
ONE BULLET

This story of female friendship forged amidst America’s longest war is told by a filmmaker who spent 18 years in-and-out of Afghanistan. In this war movie, the battlefield lies behind the curtains of an Afghan home as Bibi Hajji struggles to survive the loss of her youngest child, and the impact of a brother’s death on her remaining sons. A haunting image of that boy surviving a bullet wound prompted director Carol Dysinger to investigate, what happened to him, who fired the shot? “One Bullet” evolves from procedural to an excavation of the human experience, of loss and redemption. It asks: how might we make peace across vast social, cultural and religious divisions? Two women drinking one cup of tea at a time.

One Bullet- Bibi Hajji
Who shot Fahim? Filmmaker Carol Dysinger shares how one Afghan family’s loss in 2006 forged a surprising friendship. ONE BULLET utilizes footage from 2005 to 2020 to tell a tale of tragedy, war, and interconnectedness.
Following the incident, Colonel Elliot has the impossible task of finding out who shot Fahim. Although, at times, it appears that his job is more to prove that it wasn’t an American bullet that went astray. The deliberate mistakes by the original interpreter are haunting, promising Fahim he would walk again when we’ve just heard the doctors tell him he will most likely remain paralyzed. The US government promised he would receive fully paid care in Turkey. That is not exactly what went down. In 2011, Dysinger tracked down the family only to discover Fajim had died two years after the incident.

Carol and Fawad
Dysinger does her best to respect Afghan culture, treading lightly, all while trying to make amends on behalf of the US. The evolution of Carol’s relationship with Bibi’s sons is fascinating, moving through anger, curiosity, and respect as the years pass. The passing conversation that goes untranslated ranges from innocuous to well-intended, intrusive to insulting. Bibi’s grace and hospitality are endless. You see, hear, and feel the protective nature of Carol. It is a tumultuous task, one that Bibi covers with food.
The particular ripple effect on one brother concerns Carol. Fawad’s mental and emotional decline intertwined with an eventual religious zealotry. The details from the night Fahim was shot slowly come to light over the years, despite the report essentially not existing in an official capacity today.
ONE BULLET is Fahim’s story. It is Bibi’s, Carol’s, and America’s story. Slamdance 2024 audiences should always keep this film in the not-too-far reaches of their minds.
(Unavailable for streaming in Afghanistan)
-
Director:Carol Dysinger
-
Screenwriter:Carol Dysinger, Steen Johannessen
-
Producer:Ashim Bhalla, Su Kim, Carol Dysinger
-
Year:2023
-
Runtime:93 minutes
-
Language:Dari/English
-
Country:Afghanistan
-
Genre:Documentary
-
Subtitle Language:English
This year’s festival runs Fri, Jan 19, 2024, 12:00 PM – Sun, Jan 28, 2024
For all of our previous Slamdance coverage, click here!









Filmmaker Scott Cummings brings Sundance 2024 audiences into the everyday lives of Satanists. The Church of Satan boasts innumerable followers around the world.
We witness the tragic evolution of Curtis’ extended family through intimate sit-downs with family members, sharing their darkest secrets without a moment of hesitation. Their goal is equal parts redemption and cathartic confession. Some family members try harder than others, though the dark thoughts never leave. Religion lands somewhere between true belief and crutch. Mostly, the latter.
Thoughtful closeups and the hauntingly beautiful score create heartwrenching transitions. Moyer and Toensing try to offer moments of childhood levity featuring Curtis and his siblings playing with poppers, water guns, and video games, but lurking in the background is the reality of parents severely impaired by drugs. Inheritance breaks your heart. A six-year journey down a rabbit hole of repeated histories. Is Curtis the best bet to break the cycle? One can only hope.









DIG! XX



Stress can do things to you. In THIN SKIN, Aham’s life is falling apart around him. Circumstances, some of his own doing and others out of left field, throw his days, health, and sanity into chaos.

Filmmaker Henya Brodbeker turns the camera on her, her husband, and their young autistic son, Ari. Through years of filming, we witness the evolution of relationships in her Orthodox community, her marriage, and with herself. This is one family’s story about belonging.
Anyone who follows my career as a film journalist knows I’m a Mom of a young autistic son. I talk about his diagnosis and navigating the complexities of existing in a primarily neurotypical environment. We are lucky in the grand scheme of ASD possibilities. Our son’s cognitive abilities are off the charts. He is loving, funny, friendly, and would not hurt a fly. Dealing with public meltdowns, particularly if those around you do not know or understand, can be a crushing, demoralizing, tear-filled experience. Nothing is easy. It’s undeniably isolating. It’s the outside world we fear most. THE THREE OF US is irrefutable proof of how equal opportunity changes the lives of families.
2nd Annual Dances With Films – NYC 





The score possesses a moving, almost visceral effect on the viewer. The information Rolnick discovers through her years of research will shock you. Their stories remain ever-evolving living entities. The film reinforces the tried and true Churchill adage, “Those that fail to learn from history are doomed to repeat it.”
Don’t Tell Larry
Dot-Marie Jones and Ed Begley Jr. serve up pro performances that most certainly elevate DON’T TELL LARRY. Kiel Kennedy has a genuine Will Ferrell energy. His portrayal of Larry is cringe, uncomfortable, and entirely unhinged. It’s wild and wonderful. I won’t say more because seeing is believing. Kennedy gives Larry a larger-than-life persona, mastering the comedy and terror.
Kenneth Mosley is Patrick, Susan’s work bestie and equally fabulous sidekick. Do yourself a favor. Watch Mosley’s reel on IMDB. You will wonder why he isn’t on every screen in your home. His performance as Patrick immediately catches you off guard in the best way. He’s magnetic. Patty Guggenheim is unforgettable as the hyper-ambitious Susan. Guggenheim is a star. She has a similar energy to Julia Louis-Dreyfus. Her comic timing and charisma pull you in. Her chemistry with Mosely makes me want a sequel/spin-off/whatever!

Paul Reiser, who also writes the screenplay with Wally Marzano-Lesnevich, plays Barry. A real estate mogul from NYC, he receives a call from his distant cousin in Ireland, requesting his presence to heal a wound from generations past. The caller is Ciáran, played by Colm Meaney. The two proud, established men momentarily connect for the sake of their family. When Barry finds himself inheriting half of the family land, shenanigans ensue, dividing this small town between old and new ways.
This breezy film is perfect for the festival circuit. Jane Levy grounds the film as Barry’s daughter. While 95% of her appearances occur as phone calls from NYC, her brightness keeps Barry grounded for the viewer. Reiser is as great as ever. His big-city energy is a delicious foil for Meaney’s homegrown pride. Ciáran wavers between forgiveness and fight, and Meaney is a pro.
The landscape of the film is breathtaking. The sets are inviting. The script is heartwarming and silly. Frankly, THE PROBLEM WITH PEOPLE is a film we all need right about now. While it doesn’t break the mold, it makes you smile from beginning to end. I would easily watch a sequel of these two men navigating whatever comes next.


The look of the film is dreamy. Moody indoor shots juxtaposed with lush Swiss landscapes create a visually sumptuous experience.
Emilia Jones plays Margot, a college student and movie theatre concession girl who goes on a date with an older patron who may or may not be a murderer. Based on Kristen Roupenian‘s 2017 viral short story in The New Yorker, director Susanna Fogel skillfully weaves a dark tale that every woman has lived.
Emilia Jones (
The script also comedically highlights how far women go to remain appealing, how we placate for acceptance, the self-deprecating behavior, and the blatant shunning of red flags. There is a sex scene that is truly something to behold. It is the most cringeworthy, amusing, icky, relatable thing any woman can watch. It accurately captures the constant fear of existing as a woman. The relentless anxiety, the people pleasing, and the patriarchal pressure from every direction, CAT PERSON nails each aspect with humor and truth in fiction.
MOSQUITO LADY
Phillipino folklore Manananggal meets Catholic guilt in Kristine Gerolaga‘s short film, MOSQUITO LADY. When a young woman can no longer hide her pregnancy from her devout parents, she resorts to a legendary monster to assist her. The practical and Special FX are exquisitely gag-worthy. What a frightening jab at religious righteousness and an exploration of culture.
A little girl who lost her sight tries to convince her mother that an old woman haunts her. ALICIA is a standout short in story, production, and performance. The score is a perfect combination of high-intensity strings. The film hinges on the spectacular young lead, Naia Las Heras, as the titular character. There’s nothing more unsettling than experiencing the genuine fear of a child. Director Tony Morales and writer Cekis Casanova give us enough information to grow an entire franchise. I could see studios from Blumhouse to IFC Midnight snapping this up for development.
Cole is a new online content monitor for the FBI. Upon discovering the final message of his predecessor, he finds a new meaning of “images seared into your brain.” Michael Rich‘s THE QUEUE is the physical manifestation of PTSD from vile online videos.


You must be logged in to post a comment.