By Ray Pride Pride@moviecitynews.com

Satanic Temple Officially Recognized As Church On Eve Of Release Of Penny Lane’s HAIL SATAN?

NEW YORK, NY (April 24, 2019) – It was announced today that The Satanic Temple, the focus of filmmaker Penny Lane’s (Nuts!Our Nixon) critically-acclaimed documentary HAIL SATAN?, has been officially recognized as a church by the IRS, setting a historical precedent. Since the inception of the United States, no satanic religious organization has ever been recognized as a church. This distinction, in addition to qualifying The Satanic Temple for tax exemption, will help profoundly with their efforts to demand all of the privileges enjoyed by other religious organizations. This includes: assuring that The Satanic Temple has the same access to public spaces as other religious organizations; affirming its standing in court when battling religious discrimination; and enabling The Satanic Temple to apply for faith-based government grants.

In HAIL SATAN?, now in theaters, media-savvy members of The Satanic Temple organize a series of public actions designed to advocate for religious freedom and challenge corrupt authority, proving that with little more than a clever idea, a mischievous sense of humor, and a few rebellious friends, you can speak truth to power in some truly profound ways. As charming and funny as it is thought-provoking, HAIL SATAN? offers a timely look at a group of often misunderstood outsiders whose unwavering commitment to social and political justice has empowered thousands of people around the world.

“In light of theocratic assaults upon the Separation of Church and State in the legislative efforts to establish a codified place of privilege for one religious viewpoint, we feel that accepting religious tax-exemption — rather than renouncing it in protest — can help us to better assert our claims to equal access and exemption while laying to rest any suspicion that we don’t meet the qualifications of a true religious organization,” said Satanic Temple co-founder Lucien Greaves. “Satanism is here to stay.”

About MAGNOLIA PICTURES
Boasting a library of over 500 titles, Magnolia Pictures is the theatrical and home entertainment distribution arm of the Wagner/Cuban Companies. Recent releases include 2018 Cannes Palme d’Or winner and Oscar-nominated SHOPLIFTERS, from renowned Japanese director Hirokazu Kore-Eda; Danish crime thriller THE GUILTY; SUPPORT THE GIRLS, Andrew Bujalski’s critically lauded film starring New York Film Critics Circle Best Actress award winner Regina Hall; Box office sensation and Oscar-nominated RBG, award-winning filmmakers Betsy West and Julie Cohen’s documentary about the consequential life and legal legacy of Supreme Court Justice Ruth Bader Ginsburg; Ruben Östlund’s 2017 Cannes Palme d’Or winner and Oscar-nominated THE SQUARE; and Raoul Peck and James Baldwin’s Oscar-nominated I AM NOT YOUR NEGRO. Upcoming releases include TONI MORRISON: THE PIECES I AM, celebrating the life and career of the trailblazing literary icon; MIKE WALLACE IS HERE, a timely documentary on the legendary 60 Minutesnewsman; and stranger-than-fiction Sundance award-winning documentary COLD CASE HAMMARSKJOLD.

Comments are closed.

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima