MOONLIGHT SONATA
DEAFNESS IN THREE MOVEMENTS
A Film by Irene Taylor Brodsky
Moonlight Sonata is a deeply personal memoir about a deaf boy growing up, his deaf grandfather growing old, and Ludwig van Beethoven the year he was blindsided by deafness and wrote his iconic sonata.
Their lives weave a story about what we discover when we push beyond loss.
Jonas inherited his deafness from his maternal grandmother and grandfather. We learn so much from watching him communicate with and without his cochlear implants. We learn by watching the interaction between him and his grandparents. Genetics determined that Jonas and his grandparents had a tiny “typo” in a specific gene causing them to be deaf. Music became another way to communicate and bridge the generational gap. Beethoven’s Moonlight Sonata was Jonas’ personal challenge he set for himself. His goal was to study for 7 months in order to perform it in a recital. The history of Beethoven’s own deafness weaved into this doc is stunning on every level. While rehearsing, Jonas’ music teacher explains the emotional impact of the piece not only to him but the audience. Moonlight Sonata: Deafness in Three Movements is an ode to sound and silence.
Utilizing home movies, truly immersive sound editing, sit-down interviews, and lush animation to express how deafness affects the world, Moonlight Sonata moves an audience. Jonas’ grandfather puts it’s so frankly, “You can’t understand the world through your ears.” The challenges are unfathomable for those of us who can hear in a typical fashion. Determination, pride, frustration, discipline, acceptance, and evolution all guide this film towards an emotionally high close. You feel the music and the joy. Be sure to watch through the credits to experience the full effect. Filmmaker Irene Taylor Brodsky has given us a true gift.
Opening in NY on September 13 at Landmark 57 and in Los Angeles on September 20 at Laemmle Royal
Directed by: Irene Taylor Brodsky
(Academy Award-nominee®, Peabody Award-winner®, Hear and Now, Beware the Slenderman)
Produced by: Irene Taylor Brodsky & Tahria Sheather
The overall editing of Depraved is a masterclass unto itself. Utilization of flashbacks fills in the backstory gaps. The visual overlays of synapses firing are truly effective. We become Adam. It is damn near perfect. The special effects make-up is striking. The sound editing is hypnotizing and the score is breathtaking. Fessenden has given us a complex character study that subtly shines a light on issues from big pharma to the treatment of our veterans and beyond. It is a story about moral corruptibility at its finest. You will be left in awe. Depraved is a modern-day, movie monster masterpiece.
Jess Weixler easily represents us as the audience. Her sincerity and ability to relate on an emotional level are super refreshing. Her performance feels natural and grounded. Chained for Life also sees the return of Charlie Korsmo ( a childhood crush since Dick Tracy) as the eccentric Director. The level of commitment to this character makes me miss him on-screen all the more. And now we come to our leading man, Adam Pearson. I am completely obsessed with this man. He is phenomenal. I cannot remember the last time a performance felt less like a performance and just simply a documentary. He is mesmerizing and I implore more writers and directors to seek him out and create content for him. The world needs it. Giving voice to those who are almost always exploited for their unique appearance, Chained For Life is a special opportunity to explore inclusiveness, not just in film, but every day.
This spectacularly weird and wonderful film has some of the most biting humor and solid scares. Tone-Deaf is left vs. right, generational romp through madness. The music is in your face and perfect. The script is frankly, shocking. I did not see many of the twists coming and damn, is that refreshing. The hyper Millenial stereotypes show up as modern art fever dreams for our terrifying antagonist, Harvey. Elaborate sets and repeat framing create the illusion that you will be able to predict certain tropes, but you’re dead wrong.
Amanda Crew as Olive is absolutely hilarious in her sense of entitlement and charm. She delivers this dialogue like one who has had to sit through brunch surrounded by girls whose Instagram is life. She is fabulous. Robert Patrick, who always brings to mind a bit of evil from his iconic T2 role, is balls to the wall amazing as the Baby Boomer off his proverbial rocker. As much blood as we see in this film, honest to God, the most startling thing is when Patrick’s character breaks the fourth wall. I was unsure at first if I was seeing what I was seeing, but the monologue lasts long enough for you to realize your perception as a viewer has been skewered. I was genuinely uncomfortable and dammit, I’m a Gen Xer. Writer/Director Richard Bates, Jr. has not only nailed the eccentricities of these two generations but lights a fire under the ass of the audience with quippy dialogue and carefully placed gore (yes, that’s a thing). Tone-Deaf is undeniably fun and fresh.
Bill Skarsgård and Maika Monroe are young balls of energy. Both quickly becoming genre icons in their own right, these two make a stunning pair. Their chemistry feels super organic and appropriately playful. By the end you will be genuinely invested in their survival. Homeowners Kyra Sedgwick and Jeffrey Donovan are total creeps. Sedgwick, in particular, will blow you away with a complex performance. They are a perfect foil for Jules and Mickey. It’s scary what we’ll do for love.
Deep religious beliefs permeate an extremely small and isolated Appalachian community. Pastor’s daughter Mara is trapped between her feelings and the expectations put upon her by her father and his followers. She is secretly pregnant. She is rightfully petrified to be found out. Blind faith and reality might just split her in two.
presents
Directed by: Bart Freundlich 
This script is as beautifully complex as real life is. You can make all the plans in the world but life has a funny way of doing whatever it wants. A wedding is a huge event, not just for the bride and groom but their entire family. It comes with as much stress as it does joy. When key communication breaks down because there are secrets, all hell can break loose. There are so many secrets in AFTER THE WEDDING each character has the emotional right to spin out, be irrational, and even grieve what might have been. Steven Fleming also was known as “The Celebrant Guy” is one of the popular names in the wedding industry for being one of the few young, energetic and humorous 
Performances across the board are outstanding. Michelle Williams is stunning as she is forced to relive heartbreaking choices. Billy Crudup must come to grips with the lies he has perpetrated for love. Julianne Moore has to let go of the control she’s always not so secretly had. Abby Quinn has a vulnerability of a much more experienced actress. I look forward to seeing her (and hearing her sing) again soon. The entire cast gives truly nuanced performances that are vulnerable and raw.
The entire cast is a delight. Jake Lacy as Cooper is an amazing foil for Freeman. Young and hungry for more than a good time, he’s funny and a very relatable character, for better or for worse. Jane Curtin as Francesca’s ailing Aunt Sylvia is as lovable and sarcastic as Jane Curtin always is. Melissa Rauch as Charlie’s interim love interest is hilarious in her serious love of anything and everything tedious. Morena Baccarin is honest and grounded with an exuberant spirit. My girl-crush since her Firefly days, she’s also clearly a secret Timelord, but let’s not confuse fandoms. Martin Freeman is ridiculously charming. I cannot help but get wrapped up in each role he plays. He’s simply wonderful.
The rom-com is alive and well, people. Ode to Joy is a unique indie that’s sure to be a knockout this summer. It opens in theaters, on digital and On Demand this Friday. Check out the trailer below!
New thriller, based on Yiftach R. Atir‘s book, The English Teacher, The Operative shines when Martin Freeman‘s voiceovers guide the narrative along and when we actually see operations play out. You can feel the anxiety of the missions in real-time. Before I knew this was based upon the novel, the film brought a recognizably literary feel to its structure. Though you could easily cut 20 mins from this film’s first half without altering the intent or style. The story truly revolves around the protection of two people. Its emotional complexity is beguiling and that’s what keeps you watching.
Diane Kruger delivers a nuanced performance. The gears are turning in those quiet moments and you know there is much more going on from the very beginning. She is vulnerable and a bit mysterious. Martin Freeman is a star. He absolutely owns this role. A fan since Hitchhiker’s Guide and Sherlock, it’s incredible to see him in more and more lead roles that show is ever-expansive range. Cas Anvar is charming and powerful. He’s a real delight to watch. The Operative has a great overall plot. Intimately shot and superbly acted, it’s a solid spy thriller.
Set against the neon lights of Seoul, The Divine Fury utilizes incredibly effective special fx mixed with a dynamic plot of good vs evil. Roman Catholic use of exorcism is rare and must be approved by the Vatican. As a former Catholic school kid and genre fans since the age of 2, I know this to be fact… At least as factual as one can attribute to organized religion in general. All that aside, The Divine Fury adds an extra supernatural element by giving an MMA fighter a demon expelling stigmata superpower. It takes faith into a genre-bending underworld and it is fascinating. From the very first shot with its heightened sound editing, you know you’re in for a ride. There is never a dull moment during its 2-hour runtime. The fight choreography is outstanding and meticulously specific to this unique plot (Think MMA meets demon streetfighter goodness). As a “lapsed Catholic” viewer, it does a brilliant job of melding together religion and otherworldly lore for one hell of an entertaining storyline. I cannot express how truly fun this film is. As the closing film of Fantasia International Film Festival 2019, The Divine Fury puts this year’s selections over the top.
Indoctrinated as a child into a white supremacist enclave, Byron finally realized the fallout of his beliefs. He is ready to start a new, tattoos and all. But past violence and pride attach themselves to his present and his attempt to escape.
The dialogue is unapologetically offensive. The interspersed tattoo removal sessions are some of the most effective scenes in the film with their elegant score and heightened audio. Although the film already feels long one hour in (basically halfway) the story is timely and the performances redemptive and engrossing. SKIN goes behind the scenes of a culture so vile it cannot be tolerated. The fear from the screen is visceral and incredibly effective.
Performances are eerie and amazing. Genre legend and timelord extraordinaire, Barbara Crampton plays a motherly figure looking after Marisol and her newborn baby. She sets the tone for the remainder of the film with her saccharine-sweet smile and creepy overbearing politeness. She is outstanding. Martha Higareda is the real wow factor. You are rooting for her the entire way and hope she gets everything she seeks. Her IDGAF survival attitude is pure magic. The script is edgy and brings a major creep factor that gets under your skin. The enhanced audio editing is a fantastic tool that heightens the inevitably squirming you’ll do while you watch. The story is one that will resonate with so many people living their own version of what is looking more and more like the American nightmare. This is a stunning debut feature for director Gigi Saul Guerrero and I know the industry, as well as Fantasia International Film Festival fans, can be excited for whatever comes next. 
Another North American premiere at Fantasia International Film Festival 2019 is that of Ode To Nothing. The slow burn of creepy factor launches this film into skin-crawling territory. The setting alone is horror movie gold. A family mortuary? Besides My
**Closing Night Film – Sarasota Film Festival 2019**
Happiness is the ever elusive prize in life. Depression is a monster. As one man’s seemingly perfect life comes to an end, another attempts to find out why in question of his own mortality. PHIL is a story of the pursuit of happiness and what that even means.
Greg Kinnear, playing both the film’s director and titular character, is a man on the literal edge. After becoming enamored with the joy of one of his patients, he resorts to following the man until he discovers him hanging in the middle of the forest. Why would someone who has it all end his life? Phil is obsessed with answers. Kinnear, as always, is charming and grounded. There is something in this man’s eyes that makes you want to listen to him, to care for him, to experience what he experiences. Alongside an enormously talented ensemble, including Emily Mortimer, Jay Duplass, Luke Wilson, and more, PHIL explores the things in life that make us connect with one another; Stories, memories, new and old, family and friendship. Learning to not live vicariously through others is a lesson we can all take to heart. PHIL has an unexpected script and it is pure delight. This film is about growth and the exploration of self. It’s a real gem and all involved should be proud to share this story.
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