Somebody In Nobody by Cameroonian Filmmaker Lino Brown, featuring Artist/Model/Actress/Muse (and Goddess) Jodie Smith…

FILM EXCLUSIVE: Lino Brwn’s “Somebody In Nobody” featuring Jodie Smith

CLICK HERE to support HH - Psychological Sci-fi Thriller Film
Trapped in a strange facility, prisoners have to earn points and solve puzzles to earn their freedom | Crowdfunding is a democratic way to support the fundraising needs of your community. Make a contribution today!

Please check out the indiegogo campaign for “HH,” a feature film I’m slated to act in! If you can’t contribute, please share the campaign so that the network of people it reaches grows!

Based on the game Virtue’s Last Reward, “HH” tries to explore humanity put into a pressure cooker and scopes in on what happens as a result. This kind of story is important. It examines people and watches their ability to survive unfold as they struggle with numerous obstacles. I wanted to explore the idea of trust and the eternal strife we have with one another. In HH, compounding the situation with an exaggerated setting, crazy omniscient cat head, a time limit, and challenging puzzles, the characters will be put to a test that will challenge their faith, trust, love, fear and understanding of each other. Would you help or hinder your fellows to survive? 



 "The Repass"

“Sometimes secrets hide in the light. A surreal fairy tale about a young girl in Hurricane Katrina.”

“What is The Repass?

The Repass is a darkly thrilling tale of a young girl who journeys into the mysterious world of Haitian vodou to learn the fate of her baby brother lost in the devastation of Hurricane Katrina.  Entranced, she discovers secrets powerful enough to heal her family or shatter it for ever. 

A unique narrative which draws from elements of The Sixth Sense, Alice in Wonderland, and Eve’s Bayou, The Repass is a moving and lyrical story about how a young girl deals with tragedy, and finds a way to pass into her next phase of living.”



“Grandma’s Tattoo’s’: A Riveting Film About the Forgotten Women of Genocide

Khardalian is the director and producer of riveting new film called “Grandma’s Tattoos” that lifts the veil of thousands of forgotten women—survivors of the Armenian Genocide—who were forced into prostitution and tattooed to distinguish them from the locals.

“As a child I thought these were devilish signs that came from a dark world. They stirred fear in me. What were these tattoos? Who had done them, and why? But the tattoos on grandma’s hands and face were a taboo. They never spoke about it,” explains Khardalian.

“Grandma’s Tattoos” is a journey into the secrets of the family. Eventually, the secret behind Grandma Khanoum’s blue marks are revealed.

Trailer 1, Trailer 2.

Article and image via The Armenian Weekly

Not only are most people unaware that 3 million Armenians, Greeks, and Assyrians were killed under Turkish rule, but also that 90,000 Armenian women and children were abducted and sold into slavery and prostitution. 90,000 women and children.


Bleaching Black Culture

From the birth of jazz to the evolution of hip hop; the advents of urban trends to transformative advances in technology, African Americans have played an integral role in molding American culture. Unfortunately, we tend to not be the beneficiaries of our own innovation. Bleaching Black Culture examines the continuum of America’s black cultural appropriation and effects on the African American community.


Today we celebrate our Independents Month


“I just want to apologize to Mike’s mom, Josh’s mom, and my mom. And I’m sorry to everyone. I was very naive. I am so so sorry for everything that has happened. Because in spite of what Mike says now, it is my fault. Because it was my project and I insisted. I insisted on everything. I insisted that we weren’t lost. I insisted that we keep going. I insisted that we walk south. Everything had to be my way. And this is where we’ve ended up and it’s all because of me that we’re here now - hungry, cold, and hunted. I love you mom, dad. I am so sorry. What is that? I’m scared to close my eyes, I’m scared to open them! We’re gonna die out here!”

Tomorrow actor Jared Leto (left) joins us to talk about playing a transsexual woman during the ‘80s AIDS crisis in the film Dallas Buyers Club.

Leto, on the gamble of making smaller, independent films:

Sometimes [little films] don’t work, they don’t come together, and of course they don’t have the support or they don’t find an audience. It’s a beautiful thing to work with people who are willing to risk it all and I felt that way a few times in my career and certainly felt that way on Dallas Buyers Club.



My short film is being made. Like, legitimately. This is the link to the indiegogo page if you want to check it out/signal boost/donate. This short film is a student piece, that was written by a woman of color (moi), directed by a man of color and will star people of color. 

The director has his own description on the page, but this is my summary of the piece:

Hideous is a psychological horror/magical realism piece.  It follows 25 year old Eli, a man with Body Dysmorphic Disorder, desperate to woo his best friend. But when he finds his solution with an old witch, Eli’s darker nature gets the best of him.”


Coltt Classics 

Harry Hennessy revisits the “greatest independent film of all time”, Reservoir Dogs

Lauded by many as the greatest independent film of all time (and in this humble reviewers opinion one of the best of all time, period) “Reservoir Dogs” catapulted Tarantino to fame, introducing the genius to the greater public (we are immensely grateful) and giving us the first glimpse of his distinct and flawless style of film making. The psychological-crime thriller follows the events succeeding a jewelry heist gone wrong, beautifully framing the four surviving criminals and their bosses descent into tragedy through suspicion, fear and violence.

The ideas of trust and moral conscience recur constantly, and are vividly portrayed in the film: the robbers are unified and torn apart by their bonds of loyalty, respect, and mutual distrust of others, with a foundation of lies and manipulation leading to their inevitable downfall. Mr. White (portrayed by Harvey Keitel) impressively sums up the role of “old school” mafia man, heavily influenced by his almost Sicilian principles of honour among thieves and trusting nature ironically contrasted against his immoral actions and the last pull of his trigger finger (if that doesn’t intrigue you, I don’t know what will). Michael Madsen as the enigmatic and psychopathic Mr. Blonde is everything we are told as scared children about the world of crime (evil men doing evil things just to watch the world burn), and in most films would have stolen the show with his twisted and haunting nonchalance, if not for Tim Roth, a revelation as Mr. Orange.

By far the most striking motif in the movie is the criminal morality. Throughout the film, Tarantino creates a blatant disregard for basic social norms and a compliance with intrinsically wrong acts accepted as the norm itself. The comparatively naive high moral standards of Mr. Orange accentuate the complacent horrors of this world, and the confusion and torture those of pure mind endure when faced with these realities. His inner turmoil and shock at those around him is masterfully portrayed, and his outer turmoil and shock is beyond perfection - indeed, Roth’s transformation and, ultimately, portrayal of the angst and regret every man experiences before death is legendary (if the film hadn’t been independent he’d have an Oscar right now, but that’s a rant for another day).

In what soon became his trademark, Tarantino exposes violence bluntly and honestly in a brazen act of harsh reality rarely welcome in cinema, but which perfectly suits this gripping underworld tale. His stunning dialogue paired with his cunning non-linear storytelling slowly develops the piece and each intricate character - and besides, the dialogue is, quite frankly, cool - above and beyond what any other screenwriter can do. This harrowing tale stresses the love any man can feel irregardless of disposition and morality, and shows us how in our bleak and violent world, good always succumbs to evil, all in the classic Tarantino style. If you haven’t seen it yet, get your act together post-haste.

Harry Hennessy