EVERY LITTLE THING
Author and wildlife rehabilitator Terry Masear is a magical woman. She is a defender of the smallest. As a hummingbird protector, her connection to these animals is a gateway to healing, both bird and woman.
Worthy of a National Geographic seal of approval, Sally Aitken‘s EVERY LITTLE THING boasts stunning cinematography by Ann Johnson Prum. Alongside Caitlin Yeo’s lovely score, it is a captivating viewing experience.
We meet several birds by name. One particularly injured little one named Cactus captures our hearts. Juxtaposed with the deep trauma from her childhood, Terry explains how selfishness affects the rehabilitation process.
The film makes it effortless to root for these tiny birds. Terry’s relentless determination and patience, her ability to be so in tune with these creatures, is mesmerizing. It’s incredibly powerful.
There is an overall sweetness to the film that can only be felt upon viewing. It is simultaneously heartbreaking and joyful. A meditation on grief and healing, EVERY LITTLE THING is a light in the darkness and the example of compassion we all need at this moment in time.
Every Little Thing Trailer:
Kino Lorber is pleased to present EVERY LITTLE THING, an intimate and moving documentary about injured hummingbirds and the singular woman working to save them.
EVERY LITTLE THING opens January 10 at the IFC Center in NYC and January 17 at the Laemmle Monica in LA, with national expansion to follow.
SYNOPSIS — Author and rehabber Terry Masear wants to save every injured hummingbird in Los Angeles. Terry takes in the most fragile of patients through her volunteer hummingbird rescue, but the path to survival is fraught with uncertainty and drama. Over the course of Sally Aitken’s intimate and moving documentary, we become invested in Terry’s hummingbird patients – including Cactus, Jimmy, Wasabi, Raisin, and Mikhail – celebrating their small victories and lamenting their tiny tragedies. Through the eyes of America’s busiest bird rehabilitator, each bird becomes memorable, mighty and heroic. As she nurtures the wounded hummingbirds back to health, Terry finds herself on her own transformative journey, unraveling a visually captivating and magical tale of love, healing, and the delicate beauty in tiny acts of greatness.
ABOUT THE FILMMAKER
Sally Aitken (Writer/Director)
Sally Aitken is an Emmy® nominated director and writer, and a showrunner of multiple international series. Known for visually arresting work characterized by sensitivity and humor she relishes unknown stories and the world’s complexities. Her most recent feature, Every Little Thing, is her second feature film to debut in competition at the Sundance Film Festival following her 2021 Sundance hit, Playing with Sharks (Disney+). Following the remarkable life of maverick conservationist Valerie Taylor and her love affair with the ocean’s most terrifying predator, Playing with Sharks was named by The Hollywood Reporter as one of the 15 best films of the year. Sally’s debut feature, A Cinematic Life, about esteemed film critic David Stratton and his love affair with the movies, appeared in an official competition at the Cannes Film Festival in 2017. Sally was also nominated for the Camera d’Or. Other major works include directing The Pacific with Sam Neill, a 6-part television series with the actor and raconteur retracing Captain Cook’s voyages and the indigenous perspective on Cook’s impact. Her architectural films include Getting Frank Gehry (2015, BBC/ABC) with the iconoclast starchitect as well as Streets of Your Town (2016, ABC) for which Sally collected both the Australian Director’s Guild Award as well as the Australian Writer’s Award for Best Documentary series.
ABOUT TERRY MASEAR
(Participant)
Terry Masear has been running Los Angeles Hummingbird Rescue since 2004 and is the longest-practicing hummingbird rehabilitation expert in the country. Los Angeles Hummingbird Rescue receives five thousand calls each year and has been involved in the rehabilitation and release of 10,000 rescued hummingbirds in Southern California. The film Every Little Thing, based on Terry’s best-selling book, Fastest Things on Wings (2015), documents the trials and triumphs of a summer spent rehabilitating orphaned and injured hummingbirds in Los Angeles. The book has been featured by National Geographic, Here & Now, MSNBC, Los Angeles Times and Washington Post. Terry’s extensive rescue work has led to several remarkable discoveries about hummingbird breeding and nesting practices unknown to science. Terry received her PhD from UCLA and taught English as a Second Language and postgraduate research and writing at UCLA for twenty years.
GRAND THEFT HAMLET
Sam and Mark try to entice an audience while simultaneously playing the game. GRAND THEFT HAMLET is hands down one of the most entertaining documentaries ever. Guns blazing, blood spraying, and lines of Shakespeare flying willy-nilly, it’s brilliant madness.
Having only witnessed clips of Grand Theft Auto through the years, I was blown away by the ability to customize the experience. It was both exhilarating and terrifying. It is something akin to a virtual vision board. (Yes, my theatre nerd girl roots are showing.) Could this be a new way to rehearse actors? The director in me has all the thoughts currently rushing into my brain.
On the technical side of things, the editing and soundtrack are award-worthy. The film exemplifies the power of human connection when it was not possible in the physical world. It is a light in the ongoing darkness that often feels all-consuming. Sam’s plea from the film’s audition recruitment segment says it all. “You can’t stop art, motherfuckers!” GRAND THEFT HAMLET is the epitome of the creative community’s ability to bring hope.
The structure is a mix of real-time anxiety about the airing episodes, Rex’s extraordinary ballet training, and unresolved childhood trauma. After her first win, Lady Camden’s popularity skyrockets. But the film never lets us forget the immense work that goes into this art. 
Delving into family and friend dynamics is vital to Rex’s well-being. There is an unfiltered honesty that hits you square in the chest. Transitions are eye-catching animation sequences that also serve as explanations for any viewer unfamiliar with Drag Race. Nina West, a darling of the show’s legacy, narrates. It is the perfect pairing for Lady Camden and Rex. 
The film is beautifully shot and emotionally edited. There is love infused in making this film. A visceral joy of becoming who we always dreamed we’d be bursts off the screen. LADY LIKE is a must-see. 
FILTHY ANIMALS
This oddball team of modern-day outlaws fearlessly tracks down society’s worst with hypnotic nonchalance. It is no wonder the film had a field day on the festival circuit—the cast rules. Raymond S. Barry is phenomenal as Lester. Mena Elizabeth Santos is equally deranged, letting the intrusive thoughts win.
Ryan Patrick Brown delivers an unexpectedly gentle turn as Freddy. Focusing on gains rather than violence, his love for his Baba and adoration for Westerns fit perfectly into this weird puzzle. Austan Wheeler delivers a comedically unhinged performance playing Lars. He is a coked-up loose cannon and motivator/bad influence for Freddy. Wheeler’s toxic aggression gets a pass due to his vigilante goals.
Robby Ngai‘s editing is applause-worthy. North provides enough meat to expand into a series. There is much to explore within these characters. Each one deserves an entire episode for their backstory.
The film celebrates the morally grey areas of life. The fantasy sequences bleed into the narrative like a gift. Memorable, singular, and sensorial FILTHY ANIMALS is the epitome of cult indie filmmaking.
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THE SHADE
Laura Benanti plays the family matriarch, Renee. She adds authentic warmth to every role. Even if her scenes are few and far between, she steals every single one. Dylan McTee plays the eldest brother, Jason. He exudes hurt with an overly aggressive demeanor that perfectly suits the role. 
There are a few particularly memorable shots by cinematographer Tom Fitzgerald. Heather Benson and the makeup department give us startling work. They deserve all the applause. 
What gets the pulse-pounding is undeniably well done. Chipman and cowriter David Purdy use dreams as a gateway to terror. Perry Blackshear‘s 
Daruma deals with addiction, PTSD, and redemption in an honest way. There is zero sugarcoating. Immersive camera work helps place the viewer in Patrick’s emotionally injured mindset by placing the camera in his lap whenever he gets intoxicated in a club. Yellen’s overall cinematography is spectacular. His choice to mix follow shots, close-ups, and stunning drone footage while our players embark on their road trip captures Daruma’s vulnerability and heart. 
John W. Lawson is undeniably charming as curmudgeonly neighbor Robert. His nuanced backstory is the perfect foil for Tobias Forrest. You’ll fall in love with him. Forrest gives his all, leaning into Patrick’s flaws and working to find his suppressed humanity. Forrest nails each beat. He and Lawson share relatable chemistry. It’s a dramedy duo you didn’t know you needed. 
Rob Morrow
The script is relatively predictable, except for one late reveal that had me simultaneously yelling, “WTF?”. It’s something you’ll have to witness to understand. Overall, the editing and storytelling style feels disjointed. Even at only an hour and thirty-plus minute run, the cuts feel like snippets of a Law & Order series rather than a single film.
THE COMPLEX FORMS
A sweeping opening shot accompanied by Riccardo Amorese‘s booming cinematic score immediately grabs your attention. The location is exquisite, with sprawling grounds and old-world villa architecture. THE COMPLEX FORMS is visually spectacular at every turn. Our mysterious entities remind me of the darkest Jim Henson creatures and Moana’s villainous crab, Tamatoa.
David Richard White gives leading man Christian an intriguing mix of fear and determination. Aided by D’Orta’s sharp cinematography, White compels you to root for him.
GHOST GAME
I have mad love for 
As an Autism Parent, Vienna Maas does a lovely job portraying Sam, a child on the spectrum. Writer Adam Cesare handles it with such care. I genuinely appreciated both the delicate touch and the representation, so cheers.
Aidan Hughes is hands down one of the best players in this ensemble. His chameleon shifting is bone-chilling. Kia Dorsey gives Laura a fearless passion. She begs your attention in the morally grey area she exists in. She effortlessly leads this large cast, and I look forward to whatever comes next. Casting directors, get your eyes on her ASAP.
Based on the 1957 stage play The Kitchen by Arnold Wesker, filmmaker Alonso Ruizpalacios brings LA COCINA to the big screen. This exquisite drama follows the staff at a restaurant in Times Square and the coordinated (and uncoordinated) chaos behind the scenes. It is a beautiful character study that will punch you in the gut.
SYNOPSIS: It’s the lunch rush at The Grill in Manhattan, and money has gone missing from the till. All the undocumented cooks are being investigated, and Pedro (Briones) is the prime suspect. He’s a dreamer and a troublemaker, and in love with Julia (Mara), an American waitress who cannot commit to a relationship. Rashid, The Grill´s owner, has promised to help Pedro with his papers so he can “become legal”. But a shocking revelation about Julia compels Pedro to spiral into an act that will stop the production line of one of the city’s busiest kitchens once and for all.
The film boasts visually engaging elements, including a stage production style set, black-and-white flashback moments, and a halo effect when Jack and Chris step into a memory. The editing is as fast-paced as the dialogue. Hautekiet and co-writer Nik Oldershaw never give you a minute to breathe but certainly laugh. Jack and Chris’ chemistry is dazzling. The entire film plays out like a live improv show, and it’s electric. 
The entire cast nails each beat. Kelly Marie Tran oozes charm as Mia. She is so watchable and gives Mia a genuine heart. Chris W. Smith delivers honest best-friend vibes. He’s got that sitcom aura in the best way possible. Jack De Sena is spectacular, running through the emotional gambit. He reminds me of Jack Black, with a loveable quality that draws you in. Discovering that Smith is De Sena’s comedy partner in their popular sketch comedy channel Chris and Jack and now the world makes more sense.
The script is whip-smart. It is a ping-pong match of wits between best friends through self-doubt, anxiety, and depression. The film is a dizzying whirlwind of meta-purgatory, tackling the incredible nuance in relationships and the importance of communication. It’s about owning your shit. Me, Myself, & the Void is one of the best indie gems of the year.
PÁRVULOS 
Two surprising performances will blow you away, but I won’t spoil that with specifics. I will only say that Norma Flores and Horacio Lazo give us everything they’ve got. Our three young brothers are magnificent. Mateo Ortega Casillas gives Benny the right amount of innocence and rebellion. Leonardo Cervantes delivers vulnerability and compassion as Oliver. Farid Escalante Correa gives Salvador a perfect mix of resentment and raging hormones. Together, they warm and break your heart.
RED ROOMS
Juliette Gariépy initially gives Kelly-Anne a quiet ferocity. Assume nothing about the character as she slowly reveals her sleuthing skills. Gariépy morphs into a startling presence, with each consecutive scene getting under your skin. Gariépy is disturbing. 
The juxtaposition of her photoshoot stills and those of security camera suspects is undeniably clever mirroring. Once the infamous video plays, the decision to focus on our protagonist and not the most gruesome acts almost makes the plot more invasive. The combination of the audio and your imagination causes you to turn away. Kelly-Anne’s skills keep her on a tightrope. One missed step, and the bottom drops out. 
The script is far more nuanced than at first glance. Plante delves into technology, the female fascination with true crime, and the repercussions of unresolved trauma. The more Kelly-Anne shares with Clementine, the more unsettled the audience. As a parent, RED ROOMS is a visceral viewing experience. It is simultaneously rage and despair-inducing. As a mother, putting that hat aside, as difficult as that may be, the film is indisputably brilliant storytelling. The hideous twists keep coming. RED ROOMS will hold you captive, whether you like it or not.
In Luna Carmoon‘s debut, HOARD, it is 1984, and Cynthia and Maria live a trying existence. Mom is a hoarder with chaotic mood shifts. Maria exists in freefall, never knowing when she’ll be bullied or exposed to inappropriate scenarios. An accident leads to foster care. In 1994, teenage Maria latches onto a visitor and former foster as he attempts to tap into her unresolved grief and trauma.
Hayley Squires delivers authentic emotional distress. Hoarding is a trauma response and, often, a mental illness. Squires slides into that skin with astonishing ease. Her highs and lows are captivating.
Her and Quinn’s chemistry is glorious. Their unfiltered bond fascinates from start to finish. Together, their animalistic instincts create a healing trauma bond like no other.
TIFF 2024
Sook-Yin Lee
Johnny Ma
Joseph Kahn
For more information on TIFF 2024, 
CLOSE TO YOU
CLOSE TO YOU
CLOSE TO YOU
I’m not just saying all these nice things because the film happens to feature two of my favorite genre people (and internet friends), Emily Bennett and Toby Poser. Wisner and Temple earn each moment.
Emily plays Ruth with a fearful innocence and tenacity. Bennett has that inarguable “it” factor in transforming for each new role. From 
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BOOGER
In filmmaker Mary Dauterman‘s Popcorn Frights film, BOOGER, Anna spirals following the sudden death of her roommate. Holding tight to Izzy’s phone and their adopted stray cat. When Booger bites her and escapes out the window, Anna’s grief journey is derailed by unusual symptoms from her injury. 
Augmented color choices in STRANGE DARLING give the film a devilish and addicting quality. The score is grating and decidedly ominous- A genuine compliment. The lighting is simply delicious. The soundtrack is fire, as the kids say. 
Fitzgerald and Gallner’s chemistry is sick. There is an undeniable electricity between them, and it’s like watching a a sexy car crash happen in real time. The plot is spectacularly unpredictable. Don’t bother guessing from moment to moment, even though Mollner’s script hypes you up to do so. The sheer number of “Oh Shit” moments! Slow clap, sir.
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