
WHAT WE LEAVE BEHIND
What We Leave Behind is not only Iliana Sosa‘s documentary feature debut but also a loving ode to her grandfather. SXSW22 audiences follow an intimate portrait of the family patriarch in his final years. Tirelessly loyal to his family, Julián Moreno endured monthly 17-hour bus rides from his home in Primo de Verdad to El Paso. He did everything in his power to show his loved ones how much they meant to him. Sosa documents her grandfather’s trips into town, his morning routine, and the construction of a new family home from the ground up. She takes what might seem mundane and creates personal magic. Her sporadic voiceovers add an unexpected but soul effecting layer to the narrative. Alongside this device, she captures the life-breath of Mexico and its everyday hum. It is fair to say that I was weeping at the end. Along her journey to know her grandfather, Sosa invites us to be another member of her family.
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Catty, protective, territorial; girls can be the worst. Mean girls made my life a living hell for years. Everyone I know has a story involving them. SXSW22 Midnighters world premiere SISSY addresses them head-on. 


Khorri Ellis
The use of natural light gives the film life. You cannot ignore the cinematography. The pack symbolism is clever. The juxtaposition of coyotes and Gio’s fallen brothers is unmistakable. Alongside progressively artistic flashbacks from his time in the field, the screenplay is both poetic and cathartic. The emotional pull of 

A woman must confront an ancient and powerful entity after her daughter mysteriously vanishes in the cellar of their new home.











The Pact
The sets and costumes are sumptuous. The dialogue is delicious and poetic, possessing a gravitational pull that is undeniable. The film’s intentionally steady and emotional momentum works its magic on you. 

Is this some extensive gaslighting or is Molly still experiencing PTSD from her previous loss? The marrying of these two concepts is here perfection. For Molly, the idea of sitting idly by will drive her mad. A slow-burn mystery with striking cinematography, Knocking will make your head spin. The use of a go-pro-style camera during a climactic confrontation puts you in the manic state of Molly’s brain. It’s a wildly effective choice. Cecilia Milocci‘s performance is truly compelling. You are right there with her on this tumultuous emotional journey. It’s absolutely award-worthy.
With generational tensions you can cut with a knife, the power struggle screams off the screen. The script is carefully curated, with Irish pagan history weaved into the narrative. The tug of war between protection and control makes for a thoroughly engrossing watch. Do not get comfortable with this script. You are in for some gruesome twists. The sound editing creates another layer of fright. Brimming with scary good performances, it is the turn from Carolyn Bracken that will chill you to your core.
Bodies Bodies Bodies
Bad Axe
Gabby Giffords Won’t Back Down
Bitch Ass
A Vanishing Fog (Colombia, Czech Republic, Norway)
DIO Dreamers Never Die
Sheryl
2nd Chance
61st Street
Awayy
All the Crows in the World (Hong Kong)
The Voice Actress (Japan, U.S.)
Warsha (Lebanon)
Long Line of Ladies
Angakuksajaujuq – The Shaman’s Apprentice (Canada)
Blink
Act of God
Before
I’m Here
Baby Tate – ‘Pedi’ / Director/Screenwriter: Norton
Lil Nas X – ‘Montero’ / Director: Tanu Muino
Don’t Breathe 2 Title Sequence / Company: Filmograph / Title Designer: Aaron Becker
WandaVision Main On End Title Sequence / Company: Perception / Creative Director: John LePore
(Hi)story of a Painting: The Light in the Shadow (United Kingdom)
Beatday – The Beginning – Mini VR Concert (Taiwan)
Madame Pirate: Becoming a Legend (Taiwan)
Niamh Dornan

My final film for Sundance was NAVALNY about the Russian opposition leader whom Putin had poisoned with a nerve toxin that if administered correctly shuts off all of your nerves, killing you in a way that looks like a natural death because it dissipates quickly from the body. The film is an examination of the poisoning by various places including the excellent Bellingcat coupled with a look at Navalny’s career.


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. 
The minute I realized the deadpan nature of most of the cast’s delivery, I exclaimed, “Oh shit, this has to be by




I was a musical theatre major at a conservatory program in Manhattan twenty years ago. As a performer and director, I understand what it takes to make a musical come to fruition. The amount of work ethic required to succeed is unfathomable for anyone outside the industry. I cannot imagine the added uphill battle of mounting a show where every cast member has a disability. IMPERFECT showed me that it’s not only possible but positively triumphant.
The film breaks away from rehearsals to focus on each individual’s personal life. These moments successfully solidify our emotional investment in the cast. We get to know who these actors are and why they choose the theatre. Everyone is unique. Sometimes we forget that disability comes in all forms. Their spotlights shine with eloquence and honesty. They raise awareness, shatter stereotypes, and remind us to choose kindness.
I could have watched an entire film on the audition process alone. Frankly, I would watch a series of “imperfect” shows. It is a brilliant treatment for years of unique entertainment. Phamaly Theatre Company might have cornered an untapped market for the masses. Televising the process could have these performers reach a massive audience beyond “Chicago.” Pushing that grandiose idea aside, as a stand-alone doc, you’ll fall head over heels in love with this company. Directors Brian Malone and Regan Linton (who plays double duty as “Chicago’s” director) have given audiences everywhere a heartfelt gift in IMPERFECT. We learn much in an hour and fifteen minutes.


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