Tony Cox Screenplay Finalists Announced!

Congratulations to all of our Tony Cox Screenplay Finalists! Stay tuned for the announcement of our winners during #NFF2021!

FEATURE SCREENPLAY:
THE 84 by Sonja Perryman
CALIFORNY by Danielle Krudy
GHOSTIES by Julie Sharbutt

EPISODIC SCREENPLAY (60 MINUTES):
MIGRANT MOTHERS by Ashley Rebecca Farley
RUBBERNECKER by Tom Hancock & Varun Raman
SECOND CROSSING by James Howells

SHORT SCREENPLAY:
BELATED by Leah Chen Baker
THE LITTLE MONSTER OF RAVENSWOOD MANOR by Katherine Sainte Marie
RECOVERY CHAIN by Quamé Hamlin

EPISODIC SCREENPLAY (30 MINUTES):
HEAD FIRST by Jade Edwards
SIDE QUEST by Louie Aronowitz & Michael Tannenbaum
VILLAGE W!TCH by Emma Gutt

#NFF2021 Tony Cox Feature Screenplay SEMI-FINALISTS Announced!

Congratulations are also in order for our Feature Screenplay Semi-Finalists!

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THE 84 by Sonja Perryman
1968. South Central Los Angeles. Aretha Franklin’s “I Say A Little Prayer” blares on KGFG radio, as the Vietnam War explodes on the nightly news. A time of great upheaval. And progress. Fourteen-year-old Shay rides the #84 bus across town to school every day. And on the bus, she witnesses the changing cultural, social, and political landscape of the city. She also secretly admires other girls, but no one knows. Not even her best friend, Big Rita, and especially not her single mother, Loretta, who she often bumps heads with. Feeling unloved by her mom and unseen by her community, Shay runs away from home in search of her father. Along the way she meets Bernard, a fellow queer Black person who helps Shay realize she doesn’t need to search outside of herself for love and validation. She also reconnects with her alcoholic grandmother, which prompts Shay to recognize her mother’s trauma and understand that Loretta has always done the best she can for Shay. We also learn that Loretta has kept Shay's father a secret not out of spite, but protection. Shay returns home finally knowing that she’s loved by Loretta and Big Rita. And most importantly, she loves herself just as she is.

ALL-AMERICAN BOY by Nate Gualtieri
High school can be a challenging place to navigate for anyone, and as a closeted transgendered teen boy, Cam Taber has a bit more on his plate than most. A star runner on the girls track and field team, he wants nothing more than to race with the boys, and live as one. Working out and downing protein shakes only does so much, so he hatches a plan to steal testosterone for a popular boy on the team who is using it illegally, with his closeted gay friend Shaan as an accomplice. Unfortunately, drug testing for the sports teams reveals what he has done, and puts his potential college scholarship at Barnard women's college in jeopardy. While he is invited to practice with the boys team, he gets into a fight with jock Brooks, which leads to additional trouble. Ultimately, Cam finally admits to his parents that he is transgendered, and they accept him as he is while awkwardly navigating the change. He is also able to make amends to pals Shaan and Amber, whom he took for granted along the way. While college may not be in the cards immediately, Cam is ready to start his life as a man with eyes open, finally settling into who he was always meant to be.

ANGEL ISLAND by Kevin Shen
1924. Jefferson, a Chinese-American who works as a translator on Angel island (the Ellis Island of the American West), has always lived by the rules, believing that those immigrating to the US will be accepted if they are honest and truthful. However, when his Uncle Mou Zyu asks him to help get his daughter off of the island and into San Francisco, Jefferson begins to see the immigration system for what it really is: racist and rigged. Jefferson’s by-the-book world begins to crumble as he see the horrors of xenophobia and racism play out, both in his professional and personal lives.

BREAKAWAY by William Casey
Tracy is a shy accountant with low-self-esteem. After an eclipse, her childhood vision board suddenly becomes a reality. She becomes prettier, more confident, and able to flirt with her long time crush: her boss Ryan. She also gains the confidence to propose a new scheme, which earns her a promotion at her job. After many mishaps, she realizes some pictures disappearing from the board, and her new gained abilities gone with them. She finally understands that she could achieve those things by herself, and ends up together with Ryan (and also saves his business).

CALIFORNY by Danielle Krudy
In 1929, a girl torn between her familiar life in rural Oklahoma and the promise of burgeoning Los Angeles fights to realize her dreams.

DAYS IN THE WAKE by Dina Fiasconaro
After a young woman’s father abandons her six younger siblings at a Safe Haven facility and disappears, she embarks on a quest to find them, and get answers to his seemingly unconscionable actions.

GHOSTIES by Julie Sharbutt
When two best friends escape for a weekend to oversee a family rental property, they stumble on a weird and scary secret that changes the way they see each other.

KUDZU by Marisa Forrest
CHILDREN OF THE CORN meets SHERRYBABY – A recovering addict must rescue her estranged son from an “orphanage,” which is actually a front for a sinister evangelical cult that turns children into murderous criminals.

NEW HAMPSHIRE BOY by Patrick Clement
Kevin expertly panhandles, living on the streets. He's only 17 but he's been doing this for a while. When he and his best friend Bob, clean-cut and coming from money, decide to run away to San Francisco, the only bus tickets they can afford are for next week. So they spend their seven extra days with girls, until Kevin learns that Bob is not only gay, but in love with him. Kevin flippantly kisses Bob and then wrestles with him, accidentally hurting him. Bob leaves him, and Kevin spends this time visiting people from his life. But he's can never stay long, unable to accept affection. He has sex with a male police officer for money, when he runs into Bob. They make up and decide to resume their trip, but Bob lost the bus tickets. They steal from a water park, get caught, lose the cash, but find the kid who stole their bus tickets. Kevin beats him up and they end up in jail, but the police officer who had sex with Kevin lets them off. Bob realizes Kevin is always going to be distant and non-committal. He may love Bob back, but can never own his feelings. So they kiss and Bob leaves for good. Kevin takes the bus to San Francisco, wearing Bob's jacket.

ROADKILL by Martha Gregory & Drew Lewis
Deb, whose job is picking up roadkill, gets a new partner, rebellious Julie. They really butt heads at first, but eventually cometo really care about each other. There are some fights and a lot of animal deaths but in the end Julie finds that she might have some & aspirations after all, and Deb decides to leave her cheating husband and be with her old work partner Marv.

Meet our Tony Cox Screenplay Competition Juries

Thank you to our #NFF2021 Tony Cox Screenplay Competition Jury members!

Tony Cox Film Screenplay Jury

Elizabeth Chatelain has directed several acclaimed documentary and narrative shorts which have screened at festivals including Interfilm Berlin and SXSW. Her work primarily profiles working class women struggling against everyday adversity. Elizabeth is currently working on her first feature project, SUNDOGS, which participated in the Berlinale Script Station and was an Academy Nicholl Fellowship Semi-Finalist, Tony Cox Screenplay Competition winner, and Atlanta Film Festival Screenplay Competition Winner. She is currently a Blacklist/Women in Film Feature Fellow.

Sam Cox is a Marketing Strategy Associate at Disney Streaming, working with connected device partners including Amazon and Roku. Prior to that he was Manager of Distribution at Showtime Networks. He graduated from Bucknell University as a Global Management major in 2018, and is currently pursuing an MBA at NYU Stern with a specialty in Media and Entertainment. He is the son of Winston “Tony" Cox, for whom the Screenplay Competitions are named.

Rachel Winter is an Academy Award®-nominated filmmaker and producer who has made her feature directorial debut this spring with THE SPACE BETWEEN for Paramount Pictures. She also serves as producer through her Tangerine Pictures. Previously, Winter received an Oscar nomination for producing DALLAS BUYERS CLUB, which also received accolades from the Producers Guild of America, the Golden Globe Awards, and the Critics Choice Awards. She has several projects in development including an untitled LeBron James biopic for Universal, which she will produce with LeBron James and Maverick Carter, and a feature based on the life of daredevil motorcycle icon Evel Knievel at Paramount. Winter's previous film credits include KRYSTAL, STEALING CARS, BROOKLYN RULES, WAYWARD SON, BURY ME IN KERN COUNTY, and THE LATHER EFFECT.

Tony Cox Episodic Pilot Jury

Andi Delott writes grounded dramas with female leads. Her writing accomplishments include: Winner, Tony Cox Screenplay Competition 2020 for her pilot BEING SEEN; 2019-2020 NBC Writers on the Verge; 2018 PAGE Awards Fellowship to the Stowe Story Labs for her feature FAITH; 2017 New York Women in Film and Television Writers Lab for her feature THE DEAL. Andi is also part of the Impact Creative Network. Born and raised in Los Angeles, she works in entertainment marketing.

Kate Levitt is a script editor and screenwriter with a focus on untraditional coming-of-age narratives. Besides the Tony Cox Screenplay Competition, her scripts have placed in the Austin Film Festival, the Atlanta Film Festival, and the Page International Screenwriting Awards where her drama pilot, TROUBLE, made the finals last year. She's been a reader for Killer Films, New York Women In Film And Television’s Writers Lab, and teaches at Stony Brook University. Kate is also a drummer and has toured both nationally and internationally, playing at fests such as Lollapalooza, Bonnaroo, and Primavera Sounds in Barcelona.

Huong Nguyen is a television writer in Los Angeles, where she recently wrapped two seasons of Disney Channel's BUNK'D and is pretty sure she will never work again. She was the winner of the 2018 Tony Cox Screenplay Competition with her TV pilot ALL WE DO IS NGUYEN.

Five Questions With... Annabelle Attanasio (MICKEY AND THE BEAR)

Teenager Mickey, forced to take on adult responsibilities as her veteran father struggles with addiction, must ultimately choose between familial obligation and personal fulfillment, in MICKEY AND THE BEAR by writer/director Annabelle Attanasio.

Read more with Annabelle below, and see the film TODAY (Sat 6/22) at 11:45am and tomorrow (Sun 6/23) at 9pm!

Young Film Lovers between the ages of 18-30 can enjoy $10 tickets with code NFFYFL30 online or at the door!

NFF: Can you talk a little about your inspiration for the film?

ANNABELLE: There are so many father-son stories, but only a handful of father-daughter stories where the daughter is more than a vehicle for her father’s emotions. I am so grateful that recent films like EIGHTH GRADE and LEAVE NO TRACE exist, and I hope MICKEY AND THE BEAR falls into the expanding canon of films that explore the complexity of the father-daughter bond.

My film contributes something somewhat darker, somewhat outré to that canon. What happens when you are 17, your mother’s dead, and your Dad is single, unstable, and self-medicating with booze and pills? Mickey alternates between traditional feminine roles — daughter, wife and mother — in order to keep her father’s mercurial moods and addictions at bay. Sometimes she nurtures him like she’s his mom. Sometimes she makes him feel important like she’s his little girl. And sometimes, she inadvertently lets her father cross a boundary so he can fill the void of his late wife.

Since writing the script I have met so many girls and women who have gone through some version of this pattern. I hope Mickey feels like a mosaic of all those girls and women who went through varying degrees of the same experience.

NFF: How old was your lead actress (Camila) when you started filming? Did you adjust your directing technique at all when working with younger actors vs. the adults in the film?

ANNABELLE: Cami has just turned 21 when we started filming. She continues to awe me with her artistic maturity, professionalism, and wisdom beyond her years. She feels like an old pro of her craft. What was fun about working with a group of such unique actors was learning each persons process. Badge is a veteran of film and television but this role was quite different from anything he had done before, so that was really exciting for me — to build the role with such an experienced actor. Ben came up doing a lot of theatre and loves immersing himself in the daily rituals of the real life people he’s representing, and I loved how singular he was able to make his role based on his research. With Calvin, he embodied the essence of the character so viscerally that I decided to cast him and tailor the character to fit him. We spoke extensively before the shoot coming up with Wyatt’s backstory, though in the movie you learn very little about him. I found age somewhat irrelevant — I think each actor is special in their own way and it is the director’s job to learn how to best support and guide them through the shoot.

NFF: You have a background as an actor. Did you always want to make films as a writer/director? What did you learn as an actor that was helpful on the other side of the camera?

ANNABELLE: If you’ve acted professionally and been through the slog of fairly consistent rejection, you just have so much more empathy for your actors. There is nothing worse than feeling like your director is working against you, or having bad communication with him or her. Mickey was an opportunity to really invest in my actor relationships. To make sure I listened and stayed present and was clear in my direction.

NFF: What are you working on currently, and/or where can we see more of your work?

ANNABELLE: I have two new features in development right now. MICKEY comes out in the Fall. My first short is called FRANKIE KEEPS TALKING and it’s available on Vimeo and my latest short, SAFE SPACE, will be online soon too. 

Five Questions With... Michael Tyburski (THE SOUND OF SILENCE)

In Spotlight Film THE SOUND OF SILENCE, a successful "house tuner," who calibrates the sound in people's homes in order to adjust their moods, meets a client with a problem he can't solve. Featuring Peter Sarsgaard, Rashida Jones, and Austin Pendleton.

Read more about the film with writer/director Michael Tyburski, and see it on Sat, June 22 at 11:30am and Sun, June 23 at 12:15pm!

NFF: Can you talk a little about your inspiration for both the script and the visual/aural palette of the film?

MICHAEL: Well, it started with a short film that I made called PALIMPSEST, which I wrote with my friend Ben Nabors. And I think after making the short, we both realized that we wanted to do more with the “house tuner” character, who is introduced in that film. He’s the perfect conduit in which to tell a larger story about sound and the way it influences people. The feature script was really inspired by our collective experiences living in a noisy city. Aurally, I wanted sound to be represented as an ever present, but invisible character on screen too. We used a lot of static frames in the film, and my cinematographer and I played with negative space so that we could leave physical room for this unseen presence that is mostly portrayed sonically. As far as the visual palette, it’s a modern set film, but told from the point-of-view of a character who operates in a slightly dated New York, aesthetically. So we had that spirit in mind while shooting. I suppose I wanted to try my hand at making my own version of a love letter to New York City too. It’s such an inherently cinematic setting, and I have a lot of romantic feelings about the city.

NFF: Did making the film heighten your own sense of sound in your home (and everywhere else)?

MICHAEL: Very much so, yes. I did a lot of research into sound science and noise leading up to production. I’m typically hyper aware of the sounds around me, but making this film certainly escalated my sensitivity. I don’t think it was a conscious decision at the time, but when we were in post-production, I actually moved homes within New York City for the first time in a decade of living here. I moved from an apartment on a pretty busy commercial street, to the much quieter block I currently reside on. And like the main character in the film, my personal office is now literally located in a subterranean room in my home, away from the noise on the ground level. I love silence and appreciate having as much control as I can over the sounds that come into my space.

NFF: How did the collaboration work between your sound mixer, composer, and editor?

MICHAEL: It was designed to work very in-tandem in our case. And it’s an interesting question, because more often on an independent film budget, it’s unfortunately typical for these departments to work separately from one another. But it was really important for me from the beginning to make sure there was a dialogue between everybody. Because sound itself is really its own character in the story, it was necessary to be actively thinking about that unseen element while we were editing picture. Our sound team came into the edit to review early cuts, and even created temp sounds for us so we could use them prior to getting into the actual sound mix. Once we were mixing, our designers were working in parallel with our composer too. I personally think sound design and score are at their best when they can become one and the same.

NFF: What are you working on currently, and/or where can we see more of your work?

MICHAEL: I’m spending a lot of time writing these days. I’ve been dreaming of doing something that takes place in the past, so I’ve been doing a bit of time traveling to long gone eras as of late. As far as where you can see more of my work, a lot of my short films are easily tracked down and available to screen on the old world wide web.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

MICHAEL: I'm excited to screen as much as I can while I’m on the island. Presenting work to a live audience in a movie theater is one of my favorite things. So I’m really just looking forward to the opportunity to share a good story that hopefully resonates.

Five Questions With... Tyler Nilson & Michael Schwartz (THE PEANUT BUTTER FALCON)

In Spotlight Film THE PEANUT BUTTER FALCON, Zak runs away from his care home and teams with fugitive Tyler to go on the adventure of a lifetime. Featuring Shia LaBeouf, Dakota Johnson, Zack Gottsagen, John Hawkes, Bruce Dern, and Thomas Haden Church.

We spoke to writers/directors Tyler Nilson & Michael Schwartz. Read more with them below, and see the film on Sat, June 22 at 7:30pm and Sun, June 23 at 2:45pm!

Note: Young Film Lovers between the ages of 18-30 can see this film for just $10 with code NFFYFL30 online or at the box office!

NFF: Can you talk a little bit about your inspiration for the film?

TYLER & MICHAEL: We wrote THE PEANUT BUTTER FALCON  after a heartfelt conversation with our friend Zack.  He’s a born entertainer and had been studying acting and dance most of his life when he told us that he wanted to be a movie star.  We replied honestly that there weren’t a lot of opportunities or roles written for people with Down syndrome to star in movies and he asked, “Then why don’t you write one for me?”  

NFF: What was the casting process like, and where did you find Zack? When did you know he would be your star?

TYLER & MICHAEL: The role was written specifically for Zack, we spent a lot of time together talking about life, movies, adventure, and what he likes and doesn’t like.  A lot of the dialogue in the movie are things that he’d said to us in conversation.

Our biggest challenge wasn’t casting Zack it was keeping him in the role.  Before we landed with producers that "got it" at Bona Fide and Armory we had offers to finance the movie but only if we’d cast a known actor without a disability playing disabled.  

The rest of the cast that filled out with perfect fits.  I’m so proud of the performances given by Shia LaBeouf, Dakota Johnson, Bruce Dern, John Hawkes, Thomas Haden Church, and Jon Bernthal.  Legendary wrestlers Jake “The Snake” Roberts and Mick Foley were amazing to have on set and they added depth and authenticity as well.

NFF: There's both a "buddy comedy" and "road trip" vibe to the film, although this is a uniquely original take...were you inspired by other films in those genres?

TYLER & MICHAEL: There’s a lot of movies that we love and every day we break down films and talk about what types of elements work well to make audiences feel certain ways, connect to characters, and trigger emotions.  Tonally we were influenced by HUCK FINN, STAND BY ME, MUD, etc.

NFF: What are you working on currently, and/or where can we see more of your work?

TYLER & MICHAEL: First and foremost we’re staying as present as possible with THE PEANUT BUTTER FALCON.  We want to support the movie every way we can so audiences go see the work our whole team put from producers, to actors, and crew. 

Beyond that we have a TV show that we’re developing with LuckyChap based on our experience living in an illegal tree house surrounded by raccoons and mountain lions in Los Angeles (Money was tight right before we left to shoot THE PEANUT BUTTER FALCON) and a feature that we’re keeping under the radar for the time being.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

TYLER & MICHAEL: Everything that we’ve heard about Nantucket has been extremely positive.  We’ve always wanted to go to the island and the reputation of the festival is that a lot of the focus is on writing which is such an important part of the process and often overlooked. 


With any movie the goal is for the audience to connect, feel something, maybe identify with a character, and have an authentic experience.  When we premiered at SXSW the reactions exceeded expectations and the film took home the audience award.  In Nantucket we hope the audience is taken in by the mix of hope, heart, and drama as well in a way that might make their day, week, or life just a little bit better.



Five Questions With... Sameh Zoabi (TEL AVIV ON FIRE)

In this irreverent satire, a middle-aged slacker fails upwards in his job on the set of a popular Palestinian soap opera only to end up fielding script notes from a disgruntled Israeli military officer. Winner: 2016 NFF Showtime Tony Cox Feature Screenplay Competition.

We spoke to Writer/Director Sameh Zoabi about TEL AVIV ON FIRE. Read more below, and see it on Thurs, June 20 at 6:00pm and Sun, June 23 at 5:30pm!

NFF: Can you talk a little bit about your inspiration for the screenplay?

SAMEH: I was inspired by the reaction to my work both films and scripts - as a Palestinian filmmaker who also hold an Israeli citizenship I feel that people always read closely  into the politics of my work, there is always an interpretation that swings between the two sides.  People question both the Israeli side of the story and the Palestinian, it always feels like it is a test and I have to pass both sides somehow to survive as a filmmaker.  It’s an interesting dilemma that I find myself trapped with each time I want to make a movie… this feeling was the beginning of inspiration of TEL AVIV ON FIRE. Salam, the main character,  is a Palestinian young man that works on finding his voice as a writer on a soap opera, he is trapped between the Israeli Officers at the checkpoint and the Arab producers. He tries to please each one by giving them an end to the show that both agree with. This is for me the core of the  film, and the tone of using comedy was inspired by upbringing—humor is an essential mechanism for my people to deal with the harsh daily reality of experiencing injustice. 

NFF: You're returning to Nantucket, having been a previous Tony Cox Screenplay winner. How has the script changed since then, and/or how was that process helpful to you?

SAMEH: The Tony Cox screenplay award and then later the same year I stayed at the writer’s colony, all of this in fact lead me to the draft in which I was able to raise funding for the film.  Our first funding came a few months after the colony and working with advisors on the script.  However, given the nature of co-production with Europe, we had to go through a set of many rewrites before shooting, as the script was translated into different languages and cultures news ideas were born as a result until almost a week before shooting.  At a certain moment the script and the process started to feel similar to the film’s central dilemma-- in a good way.

NFF: Did you grow up watching soaps? How did you decide on that genre as your entry point?

SAMEH: Soap operas are a big deal in the Middle East. People watch them and are fully taken by them as well. What I find interesting is that the people who watch soaps find the acting and straightforward dialogue more realistic than the subtle acting and dialogue of feature films. The soap opera medium allowed me to explore things that I may never be able to do otherwise in cinema. For instance, the opening scene of the film, which I find quite political. The characters say very direct things, without filters, but because this scene takes place inside the movie as part of a soap opera, it provides comic relief.

When I was growing up inside Israel, disconnected from the Arab world, there were only two TV channels. The Arabic-language shows were mostly from Egypt. They had the best soap opera series, particularly in the month of Ramadan. The show I created in my film is an homage to one famous show I grew up with. Nowadays, the reality has changed. There are hundreds of Arab TV channels and many shows from Syria, Lebanon, Egypt, and even dubbed ones from Turkey and India. Recently, I was watching a soap with my mom. I was laughing at an emotional moment because of its over-dramatized acting and camera work, but my mom was holding a tissue, crying. This experience inspired me when writing and directing the film.  

 NFF: What are you working on currently, and/or where can we see more of your work?

SAMEH: Since I am based in the US for some time now, I feel after TEL AVIV ON FIRE I am ready for a new adventure to make a film in the US. I am in the process of developing a feature and a TV show. That said, I will still be working on films in the Middle East. I am in the process of financing a comedy set in Gaza called CATCH THE MOON.  Rebecca O’Brien from Sixteen Films in the UK is the lead producer working with my partners on TEL AVIV ON FIRE.   My previous work should be available on streaming services, except for my first feature MAN WITHOUT A CELL PHONE (2010), which we hope to have available soon.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

SAMEH: I am indeed excited, it is a special intimate festival with a great audience that I feel will connect with my film. So far the film has been screening in many festivals around the word, winning many audience awards thus far; it is a great feeling in general to know that the audience enjoys the film. After all we make films to share with people.  So for me, coming back to Nantucket after being there with a script before is super special. Believing in an idea that now is reality on the big screen.  The film presents a political discussion over the Israeli-Palestinian conflict in a comedic tone, so I hope that the audience will both laugh (enjoy) but also reflect on the issues discussed in the film. Looking forward to it! 

#NFF2019 Showtime's Tony Cox Feature Screenplay & Episodic Screenplay (60 Min) FINALISTS Announced!

Read more below about the finalists’ scripts and the prizes up for grabs!

Feature Screenplay Finalists:

10 by Charles Forbes  
The life story of famed, gay author, Tennessee Williams.

GREENWOOD by Nathan Patton
Buck Franklin is an African American lawyer in 1920s Oklahoma, struggling to find work and provide for his family. When he hears of an all black community in Greenwood, he decides to visit the town and explore his opportunities. Shortly after his arrival, an incident involving a young black man and white woman sparks a race riot and the destruction of the black community, and Buck sets out to bring justice to the people of Greenwood.

SUNDOGS by Elizabeth Chatelain 
When Alex's father dies and their family farm slips into debilitating debt, she takes her 12-year-old daughter Jenny West with her to work on the North Dakota oilfields. But after the oil industry's decline begins and Alex loses her job, she must decide which is more important: the farm, or her fragile relationship with her daughter.

Finalists Receive:

  • VIP week-­long Pass to Nantucket Film Festival;

  • Attend Showtime ­sponsored reception during the Film Festival;

  • Participation in Mentors Brunch with prominent screenwriter during the Film Festival;

  • Name inclusion on Festival catalogue and website as Competition winner;

  • Print and media coverage.

And One Winner, to be announced during the Festival, will receive:

  • $5,000 cash prize from the Nantucket Film Festival;

  • All expenses paid, month­-long stay at exclusive Screenwriters Colony on Nantucket in October;

  • VIP week-­long Pass to Nantucket Film Festival;

  • Round­ trip from New York to Nantucket to attend Film Festival;

  • Accommodations in Nantucket during the Film Festival;

  • A Showtime­ sponsored reception during the Film Festival in the winner’s honor;

  • Participation in Mentors Brunch with prominent screenwriter during the Film Festival;

  • Name inclusion on Festival catalogue and website as Competition winner;

  • Print and media coverage.

Episodic 60 Minute Pilot Screenplay Finalists:

BACK-ALLEY by Young Eun (Grace) Kim 
Ada, a disgraced former surgeon, decides to team up with a motley medical devices engineer and become the Robin Hood of medical procedures.

COMPTON, NH by Hyun Chessman
A small, rural town is turned upside down by the sudden appearance of the City of Compton in its backyard.

LIVING by Kate Levitt
Ezra, a seventeen-year-old Jewish James Dean, leads a double life--at home, Orthodox and pious, and at school, drugging and partying.  As he juggles the two worlds, his “pious" family faces their own challenges.  

One Winner Receives:

  • $1,000 cash prize from the Nantucket Film Festival;

  • Private one-on-one consultation with Showtime executive;

  • VIP week-­long Pass to Nantucket Film Festival;

  • Attend Showtime ­sponsored reception during the Film Festival;

  • Participation in Mentors Brunch with prominent screenwriter during the Film Festival;

  • Name inclusion on Festival catalogue and website as Competition winner;

  • Print and media coverage.

#NFF18 Showtime's Tony Cox Feature Screenplay, Episodic Screenplay (60 Min), and Shorts Writer FINALISTS Announced!

Read more below about our finalists, their scripts, and the prizes up for grabs!

Feature Screenplay Finalists:

CAMBRIDGE by Henry Hayes and Zolan Kanno-Youngs
The life of Boston Bomber, ‎Dzhokhar Tsarnaev, as seen by friends who knew him before the event, and who struggle to rationalize their friend with the killer he became.

THE NOVICE by Lauren Hadaway
An overachieving novice rower becomes obsessed with making the Varsity team, to the point that she starts to lose touch with reality.

QUEENS by Max Sokoloff
Sperm donor, Ben, meets his crossing-dressing middleschooler son for the first time and has to decide if he wants to be a dad. 

Finalists Receive:

  • VIP week-­long Pass to Nantucket Film Festival;

  • Attend Showtime ­sponsored reception during the Film Festival;

  • Participation in Mentors Brunch with prominent screenwriter during the Film Festival;

  • Name inclusion on Festival catalogue and website as Competition winner;

  • Print and media coverage.

And One Winner, to be announced during the Festival, will receive:

  • $5,000 cash prize from the Nantucket Film Festival;

  • All expenses paid, month­-long stay at exclusive Screenwriters Colony on Nantucket in October;

  • VIP week-­long Pass to Nantucket Film Festival;

  • Round­ trip from New York to Nantucket to attend Film Festival;

  • Accommodations in Nantucket during the Film Festival;

  • A Showtime­ sponsored reception during the Film Festival in the winner’s honor;

  • Participation in Mentors Brunch with prominent screenwriter during the Film Festival;

  • Name inclusion on Festival catalogue and website as Competition winner;

  • Print and media coverage.

Episodic 60 Min Pilot Screenplay Finalists:

BETWEEN THE EYES by G.J. Lee
America's first female detective is hired by Abraham Lincoln to ensure his safety in traveling to Washington, DC for his inauguration.  

DETESTABLE by Brandon Morrissey
The closeted son of a pastor arrives to a Christian university where his understanding of the world is challenged by his peers.

LEGACY by Kellen Hertz
An elite Connecticut University finds a doll reenactment of a heinous crime (which was committed 20 years ago) at the original site, The Founders Tomb, and it seems an important legacy student is  somehow connected with the current crime.

One Winner Receives:

  • $1,000 cash prize from the Nantucket Film Festival;

  • Private one-on-one consultation with Showtime executive;

  • VIP week-­long Pass to Nantucket Film Festival;

  • Attend Showtime ­sponsored reception during the Film Festival;

  • Participation in Mentors Brunch with prominent screenwriter during the Film Festival;

  • Name inclusion on Festival catalogue and website as Competition winner;

  • Print and media coverage.

Short Screenplay Finalists:

ASSISTS, GOALS, SAVES by Kelly Pike
Rising field hockey star Emmie starts to change after a visit to the team doctor.

CINDERELLA WAR by Margaret Kane-Rowe
A quaint family in Ireland receives a hostile visit from the Irish Republican Army. 

THE INVISIBLE MONSTER by Gordon LePage
A boy at the beach, playing pretend from his favorite TV show, finds a monster.
 

One Winner Receives:

  • $500 cash prize from the Nantucket Film Festival;

  • VIP week-­long Pass to Nantucket Film Festival;

  • Attend Showtime ­sponsored reception during the Film Festival;

  • Participation in Mentors Brunch with prominent screenwriter during the Film Festival;

  • Name inclusion on Festival catalogue and website as Competition winner;

  • Print and media coverage.

Showtime's Tony Cox Feature Screenplay Finalists Announced!

Congratulations to our three finalists in Showtime's Tony Cox Feature Screenplay Competition:

Corporate Retreat, by Marty Johnson. Eliza, a single mom and would-be actress making ends meet as a property manager for second homeowners, takes on the role of a lifetime: one of her wealthy clients.

Johnny Ace, by Moon Molson. Christmas, 1954: Houston homicide detectives investigating the seemingly accidental death of popular R&B singer Johnny Ace discover that the case is far more complex than it first appears.

Lifers, by Amanda Peppe with Chris Peppe. An ex-con gets out of prison after 35 years and seeks redemption, standing up for a family of migrant farmworkers.

From L to R: Marty Johnson, Moon Molson and Amanda Peppe

Finalists Receive:

  • VIP week-­long Pass to Nantucket Film Festival;
  • Attend Showtime ­sponsored reception during the Film Festival;
  • Participation in Mentors Brunch with prominent screenwriter during the Film Festival;
  • Name inclusion on Festival catalogue and website as Competition winner;
  • Print and media coverage.

And One Winner, to be announced during the Festival, will receive:

  • $5,000 cash prize from the Nantucket Film Festival;
  • All expenses paid, month­-long stay at exclusive Screenwriters Colony on Nantucket in October;
  • VIP week-­long Pass to Nantucket Film Festival;
  • Round­ trip from New York to Nantucket to attend Film Festival;
  • Accommodations in Nantucket during the Film Festival;
  • A Showtime­ sponsored reception during the Film Festival in the winner’s honor;
  • Participation in Mentors Brunch with prominent screenwriter during the Film Festival;
  • Custom leather bound copy of the winner’s script, courtesy of Showtime;
  • Name inclusion on Festival catalogue and website as Competition winner;
  • Print and media coverage.