THE TENANTS
A commentary on environmental and economic realities, Eunkyoung Yoon‘s Fantasia 2024 feature THE TENANTS hypnotizes with Kafkaesque absurdity in stunning black and white.
Shin-Dong lives an isolated life in the highly polluted near future Seoul. He grinds at a soulless desk job, generally miserable. When threatened with eviction, his only friend suggests taking on Tenants to prevent losing his apartment. This temporary solution quickly dissolves into the strange as Shin-Dong races toward a promotion on the elusive Sphere 2, an idyllic land of clean air and prosperity.
THE TENANTS cleverness is through the roof, no pun intended. The fact that Shin-Dong’s landlord is a child makes all the sense in the world to anyone who has stepped into the rental arena in a major city. The near future visual indications, like projected video calls and digital advertising, are seamlessly integrated.
Kim Dae-gun is quietly magnetic as Shin-Dong. Perfectly playing off the enormous physical aura of fellow cast member Heo Dong-won. The audience feels sufficiently sad for him. Shin-Dong’s evolution is mesmerizing, causing viewers to question their morality meter and sanity. THE TENANTS says the quiet parts out loud and is a creative forced look in the mirror.
OFFICIAL SELECTION
Singapore International Film Festival 2023
Hong Kong international Film Festival 2024
Fantaspoa 2024
HONORS
Best Director, Asian Feature Film – Singapore International Film Festival 2023
FIPRESCI Prize – Singapore International Film Festival 2023
Remaining Screenings of THE TENANTS:
Salle J.A. De Sève
PRESENTED WITH Leap of Passion
For all things Fantasia 2024, 
The production design by Lauren Kelly delivers visuals that are startling and sneaky. Creepy art pieces, like the anatomical drawing behind Ted’s desk to the Rorschach paintings, hung in the house subconsciously keep you off kilter. Darcy’s shop even houses director Damian McCarthy‘s disquieting rabbit from his 2020 terrifier CAVEAT.
Tribeca 2024 Shorts
Short | United States, France | 18 MINUTES | English, French | English subtitles
The heightened sound editing by Andrew Siedenburg and Nikolay Antonov is a character in the film. There is no better way to articulate its effect. The camera work from Lidia Nikonova swings from following closeups to static long takes, and it is nothing short of magnificent.
There is a theatrical delivery of much of the dialogue. Deragh Campbell is marvelous playing Katy. She delivers a compelling performance, reminding us how much we rely on the family matriarch to set our boundaries. Campbell’s pervasive anxiety flows on the screen.
The film brilliantly captures the poetic chaos of family gatherings. A myriad of intimate vignettes are all swirling together in an authentic picture where time loses all meaning. FAMILY PORTRAIT is haunting in so many ways. It will leave you breathless and wanting more.
TIM TRAVERS AND THE TIME TRAVELER’S PARADOX
Stimson Snead takes us on a comedy of trial and error in DWF: LA sci-fi feature TIM TRAVERS AND THE TIME TRAVELER’S PARADOX. This film is a story of a mad genius’s guide to what if, get ready to have your mind blown.
Samuel Dunning is Tim Travers. He is funny, charming, and owns this role. Travers is stubborn as hell and honest to a fault. The character has authentic mad scientist vibes. The number of alternative death scenes and distinctly unique versions of the same character is Multiplicity on crack. Dunning eats it up.
Sonja Prosenc‘s Tribeca 2024 film FAMILY THERAPY features a nouveau riche household that operates in rigid formality, slowly cracking upon the arrival of a new member.
Mila Bezjak gives Agata a suspicious sass. Her personality gets a boost from her severe hairstyle. Blunt bangs and thick coiffure make her resemble an overgrown doll. Her attention-seeking behavior has everything to do with her parents’ infantilism.
Aleksander never shuts up. He flaunts his eccentricity most ignorantly, fancying himself a writer despite only writing a single piece twenty years prior. Marko Mandic is loathsome in the best way.
Victoria Jorge gives Elena a tangibility that keeps us engaged. Ana Guevara and Leticia Jorge write a fun and authentic character, putting us at ease. Chiara Hourcade delivers a self-aware performance that allows the audience to ride this emotional rollercoaster alongside Adela. Hourcade and Jorge capture our hearts with genuine familiarity in their chemistry.
Girls are not held in the highest regard, and the slightest infraction or break from compliance is frowned upon. Zaffan dares to be an individual. The consequence of her behavior arrives in punishment with harmful words and physical abuse. Enter an opportunistic scam artist, and things get worse. Her unrelenting trauma triggers a fight response. Zaffan’s physical and emotional changes gradually manifest themselves into a dazzling creature of revenge.
Zafreen Zairizai is extraordinary as Zaffan. It is a fearless and emotionally wrought performance that is undeniably award-worthy. TIGER STRIPES takes a satisfying page from Frankenstein and perhaps a clever nod to The Crucible. TIGER STRIPES is like a live-action horror version of Disney Pixar’s TURNING RED. It is a fantastical allegory for girlhood and feminist power.
Beth’s protective best friend Julia, played by Alex Essoe, balances Emma’s anxiety-ridden nature. Essoe’s level-headed portrayal feels authentically grounded. Juliette Kenn de Balinthazy as Lex is extra cool as writers David Blair and Vida give her character a rare disease, making her unable to sense physical pain. Juliette Kenn de Balinthazy is a star.
Jane Badler plays Mona with an eccentric personality, fully tapping into her career toolbox. Wise and mesmerizing, curious and terrifying, Badler delivers an intriguing villain like the pro she is. Beth Million is Emma. She is timid, paranoid, and desperate for cash. Million is relatable and quietly powerful.
The narrative shifts into a visionary anthology of stories as Nathan moves through the levels of Hell. The progression feels like the dark films by Jim Henson in the 80s, but PANDEMONIUM takes it to an entirely new level of demented. It is the definition of French Extreme Cinema.
Hugo Dillon is Nathan. He is the only constant in PANDEMONIUM. We have pieces of his story, but only what he reveals. Dillon delivers a brilliant performance filled with fear, disdain, and bargaining. He’s phenomenal. 
An imaginative descent into the personal Hell we create, PANDEMONIUM is like nothing you’ve seen before. 
THE LAST STOP IN YUMA COUNTY
Jim Cummings proves once again that his high-strung straight guy routine is gold. His eye for unique projects as an executive producer remains top-notch. His entire look, down to his Archie comic red hair, is perfection for The Knife Salesman. (Yes, that is his actual character’s title).
Jocelin Donahue brings authenticity to small-town waitress Charlotte. She is so watchable. Sierra McCormick (We Need To Do Something) is a delight as aspiring bank robber Sybil. She’s another bright spot in this wild ensemble cast. 
Faizon 
Richard Brake
One of the most surprising aspects of dementia is the unfiltered confessions of an exhausted brain. Kathy is an open book, always willing to share her innermost thoughts with Max on camera. Max is an angel in her presence. His unconditional love and relentless patience are the things we can only hope to instill in our children. And because he is the primary caretaker, he must suffer the brunt of Kathy’s sporadic disdain. 
Delving into the science behind the rise and cause of Alzheimer’s is fascinating. Food is a 
The notion of invisible labor rears its ugly head around 15 minutes in, but it’s what happens 4 minutes later that is so horrific you won’t believe what you’re eyes are telling your brain. THE COFFEE TABLE pulls no punches. Its first brutal images are so disturbing you won’t know what to do next. With Maria dutifully shopping for her idiot husband, the audience can only wait with bated breath for her reaction and what Jesús plans to do next. Admittedly, his behavior will break you.
David Pareja gives Jesús a shockingly calm demeanor when forced to speak with the other cast members. It will, no doubt, upset the viewer tenfold. The lies flow out, and poor Maria continues to berate him without knowing a damn thing. His subsequent management of trauma drives the entire film.
presents
THE LONG GAME puts racism at the forefront of this sports story. There’s a push and pull between their Mexican-Ametican identity and belonging. Peña encourages the boys to fit in by acclimating to white culture. Even when the boys sneak across the border, the Mexican locals give them a hard time. Joe also battles the unresolved fear of his hyper-masculine father. His own biases stunt his emotional growth. The idea of acceptance, both self and socially, is the key to the narrative.
This ensemble cast is a hole-in-one. Cheech Marin delivers a funny, heartwarming performance as course groundskeeper and inside man Pollo. He is a wonderful addition. Dennis Quaid plays Frank Mitchell, Peña’s war buddy and the only white man in town willing to act as the face and assistant coach of the team. Quaid railroads fear by normalizing every moment. There is nothing “white savior” about his performance. He is charming.
Jay Hernandez gives a complex performance as conflicted JB. His trauma often overtakes his good intentions, but his arc catalyzes change. Hernandez effortlessly holds your attention. Countering JB’s outlook, Julian Works captivates as Joe. As he gains due confidence, Works gives the role an honest vulnerability. He has fierce chemistry with Hernandez.
The upbeat, nostalgic soundtrack elevates the family-friendly feel. Super 8 footage, beautifully shot and edited milestone montages, has the same effect. THE LONG GAME remains relevant in a world where many opinions of race haven’t changed since the story’s origin. This cheer-worthy film educates and inspires. It is the real deal.
Summoning Sylvia
Everything from the lighting, the lens, costumes, set design, the score, hair and makeup, and the jokes nail the era. Along with the live tape, black and white behind-the-scenes footage shows us what the at-home audience missed. 
David Dastmalchian owns every frame as Jack Delroy. A delicious mix of genuine and fame-hungry, his effortless performance is mesmerizing. He has the audience in the palm of his hand. You cannot take your eyes off of him. 
An ancient evil affects the firstborn children of a wealthy family with uncontrollable wailing in their dreams. Eager to cash in, a team of macabre experts takes on this new client. As they dig deeper into this unique case, the usually confident group discovers they are in over their heads. In EXHUMA, that’s only the beginning of this horrifying tale.
Performances are magnificent across the board. This spectacular multi-generational ensemble cast delivers engrossing mystery and terror. The script unfolds in chapters, like a how-to guide dealing with the underworld. Descriptions of rituals and occupational titles come in narration from the team. This creative storytelling immerses the audience in what feels like an inevitable tragedy. Complicating things further are the secrets our wealthy family hides. Genre fans will have a field day with horror canon balanced with the slightest touch of humor and serious gore. It is beyond compelling.
Mixing tradition and superstition combined with an ominous score makes the hairs on your arms stick straight up. It’s a multi-sensory watch. EXHUMA deserves your full attention from the very first frame. There is so much meat on the bone. Expanding this world almost certainly feels possible and welcome. At its current runtime of two-plus hours, viewers would eat up more stories from this team. Their chemistry is magic, and a franchise would delight fans. The twists and turns keep coming. EXHUMA is undeniably one of the most intriguing cinematic experiences of the year.
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Dr. Franklin Caul has created a simulated consciousness with the dead. The DOJ wants it, but Caul has ulterior motives. The tech uses data from the deceased to have conversations or seek answers. In the mix is a swirl of overlapping thoughts and confusion that get under your skin. You cannot help but listen to them, and they are chilling. Caul observes that when suicide is the cause of death, the deterioration of self slows.
What might sound crazy is that this tech already exists. Customers can pay several different companies worldwide to build an AI version of their past loved ones. A recent Sundance documentary, 
Timoner gets a completely unfiltered look inside the magic and mayhem in 7 years of behind-the-scenes footage. It’s a competition between the vibrant, often cocky, argumentative, drug-fueled, genuinely talented musician behavior of BJM versus the chill, business-minded, trustworthy, equally gifted Dandys. Each band pushes the other to greatness with contrasting tactics. Ondi’s handheld freestyle way of shooting is immersive and tangible. With the rapid-fire editing and narration from Joel Gion and Courtney Taylor, you’re entirely entertained. Huge personalities clash, eccentricities push people’s buttons, and childhood trauma rears its ugly head. 
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