles” about the residents of South L.A.’s West Adams Heights, nicknamed Sugar Hill after a community of wealthy Black Harlemites. Learning about the sumptuous soirees Academy Award-winning actor Hattie McDaniel hosted in her Sugar Hill mansion, Lurie realized there was a hidden Black history waiting for her to unearth. But how she created the enthralling historical novel “The Great Mann” is a story that owes as much to Lurie’s ability to reinvent herself as it does to F. Scott Fitzgerald’s “The Great Gatsby,” the iconic 20th century critique of the American dream, which provided a touchstone for the novel.

Lurie, 52, grew up in Santa Cruz, far from the neighborhood where McDaniel, Louise Beavers, Ethel Waters and other striving Black actors and business pioneers depicted in “The Great Mann” lived. While she visited family regularly in L.A., Lurie stayed up north, where she penned the light-hearted 2005 book “Sex, Murder and a Double Latte.” She quickly followed it with two more mysteries. Encouraged by her success, Lurie struck out for L.A. to pursue her dream of getting into a TV writers room. The 2007 writers’ strike deferred that goal, so Lurie pivoted to write three erotic novels which, she reveals, were “critiques of capitalism wrapped in a romance novel.”

By the time she heard about Sugar Hill and its famous inhabitants, Lurie was ready to take on a more nuanced challenge. But many literary agents weren’t receptive to her change of genre. “It was as if Marlon James had gone from writing comic books to ‘A [Brief] History of Seven Killings,’” she says, name-checking the famous Jamaican writer and his Man Booker Prize-winning novel. But as Lurie continued researching the neighborhood and its history, she knew she had to tell its story, even if using “The Great Gatsby” as her North Star proved problematic.

“I’m a huge Fitzgerald fan,” Lurie says, “even though there was a line in that book that always bothered me.” She’s referring to Nick Carraway’s reference to “two bucks and a girl” upon seeing three wealthy Black people passing by in a white-chauffeured limousine. “While it was probably used to get a laugh in 1925, it was demeaning,” Lurie says of the scene. “In the wake of the Red Summer of 1919 [when a record number of race riots and lynchings of Black Americans occurred in the U.S.] and the destruction of Black Wall Street in the 1921 Tulsa Race Riot, Fitzgerald’s language says a lot about America’s cultural climate at the time.”

Was it subversive to use Fitzerald’s most famous novel to frame the story of a vibrant Black enclave whose prosperity rivaled that of Jay Gatsby and his ilk? Absolutely, Lurie says, adding, “Through a Black reimagining of ‘The Great Gatsby,’ I tried to marry a family’s story with a little-known part of L.A. history.”

The family story is told through the lens of Charlie Trammell III, a World War II veteran emotionally scarred by the violence he witnessed on the battlefield and at home in Jim Crow Virginia. Charlie arrives in L.A. looking for a fresh start and to reconnect with his cousin Margie, with whom he shares pivotal childhood experiences. But Margie, who now goes by the more exotic Marguerite, has shaken off the past and married Terrance Lewis, a vice president at Golden State Mutual Life Insurance Co. The Lewises live with their son in Sugar Hill, along with McDaniel, Beavers and Norman O. Houston, the real-life co-founder and president of Golden State Mutual.

Soon Charlie is swept into the world of L.A.’s wealthy Black elite, a mix of real Angelenos like John and Vada Somerville, pioneering Black dentists and founders of Central Avenue’s famed Dunbar Hotel; singers-actors Waters and Lena Horne; and fictional characters including James Mann, the mysterious Black businessman recently arrived in Sugar Hill who hosts lavish parties unlike anything Charlie’s ever seen: “The air is flavored with flowery perfumes and earthy cigars. All around me diamonds glitter from brown earlobes, gold watches flash against brown wrists. The only things white are the walls.”

Mann befriends Charlie, treating the recently discharged veteran to his first hand-tailored suit and fine wine, but soon embroils him in his quest to reunite with Marguerite, the love of his life since the two met some 10 years before when they both lived in the South.

“Through a Black reimagining of ‘The Great Gatsby,’ I tried to marry a family’s story with a little-known part of L.A. history,” Kyra Davis Lurie said.

(Yvette Roman Photography)

Like Fitzgerald’s classic juxtaposition of West Egg and East Egg in “Gatsby,” “The Great Mann” is about new money versus old — interlopers like Mann and the entertainers versus businesspeople like Houston and the Somervilles. But Lurie “tried not to invent flaws” in her historical figures by doing her homework, sourcing accounts in Black newspapers, biographies and even letters between Houston and NAACP leader Walter White to depict these frictions.

“The Great Mann” is also about people reinventing themselves amid the realities and contradictions of the time. Like Black actors who played maids but employed Black “help” in real life. Or the controversy over the stereotypically demeaning roles Black actors depicted. Chief among them was Delilah Johnson, the subservient Black maid portrayed by Beavers in the 1934 film “Imitation of Life.” It’s a debate that’s introduced in “The Great Mann” when Marguerite and Terrance tell Charlie that Beavers’ home, where he will be staying and which is much grander than theirs, is paid for “with Black shame.” Also addressed in the novel are touchier subjects like White’s advocacy for the lighter-skinned Horne to get roles over her darker-skinned colleagues like McDaniel or Beavers.

But the engine that fires up the plot of “The Great Mann,” and which sets it apart from “Gatsby,” is the battle Black creatives and business owners faced to hold onto their properties. A clause placed in thousands of L.A. property deeds in 1902 restricted housing covenants at the time West Adams Heights and many other L.A. County communities were developed, prohibiting homes from being sold to anyone “other than the white or Caucasian race.” But some white sellers sold property to Black buyers anyway, who then had to fight white groups — like the West Adams Heights Improvement Assn. — to prevent eviction from their own homes.

To say how Sugar Hill’s Black residents fared in court would spoil the enjoyment of this suspenseful tale, which has put Lurie on a new path in writing historical fiction. She has another project percolating, but for now, she’s just grateful to have found her niche. “It’s been a journey,” she says of the twists and turns of her writing life, “but writing about historical Black lives feels like home to me, what I was meant to do.”

Lurie will be discussing “The Great Mann” at Vroman’s Bookstore at 7 p.m. June 10; Diesel, a Bookstore at 6:30 p.m. June 11; and Chevalier’s Books at 6:30 p.m. June 19.