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Louis C.K. is back with an update on his life.

The comedian sent an email blast to fans on Tuesday afternoon, his first in nearly a year. “For those of you wondering what I’ve been doing: I’ve taken up sculpture (clay and stone) and drawing with charcoal. I’ve written a novel and I’m working on a second. That about wraps it up on me,” wrote the stand-up star, writer and filmmaker in the opening lines.

He didn’t offer additional details about the books or art exercises. But he did dedicate the rest of the correspondence to Adrienne Iapalucci, whom he referred to as “truly one of my favorite comedians.” C.K. directed his pal’s new stand-up special, The Dark Queen, which premiered Tuesday on Netflix.

The move puts C.K. back in the Netflix fold seven years after he faced allegations of sexual misconduct...

Sorry/Not Sorry delves into the nuanced story surrounding comedian Louis C.K.’s admission of inappropriate behavior. Directors Caroline Suh and Cara Mones guide us through a timeline of C.K.’s career highs and lows, the whispers that followed him, and the reckoning brought by speaking out.

Through interviews with journalists, fellow comedians, and those directly impacted, the documentary examines difficult topics around power dynamics, accountability, and where we go from here.

C.K. achieved great success with his grounded, revealing humor. But allegations from women in the industry surfaced for years, and in 2017, a New York Times exposé confirmed their experiences. With candor, C.K. acknowledged misconduct like masturbating without consent during work interactions. This began a debate: could an artist’s work and past actions be separated?

Suh and Mones give space to considerations from all sides. Jen Kirkman, Abby Schachner, and Megan Koester represent the courage...

The title of “Sorry/Not Sorry,” a documentary about the Louis C.K. scandal, makes the film sound like a hot-button exposé with the potential to be as controversial as the case itself. The offscreen infamy of Louis C.K. — his coercive and abusive ritual of masturbating in front of women, many of whom were his comedian colleagues — was first revealed in the mainstream media nearly seven years ago, amid the tidal wave of reckoning that became #MeToo. I thought: Is the film going to be about how Louis C.K. is now sorry…and not sorry? And what point-of-view will the documentary take?

“Sorry/Not Sorry” does deal with Louis C.K.’s reaction to the scandal: his message of apology that was never quite an apology; his carefully orchestrated comeback, after only nine months, via the comedy-club circuit (a comeback that ultimately encompassed his winning a Grammy for best comedy album...

Sing Sing, the powerful, poignant prison drama starring Colman Domingo, opens NY/LA, with indie love stories Dandelion and Touch debuting on hundreds of screens as distributors continue to tinker with release patterns. Martin Scorsese, eloquent as always, narrates (and executive produced) Made In England: The Films of Powell And Pressburger. Sorry/Not Sorry takes on comedian Louis C.K.

It’s a mixed specialty market still below pre-Covid levels but buoyed recently by hits like Thelma and hopeful that cinema goers are starting to sort out what to see, when and where.

“I think you’re starting to see who’s really theatrical and who isn’t. The lines are becoming clearer. Like, ‘Okay, I’m going to see this, Inside Out 2, in a theater, and I’m going to see that at the Angelika, or wherever, it might be. But I’m going to see it in a theater,...

It has now been seven years since Louis C.K. was canceled. Or was he? In November 2017, The New York Times published a damning piece in which five women came forward accusing him of sexual misconduct. In the article, long-running rumors about the famed comedian’s behavior finally came to light, with his victims describing stories in which he masturbated in front of them or on the phone. Following years of denying such claims, a day after the Times exposé he admitted in a statement, “These stories are true.” In quick order, his movie I Love You, Daddy’s release was scrapped, his deal with FX ended and his career was seemingly put on life-support.

In that statement, C.K. said he would “step back and take a long time to listen.” But less than a year later, he was back on stage, offering no remorse for his actions. It was...

The documentary challenges us to question whether we should "cancel" those who have done wrong. Louis C.K.'s quick return to the spotlight raises concerns about accountability in our society. Sorry / Not Sorry dives deep into the complex issues of sex, power, and second chances in the entertainment industry but never digs deep enough to truly address the questions it poses.

Its hard to deny a certain level of surrealism that occurs while watching Sorry / Not Sorry, the revealing documentary about the sexual misconduct of beleaguered comedian Louis C.K. (Louie) through the years. The New York Times-produced doc shows us a prominent white male who has been called to task about his inappropriate behavior. At the end of the day, that doesnt seem to matter much, as the so-called "canceled" C.K. quickly returns to bask in the spotlight and be adored by his followers.

Like Donald Trump before him,...

The comedians who put their careers on the line to expose Louis C.K.’s long history of sexual harassment are finally getting the theatrical release that the #MeToo movement denied I Love You, Daddy.

Almost seven years ago, Louis C.K. released a statement to The New York Times openly admitting that the accusations made against him by numerous female comics regarding sexual harassment and misconduct were completely true, even after he and his associates spent years shooting down such claims and professionally retaliating against the accusers. C.K.’s admission only came after the distributor for I Love You, Daddy canceled the premiere of C.K.’s film about his complicated feelings toward Woody Allen amidst the mounting accusations, and the ensuing fallout brought C.K.’s burgeoning career to a screeching halt.

In the modern era, C.K. is back to selling out stadiums such as Madison Square Garden,...

"People are scared, they want to be on his side... for work." Greenwich Ent. has revealed the official trailer for a documentary film titled Sorry/Not Sorry, an important follow-up doc about the #MeToo movement. In 2017, The NY Times published an article in which five women accused comedian Louis C.K. of sexual harassment. Nine months later, he returned to the stage and went on to win a Grammy in 2021. Sorry/Not Sorry examines the cultural fixation with Louis C.K. and his comeback while revealing the backlash faced by the women who spoke up about his behavior. This is not just a story about how this (powerful) guy could get away with everything, it's also about how broken and backwards society still is. They explore his comeback and the unseen effects of this on the women who spoke publicly about his behavior. Reviews state the film "rightly focuses on the women C.

Louis C.K. is the subject of a new documentary titled Sorry/Not Sorry, which examines his comeback and gives a voice to the women who faced consequences after speaking out about his sexual misconduct. Watch the official trailer below.

Beyond going into how the comedian has bounced back from being accused of sexual misconduct by five women in 2017 and subsequently admitting the allegations were true, Sorry/Not Sorry gives space to Jen Kirkman, Abby Schachner, and Megan Koester to open up about their experiences with C.K.

In the trailer, Schachner engages in some dark humor, saying, “When I said I wanted to work with Louis C.K. I should have been more specific.”

Directed by Caroline Suh and Cara Mones, Sorry/Not Sorry also features interviews with the reporters who broke the story of C.K.’s misconduct — Melena Ryzik, Cara Buckley, and Jodi Kantor — alongside Comedy Cellar owner Noam Dworman, comedian Michael Ian Black,...

The Sffilm Doc Stories lineup has officially been unveiled for 2023.

The ninth annual program runs November 2 through 5 in San Francisco, California, screening 10 features, and two shorts programs, while hosting a tribute to late filmmaker Julia Reichert, the beloved “American Factory” co-director who died last year. While screenings are taking place in person, a limited streaming window from November 6 to 7 will be available to ticket buyers online.

Matthew Heineman’s “American Symphony” opens the festival for an intimate portrait of Grammy-winning musician Jon Batiste. The Sffilm Doc Stories centerpiece screening is “Copa 71,” which debuted at TIFF and tells the lost story of the first Women’s World Cup for soccer. The film features 50-plus-year-old footage from the World Cup that took place in Mexico in 1971. Wim Wenders’ “Anselm” closes the festival with a 3D presentation of Anselm Kiefer’s life’s work.

“This year’s lineup explores the powerful effects...

Fall has officially arrived, and while the season is marked in Hollywood by a flurry of film festivals, it also marks the anniversary of the explosion of #MeToo across this industry. While the power brokers with skeletons in their closets hoped that this would be a passing fad, six years later this is our new normal. You never know where, or when, a shoe is going to drop — as it did in a big way this month for Russell Brand.

The extraordinary evolution of #MeToo is that not only is it surfacing harassment and assault, but it’s also challenging the power structures that have forever benefitted cis white men. It’s about bringing stories that have been diminished by those in power to light, as is the case with the buzzy new documentary “Copa 71” that I saw at the Toronto International Film Festival.

The documentary tells the story...

When it comes to the buzzier titles at any film festivals, traditional narrative cinema often hogs the spotlight. But the Toronto International Film Festival, held in Toronto, Canada in September 2023, has also provided an impressive array of non-fiction films, movies that take a look at the real-life workings of humanity. From sports documentaries and intimate explorations of war, to films about legendary musicians and meditative dives into family history, this year's crop of TIFF documentaries has a little something for everyone.

The best documentaries offer audiences a new perspective on the world around them, shedding light on important issues that might otherwise go unnoticed, or even just paying homage to the careers of beloved stars. Without the dramatic flourishes of narrative films, which embellish even stories based on real life, documentaries are able to prevent a much more authentic vision of the world -- albeit subject to the specific viewpoint of their filmmakers.

No institution can dodge Louis C.K.’s comedic legacy and sexual allegations, TIFF included, where he appeared immediately pre-#MeToo with his film I Love You, Daddy. I squirmed slightly recalling C.K.’s appearance at the festival as I watched Cara Mones and Caroline Suh unpacking the case, his survivors, and his humor in Sorry/Not Sorry. The documentary follows entertainment journalists re-contextualizing the controversial comedian’s achievements in the present, along with testimonies from his assault survivors (and talented comedians in their own right) Jen Kirkman, Abby Schnacher, and Megan Koester.

The documentary’s talking-head and archival-footage aesthetic allows for a long runway to observe ethical conundrums in entertainment. Is it okay to be offensive under the guise of comedy? How much truth should be involved in a joke? And how much does that matter? If art is subjective, can the professional remain separate from the personal? While Sorry/Not Sorry proposes intriguing,...

The #MeToo movement only started six years ago, but over that time, we’ve seen its massive impact on Hollywood. Mostly, this has been for the better, as predators are being named and (sometimes) held accountable for their actions. Even when the justice system fails, there are many times when a person is “canceled” and effectively forced to experience consequences that can result in a loss of power, gigs, and social standing. But for all the good the #MeToo movement has done, it’s also created some debates without clear answers.

Continue reading ‘Sorry/Not Sorry’ Review: Louis C.K. Doc Offers The Facts But Doesn’t Tackle The Glaring Questions [TIFF] at The Playlist.

What should we do with people who have admitted to sexual misconduct? Especially if that person has legions of fans who can fill Madison Square Garden? Should we object? Or simply pretend it isn’t happening?

The comedian Louis C.K. became an outcast in 2017, the year of #MeToo, after the New York Times — led by three intrepid female reporters — revealed that he masturbated in front of at least five women. And probably a whole lot more.

C.K. quickly admitted it. Yes, he said that was me. And then he wrote a long mea culpa and essentially said he needed to go away for a while and listen.

But then what? “Sorry/Not Sorry,” a documentary by Caroline Suh and Cara Mones playing at the Toronto International Film Festival, explores the difficult and nuanced question that has become an unspoken part of the #MeToo fallout. How should we treat someone like C.

Amid a Toronto Film Festival light on sales, Greenwich Entertainment has nabbed domestic distribution for a documentary on Louis C.K., TheWrap has learned.

The film, “Sorry/Not Sorry,” details the stand-up’s downfall after he was accused in a 2017 New York Times article of sexual misconduct by five women. It also deals with C.K.’s attempts at a post-scandal comeback — including a Grammy win in 2021 — along with backlash faced by the accusers. The sale came hours after the film’s TIFF world premiere.

Directed by Caroline Suh and Cara Mones, “Sorry/Not Sorry” is a New York Times production. Financial terms have not been disclosed, but Greenwich’s Andy Bohn negotiated the acquisition with CAA Media Finance on behalf of The New York Times.

“We couldn’t be happier to be partnering with Greenwich in the release of ‘Sorry/Not Sorry,'” Suh stated. “Their support means that the film – and the...

Greenwich Entertainment has picked up Sorry/Not Sorry, a new documentary that examines the sexual misconduct scandal that engulfed comedian Louis C.K. and its aftermath, hours after the film had its world premiere at the Toronto Film Festival.

Greenwich took North American rights to the film, co-directed by Caroline Suh and Cara Mones. Sorry/Not Sorry is based on the expose of Louis C.K. published by The New York Times, with the Times also producing together with Left/Right. Suh, Mones and Kathleen Lingo produced the film. New York Times journalists Melena Ryzik, Cara Buckley and Jodi Kantor, authors of the original 2017 article, served as consulting producers. Sam Dolnick, Jason Stallman, Ken Druckerman and Banks Tarver executive produced.

Sorry/Not Sorry drew a mixed response from critics in Toronto. The Hollywood Reporter found the documentary “struggled to find a new perspective” on the Louis C.K. scandal and the issue of whether he,...

Exclusive: In one of the first acquisition deals at Toronto, Greenwich Entertainment today announced it has picked up Sorry/Not Sorry, the documentary about the Louis C.K. sexual misconduct scandal and its aftermath, hours after the film’s TIFF world premiere.

The deal covers North American distribution rights to the film directed by Caroline Suh and Cara Mones. Sorry/Not Sorry is a production of The New York Times.

“In 2017, The New York Times published an article in which five women accused comedian Louis C.K. of sexual harassment,” notes a description of the film. “Nine months later, he returned to the stage and went on to win a Grammy in 2021. Sorry/Not Sorry examines the cultural fixation with Louis C.K. and his comeback while revealing the backlash faced by the women who spoke up about his behavior.”

Collider, in its review of the film, wrote, “While there have been plenty of...

The thing about “open secrets” is: Everyone knows what the secret is, but no one wants to acknowledge or talk about it. Not really, at least — if somebody’s peers and colleagues are all privy to some forbidden or socially unacceptable facts, and bringing it up forces them to reckon with some complicated feelings, then hey, why do we need to bring any of that up? For years, it was more or less an open secret within the comedy community that Louis C.K. had done things and said things that made female comedians feel uncomfortable.

At some point in our culture, we began to see male comedians as philosophers. Invoking the legacies of George Carlin, Richard Pryor and Bill Hicks, comedy fans have labeled funny men as paternalistic truth tellers that we all must revere. Never mind the fact that these men are no longer alive and thus have no opportunity to challenge the way their work has been framed and which living comics they are compared to.

Louis C.K. is one such comedian who has often been spoken of in the same breath as these men, despite lacking the often political edge of their work. C.K. and comics like Chris Rock and Dave Chappelle are the confirmed gold standard of comedy, standing at the top of the mountain looking down at the rest of us. There’s no denying their talent and insight, but they are very much still human, despite the prevailing...

In 2017, like a lot of Louis C.K. fans, filmmaker Caroline Suh wasn’t sure what to make of the allegations of sexual misconduct against the comedian that were detailed in a New York Times story. The report included female comics’ accounts of C.K. exposing himself to them, which he admitted to, and led FX, Netflix and C.K.’s management company, 3Arts, to drop him.

“I watched his show religiously,” Suh says. “And when the article came out, I was surprised and honestly thought, ‘Is it really that bad that he should be banished from the scene?’ I didn’t really know how to think about it.”

Nearly six years later, now that C.K. has sold out Madison Square Garden and won two Grammys for his comedy albums, Suh and her co-director, Cara Mones, interrogate questions about sex and power raised by the comic’s downfall and comeback in their new documentary,...