HOLLYWOOD LIFE MAGAZINE: The Addiction of Hope: A Deep Dive Into Resilience and Reinvention

As the Santa Fe Film Festival prepares to welcome an eclectic slate of films in 2025, The Addiction of Hope emerges as a standout narrative on resilience, identity, and the paths people choose when life demands reinvention. Directed and written by Martin A. Gottlieb, the film explores themes of aging, ambition, family, and the seductive pull of hope, offering a deeply personal story that resonates universally.

At its heart is Jo Stock, played by Anne-Marie Johnson, an aging actress grappling with the fragility of fame and the enduring ties of family. Jo is forced to reckon with life’s uncomfortable questions when her sister Lynnie, portrayed by Harley Jane Kozak, faces a health crisis. Their strained relationship becomes the crucible in which each must confront their own truths about life, success, and the sacrifices tethered to both.

The filmmakers share insights into the genesis of their story. Johnson, whose extensive career spans decades in film and television, drew directly from her personal experiences as a woman navigating an industry often unkind to those over 40. Gottlieb described the film as an exploration of the tension between hope and truth. “Seeing friends and family making decisions based on hope as opposed to truth—it confused me,” he said. “Hope is not a plan. But for those of us in this ‘grey area,’ hope can feel like all we have.”
The tension between hope and pragmatism is a thematic undercurrent that runs through the film, not just in its story but also in its production. Gottlieb and Johnson, alongside producer David Marroquin, faced the challenges of creating a feature-length film with a self-funded budget. Marroquin likened the process to wearing multiple hats, a hallmark of independent filmmaking. “We didn’t have the luxury of saying ‘We need this or that,’” he explained. “Instead, we asked, ‘What can we do with what we have?’”

Johnson, whose career has spanned roles in projects like Hollywood Shuffle and In the Heat of the Night, brings depth and vulnerability to Jo Stock. Her performance is complemented by Kozak’s portrayal of Lynnie, whose illness forces both sisters to confront their unspoken grievances and latent love for one another. Brown, a fixture of both film and television, lends his gravitas to the role of Riz, Jo’s former director, while Erika Alexander delivers a memorable turn as Vanessa, Jo’s confidant.
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For the filmmakers, the journey of The Addiction of Hope is as layered as the story it tells. Johnson is already developing a deeply personal project about the first African American officer in the LAPD, drawing on her talent for uncovering narratives that challenge convention. Gottlieb and Marroquin, meanwhile, are sketching out ideas for their next collaboration. Both emphasize the importance of creating stories that feel intimate and authentic. “If we’re lucky enough to recoup our investment, we’ll reinvest it in something meaningful,” Gottlieb said.

Their reflections on the filmmaking process underline a shared philosophy: persistence and passion outweigh perfection. “Everyone will tell you no,” Gottlieb said. “But if the story is in you, you’ll find a way to bring it to life.” Marroquin echoed this, adding, “Independent filmmaking is about resourcefulness. It’s not about the tools you have but the story you want to tell.”

The Addiction of Hope stands as proof that independent cinema can rival larger productions in emotional depth and artistic ambition. It is a film that doesn’t just ask its characters to confront their truths—it demands the same of its audience. As the Santa Fe Film Festival approaches, it promises to be one of the festival’s most thought-provoking entries, inviting viewers to reflect on their own choices, dreams, and the hope that sustains them.

This is not just a film for cinephiles but for anyone who has stood at life’s crossroads and dared to imagine a different path forward.