
A PERFECT DAY FOR CARIBOU

We find Herman with a tape recorder in hand, giving estranged son Nate life tips and recalling snippets of random stories from his past. When his phone rings, he finds Nat on the other end, requesting a visit. Nate arrives with his six-year-old son Ralph in tow. Three generations in the same place for the first time, Herman and Nate swap stories as they play catch-up with one another as Ralph explores the cemetery with his soccer ball. Midway through the film, Ralph goes missing. Father and son search the surrounding area far and wide, with Nate explaining this is a habit of Ralph’s. Their talk continues along the way, Herman toting a mysterious box with them and Nate chainsmoking as a coping mechanism. A Perfect Day for Caribou catches Slamdance 2023 audiences off-guard with honesty and reflection.
The film opens with Jeb Berrier and a glorious 10-plus minute monologue of stories and advice. His delivery lands somewhere between stoic and hypnotizing. It is an extraordinary turn. Charlie Plummer never ceases to amaze me with his grounded portrayals. It’s like watching a documentary. Plummer settles into Nate without missing a beat. His calming demeanor, similar to Berrier’s, grabs you instantly. Rutherford’s script allows Plummer to break free as the story progresses, and again, he nails it. There is a purity to the performance.
Cinematographer Alfonso Herrera Salcedo‘s work is beautiful. The combination of black-and-white and thoughtful framing captures your attention immediately. I adored the stationary swings. Long takes allow the audience to focus on the dialogue, heightening the emotional investment. The location is a cemetery and the surrounding open plains. Something about this choice speaks volumes on a metaphoric level. Short intercut scenes surprise and delight.
The film is a perfect fit for Slamdance 2023. Writer-director Jeff Rutherford offers an intimate portrait of attempted redemption and connection. Complete with full-circle moments, A Perfect Day for Caribou is a mesmerizing character study brimming with complexity.
A Perfect Day for Caribou – Festival Trailer from Jeff Rutherford on Vimeo.
A PERFECT DAY FOR CARIBOU, starring Charlie Plummer (Lean on Pete; Looking for Alaska) and Jeb Berrier (First Cow; Shrill), premieres at Slamdance Film Festival on Saturday, January 21.
And from January 23-29, watch from anywhere with the Slamdance Channel.
A PERFECT DAY FOR CARIBOU follows an estranged father and son who spend the day ambling, wandering, searching, and stumbling through disharmony and heartache. This heartfelt yet unconventional narrative is filmed in the nostalgic 4:3 aspect ratio and evocative black and white by cinematographer Alfonso Herrera Salcedo.

Slamdance 2023 Premiere of
After jail-time, 12-step programs and five marriages, Annie begins her acting career in her mid-fifties with the help of a young director she met at a Burger King. In this show within a show, Annie tackles both her gigs as an actor and the role of herself in her own life story.
A farcical meta delight, Slamdance 2023 episodic WHO’S ANNIE skewers the absurdity of Hollywood, but that’s only the beginning. Annie Pisapia plays herself and doesn’t. Yup. You read that correctly. This “series within a series” is wildly entertaining and wholly bizarre.
Writer-director Sophia Peer plays “herself,” a television director with awkward and quirky energy. Peer bears a striking resemblance to Rhea Pearlman. It’s a head-scratching role, and I could not look away. Sofia Dobrushin plays the “series” version of Peers. Wide-eyed and perfectly cast, Dobrushin appears both afraid and at home in coordinated chaos. I adored her. Annie Pisapia owns the screen, as her comic timing is something to behold. Her rough exterior feels part false flag, part true identity. She is so convincing it is genuinely tough to discern between Annie’s real life and the script. That is the entire point of the series, and Peer has succeeded with flying colors. Adding in Peer’s manic confidence and Dobrushin’s “yes, and” attitude, these three women exquisitely complement one another.
Because the show jumps in style, so does the cinematography. It is eye candy that never gets boring. It is pure silliness, and I’m dying for more. It’s Comedy Central meets Mad TV. There is a lot of meat on the bone for series development. Everyone has enough (or a lot) of backstory to expand upon and plenty of weirdness to start. 

The editing combined with the score creates a charming and deeply affecting quality. Confessional diary logs place us in Ella’s headspace. She uses home videos and sit-down chats with her Mum and Dad about what it was like to raise her. Seeking specialists and families with the same disability offers Ella more questions than answers. We follow Ella through an unexpected pregnancy. Her gorgeous son River and the Covid 19 pandemic change how she views potential surgery options. As she speaks to others via Zoom, she contemplates the appreciation of her body.
The discussion of ableism is paramount to understanding Ella’s life and any family with a differently abled member. I am the mother of a seven-year-old son with Autism Spectrum Disorder. I suspect that with his off-the-charts cognitive abilities, the more precise diagnosis is Aspergers. I appreciated Ella and her best friend Naomi’s honest discussions about her autism and the challenges of an invisible disability. Each admits they cannot fully understand the inner workings of one another’s feelings and worry they have inadvertently said horrible things to one another. Understanding the staring, judgment, and how it pierces the heart cannot be ignored. That is also why the conversations with Ella’s parents resonated with me. Like Ella seeking someone to connect to, her Mum and Dad were touchstones for me.
IS THERE ANYBODY OUT THERE? tackles outdated stereotypes and deep-seated trauma, but also optimism. I hope Ella Glendining understands the gravity of her film. I have to thank her for sharing her life, and I look forward to sharing her story with my son when he is a bit older. IS THERE ANYBODY OUT THERE? celebrates individualism and isn’t that the ultimate goal?
The thrill of taking the otherworldly hand becomes like a drug to the group. This shockingly dangerous behavior throws me back to my teen years, forcing this horror fan to wonder if I would suffer the same fate. A goody two shoes concerning drugs and alcohol does not negate my risky excursions in the New England woods in the pitch black of summer nights. As Mia and her friends battle the typical parental control and need to fit in, their heightened chase of danger spells nothing but doom. Writers Bill Hinzman and Daley Pearson, with concept by Danny Philippou, give us all the background we need to get sucked into this wild scenario, leaving just enough mystery to keep us salivating.
The practical fx are solid. The film’s special effects makeup team does a remarkable job of creeping the audience the fuck out. The work becomes more elaborate as the story progresses. It is spectacular. 
The film looks beautiful. Fran Fernández Pardo‘s cinematography highlights the rich colors in fabrics and paint and captures extraordinary angles in fantasy sequences. The commentary on religious oppression and desire is unmissable. The performances are outstanding. Kiti Mánve breathes vulnerability and quiet ferocity into the role of Mari Cruz. It is a stunning, award-worthy turn.
Screening Times
The competition does not occur annually, making it all the more exclusive. Here is how it works: Stage One: 87 participants, Stage Two: 46, Stage Three: 23, Stage Four: 12. The film bounces from the competition to our pianists’ hometowns before competing. A peek beyond the bench, we witness rehearsals, family life, and personal confessions.
An undeniably shocking level of emotional investment comes with experiencing PIANOFORTE. The amount of pressure is unimaginable. The film’s final edit is a masterpiece. Undoubtedly, the audience may suddenly find themselves unexpected piano enthusiasts.
In AirHostess- 737, we meet Vanina, a 39-year-old flight attendant trying to hold it together. Self-conscious over her new braces, her anxiety rises as the film progresses, exacerbated by a passenger, the pilots, and strong turbulence. But there is far more on Vanina’s mind than her newfound hardware.
As a frequent flyer, I instantly grinned at actress Lena Papaligoura‘s deadpan demonstration of safety protocols. Her performance hits every note. She is funny, manic, dedicated, and pitch-perfect.
Living in New York has its ups and downs. No matter how expensive your apartments are, the walls are always paper thin. You come to know your neighbors for better or for worse. Director Mike Donahue and writer Jen Silverman give Sundance 2023 audiences so much in their 15-minute short film TROY.


DUNGEONS & DRAGONS: HONOR AMONG THIEVES TO OPEN FEST
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Angel Applicant
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Beyond The Fringe (Spain)
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Aespa VR Concert at Kwangya (Republic of Korea, U.S.)
Eggscape (Argentina)

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Gabby Beans

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