THE KING TIDE
Ten years past the discovery of a baby on the shores of their small New England fishing island, residents have avoided sickness and death through the girl’s mysterious ability to heal those around her. Young Isla is essentially the town’s diety. With her mysterious power, she holds the balance of life and death in her presence. Because of this, the adults have sheltered the children, telling stories of mainlanders as evil outsiders. They know nothing of technology or books from off the shores, nothing of illness that Isla cannot cure. Following a traumatic experience, her talents come into question, launching the village into panic and chaos. With elements of The Village and The Green Mile, themes of isolation, paranoia, morality, and magic pull the viewer into a swirling mystery.
The cast is strong, particularly Alix West Lefler as Isla. She has a purity to her performance that is nothing short of mesmerizing. The overcast skies, neutral costumes, and lantern-lit sets keep us unsettled. The foreboding cello-heavy score makes you catch your breath. The tension builds into an uncontrollable monster. The film culminates in a shocking and award-worthy finale. THE KING TIDE is inarguably one of the best-written films of the year. It deserves a prequel and a sequel. It is a must-see.
Directed by
Christian Sparkes
Writing Credits
Kevin Coughlin … (story by)
Ryan Grassby … (story by)
Albert Shin
William Woods
The overwhelming joy of hearing these kids laugh is infectious. SUMMER QAMP is an education, through and through. As a former theatre kid and current creative adult with two kids, I strive to understand how identity plays a part in overall confidence. I grew up with often crippling anxiety, a stranglehold of perfectionism, and feeling othered. It doesn’t feel good. My job is to protect my kids from the same overwhelming feelings of chaos any way I can.
SUMMER QAMP‘S brave kids allow the audience into their personal lives. They may not fully appreciate how fearless they are. Campers share their gender identity journey, the good, the bad, and the emotionally ugly. This film provides a conversation starter for understanding gender dysphoria from those experiencing it firsthand. It’s an aha of a film. 
We have been lucky enough to have seen a few of the titles already making the rounds. You can catch our reviews for the following films:
Paiffe
Peppergrass
Chantelle Han
Although outlawed in 1970, mushrooms had been in innumerable treatments beginning in the 20s. In 2000 Johns Hopkins received approval to continue research. Psychological readiness is intrinsic in granting patient approval. The study of psilocybin is just as important as cannabis studies, a subject DOSED also delves into at length. Meyers, Chandler, and Brooks allow us into raw trips. Laurie describes the images and sensations and, more importantly, the emotional after-effects of psilocybin. We hear from researchers and therapists about the positive effects of “magic mushrooms,” When we receive a fatal diagnosis, the psychological impact is immeasurable.
Meyers and Chandler fully acknowledge the limitations of solely profiling Laurie but hope that her story will open up the dialogue for the curious and the medical field to come together in a mutually beneficial journey. DOSED is an intimate and deeply affecting film about the possibilities in the relationship between nature and healing. Laurie Brooks’ story is one filled with inspiration. We walk away acknowledging one vital thing; that fully experiencing every moment is the key to living.
WITH LOVE AND A MAJOR ORGAN
Gender identity is a hot-button issue around the globe. For intersex people, existing is complicated and emotionally taxing. SXSW 2023 doc WHO I AM NOT follows two individuals who follow divergent paths on their journey to self-acceptance. When intersex children are born, most doctors suggest that parents choose one set of genitals. This complex decision should not even be an option. Sharon-Rose and Katso were born with both sets of genitals. Neither function to produce children. The film exploring happiness, navigating family, discrimination, and dating is emotionally wrought and fascinating.
Pure O
Raging Grace (United Kingdom)
Another Body
Performances from our five leads are exceptional. Dylan Schombing plays Kyle, a young webcam hacker essential to the audience following any trace of sense. Schombing’s eyes speak volumes. Kelcey Mawema is Court. She has a party-girl spirit with a drinking problem that hides an inferiority complex. Mawema gives us a solid performance, never letting herself become a third wheel as the story progresses. Peyton List plays Zooza. This role is a departure for List, even with her darker character of Cobra Kai. You cannot help but focus on her turmoil.
Brendan Meyer (who I loved in OA, and am still bitter we didn’t get our ending…) plays Rob with a trustworthy boy-next-door aura. But, Ober’s script allows him to explore a nuance that Meyer owns. Kaitlyn Santa Juana‘s turn as Cotton is enthralling. She is the thread we follow through the film as we unravel the game. There’s an “it” quality about her I cannot pin down, but I’m dying to see her in whatever she does next.
The script had me hanging on every word, every visual, and mind-ending twist. Writer Damien Ober and director Scooter Corkle hypnotize audiences with dizzying editing combined with slowly leaking reveals. It’s a ceaselessly engrossing marriage of devices. Add on the notable red/ blue lighting and jarring soundscape, and The Friendship Game holds you captive from the very first frame. It is emotional manipulation at its finest.
The original music by The Halluci Nation and vocal performances by Tanya Tagaq are electrifying. It vibrates off the screen. During the opening credits, I stood up and danced in my kitchen because it was so infectious. The special FX makeup and CGI are startling. But it is the performances from this fresh young cast that pulls you into the narrative. These kids are stars. The emotional upheaval is all too familiar as they struggle with hormones, racism, and, in this instance, aliens. While most of us don’t have the alien experience in our back pocket, we can all agree that pre-teen to teenage years was complicated. The dialogue from writers Nyla Innuksuk (who also directs) and Ryan Cavan almost feels improvised. They have nailed the jargon of youth. The cinematography is breathtaking. Even if the characters aren’t impressed with the landscape, the audience unmistakably experiences the natural grandeur of Pangnirtung.
The majority of the acting is pretty hammy. There are disaffected or stagey line readings. But, two standout performances come from Destini Stewart as Leader and Henri Gillespi as PJ. Also, make sure you stay through the credits. It’s worth your time. 
You must be logged in to post a comment.