HYPOCHONDRIAC

A young potter’s life devolves into chaos as he loses function of his body while being haunted by the physical manifestation of his childhood trauma.
Will has created a facade of mental wellness. As the past comes back to haunt him, can he keep himself together? Hypochondriac tells the story of a man unraveling and coming to terms with what hides inside.
Marlene Forte as Mom is a thing of manic beauty. If you want to talk about personality? Forte has it in spades. Zach Villa is a star. His wildly nuanced, fully fleshed-out performance as Will leaps off the screen. He will not be ignored.
The camera work is an entire entity. Editing wise, reflection, double vision, echoing of dialogue all build as the story progresses. These devices slowly place us into the mindset of Will, forcing us to question reality. There are bizarre and jarring references to films like Donnie Darko and Ghost. If you enjoy squirming, Hypochondriac‘s sound editing is a bonus.
Hypochondriac creatively addresses very real mental health issues. From stress to anxiety, unresolved trauma to potential schizophrenia, it is in this script. To battle against those concerns, products such as CBD Oil are reliable.
It also touches on gaslighting from both family members and medical professionals. Writer-director Addison Heimann brings SXSW22 audiences something unique and incredibly frightening.
Director:
Addison Heimann
Executive Producer:
Martin Richards
Producer:
Bay Dariz, John Humber
Screenwriter:
Addison Heimann
Cinematographer:
Dustin Supencheck
Editor:
Mike Hugo
Production Designer:
Nicholas Faiella
Sound Designer:
Steven Avila
Music:
Robert Allaire
Principal Cast:
Zach Villa, Devon Graye, Madeline Zima, Yumarie Morales, Marlene Forte, Chris Doubek, Paget Brewster, Adam Busch, Michael Cassidy, Peter Mensah, Debra Wilson
Additional Credits:
Casting Director: Michelle Lewitt, Costume Designer: Jessyca Bluwal, Makeup Department Head: Angie Davis, VFX Supervisor: Zach Moore, Post Sound: Kyle Tilbury, First Assistant Director: Lizzy Walker, Stunt Coordinator: Laurence Todd Rosenthal, Intimacy Coordinator: Carly D. Weckstein Hypochondriac



THE UNKNOWN COUNTRY is a snapshot of all the people we pass on a journey; the waitress, the motel manager, or the convenience store clerk. It’s a picture of America. The sound editing is a flurry of sounds from a car radio, local and national news reports, music, and whatever Tanna stumbles upon on her way.


The layers of complexity in this script are unfathomable. A small town brimming with secrets pushes Hamish past his already frazzled limits, physically and mentally. In an attempt to figure out why his late mother left her hometown years ago, Hamish finds himself wrapped up in the local drama. As he navigates through the town landscape, quite literally at times, he faces more personal uncertainty than he could have ever anticipated.

The script is super unique. Comedy aside, I LOVE MY DAD melds a story of mental health, self-worth, and connection. Including a particular track from The Cure has more weight than I first realized. The transitions when Becca/Patton begins to chat with Franklin (and vice versa) come out of left field, and they are gloriously creative. You will not be able to contain yourself. Either way you look at it, Morosini is pretty brave for putting this stuff out there. If this doesn’t get Hollywood’s attention, I’ll be shocked. As we bounce from sweet to outlandish, I LOVE MY DAD is one of the best films to come out of SXSW22.
The original music by The Halluci Nation and vocal performances by Tanya Tagaq are electrifying. It vibrates off the screen. During the opening credits, I stood up and danced in my kitchen because it was so infectious. The special FX makeup and CGI are startling. But it is the performances from this fresh young cast that pulls you into the narrative. These kids are stars. The emotional upheaval is all too familiar as they struggle with hormones, racism, and, in this instance, aliens. While most of us don’t have the alien experience in our back pocket, we can all agree that pre-teen to teenage years was complicated. The dialogue from writers Nyla Innuksuk (who also directs) and Ryan Cavan almost feels improvised. They have nailed the jargon of youth. The cinematography is breathtaking. Even if the characters aren’t impressed with the landscape, the audience unmistakably experiences the natural grandeur of Pangnirtung.
Having a film run in real-time is already bold. In
What We Leave Behind is not only Iliana Sosa‘s documentary feature debut but also a loving ode to her grandfather. SXSW22 audiences follow an intimate portrait of the family patriarch in his final years. Tirelessly loyal to his family, Julián Moreno endured monthly 17-hour bus rides from his home in Primo de Verdad to El Paso. He did everything in his power to show his loved ones how much they meant to him. Sosa documents her grandfather’s trips into town, his morning routine, and the construction of a new family home from the ground up. She takes what might seem mundane and creates personal magic. Her sporadic voiceovers add an unexpected but soul effecting layer to the narrative. Alongside this device, she captures the life-breath of Mexico and its everyday hum. It is fair to say that I was weeping at the end. Along her journey to know her grandfather, Sosa invites us to be another member of her family.
Catty, protective, territorial; girls can be the worst. Mean girls made my life a living hell for years. Everyone I know has a story involving them. SXSW22 Midnighters world premiere SISSY addresses them head-on. 



A woman must confront an ancient and powerful entity after her daughter mysteriously vanishes in the cellar of their new home.






Trauma, the Catholic Church, politics, mental health, justice, and sexual abuse,
The metaphor of a peloton is perfect. The lack of safety as Dave (mostly) rides alone represents every survivor who felt dismissed, who lived in fear, who kept it inside from childhood to adulthood. His unadulterated honesty and bravery connect people of all ages across the country. 

Is this some extensive gaslighting or is Molly still experiencing PTSD from her previous loss? The marrying of these two concepts is here perfection. For Molly, the idea of sitting idly by will drive her mad. A slow-burn mystery with striking cinematography, Knocking will make your head spin. The use of a go-pro-style camera during a climactic confrontation puts you in the manic state of Molly’s brain. It’s a wildly effective choice. Cecilia Milocci‘s performance is truly compelling. You are right there with her on this tumultuous emotional journey. It’s absolutely award-worthy.
With generational tensions you can cut with a knife, the power struggle screams off the screen. The script is carefully curated, with Irish pagan history weaved into the narrative. The tug of war between protection and control makes for a thoroughly engrossing watch. Do not get comfortable with this script. You are in for some gruesome twists. The sound editing creates another layer of fright. Brimming with scary good performances, it is the turn from Carolyn Bracken that will chill you to your core.
Bodies Bodies Bodies
Bad Axe
Gabby Giffords Won’t Back Down
Bitch Ass
A Vanishing Fog (Colombia, Czech Republic, Norway)
DIO Dreamers Never Die
Sheryl
2nd Chance
61st Street
Awayy
All the Crows in the World (Hong Kong)
The Voice Actress (Japan, U.S.)
Warsha (Lebanon)
Long Line of Ladies
Angakuksajaujuq – The Shaman’s Apprentice (Canada)
Blink
Act of God
Before
I’m Here
Baby Tate – ‘Pedi’ / Director/Screenwriter: Norton
Lil Nas X – ‘Montero’ / Director: Tanu Muino
Don’t Breathe 2 Title Sequence / Company: Filmograph / Title Designer: Aaron Becker
WandaVision Main On End Title Sequence / Company: Perception / Creative Director: John LePore
(Hi)story of a Painting: The Light in the Shadow (United Kingdom)
Beatday – The Beginning – Mini VR Concert (Taiwan)
Madame Pirate: Becoming a Legend (Taiwan)
Niamh Dornan

The majority of the acting is pretty hammy. There are disaffected or stagey line readings. But, two standout performances come from Destini Stewart as Leader and Henri Gillespi as PJ. Also, make sure you stay through the credits. It’s worth your time.
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