SATAN WANTS YOU
Dollars and the Devil. SATAN WANTS YOU at SXSW 2023 is more relevant than most of us would like it to be. In 1976, Dr. Lawrence Pazder and Michelle Smith had an unusual doctor/patient relationship. Under hypnosis, Michelle describes dreams as Pazder records and interprets for her. These sessions became a bestselling book, ‘Michelle Remembers, and the beginning of what we know as ‘Satanic Panic.” The monetization of fear is a powerful little devil on your shoulder.
The film utilizes many media forms, from the infamous session tapes, photographs, archival footage, sit-down interviews, and clips from television appearances in the 80s. In interviews with Michelle’s sister, Charyl describes a violent childhood at the hands of an alcoholic and abusive father. But if you believe Pazder and the Catholic Church, there were an awful lot of Baby-stealing Satanists out there stalking hospitals and daycares.
Michelle describes her recollections like scenes straight out of Rosemary’s Baby. The sheer absurdity of Michelle’s claims made me shake my head and roll my eyes. Dr. Pazder gives off quack vibes from the beginning. If you believe Larry’s family, Michelle may have been the driving force in this unusual relationship. Enough so that Marylin Pazder filed for divorce. These two were glued to one another, making money and collecting groupies hand over fist.
You cannot ignore the similarities between Satanic Panic and the rise of “The Deep State” and QAnon. To think that one book caused such chaos for so long is downright infuriating. If they fear you, you can control them. Ask Fox News how they prefer their audience. No doubt, SATAN WANTS YOU will fire up SXXW 2023 audiences.
Film Screenings
Directors: |
Sean Horlor, Steve J. Adams |
|---|---|
Executive Producer: |
Sean Horlor, Steve J. Adams |
Producer: |
Michael Grand, Melissa James |
Screenwriter: |
Sean Horlor, Steve J. Adams |
Cinematographer: |
Blake Davey |
Editor: |
Graham Kew |
Production Designer: |
Juan Gonzales |
Sound Designer: |
Mark Dolmont |
Music: |
Mark Dolmont |
Principal Cast: |
Sarah Marshall, Charyl Proby-Austman, Charles Ennis, Debbie Nathan, Ken Lanning, Elizabeth Loftus, Blanche Barton, Jeffrey S. Victor |
Additional Credits: |
Associate Producer: Hayley Morin |
Gender identity is a hot-button issue around the globe. For intersex people, existing is complicated and emotionally taxing. SXSW 2023 doc WHO I AM NOT follows two individuals who follow divergent paths on their journey to self-acceptance. When intersex children are born, most doctors suggest that parents choose one set of genitals. This complex decision should not even be an option. Sharon-Rose and Katso were born with both sets of genitals. Neither function to produce children. The film exploring happiness, navigating family, discrimination, and dating is emotionally wrought and fascinating.
Cheney is building his Arc and documenting each step by delving into the history of the slightest details, human, animal, and mineral. Sporadically punctuated by amusing original limericks and images on his vintage portable television “Rex,” the film is a fascinating rumination on history, memories, and sentimentality. Ezra Wolfinger‘s striking drone shots juxtaposed with Melissa McClung‘s stop-motion transitional sequences are delightful. Close-up shots of wood rings and the ocean floor are awe-inspiring. It is a skillfully crafted journey. Oh, and Werner Herzog appears and produces, and it just makes sense. The final song choice, “Road To Nowhere,” is perfection.
Pure O
Raging Grace (United Kingdom)
Another Body
Pietro’s father only begins to invest his interest in his son’s life when his abilities might benefit him financially. The juxtaposition of his father and Professor Moretti is ceaselessly absorbing. Pietro’s friends slyly represent the adults in the film, each playing a separate role in their treatment of his potential gift. The issues of class, old world vs. new, and family dynamics loom large in the narrative. The film mixes elements of skepticism, belief, science, and faith. It is undeniably intriguing, richly shot, and brilliantly performed.
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As Carl’s chances for individualism seem to dwindle, augmented audio in transitional scenes complements visuals of deterioration. The primarily static 16mm camerawork gives the film a documentary feel, as does the often sparse dialogue and long takes. The intensely funny town gossip and local far-right ignorance come together to paint a picture of global tension. 
Wuthering Heights fans will recognize the inspiration in Frances O’Connor‘s screenplay. Sibling and familial dynamics loom large, as does jealousy. A myriad of topics appears in the script; grief, individualism, and life in the arts. Emily shirks gender norms and yet yearns for the approval of her Father. Betrayal, morality, lust, defiance, sibling rivalry, adoration, and spite play keen roles in EMILY. A particularly sharp monologue serves as a Freudian confessional. It is brilliant and heartbreaking.
Fionn Whitehead plays Branwell Brontë with the vibrancy of a firecracker. He is a delightful foil for Mackey. Their connection is undeniable. Oliver Jackson-Cohen is Mr. Weightman. Battling societal morality and love, Jackson-Cohen gives a stunning performance. His intuition and chemistry with Mackey are explosive.
Swallowed is a genre-obliterating film with fantastic performances. Jena Malone adds gritty believability. To no one’s surprise, she manages to bring charm and intensity. Koch and Colon have spectacular chemistry, and you 100 percent buy their relationship. Koch possesses an accessible vulnerability. Colon’s honesty feels grounded. Bravo for their openness to go full frontal nude. We all know how rare that is, and it makes complete sense given the plot. The film also features a solid villainous turn from Mark Patton, a genre legend from A Nightmare on Elm Street 2. One line, in particular, is slyly redemptive given his status in the horror canon.
The camera work has visceral intimacy. Writer-director Carter Smith (The Ruins) gives audiences a unique genre entry, with the leads being LGBTQ male characters in scenarios we usually see female characters tackle. Swallowed is part crime thriller, part coming-of-age, and body horror. This film is an LGBTQ scenario of nightmares. Get ready to squirm.
It stars Jena Malone (The Hunger Games Film Series, Cold Mountain, Stepmom), Mark Patton (A Nightmare on Elm Street 2: Freddy’s Revenge, Freddy vs. Jason), Cooper Koch (Fracture) and Jose Colon (Feature Acting Debut)
Like in The Blair Witch Project, each character goes by their real-life name. Banfitch is the sole cinematographer. The shaky handheld camerawork gives the film solid legitimacy. The sound editing varies based on the speaker’s proximity to the camera, lending to the validity of the experience. With the film opening with a horrifying 911 call, memory card number one contains relatively mundane introductions to the characters. Background information reveals itself in what is essentially Robbie’s private vacation footage. But, you’re so entranced by the opening audio, you become obsessed with discovering the cause of those screams. That, my friends, is compelling editing.
Card two introduces the mystery in earnest. Card three is chaos. 99.9% of the film occurs through Robbie’s lens’ perspective. Much of the explosive final hour is lit by nothing but a flashlight. Therefore, a great deal of what we can’t see paralyzes us. Don’t for a second think that the daylight is any safer. What we do get a glimpse of is gag-inducing and chaotic fear. Ultimately, the ear-piercing manipulation of sound grabs you by the throat. I forgot to breathe. Fair warning: Everything is so dizzying you may get queasy. The script evolves in such a clever and unique way I just resigned myself to yelling. “WTF?!” at each new reveal. It simply keeps going and going. I stopped trying to figure out which way was up. THE OUTWATERS‘ final few minutes made me gasp. If that’s not an endorsement, I don’t know what is. Robbie Banfitch is the next great horror auteur. No one can take that away from him.
The film utilizes classic devices. Mirrors and reflection play a dual role. Reds and fuchsias feature prominently in the form of nail polish, shoes, a toothbrush, Kyoko’s blouse, a robe, and phone case, and most importantly, the scar. I can see why this was such a hit on the festival circuit. WOMAN OF THE PHOTOGRAPHS begs a larger conversation about image and self-worth as dictated by the internet and society.
An hour in, we briefly meet a round of new characters. One, in particular, provides a cringeworthy moment that is a complete waste of time. On the other hand, actress April Lang provides a tangible grounding for Vince as a character, but the glaring lack of a thick Boston accent matching her son made me roll my eyes. That’s not on Lang. Her performance is the most natural in the film, and I wanted to see her storyline more than anyone. Kenny Johnson also impressed me as Vince’s pilot Carter. That’s another story I’d like to explore.
On the surface, the film is an intimate character study of the growing tensions in a family and community in close quarters and the disruption of everyday life. Slyly mirroring the Israel-Palestine tensions in a darkly comedic way, LET IT BE MORNING tackles the status quo, the want for power, and the need for change in a superbly brilliant way. 
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