Spring Night, Summer Night
56th New York Film Festival
September 28 - October 14, 2018
Made in coal-mining country in northeastern Ohio with local amateur actors, J.L. Anderson’s haunted Appalachian romance occupies a proud place alongside such similarly hand-crafted, off-the-grid American independent films as Carnival of Souls, The Exiles, Night of the Living Dead, and Wanda.
Q&A with Franklin Miller, Judy Miller, and Peter Conheim
J.L. Anderson’s haunted Appalachian romance occupies a proud place alongside such similarly hand-crafted, off-the-grid American independent films as Carnival of Souls, The Exiles, Night of the Living Dead, and Wanda. Made in coal-mining country in southeastern Ohio with local amateur actors, the film is carefully observed (Anderson and his producer Franklin Miller spent two years scouting locations becoming familiar with the place and the people) and beautifully and lovingly realized. Spring Night, Summer Night has had an extremely checkered history, including a release in a version crudely recut for the exploitation market with the title Miss Jessica Is Pregnant. It was invited to the 1968 New York Film Festival, only to be unceremoniously bumped to make way for John Cassavetes’s Faces. Fifty years later, we’re re-extending the invitation and promising that it’s solid.
A Restoration and Reconstruction Project of Cinema Preservation Alliance by Peter Conheim and Ross Lipman. Produced by Nicolas Winding Refn.
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