Did this make the characters feel closer, or further away from you, as you were writing the film and conjuring them into existence? Francis and Henry are illiterate aside from a book another character is seen to read, and a prop issue of Harper’s Weekly, there’s very little connection to any kind of wider culture, and aside from a number of folk songs which the characters sing, and a single daguerreotype portrait, no real interaction with any kind of recorded history. One thing that struck me about the film was how detached the characters seem to be from what we might today consider the arc of history, despite the Civil War setting. (For much more Tribeca coverage, see throughout the festival.) Sheil and Treitz are a couple, and according to Sheil, worked together on outline for the film, and then took turns writing individual scenes, and revising the other’s scenes when not fulfilling her responsibilities as a producer, Sheil was on set “helping with blocking, giving notes and that sort of thing as well.” The two filmmakers, who live in Chinatown, answered a few questions of mine over email. Despite its archetypal story and familiar historical milieu, the film takes nothing for granted, rediscovering the base interactions-physical, social, economic, emotional-at the heart of everyday life, and sustaining a tone of intimacy. Though Henry, the more inward of the two, braces at Francis’s rash decision-making and poor task management skills, it’s he who gets drunk, humiliates himself with a bookish, middle-class potential sweetheart played by Rachel Korine, and runs off to join the Union army. Sheil wrote the film with director Zachary Treitz, who makes his feature debut with a story of two brothers, Henry and Francis Mellon, scuffling farmers in Kentucky in the first year of the Civil War. One such face is Kate Lyn Sheil, the microindie muse-turned- House of Cards supporting player-turned-who knows what next, who appears as a Southern belle at a ball in Men Go to Battle, playing in Tribeca’s World Narrative Competition. Beyond the corporate money and celebrity flash in the top-billed panels and special events this year, the eclectic programming of Tribeca’s humbler precincts has, also like the city, become a reliably supportive showcase, in particular, for young, local artistic talent-including a number of a familiar faces from the city’s independent film scene. In 2016, she starred in Steven Soderbergh's series adaptation of his film "The Girlfriend Experience" (Starz, 2016-) and played herself in the experimental film "Kate Plays Christine" (2016), one of the most talked-about films of the 2016 Sundance Film Festival.The Tribeca Film Festival, which runs from April 15–26 this year, features a lineup which, like the city itself, can be all things to all people to an almost daunting degree. In 2014, Sheil received her most exposure until that time, when she appeared in the second season of "House of Cards" (Netflix, 2013-), as a confidant of the only witness to Francis Underwood's deceitful plotting. ![]() This entrée into the 'mumblecore' world connected Sheil with filmmakers and actors like Amy Seimitz and Ti West, and she performed in a number of mumblecore films, including "Green" (2011), directed by Sophia Takal, and "Silver Bullets" (2011) directed by Joe Swanberg. A 'mumblecore' film set at the end of WWII, the film didn't receive much attention, but the kudos it did gather invariably noted Sheil's performance as a vision of the girlfriend that the lead character left behind. She worked at legendary Kim's video with Alex Ross Perry, who would direct her in what would be her first feature film, "Impolex" (2009). After college, Sheil took a couple of years off of acting, but continued to be a presence in the New York City film community. When she found out she had been accepted in to New York University's Tisch School of the Arts to study acting, Sheil didn't apply anywhere else. Kate Lyn Sheil began acting in the fourth grade, playing Medea in "Theseus and the Minotaur," and continued through high school.
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