Review: Political allegory ‘The County’ milks it for all it’s worth.

presents

The County

After the global success of his Un Certain Regard winner RAMS, director Grímur Hákonarson returns to his native Iceland with another humanist farmland fable. Bitterly funny and deeply affecting, THE COUNTY plays out a timely political allegory against a jaw-dropping natural landscape, aided by a brainy, tenacious anti-heroine and Hákonarson’s dry Nordic humor.

Inja is left in the lurch with a nearly bankrupt dairy farm after the sudden and suspicious death of her husband. Under the thumb of the local Co-op, she discovers the shady dealings of those in charge and the effects on her fellow farmers. As she pushes back on social media, life gets more complicated. Inja becomes the Co-op’s target. Once our leading lady has had enough of patriarchal monopoly, her response is so satisfying you’ll be unable to repress a smirk. She must convince her neighbors there’s a better way than living in fear. The County is cinematically stunning. The script is brimming with unexpected moments. It’s one we can cheer for.

What I loved about this film was watching the tenacity of a woman pushed past the breaking point. Using wit and pure gumption, Inga helps a community that’s being taken advantage of. Arndís Hrönn Egilsdóttir‘s performance is out of this world. She is funny, powerful, gutsy, and yet completely vulnerable and grounded. The film doesn’t simply rely on the natural cinematic landscape but smartly uses its scope to tell this story. The script has a beautiful flow to it.  The ending is celebratory in a refreshing way. The County perfectly portrays the passion of a woman in her pursuit of doing what’s right.

THE COUNTY is written and directed by Grímur Hákonarson, and stars Arndís Hrönn Egilsdóttir, Sigurður Sigurjónsson, and Sveinn Ólafur Gunnarsson.

THE COUNTY opens in theatres and virtual cinemas nationwide Friday, April 30th, 2021.

BAM Kino Polska 2021 review: ‘SUPERNOVA’ makes your heart race and your head spin.

SUPERNOVA

Three men, one place, and one event that will change the life of each one of them. A universal tale, kept in a realistic style, tells the story of a few hours in the life of a rural community. The film raises questions about the essence of chance and destiny. A bloody story, oscillating on the edge of drama, thriller, and disaster cinema.

Up close, hand-held camera work intensifies the manic energy that radiates from this cast. This tragic and explosive story stems from a hit-and-run. With the world in upheaval over police action, this film focuses on the reactions of a small town department. When the mysterious driver flees on foot, chaos reigns when the incident becomes personal. The performances are astonishing. The screenplay is genius. You’re getting multiple narrative stories by watching the reactions of family, coworkers, and onlookers all at once. A naive rookie, a Chief close to retirement, hooligans in the crowd, a female officer’s first day, those connected to the victims, and a villain so loathsome your head will spin. These characters simultaneously clash in Supernova as events play out in real-time. There is not a moment to breathe. The quietest moment is the opening shot. Once the actors enter the frame the energy ramps up and become increasingly intense. Writer-director Bartosz Kruhlik plays with empathy and power dynamics in such an intelligent way. The complexity of the story just keeps growing. Your heart will race, you’ll seethe with anger, Supernova is that good.

SUPERNOVA
Dir. Bartosz Kruhlik
2019, 78min
Language: In Polish with English subtitles

From Friday, April 30th through Thursday, May 6th BAM presents the fourth edition of *Kino Polska: New Polish Cinema*, bringing together the best new works from Poland’s boundary-pushing filmmakers. The series is presented in partnership with the Polish Cultural Institute New York and co-programmed by Tomek Smolarski. Kino Polska features seven feature films, including the New York premiere of Poland’s Oscar submission *NEVER GONNA SNOW AGAIN* (2020). Director Malgorzata Szumowska (whose Berlinale prizewinner Mug screened in the 2018 iteration of *Kino Polska*) partners with longtime cinematographer and co-writer Michal Englert’s for this Venice Film Festival hit about an enigmatic healer (Alec Utgoff, “Stranger Things”) who casts a spell over a rich Polish community. This year’s series also includes Mariko Bobrik’s touching debut feature *THE TASTE OF PHO* (2019) about a Vietnamese father and
daughter dealing with grief and the immigrant experience in Warsaw; the bittersweet coming-of-age drama *I NEVER CRY* (2020) from Piotr Domalewski whose previous film SILENT NIGHT won major awards in Poland; Bartosz Kruhlik’s edge-of-your-seat thriller *SUPERNOVA* (2019); Piotr Adamski’s *EASTERN* (2019), a tale of revenge set in a dystopic Poland; Mariusz Wilczynski’s deeply personal, hand-drawn animated film *KILL IT AND LEAVE THIS TOWN* (2020)—winner of the Grand Prize for Feature Animation at the Ottawa International Animation Festival and a FIPRESCI Award at the 2020 Viennale; and Agnieszka Holland’s Soviet Union thriller *MR. JONES* (2019) starring James Norton, Vanessa Kirby, and Peter Sarsgaard.

*All films will screen April 30th – May 6th on BAM’s virtual streaming platform at BAM.org .

BAM Kino Polska 2021 review: ‘NEVER GONNA SNOW AGAIN’ wows with mystery and misery.

NEVER GONNA SNOW AGAIN 

On a gray, foggy morning outside a large Polish city, Zhenia (Alec Utgoff), a masseur from the East, enters the lives of the wealthy residents of a gated community. Using hypnotic, almost magical techniques to get a residence permit, he starts working. The well-to-do residents in their cookie-cutter homes seemingly have it all, but they all suffer from an inner sadness, some unexplained longing. The attractive and mysterious newcomer’s hands heal, and Zhenia’s eyes seem to penetrate their souls. To them, his Russian accent sounds like a song from the past, a memory of their seemingly safer childhoods. The latest from writer/director Malgorzata Szumowska (ELLES, IN THE NAME OF) and her longtime collaborator Michal Englert is an unclassifiable meditation on class, immigration, and global warming with touches of magical realism and moments of sober beauty and subtle humor.

Simply beautiful cinematography and one hell of a leading performance consume the audience in BAM’s Kino Polska’s New York premiere of NEVER GONNA SNOW AGAIN. Alec Utgoff as Zhenia gives an intoxicating performance. There’s something about his gaze that puts you at ease. You’re fully aware there’s a complexity tied to his childhood in Chernobyl. The dialogue from his clients never lets you forget. The nuance of this role is enthralling. The darker mystery slowly makes its way to light as he does his massage and, unbeknownst to them, hypnosis on his clients. They reside in a wealthy, gated estate outside the city. From the outside, each house essentially a replica of the next. Inside, the residents gossip and confess their trauma and innermost thoughts. Sinister undertones always linger. Zhenia’s unique ability to connect with people is merely the beginning of his capabilities. That talent isn’t something that can be hidden indefinitely. The score is haunting and meaningful, heightening this carefully crafted film. Trust me when I say, this movie is special. You’ll be as hypnotized as Zhenia’s clients. NEVER GONNA SNOW AGAIN is bursting with endless intrigue. It’s a journey that you will never see coming.

NEVER GONNA SNOW AGAIN 
Dirs. Malgorzata Szumowska & Michal Englert
2020, 113min
Language: In Polish with English subtitles
With Alec Utgoff, Maja Ostaszewska, Agata Kulesza

From Friday, April 30th through Thursday, May 6th BAM presents the fourth edition of *Kino Polska: New Polish Cinema*, bringing together the best new works from Poland’s boundary-pushing filmmakers. The series is presented in partnership with the Polish Cultural Institute New York and co-programmed by Tomek Smolarski. Kino Polska features seven feature films, including the New York premiere of Poland’s Oscar submission *NEVER GONNA SNOW AGAIN* (2020). Director Malgorzata Szumowska (whose Berlinale prizewinner Mug screened in the 2018 iteration of *Kino Polska*) partners with longtime cinematographer and co-writer Michal Englert’s for this Venice Film Festival hit about an enigmatic healer (Alec Utgoff, “Stranger Things”) who casts a spell over a rich Polish community. This year’s series also includes Mariko Bobrik’s touching debut feature *THE TASTE OF PHO* (2019) about a Vietnamese father and
daughter dealing with grief and the immigrant experience in Warsaw; the bittersweet coming-of-age drama *I NEVER CRY* (2020) from Piotr Domalewski whose previous film SILENT NIGHT won major awards in Poland; Bartosz Kruhlik’s edge-of-your-seat thriller *SUPERNOVA* (2019); Piotr Adamski’s *EASTERN* (2019), a tale of revenge set in a dystopic Poland; Mariusz Wilczynski’s deeply personal, hand-drawn animated film *KILL IT AND LEAVE THIS TOWN* (2020)—winner of the Grand Prize for Feature Animation at the Ottawa International Animation Festival and a FIPRESCI Award at the 2020 Viennale; and Agnieszka Holland’s Soviet Union thriller *MR. JONES* (2019) starring James Norton, Vanessa Kirby, and Peter Sarsgaard.

*All films will screen April 30th – May 6th on BAM’s virtual streaming platform at BAM.org .

Polish Cinema comes to your living room courtesy of BAM’s film program ‘Kino Polska: New Polish Cinema’

From Friday, April 30th through Thursday, May 6th BAM presents the fourth edition of *Kino Polska: New Polish Cinema*, bringing together the best new works from Poland’s boundary-pushing filmmakers. The series is presented in partnership with the Polish Cultural Institute New York and co-programmed by Tomek Smolarski. Kino Polska features seven feature films, including the New York premiere of Poland’s Oscar submission *NEVER GONNA SNOW AGAIN* (2020). Director Malgorzata Szumowska (whose Berlinale prizewinner Mug screened in the 2018 iteration of *Kino Polska*) partners with longtime cinematographer and co-writer Michal Englert’s for this Venice Film Festival hit about an enigmatic healer (Alec Utgoff, “Stranger Things”) who casts a spell over a rich Polish community. This year’s series also includes Mariko Bobrik’s touching debut feature *THE TASTE OF PHO* (2019) about a Vietnamese father and
daughter dealing with grief and the immigrant experience in Warsaw; the bittersweet coming-of-age drama *I NEVER CRY* (2020) from Piotr Domalewski whose previous film SILENT NIGHT won major awards in Poland; Bartosz Kruhlik’s edge-of-your-seat thriller *SUPERNOVA* (2019); Piotr Adamski’s *EASTERN* (2019), a tale of revenge set in a dystopic Poland; Mariusz Wilczynski’s deeply personal, hand-drawn animated film *KILL IT AND LEAVE THIS TOWN* (2020)—winner of the Grand Prize for Feature Animation at the Ottawa International Animation Festival and a FIPRESCI Award at the 2020 Viennale; and Agnieszka Holland’s Soviet Union thriller *MR. JONES* (2019) starring James Norton, Vanessa Kirby, and Peter Sarsgaard.

*All films will screen April 30th – May 6th on BAM’s virtual streaming platform at BAM.org .

I NEVER CRY
Dir. Piotr Domalewski
2020, 98min
Language: In Polish with English subtitles
With Zofia Stafiej, Arkadiusz Jakubik, Kinga Preis

Seventeen-year-old Ola sets off to Ireland to bring her father’s body back to Poland after he dies in a building site accident. But never mind her dad, Ola wants to know if he had saved the money for a car he had promised her. Dealing with a foreign bureaucracy in her own streetwise way, Ola finally gets to know the father who had been largely absent in her life. A bittersweet coming-of-age drama that explores the perplexity of family bonds, illustrating the gloomy landscape of today’s Europe.


MR. JONES
Dir. Agnieszka Holland
2019, 119min
Language: In Polish with English subtitles
With James Norton, Vanessa Kirby, Peter Sarsgaard

Agnieszka Holland’s thriller, set on the eve of world WWII, sees Hitler’s rise to power and Stalin’s Soviet propaganda machine pushing their “utopia” to the Western world. Meanwhile an ambitious young journalist, Gareth Jones (Norton) travels to Moscow to uncover the truth behind the propaganda, but then gets a tip that could expose an international conspiracy, one that could cost him and his informant their lives. Jones goes on a life-or-death journey to uncover the truth behind the façade that would later inspire George Orwell’s seminal book Animal Farm.


NEVER GONNA SNOW AGAIN 
Dirs. Malgorzata Szumowska & Michal Englert
2020, 113min
Language: In Polish with English subtitles
With Alec Utgoff, Maja Ostaszewska, Agata Kulesza

On a gray, foggy morning outside a large Polish city, Zhenia (Alec Utgoff), a masseur from the East, enters the lives of the wealthy residents of a gated community. Using hypnotic, almost magical techniques to get a residence permit, he starts working. The well-to-do residents in their cookie-cutter homes seemingly have it all, but they all suffer from an inner sadness, some unexplained longing. The attractive and mysterious newcomer’s hands heal, and Zhenia’s eyes seem to penetrate their souls. To them, his Russian accent sounds like a song from the past, a memory of their seemingly safer childhoods. The latest from writer/director Malgorzata Szumowska (ELLES, IN THE NAME OF) and her longtime collaborator Michal Englert is an unclassifiable meditation on class, immigration, and global warming with touches of magical realism and moments of sober beauty and subtle humor.


SUPERNOVA
Dir. Bartosz Kruhlik
2019, 78min
Language: In Polish with English subtitles

Three men, one place and one event that will change the life of each one of them. A universal tale, kept in a realistic style, tells the story of a few hours in the life of a rural community. The film raises questions about the essence of chance and destiny. A bloody story, oscillating on the edge of drama, thriller and disaster cinema.


KILL IT AND LEAVE THIS TOWN
Dir. Mariusz Wilczynski
2020, 88min
Language: In Polish with English subtitles

Fleeing from despair after losing those dearest to him, the hero hides in a safe land of memories, where time stands still and all those dear to him are alive. Over the years, a city grows in his imagination. One day, literary heroes and cartoon childhood idols, who in the consciousness of the successive generations are forever young and wearing short pants, come to live there, uninvited. When our hero discovers they have all grown old and that eternal youth does not exist, he decides to return to real life. And the amazing characters living in his imagination lead him back to the real world.


EASTERN
Dir. Piotr Adamski
2019, 78min
Language: In Polish with English subtitles

In a dystopian world regulated by an inexorable, patriarchal code, the Nowak and Kowalski families have been embroiled in a vendetta for years. When the Nowaks’ son dies at the hand of Klara Kowalska, his sister, Ewa, is faced with a choice between carrying out revenge in the name of honour on the one hand and her own life and freedom on the other.


THE TASTE OF PHO
Dir. Mariko Bobrik
2019, 84min
Language: In Polish with English subtitles

A Warsaw-based Vietnamese cook struggles to fit into the European culture, which his ten-year-old daughter has already embraced as her own. A story about love, misunderstanding and food.

Review: “BLOODTHIRSTY’ overflows with music and metaphor.

BLOODTHIRSTY

Grey, an indie singer, whose first album was a smash hit, gets an invitation to work with notorious music producer Vaughn Daniels at his remote studio in the woods. Together with her girlfriend/lover Charlie, they arrive at his mansion, and the work begins. But Grey is having visions that she is a wolf, and as her work with the emotionally demanding Vaughn deepens, the vegan singer begins to hunger for meat and the hunt. As Grey starts to transform into a werewolf, she begins to find out who she really is, and begins to discover the family she never knew. What will it take to become a great artist and at what cost to her humanity?

The music is not only a major plot point but a character of its own. Lauren Beatty brings Lowell’s songs to life with an honest folk/pop vibe. They are haunting. Combined with the string-heavy score, the soundtrack enters bone-chilling territory. Wow. Now that most of us have watched Framing Britney Spears we understand the mental health pressure of pop stardom. To see that explored in Bloodthirsty on a more literal level was incredibly intriguing. A controlling father figure, isolation, and a strict diet all enhanced by horror make this story ceaselessly engrossing. Separately, there is a family and loyalty dynamic. It’s a brilliant combination of genres.

Greg Bryk as Vaughn is scary. His manipulation skills are daunting. He’s very punchable and I do mean that as a compliment. He infuriated me and made me so uncomfortable. I guess that means he’s done his job well.  Lauren Beatty, who was phenomenal in Bleed With Me (also directed by Amelia Moses), gives us a vulnerability that is consuming, pun fully intended. She’s got genre darling potential in spades. Here, she is allowed to challenge the audience’s perception of reality. What would you sacrifice for your art? Bloodthirsty will have you questioning the creative process long after the credits roll. 

 

 

Website: http://www.brainmedia.com/films/bloodthirsty

Directed by Amelia Moses (Bleed With Me), conceived and written by mother-daughter duo Wendy Hill-Tout and singer-songwriter Lowell, and featuring the original music of Lowell, BLOODTHIRSTY stars Lauren Beatty (Bleed With Me) and Greg Bryk (The Handmaid’s Tale). The film premiered at Fantastic Fest 2020 and opens In Select Theaters and On-Demand on April 23.

 

Review: ‘The Knot’ is a battle between karma and pride.

THE KNOT

Shirish and Geeta, a middle-class couple, have a car accident one night. Their differing reactions to the fallout from the accident open up fissures in their relationship and puts to test their values and beliefs.

Before we were married, my husband and I lived in India for a year. We pretended to be married to avoid the social scrutiny. We purchased a scooter to get places on the weekends and took rickshaw rides as infrequently as possible because of Westerner price gouging. The streets were always overflowing with vehicles and people. Before I continue, I feel I must preface this review with the fact that my husband and I are white. We were born and raised on the east coast of the United States. Once we arrived in India, we dove headfirst into the culture, food, and local customs. It was all so new to us. We would be forever changed by our time there. The social structure in India is a caste system. The disparity between the upper class and the lower class is astounding. In the US, it’s easier to hide. There is a bit more visual nuance. In India, it’s much more black and white. In Ashish Pant‘s The Knot, a young, affluent couple is forced to confront that very social construct after a sudden accident. The foundation of their marriage begins to crack as the lies they tell one another and themselves will have dire consequences.

The Knot is a morality tale and a relationship movie. Geeta and Shirish are forced to confront their own flaws and the power dynamics in their marriage. Shirish’s obsession with status comes to a head with Geeta’s attempts to dissolve her guilt. Performances across the board are wonderful and the look of the film is lush. The Knot makes a point to show the realities of the country. This authenticity is key to the film’s success. The traffic is a chaotic free-for-all. We lived in Hyderabad. Drivers didn’t use their turn signals, instead, they would honk their horns. From the audio in the film, it sounds as if little has changed since 2009. It’s indescribably dangerous. We often wondered how many hit-and-run deaths were hidden due to the normalized practice of bribery. The film slyly grapples with the hierarchy at its worst. Pant uses subtle shifts in language, music, and dialect to illustrate caste. It’s such an intelligent and daring screenplay. The Knot boasts an explosive finale. The very last pan of the camera and the breaking of the fourth wall is chilling. Bravo to Ashish Pant for making such a fearless debut film.

THE KNOT WORLD PREMIERED ON MARCH 31, 2021 AT THE SANTA BARBARA INTERNATIONAL FILM FESTIVAL

SXSW21: What we’re excited to dive into at this year’s virtual fest.

SXSW21 is virtual, allowing it to reach a wider audience. Screenings begin Tuesday and we’re already salivating at the lineup. Here are just a few films we’re excited to watch.


NARRATIVE:

RECOVERY

Directors: Mallory Everton, Stephen Meek, Screenwriters: Whitney Call, Mallory Everton, Producers: Scott Christopherson, Stephen Meek, Abi Nielson Hunsaker
Two directionless sisters brave a cross-country road trip to rescue their grandmother from a COVID outbreak at her nursing home. Cast List: Whitney Call, Mallory Everton, Anne Sward Hansen, Julia Jolley, Baylee Thornock, Jessica Drolet, Stephen Meek, Tyler Andrew Jones, Noah Kershisnik, Justin Call (World Premiere)

It’s officially been a year since we locked ourselves in our homes. If anyone can make pandemic humor relatable, it’s Whitney Call and Mallory Everton with their improv and sketch comedy background. Also, the fact that they’ve known each other forever, I’m guessing that will only help make this the most believable chemistry between co-stars. 

WITCH HUNT

Director/Screenwriter: Elle Callahan, Producers: Eric B. Fleischman, Maurice Fadida
In a modern America where witches are real and witchcraft is illegal, a sheltered teenager must face her own demons and prejudices as she helps two young witches avoid law enforcement and cross the southern border to asylum in Mexico. Cast List: Gideon Adlon, Elizabeth Mitchell, Abigail Cowen, Nicholas and Cameron Crovetti, Christian Camargo (World Premiere)

I know women who practice witchcraft. To think their wellbeing could ever be put in jeopardy is a terrifying thought. Originally slated to screen at SXSW2020, it’s time to share this film with the masses. The synopsis alone gets the gears turning on possible political parallels from the past few years.

PAUL DOOD’s DEADLY LUNCH BREAK

Director: Nick Gillespie, Screenwriters: Brook Driver, Matt White, Nick Gillespie, Producer: Finn Bruce
When Paul’s chances of winning a national talent contest are ruined and his dreams of fame are slashed, he plans a deathly revenge rampage!! 1 lunch break, 5 spectacular murders! Each wrongdoer dispatched in a fitting manner by the sparkly suited Paul! Cast List: Tom Meeten, Katherine Parkinson, Kris Marshall, Alice Lowe, Mandeep Dhillon, Johnny Vegas, Steve Oram, Craig Parkinson, Kevin Bishop, Pippa Haywood (World Premiere)

Here is another cast list that grabbed my attention right away. Plus sequins and murder aren’t usually synonymous. British humor gets me every single time.

JAKOB’S WIFE

Director: Travis Stevens, Screenwriters: Travis Stevens, Kathy Charles, Mark Steensland, Producers: Barbara Crampton, Bob Portal, Travis Stevens, Inderpal Singh
The disappearance of a young woman threatens to change the beige and banal lives of Anne Fedder (Barbara Crampton) and her pastor husband Jakob Fedder (Larry Fessenden) forever. Cast List: Barbara Crampton, Larry Fessenden, Bonnie Aarons, Mark Kelly, Sarah Lind, Robert Rusler, Nyisha Bell, Phil Brooks (World Premiere)

Travis Stevens gave me one of the most gagworthy practical FX-filled films in 2019 with GIRL ON THE THIRD FLOOR. Starring genre queen (and Timelord in my own mind) Barbara Crampton and the legendary Larry Fessenden, the buzz around this newest work is electric. Crampton’s uncanny ability to own the screen with a glance will undoubtedly captivate audiences, yet again. Also, knowing that Stevens is a huge horror fan himself (his producer credits give him away as does his totally down-to-earth Twitter feed) gives me the warm and fuzzies knowing that he’ll take care of audiences in all the ways we need.


DOCUMENTARY:

LILY TOPPLES THE WORLD

Director: Jeremy Workman, Producers: Jeremy Workman, Robert J. Lyons
Lily Topples The World follows 20-year-old Lily Hevesh — the world’s most acclaimed domino toppler and the only woman in her field — in a coming-of-age story of artistry, passion, and unlikely triumph. Executive produced by Kelly Marie Tran. (World Premiere)

My kids (and I) have become obsessed with toppling videos on YouTube. Once you go down that rabbit hole, you’re not coming out. The sheer patience it must take to build these feats is something I cannot even fathom. Knowing that this entire doc centers on a young woman at the top of her game encourages me to watch with my kids. I have a feeling SXSW audiences may do the same.

THE LOST SONS

Director: Ursula Macfarlane, Producer: Gagan Rehill
1960s Chicago, a baby is kidnapped from a hospital. Fifteen months later, a toddler is abandoned. Could he be the same baby? In a tale of breathtaking twists and turns, two mysteries begin to unravel and dark family secrets are revealed. (World Premiere)

This is a story I was slightly familiar with from its 20/20 broadcast. Since we’re all true crime junkies now, The Lost Sons should garner a sold-out audience.


SHORT FILMS:

THE THING THAT ATE THE BIRDS

Directors/Screenwriters: Sophie Mair, Dan Gitsham
On the North Yorkshire Moors, Abel, Head Gamekeeper, discovers the thing that is eating his grouse. (North American Premiere)

Gunpowder & Sky’s horror brand, ALTER will be premiering the horror short film by writer and director duo Sophie Mair (Ella, And the Baby Screamed) and Dan Gitsham (Ella, And the Baby Screamed), The Thing That  Ate The Birds. They had me at the title. Since horror is my jam, and the name alone instills a sense of fear and anxiety, I have to know what “The Thing” is!

NUEVO RICO

Director: Kristian Mercado, Screenwriters: Kristian Mercado, Juan Arroyo
A brother and sister stumble upon a celestial secret that changes their lives forever and propels them into Reggaetón stardom, but they soon discover that their newfound fame comes at a deep price. (World Premiere)

Animation with edgy social commentary will catch my attention every time. Filmmaker Kristian Mercado Figueroa is known for this skill. With the voice talents of Orange Is The New Black alum Jackie Cruz, this one caught my eye from its press still alone.

STUFFED

Director: Theo Rhys, Screenwriters: Theo Rhys, Joss Holden-Rea
Stuffed is a short musical about a taxidermist who dreams of stuffing a human and the man she meets online, so afraid of aging he volunteers to be her specimen. An unexpected romantic spark between them complicates their plans. (North American Premiere)

You had me at the categories Horror and Musical. Since Sweeney Todd, Repo: The Genetic Opera, and Anna and the Apocalypse, I’ve been dying for more genre musical goodness. STUFFED may just fill that void even in short form.

MARVIN’S NEVER HAD COFFEE BEFORE

Director: Andrew Carter, Screenwriters: Andrew Carter, Kahlil Maskati
Marvin Wexler tries coffee for the first time and desperately tries to talk about it with anyone who will listen.

I grew up a tea drinker. I loathed just the idea of coffee until I was in my 30’s. Now I have 10 bags in different flavors and roasts and an obnoxious coffee maker in my apartment. I remember the joy of discovering this drink that fuels my days and some of my nights as a writer and a Mom.


You can find the full lineup of events and grab yourself tickets at

SXSW

 

 

 

 

 

 

 

 

Review: ‘Keep An Eye Out (Au Poste!) is an uproarious meta masterpiece.

KEEP AN EYE OUT (Au Poste!)

Belgian funnyman Benoît Poelvoorde (Man Bites Dog) is Commissaire Buran, a good, bad cop interrogating Fugain, (Grégoire Ludig), an average Joe who discovered a dead body outside his apartment building. As the film begins, Fugain must, on an empty stomach, explain how and why he happened to leave home seven times in one night before coming across a corpse in a puddle of blood. Since he’s the investigation’s only suspect, Fugain’s anxiety is already sky-high when Buran leaves him alone with Philippe, a one-eyed rookie cop with bizarre speech patterns and a few minutes to live.

The 110% commitment to the absolute absurd is what makes Keep An Eye Out (Au Poste!) so phenomenal. It has an authentic Monty Python level of rapid-fire, totally ridiculous tone to the dialogue. You’re just smirking the entire time. Whatever these guys were selling I was buying. I gutturally laughed out through the entire 73-minute run. Also, can we please normalize these kinds of runtimes? Great, concise storytelling. I’m here for it.

Chief Inspector played by Benoît Poelvoorde is a real prick but in the best way possible. The perfect foil for Ludig. He isn’t really listening to anyone and meanders between genius and complete moron. His presence is commanding. Grégoire Ludig plays the completely unsuspecting Fugain. His character goes on the journey of a lifetime. Ludig is the “straight man” of the cast, which isn’t saying much. In an American version, he’d be played by Paul Rudd; genuine comic timing in an everyman sort of way. His charming panic becomes our panic. It’s a true testament not only to his talents but the magnificent script. The nonchalance of the entire thing will floor you. Enter Philippe, the underling assigned to watch Fugain when the Chief is called away. Actor Marc Fraize was honestly my favorite thing about the entire film. I wanted to put him in my pocket and take him with me. His loveable, quirky oaf delivery was something unto itself. He really completed the circle of greatness for me, personally.

The storytelling style is a mix of interrogation and creative recreations of Fugain’s official statement. All while attempting to hide another matter in plain sight. The cinematography is beautiful; something akin to a Wes Anderson film with its very distinct color palette. The visual gags are to die for. You will not know which end is up. It’s dizzying and meta, and once it takes off it doesn’t let up for a minute. It’s like watching a tennis match of wit and weirdness. I could not recommend KEEP AN EYE OUT more.

KEEP AN EYE OUT (Au Poste!) opens tomorrow in theatres and virtual cinemas nationwide.

A list of theatres and virtual cinemas can be found HERE.

Final Girls Berlin 2021 review: ‘Time Of Moulting’ (Fellwechselzeit) will take patience.

TIME OF MOULTING

In a small town in 1970s West Germany, Stephanie is an intelligent and lively child living an insular life with her parents. She senses that something is wrong in her family, something that cannot be put into words, and she pushes against it where she can. Unspoken maladies lurk beneath the surface of everyday life and insidiously seeps into who she is. Neither she nor her parents have contact with others, and she falls into a symbiotic relationship with her mentally unstable mother Sybille. Sybille has never really left her own childhood behind and lives a life amidst objects and shadows of the past. Stephanie’s father offers neither support, love, nor normalcy. Stephanie withdraws more and more into herself and the passing years bring only ageing, but no future with them. Stephanie flees early from her life’s narrowness and hopelessness into an inner world of dark fantasies, which are nourished by traces of the past. Fellwechselzeit is a heavily atmospheric and harrowing portrait of the ways in which oppressive and repressed family dynamics can influence and infect the lives of younger generations– not tangible, not namable, but inexorable. Inner abysses form the only escape route for an undernourished soul.

You have to stick with filmmaker Sabrina Mertens‘ style choice here. TIME OF MOULTING is one of the most intentional slow-burn films establishing the cyclical nature of mental illness I’ve ever seen outside of a documentary. As the camera sits and watches these drawn-out, often silent scenes, we get a small peek inside the world of a family that has chosen isolation. The film does a 10-year time jump only to find our young protagonist worse off than before. She has been simmering in the childhood of her mother and is acting out with self-harm and increasingly violent drawings and fantasies. This film is not for everyone. You have to have the patience to make it to the end. The visual impact of Time of Moulting is massive. We hear over and over that the family cat has urinated on the furniture. We see each room accumulate more garbage/objects. Stephanie’s fascination with her grandfather’s slaughterhouse tools will make you so uncomfortable you will feel it on your bones. Performances are outstanding. This film challenges the audience to its breaking point.

DIRECTED BY SABRINA MERTENS, GERMANY, 2020

Starring Zelda Espenschied and Miriam Schiweck

Final Girls Berlin 2021 review: ‘DARKNESS’ will make your skin crawl.

DARKNESS

Stella, 17-year-old, and her younger sisters, Luce and Aria, are locked inside their house with bars on the windows. Outside is the Apocalypse: two-thirds of humanity is dead since sunlight has become too strong and only men can go outside. Their claustrophobic life is brightened up by some special games, such as the air party. But their father gets angry: he would like them to completely erase the past. The girls stay locked in their house, alone, with no food until things begin to break down and puncture the delicate shell of their cloistered existence.

Eerily the perfect film at this moment in our history, three girls wait in locked down isolation as their father scavenges for food in an uninhabitable world outside. The sisters pass the time with make-believe skits, attending to a strict schedule that revolves around their hyper-aggressive dad and reminiscing about their dead mother. But something else is very wrong here. Very, very wrong. Due to the current global pandemic, a phrase I am still not used to writing 11 months in, Darkness will resonate on a personal level, especially for parents. The film also has a similar circumstantial setup as ONLY one of my favorite films from Tribeca Film Festival 2019. But perhaps ends up more reminiscent of a certain M. Night Shyamalan film. All three young actresses giving stunning performances and they have a great screenplay to work with. If I’m being nitpicky, the runtime could be cut by 10-15 minutes as Stella pushes past her physical boundaries. The camera work puts you in the shoes of the sisters. Sometimes claustrophobic, other times disorienting. The full picture slowly reveals itself to be far more disturbing than you might think. There are clues sprinkled throughout but at the heart of it, Darkness is about emotional manipulation and physical abuse. It’s absolutely chilling. This film would easily garner a larger audience on any of the genre centric platforms. I’m excited to see where it ends up landing.

DIRECTED BY EMANUELA ROSI, ITALY, 2019

Starring Denise Tantucci, Valerio Binasco, Gaia Bocci, Olimpia Tosatto
German Premiere

Sundance 2021 review: ‘Luzzu’ shines in its authenticity.

LUZZU

Jesmark, a Maltese fisherman, contends with a newfound leak in his wooden luzzu boat. Barely getting by, he sees his livelihood—and a family tradition from generations before him—imperiled by diminishing harvests, a ruthless fishing industry, and a stagnating ecosystem. Desperate to provide for his wife and their newborn son, whose growth impediment requires treatment, Jesmark gradually slips into an illicit black-market fishing operation.

I have actually spent a few days on the island of Malta. When I met my husband he told me that his heritage was Scottish, Irish, and Maltese. I honestly had no idea what he was talking about. I’m half Italian and was completely unaware of the small, bustling island off the coast of Italy. Even with my little experience in the area, I can attest to the authenticity you get in LUZZU. Pre-pandemic, it was filled with tourists taking ferry boats from Sicily or to the smaller island of Gozo, where they actually filmed some of Game Of Thrones. It boasts crystal blue waters and ancient architecture. It also contains kind, hardworking locals that have been thriving in the fishing industry for a long, long, time. Now, things are changing and everyone is being forced to adapt. LUZZU takes all that local beauty and then gives us a weighty story we can sink our teeth into.

Jes is down on his luck in every way possible. He’s not catching anything that he can sell. His new son is not growing as he should. His mother-in-law doesn’t respect him. Jes dives headfirst into the black market fishing industry. While he fixes his luzzu (which is his wooden fishing boat) by hand, he snatches up any side hustle that comes his way. It’s heartwrenching to watch him struggle. You just want him to make it. As the danger grows, so do the emotional consequences.

Alex Camilleri- Maltese America filmmaker of LUZZU

To think this cast isn’t filled with professional actors is mind-blowing. They are beyond phenomenal. Jesmark Scicluna as Jes will tear at your soul. He leaves his heart in the ocean along with his family’s history. Combined with the handheld camerawork, Luzzu is immediately grounded and compelling. It puts us right alongside Jes. This story is universally relatable as the stress and anxiety that comes with being a parent, especially one with special needs, is oftentimes overwhelming. Add in circumstances beyond your control and you will do anything to protect them. The issues of identity are far more than surface level. The ending may destroy you. It felt devastating but incredibly honest. Sundance audiences will respect writer/director Alex Camilleri‘s choice to be bold in his storytelling. I cannot wait to see what comes next, especially since his upcoming film will also be set in Malta. If Luzzu is any indication, we’re just getting started.

Sundance 2021 review: ‘The Pink Cloud’ is closer to reality than fiction.

The Pink Cloud

Giovana and Yago are strangers who share a spark after meeting at a party. When a deadly cloud mysteriously takes over their city, they are forced to seek shelter with only each other for company. As months pass and the planet settles into an extended quarantine, their world shrinks, and they are forced to come to terms with an accelerated timeline for their relationship. With all their other interactions governed by screens, and with the strain of isolation setting in, Giovana and Yago struggle to reinvent themselves and reconcile the differences that threaten to tear them apart.

The film opens with a disclaimer that catches you off guard. Pretty quickly you realize it’s not a ploy, it’s necessary. The parallel to our current global situation is astounding. It’s as if the writer/director Iuli Gerbase got a glimpse into the future. It’s confounding.

This is a relationship film in lockdown circumstances. Yago and Giovana experience all the normal stresses of dating in a compressed timeline. Children or no children, work/life balance, philosophy, regrets, keeping it fresh. There’s humor in the darkness, but the darkness is much deeper.

The visual juxtaposition of how beautiful the clouds are and the fact that they’re deadly is not missed. The montages of how they pass the time are fantastic. Technology, like our present real-life, makes almost all things possible from learning and entertainment. But, obviously, the downside of social media comes into play. From conspiracy theories and depression, it’s all there. The Pink Cloud is frighteningly familiar and yet completely unique. Sometimes it’s just all too much. This film isn’t shy and I respect that. This is one of my favorite films from this year’s Sundance Film Festival.

 

Sundance 2021 review: ‘Prime Time’ is a ceaselessly thrilling lesson in media manipulation.

PRIME TIME

New Year’s Eve 1999. Twenty-year-old Sebastian, armed with a gun, hijacks a TV studio and takes two hostages—a famous TV presenter and a security guard. His plan? No one seems to know, including Sebastian himself. His demand to deliver his message, whatever that may be, via live broadcast is repeatedly thwarted by an uncertain police force and an egotistical network chairman. As the night wears on, Sebastian and the hostages bond in unexpected ways, while those in power fumble to restore order.

Who is manipulating who? The immediate idea that this situation can be directed is stunning. Producer Laura is like Oz. She initially sees and hears everything that’s happening from the booth. But she only controls as much as Sebastian reveals in slow spurts. Once the police arrive, all hell breaks loose. Can the hostage negotiators find out what Sebastian wants? It will be a long New Year’s Eve. Prime Time is remarkably compelling. There is no time to take a breath as the mystery unfolds in real-time. The handheld camerawork adds to the chaotic nature. But the real drama lies within the “Why?” Sebastian’s backstory is devastating. Performances are phenomenal from the entire cast. We live in their fear and their ceaseless frustration. Bartosz Bielenia will blow you away.

The juxtaposition of what all other networks are airing during this incident is rattling. No one, outside the studio, knows what is occurring. Everyone is nonchalant or celebratory so when the danger escalates, seeing the calm on ancillary characters is unnerving. It’s fantastic. This script manages to tackle class structure and emotional trauma, with media profits as the underlying force of everything that goes awry in Sebastian’s “plan”. Prime Time does an incredible job of keeping you on the hook until the screen goes black. In a present era where every second of media is either controlled or completely reckless, Prime Time taps into every viewer’s own fear of being lied to. Sundance audiences will love this film.

You can purchase access to PRIME TIME’s second showing by clicking here!

Review: ‘Identifying Features’ is devastating and captivating.

IDENTIFYING FEATURES

Directed by Fernanda Valadez
Written by Fernanda Valadez & Astrid Rondero
Middle-aged Magdalena (Mercedes Hernandez) has lost contact with her son after he took off with a friend from their town of Guanajuato to cross the border into the U.S., hopeful to find work. Desperate to find out what happened to him—and to know whether or not he’s even alive—she embarks on an ever-expanding and increasingly dangerous journey to discover the truth. At the same time, a young man named Miguel (David Illescas) has returned to Mexico after being deported from the U.S., and eventually, his path converges with Magdalena’s. From this simple but urgent premise, director Fernanda Valadez has crafted a lyrical, suspenseful slow burn, equally constructed of moments of beauty and horror, and which leads to a startling, shattering conclusion. Winner of the World Cinema Dramatic Audience and Screenplay Awards at the Sundance Film Festival.
Every once in a blue moon a film comes along that pushes you past your own emotional boundaries. The heaviness of the stories in Identifying Features swallows you whole. You are forced to confront the realities that are far too often swept under the political rug here in the US and are dreaded in Mexico. With a score that vibrates your already unsettled soul, the handheld cinematography puts you in the shoes of any one of these individuals getting shoved back across the border… And those who don’t ever make it. The alternating scenes from a mother to a son build up a visceral tension to an ending that is beyond shocking. The intimacy of the sound editing and long lingering beautifully shot close-ups force you to remain engaged no matter how badly you’d like to look away. Identifying Features is brilliant in its unyielding honesty. You will sink so far into the depths of these families’ grief, digging out will take more time than you’ll realize. It’s nothing short of captivating.
This film is now playing in virtual cinemas. Click here to find a Kino Marquee virtual cinema supporting a theater near you.
Mexico /In Spanish with English subtitles / 94 min

Review: ‘Girl With No Mouth’ has so much to say.

GIRL WITH NO MOUTH

In Girl With No Mouth, a group of children who suffer from deformities due to a toxic explosion, embark on an adventure in a war-torn post-apocalyptic region. The Turkish production comes from Can Evrenol, director of the successful TIFF Midnight Madness selection Baskin, and the horror film Housewife (currently available on Shudder).

This beautifully shot film tells the tale of a ragtag group of deformed children running from the evil Corporation responsible for their plight. Each is missing a key feature on their face, making for creative ways to communicate with one another. Captain finds Peri (our titular character) after she has fled her corrupt uncle’s clutches. With her father murdered and her uncle tracking her down to kill her, she escapes alongside her newfound friends. Captain is without eyes, Yusuf is missing his nose, and little Badger has no ears. This band of “Pirates” protects each other in search of sanctuary. Peace is coming, which means The Corporation must find any remaining children and destroy “the evidence” of wrongdoing.

Each child brings a different strength to their journey. Captain is a master tracker and relies on his heightened hearing to map. Peri uses science. Yusuf cooks and Badger scavenges. They happen upon an adult who is not a complete psychopath. The widow of the man responsible for all the agony caused by The Corporation. With her help and Peri’s engineering, can our group reach safety in time? The script is carefully crafted by director Can Evrenol and Kutay Ucun. There is undoubtedly a Peter Pan and The Lost Boys vibe to it. Add the tragic post-apocalyptic aspect and it goes from enchanting to unbelievably thrilling. You would never think this is the kind of film that would come from the director of Baskin. I’m so happy this film is now on people’s radars. I think it truly extraordinary.

This cast is outstanding. Their chemistry is pure magic. The film’s cinematography is simply stunning combined with a fantastic script, Girl With No Mouth is a captivating take of resilience and guts. You will be rooting for these kids. Their ingenuity and spirit are what hold you tightly to your seat. The finale strikes a gorgeous balance between heartbreaking and triumphant. Girl With No Mouth speaks volumes in a year where death and capitalism reign supreme. This film will have you cheering out loud at your screen. Do not sleep on this one.

 Girl With No Mouth is due to release on Blu-Ray, DVD and VOD across North America on December 8th via Indiecan Entertainment

 

INDIECAN ENTERTAINMENT focuses on independent, low-budget films. As a distributor, Avi Federgreen follows the same principle that earned him his reputation as a filmmaker; bringing audiences films they want to watch. Aside from the traditional distribution route, INDIECAN leans heavily on digital delivery. INDIECAN helps films find more opportunities with audiences through TV, Netflix, iTunes, websites, Facebook, Twitter, Instagram, and other social media platforms. The jarvee provide the best tools to improve the growth of your social media platform.  INDIECAN’s vision is to not only support Canadian production but to encourage the viewing of quality independent films by North American audiences. Indiecanent.com

Review: ‘Parallel’ is thrilling genre greatness.

A group of friends stumble upon a mirror that serves as a portal to a “multiverse”, but soon discover that importing knowledge from the other side in order to better their lives brings increasingly dangerous consequences.

Rarely, does a film get me to holler, “Oh, Shit!” in the first few minutes. Parallel had me on my toes from start to finish. The early dialogue is a framework for what’s the come. It’s a smart script that challenges the audience’s moral compass, easily asking, “What would you do?” As a Doctor Who superfan and Back to the Future franchise nerd, I’ve seen multiverse storylines again and again. Parallel sets itself apart in every way possible. What could possibly backfire by messing with an alternate timeline? Nothing is that easy. The action starts right away. You understand the dynamics of this group, each serving a purpose. Ambition, self-worth, regret, sadness, and sheer curiosity all drive our leads to do things they wouldn’t normally dream of. I loved that the focus is no solely on one person. It lends depth to this sci-fi screenplay. A genre that is often heavy-handed in cliche when it comes to an ensemble piece.

The camera work is decisively cool and the subtle lighting change when they enter the parallel world is key. The truly minimal CG is pretty spectacular. The visual reminder that the mirror is but a reflection of the outside is featured prominently throughout. The cast has genuine chemistry based on their backgrounds. They walk the perfect balance of guarded when necessary and enamored with their past dynamics. It feels like a choose your own adventure but with the highest of consequences. Director Isaac Ezban (who ingeniously slips in a nod to his brilliant film The Similars), teamed with writer Scott Blaszak, has curated a complex script that begs you to sit up and pay attention. If you don’t you’ll be lost in the chaos. The only thing missing is another film. I want an origin film. I need to know more. Parallel is easily the beginning of an entire sci-fi franchise. It’s a genre standout in a year filled with fantastic content. My heart was pumping from the very beginning and did not let up until it blacked out to roll credits. You’re constantly waiting for something to go awry. It’s phenomenally unnerving.

Available In Select Theaters & On Demand December 11, 2020

 

 

Review: ‘WEREWOLF’ is terrifying and profound.

In Werewolf, children liberated from a Nazi concentration camp have to overcome hunger, thirst, and vicious attack dogs in an abandoned mansion surround by the forest.

Werewolf is incredible from the very first frame. The fear is visceral in the visual presentation but especially in the performances from a cast of children. This is a new version of Lord Of The Flies as a group of Holocaust survivors lies in wait as they are stalked by attack dogs, and even one of their own. Hormones, trauma, hunger, and anger, all drive this riveting plot forward. It is easy to root for these kids. As a Mom, it made my heart race at every turn. I was sweating watching their ingenuity. Survival is not guaranteed especially when the threat comes from within. It was profound watching these young actors, at times, become as wild as the dogs they feared. Other scenes momentarily allowed them to be children again. This ensemble casts’ chemistry will blow you away. Adrian Panek has given us a thrilling gem. The writing is intelligent and enthralling. Your heart will be in your throat from beginning to end.

Adrian Panek’s intense WWII survival horror/thriller Werewolf is due to release on Blu-Ray, DVD, and VOD across North America on December 1st via Indiecan Entertainment.

ON BLU-RAY, DIGITAL AND DVD DECEMBER 1, 2020

The intense Polish film was an official selection of Fantastic Fest (where it was nominated for Best Picture) among many other fests, has won 11 festival awards worldwide, and been nominated for 14 more.

Review: ‘Thirst’ sinks its teeth into cult status.


The addict Hulda is arrested and accused of murdering her brother. After she is let go because of insufficient evidence, she meets Hjörtur, a thousand-year-old gay vampire. Together they fight a cult while being investigated by a rogue detective.

Gloriously gory and unapologetically in your face, vampire horror-comedy Thirst is a movie about a girl and her unlikely gay best friend. Poor Hulda just wants to stop being blamed for a bunch of murders and find someone to care about her for the right reasons. Poor Hjörtur just wants to play with his food, and as The Prince of Darkness, he can damn well do what he pleases. The performances are wildly funny and the chemistry between Hjörtur Sævar Steinason and Hulda Lind Kristinsdóttir is simply electric. The visual gags, quite literally, are unforgettable. The overt sexualization of the men is genius. If you know nothing going in, you know everything soon enough.

It could have been made by the same filmmakers as genre film fest favorite Fried Barry. The colors, the camera work, the visual mindfuckery. They are cut from the same weird and wonderful cloth. In Thirst, the amount of practical fx and blood are equal parts laughable and joyous. Genre fans will literally cheer. The relationship between Hulda and Hjörtur is what stays with me 12 hours after viewing. You could write an entire television series on their dynamic and I would be there to watch it. The climax of the film is nothing short of a spectacular splatterfest. Combined with the over the top power ballads(which I’m pretty sure is my favorite aspect), this is sure to reach cult status. Stick around once the credits start to roll. Your ears and eyes won’t be sorry.

Direct from a well-received festival run, where it played such fests as ScreamFest 2020, London FrightFest, and Out On Film, Thirst comes to DVD and Digital 12/1 from Uncork’d Entertainment.

From directors Steinþór Hróar Steinþórsson, Gaukur Úlfars comes a high-energy thrill fest with some of the most creative films to grace a screen in years. Hjörtur Sævar Steinason, Jens Jensson, Hulda Lind Kristinsdóttir, Ester Sveinbjarnardóttir, Birgitta Sigursteinsdóttir, and Birna Halldórsdóttir star.

Direct from a well-received festival run, where it played such fests as ScreamFest 2020, London FrightFest, and Out On Film, Thirst comes to DVD and Digital 12/1 from Uncork’d Entertainment.

Interview: André Øvredal for his latest film ‘Mortal’

From acclaimed filmmaker André Øvredal (The Autopsy Of Jane Doe, Scary Stories To Tell In The Dark), MORTAL stars Nat Wolff (The Fault In Our Stars) as a young man discovering he has God-like powers based on ancient Norwegian mythology.

______________________________________________________________________________________________________________________________________________________

Our amazing colleague and friend Matthew Schuchman had the opportunity to sit down with director André Øvredal to talk all things Mortal. Here is their interview. Find out how long André took to make the film, how Nat Wolff was cast, and what it’s like to compete with big-budget studio films like Marvel. If you’re a fan of his work, you’ll get a quick peek into André’s creative and humble energy.

Saban Films releases MORTAL today in theaters and On-Demand

WATCH THE TRAILER:

Release dateNovember 6, 2020 (USA)
NorwegianTorden
LanguagesNorwegian, English

 

Review: Shut up, sit down, and watch ‘The Antenna’

In a dystopian Turkey, the Government installs new networks throughout the country to monitor information. The installation goes wrong in a crumbling apartment complex and Mehmet (Ihsan Önal), the building intendant, will have to confront the evil entity behind the inexplicable transmissions that threaten the residents.

Unsettling, oftentimes ear-piercing sound editing mixed with a 1984-esque storyline makes The Antenna an eerie watch. Set in an unnamed city in Turkey, this film is clearly an allegory for the current (yet timeless) right-wing propaganda spreading like a disease throughout today’s politics. Oppression is the name of the game. The government is installing new tv antennas so that hourly bulletins can more easily be broadcast to citizens. Accompanied by an evil black sludge coming from the new installation that seeps into the pores of high-rise tenants. Once they come in contact with it, their indoctrination is viscerally permanent. The Antenna represents the death of free speech.

The attention to detail in editing (both audio and visual), close-up shots, are all carefully crafted to induce madness in the residents and the viewer. The inspiration writer/director Orçun Behram has taken from Cronenberg and Ben Wheatley is unmistakable. I don’t know how this film was made on a $200, 000 budget. I am genuinely impressed. The Antenna is a highly stylized dystopian horror that will excite genre fans. Its smart script and dark as hell visuals are a real meal unto themselves. I will be waiting with bated breath for whatever comes next from Orçun Behram. You can watch the film in Virtual Cinemas this Friday, October 2nd, and On-Demand/VOD October 20th. Check out the trailer for some more insight.

THE ANTENNA

OPENING IN VIRTUAL THEATERS FRIDAY, OCTOBER 2  WITH A NORTH AMERICAN VOD RELEASE TO FOLLOW ON OCTOBER 20  ON ALL MAJOR PLATFORMS.

 VIRTUAL THEATERS (October 2)-Including: Los Angeles (Laemmle), New York and major cities (Alamo On Demand) and Philadelphia (Film Society).

VOD (US & Canada) (October 20): Including: iTunes, Amazon, Google Play, Xbox, Vudu, Dish Network and all major cable providers.

DIRECTED & WRITTEN BY: Orçun Behram

CAST:  Ihsan Önal, Gül Arici, Levent Ünsal, Isil Zeynep, Murat Saglam, Elif Çakman, Mert Toprak Yadigar and Eda Öze .

RT: 115 minutes; Color; Language: Turkish with English subtitles; Rating: Not Rated (Horror)

 Distributed in North America by: Dark Star Pictures