Lennon exists timidly on the sidelines of the thriving Columbus, Ohio indie music scene, yearning for a personal connection that might shepherd her into the inner sanctum of warehouse concerts, exclusive backstage, house parties and the cutting-edge art scene. As she fuels her desire for entrée into a podcast featuring live music and conversations with the artists she so fervently admires, Lennon finds inspiration for her own musical ambitions…and a growing sense of misdirected identity. Enter Bobbi Kitten, an enigmatic, striking and talented half of a popular, indie pop duo, who takes Lennon under her confident wing—unwittingly entangling herself in a dark obsession.
**2021 Tribeca Film Festival: U.S. Narrative Competition**
Poser is a volatile and sensual unraveling. Lennon is attracted to the confidence of indie rock singers. In an attempt to jumpstart her new podcast, she follows acts through their underground performances, picking their brains and then some. When she meets Bobbi Kitten, the lead singer of Damn The Witch Siren, she is enamored. This close-knit community of creators allows Lennon to peek behind the curtain and gives her permission to step outside of her box, perhaps to their own detriment.
Directors Ori Segev and Noah Dixon have managed to create a film that possesses a timeless quality about self-actualization. I actually thought Dixon was a fellow Gen Xer based on a slew of very specific choices but as it turns out that’s not the case. This only proves the universality of Poser’s themes of self-doubt and the irrational decisions we make to fit in.
The chemistry between Bobbi Kitten and Sylvie Mix is magnetic. Kitten’s effortless awareness and cool girl demeanor draw the audience in immediately. She is a phenomenal foil for Mix’s portrayal of Lennon, whose guiding narration hits every beat. The vulnerability and ultimate indifference are consuming. This is the culmination of smart writing, superb casting, and kick-ass direction.
The editing and soundtrack are fly as hell. A mix of featured indie bands and a killer original score, it’s an entire character in the film. The third act should not have knocked me as hard as it did, the clues were all there. It’s a poetic injustice. That’s great writing. The wolf in sheep’s clothing metaphor is *chef’s kiss. Noah Dixon’s script is a chilling commentary on art and originality. Poser is a profoundly unique example of fighting your own perceived mediocrity. It’s creative as hell and a perfect fit for Tribeca audiences.
Romania’s hit film Two Lottery Tickets is the most enjoyable buffoonery you can think of. In his second feature, writer/director Paul Negoescu takes a story from writer Ion Luca Caragiale and sends us on a €6 million fool’s errand. Local pushover Dinel’s wife fled to Italy with her boss two years ago. He is depressed and going broke trying to raise enough money to bring her back home. Drinking buddy Sile, a womanizing gambler, convinces him to spend his last few euros on a lotto ticket. Against all logic, Dinel’s idiotic chosen numbers end up being the winner. After two thugs steal his bum bag with the ticket inside, Dinel, Sile, and local conspiracy theorist Pompiliu must follow the clues by annoying neighbors, evading the police, and generally being ridiculous. It’s the sincerity of these three men simply being themselves that makes Two Lottery Tickets both loveable and hilarious. Actors Dorian Boguță, Dragoș Bucur, and Alexandru Papadopol all deliver lines in a way that makes you smirk and cringe. This is a film that has such comic ease to it. Once in a while, you come across a film that is like a cinematic hygge (because that’s a thing I just made up but you totally know what I mean, so whatever). Two Lottery Tickets has all the makings of that film you want to tell your friends about. Negoescu and cast have given viewers such relatable characters. In fact, if you watch it in a group setting, someone in the room is probably a Dinel, a Sile, or a Pompiliu. It is truly that delightful.
Wendell is an ex-con whose parole officer enjoys berating him over the phone. When a new handyman job brings him to the door of Suzanne, a quirky woman with dementia, he’s in for more than unclogging her pipes. The set-up gets weirder and weirder. Secrets and lies live in this house, but not for long. Wendell’s path to freedom is dean on arrival. Do not get comfortable for a single minute of Dementia Part II.
Graham Skipper plays such an asshole. It’s incredible to watch. Najarra Townsend, who was phenomenal in 
Shout out to Matt Mercer and Mike Testin for normalizing a runtime of 1 hour and 5 minutes. Good storytelling doesn’t need to be overstuffed with unnecessary nonsense. The dark comedy of Dementia Part II mixed with the very serious underlying mental health issues makes this film ripe for midnight screenings. I can already hear the audience yelling out Wendell’s many alternative names, making lewd gestures with pipes, and throwing $100 bills at the screen. You cannot go wrong with its vomit-inducing practical fx and outstanding performances from the entire cast.
Transitioning from your college bubble to adulthood is hard enough. Add a breakup and no sense of direction and you’ve got yourself a basic outline for a film. Based on a story by screenwriter Chris Molinaro and directors Brandon LaGanke and John Carlucci, DRUNK BUS gives us a coming-of-age buddy comedy that you won’t see coming. This film is unexpectedly guffaw-inducing. I was knocked off my feet watching the chemistry of this cast. This film is about overcoming fear, anxiety, latent rage, guilt, you name it. DRUNK BUS has it all without ever getting too heavy.
The score immediately reminded me of The Goonies. It is a perfect mix of ominous and whimsical. Dylan’s reading voice is costar Rob Brownstein’s voice. As a mute boy, Dylan’s internal vocal reference would most certainly be that of his father. This moment of specificity from Charbonier and Powell is magic. The entire film’s sound design is award-worthy. Dylan’s hearing is likely acutely sharp due to developmental adaptation. The audio is jarring in a way that places the viewer in his constant state of hyper-awareness. His panic is our panic and it is palpable.
It’s a fresh take on the legend and more shudder-inducing than you’d expect. The pacing is perfection. All the tropes are there but with a hell of a twist. The Djinn‘s main conflict plays out within an hour, making the stakes feel higher as we count down the minutes alongside Dylan. Speaking of our leading young man, Ezra Dewey is a star. His chemistry with Rob Brownstein is charming and genuine. Dewey’s ability to own this entire film sans dialogue is the stuff of dreams. Mark my words, he will be everywhere. The Djinn is a very scary bedtime story warning us all to be careful what we wish for.
The mockumentary style is unbelievably hilarious. Every single cast member is a damn laugh riot. I don’t know how much of this film is improvised and how much is scripted, either way, you will be entertained from start to finish. Handheld camera work and snarky voiceovers push 15 Things to some next-level hilarity, but also a legit gorgeous looking movie. The editing and cinematography are ridiculously stunning. If you put it on mute, you’d never know the difference between this and Vice. It’s scary good. Is this the first of a franchise for these guys? I would not be mad at that. 15 You Didn’t Know About Bigfoot is now available In Theaters + on VOD. 
While the action revolves around the accident, these characters are fully fleshed-out people we recognize. The remarkable performances in SILO might even suggest that this film was a documentary and not a narrative. The cast has a chemistry that genuine. It’s astounding. You won’t have a moment to breathe once things go awry. Even within a 76-minute runtime, the writing is so great that we have enough backstory for every person on the scene to feel the emotional pull. We understand why they’re there and how they’re connected. SILO doesn’t simply address farming safety but gives us a compelling drama about small-town dynamics. It is impossible to watch this and not be consumed by the relationships in this film. That’s what happens when you have the perfect storm of acting, writing, and directing. This is a film that will resonate with a massive audience, regardless of their background. It sheds a light on a culture that is often taken for granted and the very real dangers of farming. SILO is a harrowing film about safety and an undeniably important watch.
What I loved about this film was watching the tenacity of a woman pushed past the breaking point. Using wit and pure gumption, Inga helps a community that’s being taken advantage of. Arndís Hrönn Egilsdóttir‘s performance is out of this world. She is funny, powerful, gutsy, and yet completely vulnerable and grounded. The film doesn’t simply rely on the natural cinematic landscape but smartly uses its scope to tell this story. The script has a beautiful flow to it. 
Greg Bryk
This eclectic documentary traverses from the inception to the nuance of programming this iconic television show. Everything from the production design to intimate interviews with the actors, from the musical guests to the writers’ room is in this film. It hits on the social, racial, and educational impact of the show. The show’s schedule was one of the most intense I’ve ever heard of. 100 episodes per year filled to the brim with original sketches (both muppet and street scenes), animation, and original songs, Sesame Street has changed the lives of countless families across the globe.
Some of the most charming bits in the film are the blooper reels. The genius, off-the-cuff moments between cast members staying in muppet character will slay you. One very poignant time in the show’s history was anything but unscripted. The death of Mr. Hooper was a carefully curated scene. It sticks with me still today. In 1990, when Jim Henson passed at the age of 53, the world mourned alongside the cast and crew of Sesame Street. Caroll Spinney as Big Bird singing “It’s Not Easy Being Green” at Jim’s funeral is heartbreaking and eternal.
What could go wrong with attempting to play God? Only everything. Instincts suppressed lead to one dangerous boiling pot of hormonal and phenomenally intelligent young people. It’s all one big morality question. Putting these unsuspecting kids in this position to save the entirety of the human race is a lot to ask. Then to lie to them, control them, use them without allowing them to be fully human themselves is cruel. And yet it’s not that simple. Limited resources forced this scenario. The likelihood of its success already feels like an uphill battle. All hell breaks loose when something attacks Richard, the only adult on board. Will these 30 young people fight their instincts or one another?
Colin Farrell as Richard is remarkable. He is the father figure. Loving, protective, and genuinely wanting these kids to succeed. Lily-Rose Depp as Sela is astonishing. She walks the perfect line of innocence and strength. Her journey, like Sheridan’s, is fascinating to watch evolve. Fionn Whitehead plays Zac with terrifying aggression. His portrayal of unhinged, pure testosterone-driven rage is all too familiar in the best way possible. Tye Sheridan plays Christopher with a curiosity and a growing intensity that makes him the perfect protagonist. He is levelheaded, kind, and determined to survive. Sheridan easily owns his leading man status.
Voyagers becomes a near-future version of Lord Of The Flies. It’s chaos created and chaos inevitable. The set is cool as hell. It feels immense and claustrophobic all at once. Trevor Gureckis‘ score is gorgeous. Writer-director Neil Burger has given audiences a heart-pounding and brilliant film. This one will stick with you long after the credits roll.
The visual progression of horrifying imagery is stunning. The sleep experiment costumes have a Tron meets Captain EO vibe and I really dig them. The script is solidly disturbing. In all honesty, I was locked in until the very final scene which for me stepped into “Huh?” territory. I’ve now watched this film twice. The second viewing was a lot more telling. I have new theories. That being said, the rest of the film is so powerful, Come True is completely worth your attention. Thoroughly engrossing original visuals and storytelling are ramped up by Electric Youth and Pilotpriest’s synth score. It manages to wrap itself around you and immerse you in fear. Each of these elements creates an experience making Come True its own entity. It may give you your own new set of nightmares.
The 110% commitment to the absolute absurd is what makes Keep An Eye Out (Au Poste!) so phenomenal. It has an authentic Monty Python level of rapid-fire, totally ridiculous tone to the dialogue. You’re just smirking the entire time. Whatever these guys were selling I was buying. I gutturally laughed out through the entire 73-minute run. Also, can we please normalize these kinds of runtimes? Great, concise storytelling. I’m here for it.
Chief Inspector played by Benoît Poelvoorde is a real prick but in the best way possible. The perfect foil for Ludig. He isn’t really listening to anyone and meanders between genius and complete moron. His presence is commanding. Grégoire Ludig plays the completely unsuspecting Fugain. His character goes on the journey of a lifetime. Ludig is the “straight man” of the cast, which isn’t saying much. In an American version, he’d be played by Paul Rudd; genuine comic timing in an everyman sort of way. His charming panic becomes our panic. It’s a true testament not only to his talents but the magnificent script. The nonchalance of the entire thing will floor you. Enter Philippe, the underling assigned to watch Fugain when the Chief is called away. Actor Marc Fraize was honestly my favorite thing about the entire film. I wanted to put him in my pocket and take him with me. His loveable, quirky oaf delivery was something unto itself. He really completed the circle of greatness for me, personally.
The storytelling style is a mix of interrogation and creative recreations of Fugain’s official statement. All while attempting to hide another matter in plain sight. The cinematography is beautiful; something akin to a Wes Anderson film with its very distinct color palette. The visual gags are to die for. You will not know which end is up. It’s dizzying and meta, and once it takes off it doesn’t let up for a minute. It’s like watching a tennis match of wit and weirdness. I could not recommend KEEP AN EYE OUT more.
There’s an intense charm about Tom Holland. He commands the screen with his ability to both put you at ease and surprise you. You just believe him. If that’s not the very definition of great acting, I’m not sure what is. His narration controls the overall atmosphere of the film from the get-go. While Holland gets to explore the dark humor in it all, you’re constantly waiting for the other shoe to drop for Cherry. The military PTSD exacerbates his already existing sadness which inevitably leads to addiction… Which leads to a string of bank robberies.
Cherry is a self-destructive story of a young man with no sense of direction, controlled by impulse rather than logic. It could just as easily been an entire series. There’s a lot jammed into its two hour and twenty-minute run. If I’m being perfectly honest, it’s almost too much. With 30 minutes left, I had to pause and come back later. To clarify it was very engaged it was just a lot to ingest in one sitting. Had this played in theaters, I worry an audience wouldn’t be able to stick with the length. Outside of that one concern, Cherry is highly entertaining thanks to Holland’s full commitment to Jessica Goldberg, and Angela Russo-Otstot‘s phenomenal screenplay, and the stylistic choices of The Russo Brothers’ overall aesthetic choices.
Based on the book of the same name by Naoki Higashida, The Reason I Jump is an emotional rollercoaster. I was already welling up listening to the opening monologue. The echolalia, the sensory overstimulation, the hand flapping, and ear covering all punched me in the gut when presented on screen. I’m a lucky Mom. At 5 years old, my child is now very verbal, he’s hyperlexic which means he’s been reading since he was two. He loves hugs, sleep, and eats well. On the autism spectrum, he would be closer to Asperger’s, if that were a diagnosis recognized nowadays. None of these facts lessen the fear, frustration, exhaustion, and pure elation in raising an exceptional human being. The Reason I Jump is tailor-made from the words of a nonverbal 13-year-old boy’s experiences from the inside out. In film form, it’s simply triumphant.
In the doc, we are introduced to 5 unique young people with autism.
Joss -(UK)
Jestina – Sierra Leone
The narrated excerpts from the book directly correlate with whichever child is being highlighted at that time. Voiced by Jordan O’Donegan, they have a poetic feel to their profundity. Naoki writes, “Making sounds with your mouth isn’t the same as communication.” That quote did me in. When you hear that, truly hear it, you will be taken aback. Jestina, Ben, Emma, Joss, and Amrit all communicate in a different way, we just had to learn how to listen. The heightened sound design immerses you into the world of an autistic person. We do not understand what it is like to be utterly overwhelmed not being able to be fully understood. The cinematography is breathtaking. Quick cuts, predominantly in close-up form combined with a gorgeous soundtrack put you in an alternate headspace. The editing takes all these elements and blends them into a viscerally stunning documentary.
As a mother of a child on the autism spectrum, I feel like I can see I want to broadcast this film to the world so that neurotypical individuals can understand my son and every other person on the spectrum. The label of autism, whether people realize it or not, creates implicit bias. We are missing out on the potential and impact of an entire faction of our society. It is our duty to meet each other in the middle. The Reason I Jump is a captivating peek behind the autism curtain. Don’t look away now. Thank you Naoki Higashida for writing this book. Thank you David Mitchell for translating it for your son. Thank you Jerry Rothwell for directing such an important film. Thank you to the families that shared their lives. Watch this film, then choose to listen and learn in a new way.
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