Entertainment venues will be closed until December 2 at least owing to the latest coronavirus restrictions and thus we will be closing down Capital Celluloid for now. Keep safe and look forward to bringing you the best of the repertory London film scene when it’s wise to do so.

Capital Celluloid 2020 — Day 117: Sat Nov 7

Entertainment venues will be closed from Thursday so this screening will be cancelled.

Gummo (Korine, 1997): BFI Southbank, NFT3, 5.20pm

This is the recommendation for Saturday November 7th and more details will be provided once we get more official news about the proposed lockdown as it could be that cinemas won’t be open next week.

Capital Celluloid 2020 — Day 116: Fri Nov 6

Entertainment venues will be closed from Thursday so this screening will be cancelled.

Crash (Cronenberg, 1996): Prince Charles Cinema, 12.10pm

This great David Cronenberg film is on a wide re-release and you can find all the details here. The Prince Charles is showing the film on the 10th and 11th November. Details here.

Chicago Reader review:
David Cronenberg wrote and directed this 1996 film, a masterful minimalist adaptation of J.G. Ballard's 1973 neo-futurist novel about sex and car crashes, and like the book it's audacious and intense—though ultimately somewhat monotonous in spite of its singularity. James Spader meets Holly Hunter via a car collision, and they and Spader's wife (Deborah Kara Unger) become acquainted with a kind of car-crash guru (Elias Koteas) and his own set of friends (including Rosanna Arquette). Sex and driving are all that this movie and its characters are interested in, but the lyrical, poetic, and melancholic undertones are potent, the performances adept and sexy, the sounds and images indelible. If you want something that's both different and accomplished, even if you can't be sure what it is, don't miss this.
Jonathan Rosenbaum

Here (and above) is the original trailer.

Capital Celluloid 2020 — Day 115: Thu Nov 5

Entertainment venues will be closed from Thursday so this screening will be cancelled.

The Happy Life (Lee Joon-ik, 2007): Genesis Cinema, 6.20pm

This film (being screened from 35mm) is part of the Korean Film Festival. You can find all the details of the festival here.

Korean Film Festival introduction: Three middle-aged men, all struggling in life, gather together at the funeral of their old classmate. As university students they had all been members of the same rock group, a not-entirely-successful endeavour called ‘Active Volcano’. After losing themselves in memories for a time, the jobless Ki-young (Jung Jinyoung) suddenly blurts out, “Let’s re-form the band!”. To his friends, and especially to Ki-young’s wife and teenage daughter it sounds like an absurd, crazy idea. But sometimes crazy ideas have a way of picking up steam. Master storyteller Lee Joon-ik takes what seems like a dubious concept and turns it into an unexpectedly engaging and inspiring film about friendship. Helped along by an outstanding ensemble cast, the film is at its best in quieter moments, which impart a realistic edge. Ultimately, the film’s title is both ironic and heartfelt at the same time.

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 114: Wed Nov 4

 Boyz n the Hood (Singleton, 1991): Prince Charles Cinema, 6.30pm

This great  film about black American life is being screened from a 35mm print.

Time Out review: ‘Increase the peace’ pleads the final frame of John Singleton’s angry, era-defining 1991 story of young black manhood on the streets of Los Angeles. In this era of Black Lives Matter and #Oscarssowhite it may feel like little has changed – the peace has notably failed to increase. But that just makes this re-release, part of the Black Star season at BFI Southbank, all the more relevant.

‘Boyz n the Hood’ opens in 1984, as ten-year-old Tre is sent to live with his dad Furious Styles (Laurence Fishburne) in South Central LA and falls in with a gang of local kids. Seven years later Tre (Cuba Gooding Jr, who really does look a lot older than 17) is struggling to find his own path. His best friend Ricky (Morris Chestnut) hopes for footballing glory and neighbour Doughboy (Ice Cube) just wants to be a gangsta.

Employing a loose, episodic structure, Singleton’s script is a masterclass in making complex social and political issues easy to digest and audience-friendly – remarkable for a writer-director who was just 23 when the film was released. The characterisation is sharp, the plot basic but compelling and it’s all lightened up with lots of creative swearing. The central performances are strong too: Gooding is a pouty, relatable teenage hero and Fishburne an icon of self-contained masculinity. But it’s Ice Cube in his acting debut who steals the show as the loose, unpredictable gangbanger with mommy issues.

‘Boyz n the Hood’ hasn’t aged perfectly. Despite the occasional ‘I ain’t no ho!’ outburst, there’s clearly a problem with women, who tend to be mouthy and troubled or maternal and saintly. The supporting actors struggle a bit, and despite a great hip hop soundtrack, the jazz-tinged score is shockingly syrupy. Still, this is an important film for a reason: one of the first to lay out the truth about black American lives, it remains politically astute and fiercely entertaining. Tom Huddleston

Here (and above) is the trailer.


Capital Celluloid 2020 — Day 113: Tue Nov 3

Mr Smith Goes to Washington (Capra, 1939): Prince Charles Cinema, 5.30pm

This Frank Capra classic is being screened from a 35mm print.

Chicago Reader review: "Boy Ranger" leader Jefferson Smith (James Stewart), appointed junior senator, battles corrupt senior senator Claude Rains and protofascist industrialist/media magnate Edward Arnold in Frank Capra's 1939 vindication of simple virtues and barefoot American democracy. Capra's films in the 30s—the screwball comedies that he nearly single-handedly created—reconciled the irreconcilable; bridged the rural/urban divide; showed love, decency, and neighborliness ascendant; and demonstrated conclusively that America was a land of perfect unity where all social classes were one. Capra's populist heroes—Longfellow Deeds, Jefferson Smith, John Doe—deflated pomposity at home and defeated the shadowy undemocratic forces threatening the globe. This is classic Capracorn, with the greatest girl cynic of the 30s, Jean Arthur. Dan Druker

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 112: Mon Nov 2

 Middle of Nowhere (DuVernay, 2012): BFI Southbank, NFT2, 8.45pm

This Sundance Festivak hit is part of the Women Make Film season at BFI Southbank curated by Mark Cousins.

Chicago Reader review: Those of us who head west to Sundance every year and still cling to old-school notions regarding independent cinema—that it can flourish as a forum for alternative viewpoints, that low production values and high-quality storytelling aren’t mutually exclusive, that independent isn’t just a label but also an ethos—often leave Park City experiencing a crisis of faith. But every so often, the festival midwifes a film that reminds us that a sense of discovery still exists on the margins of American moviemaking. Half Nelson, Compliance and Take Shelter are perfect examples; Ava DuVernay’s extraordinary chronicle of a marriage interrupted is another.

Ruby (Emayatzy Corinealdi, a true find) is introduced as the equivalent of a penal-system widow, comforting her convict spouse (Omari Hardwick) with the notion that this will all be over soon. Cut to four years later, and time—as well as the ensuing familial disappointments, financial burdens and false hopes—has taken its toll on both of them. A friendly bus driver (The Paperboy’s David Oyelowo) offers a second chance at happiness, but can Ruby let go of something that may be beyond repair? There’s every reason to think that DuVernay’s tale of a woman trying desperately to stand by her incarcerated man might fall prey to the cloying earnestness and clunky clichés that infect too many Amerindie dramas. But this character study’s refusal to pander by sensationalizing its central social issue skirts such pitfalls with amazing grace; this is humanistic drama done right. David Fear

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 111: Sun Nov 1

Shaun of the Dead (Wright, 2004): Prince Charles Cinema, 3.50pm

This excellent spoof zombie horror film is screened from 35mm.

Chicago Reader review: George Romero's zombie trilogy has generated an endless parade of remakes and rip-offs, but this clever British spoof comes closer than many to the bitter satire that makes his movies so distinctive. TV writers Simon Pegg and Edgar Wright fully exploit the core gag of most horror comedy, as the title hero (Pegg), a feckless electronics salesman, remains stubbornly oblivious to the gathering danger. But they've twisted this conceit into something much wittier: in a workaday London populated by shuffling, pale-faced drones, Shaun can be excused for not recognizing genuine zombies when he sees them. Pegg and Wright are out of their depth in the second half, when they try to engage the more disturbing elements of Romero's movies, but their disaffected slacker take on the genre is a welcome alternative to the usual bloodbaths. JR Jones

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 110: Sat Oct 31

The Exorcist (Friedkin, 1973): Prince Charles Cinema, 8.30pm

The Exorcist (35mm) extended cut is on at the Prince Charles from Friday October 30th to November 4th. You can find the full details here.

Chicago Reader review: "Doubtless this tale of spirit possession in Georgetown packs a punch, but so does wood alcohol," wrote Reader critic Don Druker in an earlier review of this. I wouldn't be quite so dismissive: as a key visual source for Mel Gibson's depiction of evil in The Passion of the Christ, as well as an early indication of how seriously pulp can be taken when religious faith is involved, this 1973 horror thriller is highly instructive as well as unnerving. William Friedkin, directing William Peter Blatty's adaptation of his own novel, aims for the jugular, privileging sensation over sense and such showbiz standbys as vomit and obscenity over plodding exposition. Jonathan Rosenbaum

Here and above is the original trailer.

Capital Celluloid 2020 — Day 109: Fri Oct 30

But I'm A Cheerleader (Babbit, 1999): BFI Southbank, NFT2, 6.10pm

This camp satire, part of the Women Make Film season at BFI Southbank curated by Mark Cousins, also screens on November 17th ... and in glorious 35mm. Full details here.

Chicago Reader review: High school cheerleader Megan (Natasha Lyonne) comes home one day to find family and friends gathered in the living room. They talk her into going to a rehabilitation camp for homosexuals that's no more surreal than her suburban community—the absurdist environment, with its rigorously defined gender roles, tweaks reality enough to show how little exaggeration the satire requires. As a ditz who's just smart enough to know something isn't right, Lyonne blends hyperbole and sincerity in perfect proportions. Jamie Babbit directed a screenplay by Brian Wayne Peterson; with Clea DuVall, Cathy Moriarty, and RuPaul Charles. Lisa Alspector

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 108: Thu Oct 29

 A Man Escaped (Bresson, 1956): BFI Southbank, NFT1, 6.05pm

This 35mm presentation of the Robert Bresson classic will also be shown on November 28th (full details here). The film is part of the 'Near the Jugular' season (more here via this link).

Chicago Reader review:
Based on a French lieutenant's account of his 1942 escape from a gestapo fortress in Lyon, this stately yet uncommonly gripping 1956 feature is my choice as the greatest achievement of Robert Bresson, one of the cinema's foremost artists. (It's rivaled only by his more corrosive and metaphysical 1970 film Au Hasard Balthazar.) The best of all prison-escape movies, it reconstructs the very notion of freedom through offscreen sounds and defines salvation in terms of painstakingly patient and meticulous effort. Bresson himself spent part of the war in an internment camp and subsequently lived through the German occupation of France, experiences that inform his magisterial grasp of what the concentrated use of sound and image can reveal about souls in hiding. Essential viewing.
Jonathan Rosenbaum

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 107: Wed Oct 28

The Texas Chainsaw Massacre (Hooper, 1974): Castle Cinema, 7.30pm


This 16mm presntation is also being shown at the Castle Cinema (details here) on October 22nd. (If you can't make it on either night the Prince Charles Cinema has 35mm screenings on 29tht and 31st October (more information here).

Chicago Reader review:
Tobe Hooper's 1974 bloodbath cheapie acquired a considerable reputation among ideologically oriented critics, who admired the film's sneaky equation of middle-class values with cannibalism and wholesale slaughter. The plot, such as it is, concerns a group of teenagers who fall into the hands—and knives, and ultimately chain saws—of a backwoods family of homicidal maniacs. The picture gets to you more through its intensity than its craft, but Hooper does have a talent.
Dave Kehr

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 106: Tue Oct 27

 Psycho (Hitchcock, 1960): Prince Charles Cinema, 3.50pm

This Hitchock classic screens at the cinema from October 23rd to 31st (details here).

Chicago Reader review:
A dark night at the Bates Motel, in the horror movie that transformed the genre by locating the monster inside ourselves. Alfred Hitchcock's 1960 masterpiece blends a brutal manipulation of audience identification and an incredibly dense, allusive visual style to create the most morally unsettling film ever made. The case for Hitchcock as a modern Conrad rests on this ruthless investigation of the heart of darkness, but the film is uniquely Hitchcockian in its positioning of the godlike mother figure. It's a deeply serious and deeply disturbing work, but Hitchcock, with his characteristic perversity, insisted on telling interviewers that it was a "fun" picture.
Dave Kehr

Here (and above) is the original theatrical trailer.

Capital Celluloid 2020 — Day 105: Mon Oct 26

These Birds Walk (Mulliq/Tariq, 2013): BFI Southbank, NFT2, 6pm

An inspirational tale of resilience, centred on a young Pakistani boy struggling to survive in Karachi, this film in the Near the Jugular season (full details here) at BFI Southbank is also beign shown on Novenebr 6th and 26th (find out more here).

Chicago Reader review:
First-time directors Omar Mullick and Bassam Tariq intended to make a documentary about Abdul Sattar Edhi, a philanthropist who has opened literally hundreds of facilities for Pakistan's impoverished citizens; but when Edhi suggested they focus on his work rather than on him, they shifted their focus to an ambulance driver employed at one of his medical centers and a boy staying at a shelter for runaway and abandoned children. The impressionistic results succeed in conveying widespread social problems on a relatable scale, as the subjects register throughout as complex individuals. But when the filmmakers step back in the final sequences to consider the magnitude of poverty in Pakistan, the situation seems even more devastating than it did at the outset.
Ben Sachs

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 104: Sun Oct 25

The Shining (Kubrick, 1980): Prince Charles Cinema, 1.10pm


This 35mm screening, the UK version of the film, is also being screened from October 23rd to 31st. Full details here.

Time Out review:
The scariest moments in The Shining are so iconic, they’ve become in-jokes: Jack Nicholson leering psychotically from posters on the walls of student bedrooms everywhere: ‘Here’s Johnny!’. Even so, Stanley Kubrick’s masterpiece of execution and claustrophobia still retains the power to frighten audiences out of their wits. Nicholson is Jack Torrance, a writer working as a caretaker at the isolated Overlook Hotel in the Colorado mountains over winter. Stephen King, on whose novel the film was based, was famously unimpressed. The problem, he said, was that ghost-sceptic Kubrick was ‘a man who thinks too much and feels too little’. He resented Kubrick for stripping out the supernatural elements of his story. Torrance is not tortured by ghosts but by inadequacy and alcoholism. And for many, it’s as a study of insanity and failure that makes The Shining so chilling.
Cath Clarke

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 103: Sat Oct 24

Pressure (Ové, 1976): Art House Crouch End, 3pm

BFI review: Set in Ladbroke Grove, West London, an area with a large Caribbean population since the 1950s, Pressure (d. Horace Ové, 1975) explores the assimilation (or otherwise) of Caribbean people into British society. The police are presented as corrupt and overtly racist, indeed a casual racism seems to permeate all aspects of society. It is also critical of the black response, and isn't afraid to show friction within the Black community between those who are disillusioned, with little hope and content to exist on the dole and those who are politically active and fight for change, and between the older generation, content to know its place, not wanting to 'stir up trouble', and a younger generation willing to fight for its rights. Pressure remains a key Black British film, which helps to demonstrate how modern multi-cultural Britain was shaped. Julia Toppin

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 102: Fri Oct 23

Post Tenebras Lux (Reygadas, 2012): BFI Southbank, NFT3, 8.45pm

This Cannes Best Director winner, which is also being shown on November 10th (full details here), is part of the Near the Jugular season.

Time Out review: A child runs gleefully through a herd of cows at sunset. A glowing red devil skulks through a house at night. A married couple attends a bathhouse orgy where rooms are named after philosophers like Hegel and Duchamp. All of these scenes, and more besides, are shot in a square aspect ratio (1.33:1) with a filter that randomly blurs the edges of the frame, as if we are viewing everything we see through a kaleidoscope.

At this point you should know if you want to submit yourself to the latest feature from Carlos Reygadas (Silent Light), and submit you must to this thrillingly strange film’s evocative flow. A story is somewhat apparent: Juan (Adolfo Jiménez Castro) and Natalia (Nathalia Acevedo) are a wealthy married couple living with their children, Rut and Eleazar (played by Reygadas's own daughter and son), in the Mexican countryside. Their lives are contrasted with the lower-class peasants who work the verdant land surrounding Juan and Natalia’s home.

Best to leave the narrative and the resulting class warfare allegory at that. Reygadas is no stranger to politically charged moviemaking (the climax here is an astonishingly unnerving and confrontational coup de cinema). What matters more is recognizing Post Tenebras Lux’s kinship with a strain of impressionistic autobiographical cinema practiced by filmmakers such as Andrei Tarkovsky (The Mirror) and Terrence Malick (The Tree of Life) in which every sound and image seems to spring straight from the psyche. Even at their most opaque, the best of these films are distinguished by an inimitable specificity—the subliminal shards of a singular mind given sublime cinematic form. This is a movie that, even in its most inexplicable or provocative moments, welcomes each of us into its stream of subconsciousness as a fellow dreamer. Keith Ulich

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 101: Thu Oct 22

Blue Gate Crossing (Yee Chin-yen, 2002): Genesis Cinema, 6.30pm

This film, part of the Queer East Film Festival, is being screened from 35mm.

Time Out review: Zhang (Bo-lin Chen) is one schoolkid who knows his selling points. So he isn’t too surprised at the attention when Meng Kerou (Lun-mei Guey) approaches him on behalf of her smitten best friend Lin Yuezhen (Shu-hui Liang), who keeps a box full of his discarded bits and plasters his name all over her schoolbooks. Zhang, though, is more impressed by the unbendable Meng, who, thinking she might be gay, has taken to scrawling ‘I’m a girl, I love boys’ in the sand. Tender, slight and slender, this lilting coming-of-age tale stretches a thin skin of activity over its skeletal plot, prefering to focus on the hearts and souls of its teenage protagonists. A sweet and understated counterpoint to the usual teenage hyperbole.

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 100: Wed Oct 21

 Dracula (Fisher, 1931): Castle Cinema, 7.30pm

Cine-Real is the only film club in the UK to exclusively play films in 16mm format. The film will also be screened on October 22nd.

Time Out review: This creepy period yarn has retained much of its bite. A tripartite narrative focuses on the death of amateur vampire hunter Jonathan Harker (John Van Eyssen) and the subsequent ripples of terror that engulf the family of his girlfriend and one Doctor Van Helsing (Peter Cushing). Fun anachronisms abound, from the optimistic belief that the Berkshire countryside plus an overzealous smoke-machine equal rural Transylvania, to Van Helsing’s worrying assurance that the best way to recover from a blood transfusion is to consume plenty of ‘tea, coffee or even better…wine’. One shouldn’t be brutal about a film of such noble intent, but as ‘horror’ it doesn’t have the honest-to-goodness scares that modern audiences expect. Still, Christopher Lee’s Dracula is a menacing and complex presence who never lets his fangs and cape dominate. There’s also the canny use of vampirism as an allegory for drug abuse and sexually transmitted disease: is this the camp forerunner to Abel Ferrara’s ‘The Addiction’?

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 99: Tue Oct 20

 Close-Up (Kiarostami, 1990): BFI Southbank, NFT2, 8.40pm

This film, which is part of the ‘Near the Jugular’ season (full details here), will also be screened on November 28th.

Chicago Reader review: A dense and subtle masterpiece from Iran (1990) by Abbas Kiarostami (Taste of Cherry), this documentary—or is it pseudodocumentary?—follows the trial of an unemployed film buff in Tehran who impersonated acclaimed filmmaker Mohsen Makhmalbaf and became intimate with a well-to-do family while pretending to prepare a film that was to feature them. Kiarostami persuades all the major people involved to reenact what happened, finally bringing the real Makhmalbaf together with his impersonator for a highly emotional exchange. Much of the implicit comedy here comes from the way "cinema" changes and inflects the value and nature of everything—the original scam, the trial, the documentary Kiarostami is making. Werner Herzog has called this the greatest of all documentaries about filmmaking, and he may not be far off—if only because no other film does more to interrogate certain aspects of the documentary form itself. Jonathan Rosenbaum

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 98: Mon Oct 19

Concrete Night (Honkasalo, 2013): BFI Southbank, NFT 3, 6.10pm

This fascinating Finnish film, part of the Women Make Film season at BFI Southbank curated by Mark Cousins, also screens on November 19th. Full details here.

Chicago Reader review: In a dire Helsinki slum, a 14-year-old boy from a dystunctional family spends a night cavorting with his hot-headed older brother, who's headed for jail the next day. Shooting in black-and-white, cinematographer Peter Flinckenberg conjures up a stark chiaroscuro that amplifies the sense of desolation, but the images are poetic and stirring rather than debilitating; the dramatic lighting gives the rundown buildings and abandoned construction sites an otherworldly look. Director Pirjo Honkasalo uses reflective surfaces—mirrors, windows, water—to suggest alternate realities where her characters might lead less corrupted lives. Drew Hunt

Here (and above) is the trailer.

Capital Celluloid 2020 — Day 97: Sun Oct 18

Ammonite (Lee, 2020): BFI Southbank, NFT1, 2 & 3, 2.10pm, 2pm & 2.20pm


64th LONDON FILM FESTIVAL (7th - 18th October 2020) DAY 12

Every day (from October 7th to October 18th) I will be selecting the best London Film Festival each day that you can catch on the BFI Player service. Here is the LFF's main website for the general information you need.

Review: A fictionalised account of the life of the 19th century palaeontologist Mary Anning, Winslet plays the pioneering scientist with Ronan as the gentlewoman who falls in love with her while staying in Mary’s beloved Lyme Regis. Lee once again displays his ability to convey vivid textures and a strong sense of place – from the salty seaside cottage and the weight of a fossil or tool, to the roar of the sea – and is aided by Stéphane Fontaine’s (A Prophet, Jackie) first rate cinematography. Deftly taking in the erasure of women from the history of science, the film is also woven through with an unusually subtle take on class difference in small town 19th-century Britain and its subversion within the exclusive company of women. Yet at its heart, Ammonite is a love story – one of great intimacy and candour – with Winslet and Ronan excelling in movingly unguarded performances. Tricia Tuttle

Here (and above) is the trailer.


Capital Celluloid 2020 — Day 96: Sat Oct 17

 Friendship's Death (Wollen, 1987): BFI Player, 1pm

64th LONDON FILM FESTIVAL (7th - 18th October 2020) DAY 11
Review: Friendship (Tilda Swinton) has been sent to Earth on a peace mission. Heading for MIT, she inadvertently lands in Amman, Jordan during the 1970 ‘Black September’ war and is ushered to safety by journalist Sullivan (Bill Paterson). Holed up in a hotel as the conflict rages outside, the pair enter into a series of fascinating conversations about mortality, technology and the nature of warfare. Swinton gives a captivating early-career performance as she calmly debates with a wry and world-weary Sullivan. Together they ask: are we worth saving? Political and prescient, Wollen’s only solo feature film is a witty exploration of human-machine relations that feels remarkably relevant today. The screening will be followed by a special event exploring Wollen’s important legacy as a thinker, historian and practitioner. Will Massa


Capital Celluloid 2020 — Day 95: Fri Oct 16

Limbo (Sharrock, 2020): BFI Player, 6.30pm

64th LONDON FILM FESTIVAL (7th - 18th October 2020) DAY 10
Review  A refreshingly different voice in UK cinema, Scottish writer/director Sharrock won the Michael Powell Award at Edinburgh Film Festival for his debut Pikadero, a quirky love story shot in the Basque language. Limbo has a similar singularity, at once deadpan comedy and also poignant tale of a group of refugees stuck, pending asylum, on a weather-beaten Hebridean outpost, the Uists. Sharrock cites Elia Suleiman as an inspiration and here too we see a deep humanism behind the wry gaze and a desire to move beyond cross cultural narratives of simple reconciliation. Rising UK star Amir El-Masry impresses as Omar, one of four men in this ‘limbo’ together, who find a bond in the shared strangeness of their situation and distance from their own countries and families. Tricia Tuttle