Netflix documentary review: ‘VICTIM/SUSPECT’ exposes rape culture from the inside out.

presents

VICTIM/SUSPECT

On her first solo investigation, journalist Rae de Leon travels nationwide to uncover a shocking pattern: Young women tell the police they’ve been sexually assaulted, but instead of finding justice, they’re charged with the crime of making a false report, arrested, and even imprisoned by the system they believed would protect them.


Nancy Schwartzman follows investigative journalist Rachel De Leon after reading about a news report that struck her as odd, leading her to dive into numerous cases where rape victims suddenly found themselves arrested for false reporting. In Netflix’s VICTIM/SUSPECT, experts, lawyers, and survivors weigh in on this sickening trend.

Interrogation videos are startling, to put it nicely. The difference in tone and language between the accused and accusers will infuriate you. Victims appear in shock; most of them are taught to respect authority. The victim blaming and shaming will make your blood boil. This systematic problem is the personification of rape culture. Detective Carl Hershman, an incredible former SVU officer, helps us understand the why and how. The force needs more people like him.

Rachel reminds me of journalists Jodi Kantor and Megan Twohey from the explosive NYT articles accusing Harvey Weinstein. Their pounding-the-pavement style of door-knocking, interview requests, and meeting victims on their terms changed the face of the #MeToo movement for the better. Rae’s similar tenacity proves invaluable. She is doing the work, despite pushback and roadblocks from police. It is undeniably vital work. I hope she realizes the impact she has on survivors like myself. 
The psychological damage is unfathomable. Trust me when I say there are more sexual assault survivors than you are comfortable comprehending. VICTIM/SUSPECT uses police officers’ own words against them. The blatant lies and heinous tactics to have these victims recant will blow you away. Your head will spin when you discover their training includes using “ruse” in questioning. The lack of actual investigation is staggering. Journalists like De Leon are quite literally saving lives. Nancy Schwartzman and Netflix are doing an essential service to victims with VICTIM/SUSPECT. It can only lead to justice.


New Doc VICTIM/SUSPECT | On Netflix May 23 | From Director Nancy Schwartzman


Review: Still sly like a fox, Matt Angel and Suzanne Coote’s ‘THE WRATH OF BECKY’ is the “f*ck yeah” of sequels.

presents

THE WRATH OF BECKY

Lulu Wilson is back for more blood-soaked revenge in THE WRATH OF BECKY. Matt Angel and Suzanne Coote bring audiences a much-deserved sequel to BECKY where we find our titular leading lady four years later. Now 16 and an absolute Sarah Connor badass, Becky lives with an enigmatic caretaker while she makes money as a waitress. When three over-the-top nazi misogynists retraumatize her and steal her dog, Becky finds a new reason to wreak havoc. Think Tank Girl meets John Wick, and you’ll have some idea of the brilliance of THE WRATH OF BECKY.

The script is equally as brutal as the first film. You have to respect it. WRATH takes us a step further into the depths of Nazi incels. The timely nature of the plot is brilliant and terrifying. Having Becky break the fourth wall is beyond satisfying. The mystery from the original begs for an extended storyline and a larger franchise.

Sean William Scott takes a page from his performance in BLOODLINE to play Daryl, the leader of a militant rightwing group called The Noblemen. His quiet assertiveness is undeniably unsettling. It’s a frighteningly compelling turn.

Lulu Wilson is magnificent. You can not take your eyes off her. She is aware of every minute gesture and idiosyncrasy of Becky. Her iconic knit fox hat gets an upgrade, and I was not disappointed. Wilson’s sardonic delivery is chef’s kiss. The fact that she is strictly anti-gun makes for some spectacularly creative kills. Wilson handles them like a maniacal little pro.

Becky represents every woman who is sick of your shit. This feminist horror icon, because that is precisely what she is to me, lets me live out my daily fantasies of earned rage. THE WRATH OF BECKY is a “fuck yeah” of a film. I implore Matt Angel and Suzanne Coote to keep this franchise alive and kicking (ass).

Quiver Distribution will release the action/thriller/horror film 

THE WRATH OF BECKY exclusively in theaters on May 26, 2023.  

PBS airing Bobbi Jo Hart’s doc ‘FANNY: THE RIGHT TO ROCK’ tonight!

PBS

presents

FANNY: THE RIGHT TO ROCK

*This review was originally featured on AWFJ.org*



Sexism, racism, and rock & roll, Fanny: The Right To Rock is the story of how two Filipina American sisters started Fanny, the legendary rock group you may have never heard of until now. Jean and June Millington used to gather a crowd in their California backyard. After they decided to put together a band comprised of extraordinarily fearless and talented female musicians, the road to Fanny began.

After getting signed, Fanny moved into a house to live and, more importantly, make music. The rock history that went in and out of their “Fanny Hill” home in L. A. is astonishing; Bonnie Raitt, Joe Cocker, and Little Feat, to name a few. The freedom to express your sexuality, bed hop, do drugs, and make damn good music ruled that house. Unconscious healing that occurred through the safety inside Fanny Hill comes through the voices of all that crossed the threshold.

Experiencing Fanny’s songs for the first time, I immediately recognized the impact made on so many other artists. So how is Fanny not in my musical catalog? Jean, June, Alice, Brie, Patti, Cam, and Nickey were trailblazers who worked three times as hard as men and cranked out thought-provoking lyrics ahead of the times. Fanny was a feminist rock group with sharp wit and zero fear. The documentary utilizes sit-down interviews, studio sessions past and present, and live performances on stage and on television. The archival photography from Linda Wolf is extraordinary.

Fanny broke up due to a deadly combination of things; misogyny, societal times, no one big bop to make money, and having a studio that pushed them to their limits. As members came and went throughout the years, the sound morphed but always retained that iconic grit.

In 1975, they said goodbye to their rock days to pursue motherhood and personal musical pursuits. In 1999, David Bowie (whom June briefly dated) made a statement mentioning the band by name. This capsule appeared in Rolling Stone Magazine, thus sparking the ladies and their former producers to write a brand new album, Fanny Walked The Earth.

Bobbi Jo Hart’s doc comes at the perfect time in the band’s history and ours. It shines a light on their industry impact, from the importance of their Filipina culture to their mold-breaking lyrics and energy. Watching Fanny proves that great rock and roll lives forever. Get ready for their new single When We Need Her to be the anthem we need right now.


FANNY: THE RIGHT TO ROCK premieres on PBS on May 22, with streaming on PBS.org and the PBS app.

 

FILM DETAILS:

Title: Fanny: The Right to Rock

Directors: Bobbi Jo Hart

Release Date: May 27, 2022

Running Time: 96 minutes

Language: English

Screenwriter: Bobbi Jo Hart, Documentary

Distribution Company: Film Movement


 

NEWS- FANTASIA ANNOUNCES A BLISTERING FIRST WAVE OF TITLES FOR ITS 27th EDITION

FIRST WAVE OF TITLES FOR ITS 27th EDITION


A spotlight on South Korean cinema, a Canadian trailblazer Award for underground legend Larry Kent and World Premieres of new works from Larry Fessenden, Xavier Gens, Jenn Wexler, Jared Moshe, The Adams Family, and Victor Ginzburg + International Premieres of Tsutomu Hanabusa’s blockbusters TOKYO REVENGERS 2 – PART 1 & 2 headline the first wave of titles announced for Fantasia’s 27th edition!

Thursday May 11, 2023 // Montreal, Quebec — The Fantasia International Film Festival will be celebrating its 27th edition with a whiplashing program of screenings, workshops, and launch events running from July 20 through August 9, 2023, taking place at the Concordia Hall Cinema, with additional screens at the Cinémathèque québécoise and Cinéma du Musée.

The festival’s full lineup will be announced in early July. In the meantime, Fantasia is excited to reveal a selected first wave of titles and happenings.


BRIGHT SPOTLIGHTS ON SOUTH KOREAN CINEMA ILLUMINATE FANTASIA’s 27th EDITION

Since the selection of Kang Je-gyu’s GINGKO BED at Fantasia’s 1998 edition, the festival has become one of the premiere destinations for South Korean cinema. Over the years, Fantasia’s audience has had the opportunity to discover several essential Korean auteurs: Bong Joon-ho (BARKING DOGS NEVER BITE), Park Chan-wook (SYMPATHY FOR MR. VENGEANCE), Kim Ji-woon (THE QUIET FAMILY), Hwang Dong-hyuk (MISS GRANNY), and Yeon Sang-ho (THE KING OF PIGS) among many others. These filmmakers are now mainstays of the international film scene, lighting up the big screen and streaming platforms alike.
image.png

Celebrating 60 years of diplomatic relations between Canada and the Republic of Korea, the Fantasia International Film Festival –in collaboration with the Korean Cultural Center Canada and the Cinémathèque québécoise– is proud to showcase this unique national cinema. The festival will emphasize the vitality of current works and the versatility of South Korean creators, who work in a multitude of genres ranging from action to arthouse, breathtaking thrillers to outlandish musical comedies. The festival will also present a retrospective highlighting several significant works that led to the revival of Korean cinema in the 2000s, an effervescence that hasn’t stopped since.

image.png

Fantasia will host the North American premiere of NEW NORMAL by Jung Bum-shik (GONJIAM: HAUNTED ASYLUM), a cynical and timely one-man horror anthology. The festival will also host the Canadian premieres of An Tae-jin’s period acupuncturist thriller THE NIGHT OWL; the violent and boisterous THE ROUNDUP: NO WAY OUT by Lee Sang-yong, featuring Don Lee once again; the 4K restoration of Jeong Jae-un’s coming-of-age TAKE CARE OF MY CAT (2001) and a screening of the unmissable THE PRESIDENT’S LAST BANG (2005) by master Im Sang-soo. More titles will be announced soon.

image.png

In recognition of the spotlight, this year’s poster art was created by Montreal visual artist Donald Caron as an interpretation of the mythical nine-tailed fox, a fantastical creature that appears in the folktales of East Asia and legends of Korea. 

image.png

FEAR RUNS LOVELY, DARK, AND DEEP

LOVELY, DARK AND DEEP is the hotly anticipated directorial debut of Teresa Sutherland, screenwriter of THE WIND and a writer on MIDNIGHT MASS. Laced with stunning visuals, this ominously beautiful, deeply frightening nightmare is anchored by a captivating lead performance from BARBARIAN’s Georgina Campbell. Campbell plays a park ranger in an isolated forest outpost, the site of multiple mysterious disappearances, and she is plagued by visions blending the past and present with something even more sinister. This transfixing film oozes an immersive, fever-dream atmosphere. Also starring Nick Blood, Wai Ching Ho, and Edgar Morais. World Premiere. 

image.png

A SUPPRESSED AND SPECTACULAR REINVENTION OF VAMPIRE LORE: EMPIRE V

A disaffected student (Pavel Tabakov) follows an invitation to join “the elite” and finds himself forcibly transformed into a vampire, joining a supernatural ruling class who exercise an anonymous dictatorship over humans. Celebrated Russian-American director Victor Ginzburg (GENERATION P) demonstrates a striking visual imagination, perfectly complementing a story that reinvents nearly every aspect of vampire lore in clever and fantastical ways. This is the MATRIX of vampire cinema. Years in the making, EMPIRE V is both next-level blockbuster storytelling and megabudget anti-Oligarch satire, electrified with breathtaking visuals from the great Aleksei Rodionov (COME AND SEE). Co-starring Miron Fedorov, AKA rap star Oxxxymiron, whose anti-War benefit concerts led the Russian justice ministry to condemn him as a “foreign agent.” EMPIRE V itself has been banned by Russia’s Ministry of Culture, ensuring that the citizens of its home country may never see the film. World Premiere. 

image.png

THE TOKYO REVENGERS SAGA REVEALS HIGHER STAKES AND LOADS OF EMOTIONS

Tekemichi gets another blast from the past when his beloved Mio perishes again before his eyes in a freak accident… Or was it? Tekemichi must go back in time to save her, and find out how his involvement with the Tokyo Maji Gang ruined his real life once more. Nothing can prepare you for the amount of action, suspense and emotion TOKYO REVENGERS 2 – PART 1 and TOKYO REVENGERS 2 – PART 2 bring to the big screen! Director Tsutomu Hanabusa surpasses himself with two riveting new chapters in this beloved saga, whose legions of fans break Japan’s box office at every occasion. Come see this acclaimed manga-turned-anime in its ultimate incarnation as a star-studded live-action juggernaut. International Premiere. 

image.png

A HEARTBREAKING, TIME-BENDING MASTERPIECE OF SPECULATIVE SCIENCE-FICTION: APORIA

Since losing her husband Mal (Edi Gathegi, FOR ALL MANKIND) in a drunk-driving incident, Sophie (Judy Greer, HALLOWEEN) has struggled to manage crippling grief, a full-time job, and the demands of parenting her devastated teenage daughter (Faithe Herman, THIS IS US). When her husband’s best friend (Payman Maadi, A SEPARATION), a former physicist, reveals he and Mal had been building a time-bending machine that could restore her former life, Sophie will be faced with an impossible choice.This riveting character-driven sci-fi work from award-winning writer/director Jared Moshe (THE BALLAD OF LEFTY BROWN), imaginatively grapples with the ripple effects of morally fraught choices made in the name of love and raises timely questions about ethics in technological innovation.  World Premiere. 

image.png

THE ADAMS FAMILY TAKE YOU WHERE THE DEVIL ROAMS

Darkest prayers will be answered, in sawdust and sacrilege, when Fantasia goes WHERE THE DEVIL ROAMS. This astonishing new feature from cult favourites The Adams Family (Toby Poster, John Adams, Zelda Adams), follows a family of traveling sideshow performers as they traverse Depression-era America on a bloody search for eternal life. As in THE DEEPER YOU DIG and HELLBENDER, both Fantasia World Premieres, the gifted filmmaking family’s latest creation continues their inspired explorations of familial power dynamics through the prism of horror. Haunting, poetic, sometimes funny, frequently freakish, and told with conviction through a deeply personal lens. World Premiere. 

 

image.png

© Thanaporn Arkmanon

XAVIER GENS BRINGS SHATTERING FISTFULS OF MAYHEM!

Xavier Gens (FRONTIER(S), GANGS OF LONDON) is back! Sam, (Nassim Lyes) a professional boxer recently released from prison, breaks probation, flees to a faraway island in Thailand, and starts a family there. But when he’s blackmailed by a fierce local Godfather (Olivier Gourmet) into becoming a drug smuggler, things go straight to hell.. and then some! A blood-soaked revenge roller coaster, MAYHEM! starts slow and seething before exploding off the screen with tendon-snapping tension and unbelievably ferocious fight choreography of the sort that’s seldom seen in modern film. Also starring Loryn Nounay, Vithaya Pansringarm, Mehdi Hadim and Kenneth Won. World Premiere. 

image.png

LET IT ALL OUT WITH PEOPLE WHO TALK TO PLUSHIES ARE KIND.

When sophomore student Nanamori joins the Plushies Club, he is encouraged to share his feelings with stuffed animals. You could call it an introvert’s paradise, or better yet, a safe space. And while for some it’s a natural fit, for others it’s an insular distraction. Adapted from a novella by rising literary star Ao Omae and directed by up-and-comer Yurina Kaneko (Fantasia 2019 selection 21ST CENTURY GIRL), PEOPLE WHO TALK TO PLUSHIES ARE KIND enchants with a gently provocative exploration of sexuality, gender, kindness and tolerance in Japanese society. A thought-provoking update on the youth film, for when the world feels like entirely too much. North American Premiere. Camera Lucida section.

image.png

LYCANTHROPIAN CHILLS FROM FROM LARRY FESSENDEN: BLACKOUT

At last, acclaimed horror auteur Larry Fessenden has fulfilled his long-held desire to make a werewolf film, rounding out the triptych begun with his vampire drama HABIT (1997) and FRANKENSTEIN variation DEPRAVED (2019). Fessenden, as always, makes BLACKOUT a very human story as well as a gripping horror show while weaving in his traditional focus on socio-political themes, from his long-held ecological concerns to very modern issues of suspicion and paranoia. Starring Alex Hurt, Addison Timlin, Marshall Bell, James LeGros, Barbara Crampton and Joe Swanberg. World Premiere. 

image.png

FROM SOUTH KOREA, COMES MOTHER LAND AN ARCTIC STOP-MOTION ADVENTURE

When the health of Krisha’s mother takes a turn for the worse, the village shaman offers her wisdom: follow the North Star to the Ancient Forest and find its guardian and master, the great red bear of legend. The first South Korean stop-motion feature film in almost half a century, director Park Jae-beom’s animated adventure MOTHER LAND is an exquisitely crafted snowbound fantasy with a potent emotional warmth at its core. It explores the lives and lore of the nomadic, indigenous reindeer herders of the sparse and unforgiving Siberian tundra. North American Premiere. Axis Section

image.png

FASTEN YOUR SEATBELTS AND BE CAREFUL WHAT YOU WISH FOR

A chef with gambling problems (Nick Stahl) flees to the Latin American villa of an old friend who appears to be living an extraordinary life. Envy soon turns to greed and then to something more unsettling for the chef when he assumes his friend’s life. A Hitchockian, edge-of-your-seat descent into moral compromise with generous servings of dark humour, shock and surprise, WHAT YOU WISH FOR is the gripping sophomore feature of writer/director Nicholas Tomnay (THE PERFECT HOST). Grounded by a career best performance from Stahl, the film co-stars Tamsin Topolski, Randy Vasquez and Penelope Mitchell. From the producers of THE FLORIDA PROJECT. World Premiere. 

image.png

A GUT-WRENCHING REFLECTION ON MODERN SLAVERY TAKES PLACE IN RICHELIEU

When Stéphane (Marc-André Grondin, RAVENOUS, C.R.A.Z.Y.) hires Ariane (Ariane Castellanos) to act as an interpreter for his Guatemalan workers, he expects nothing more than a messenger. But after witnessing the horrifying abuse the men are subjected to, Ariane will be pushed to choose between their lives and her own. A stunning debut feature from Québécois director Pier-Philippe Chevigny, RICHELIEU delivers a raw and emotional portrait of a system in which we are all  complicit unless we are willing to bear the cost of standing up for justice. Canadian Premiere. 

SUPERNATURAL POWERS AND SCHOOL GIRLS WITH SECRETS KICK OFF THE 2023 SEPTENTRION SHADOWS SECTION LINEUP! 

image.png

A NOSTALGIC, SUPERNATURAL ROAD TRIP LEADS TO DAUGHTER OF THE SUN

Take a supernatural journey with Sonny, a man with Tourette Syndrome, and his daughter Hildie as they forge their path across the country. They hide a powerful secret but join a community of friendly nomadic strangers whose kindness conceals a darker intention. The World Premiere of DAUGHTER OF THE SUN is Sonny’s next chapter and a continuation of director/actor Ryan Ward’s award-winning SON OF THE SUNSHINE. This deeply personal journey reflects aspects of Ward’s life with cosmic imagery, stunning cinematography shot in Ward’s home province of Manitoba, and stellar performances from teens Nyah Perkin and Lennox Leacock. World Premiere

image.png

JENN WEXLER DARES YOU TO BLEED FOR THE SACRIFICE GAME!

Jenn Wexler’s THE RANGER, a high-octane punk rock banger, exploded onto the genre landscape in 2018, and now she’s back with her sophomore feature THE SACRIFICE GAME. Filled with gore and lore, indie filmmaker Wexler penned this gripping and stylish ‘70s-set chiller involving school girls, power-mad killers and occult prophecy with partner Sean Redlitz. Shot in Quebec, this breakneck horror film stars Mena Massoud (EVOLVING VEGAN and ALADDIN), Olivia Scott Welch (LUCKY HANK, FEAR STREET Trilogy), Gus Kenworthy (AMERICAN HORROR STORY), Georgia Acken, Madison Baines and features the return of THE RANGERS’ Chloë Levine. You won’t want to miss a second of THE SACRIFICE GAME! World Premiere co-presented with Les Fantastique Week-ends.

image.png

A CANADIAN TRAILBLAZER AWARD FOR LARRY KENT

Fantasia is proud to be giving our 2023 Canadian Trailblazer Award to our country’s legendary first underground filmmaker, Larry Kent, with World Premieres of Canadian International Pictures’’s new 4K restorations of his landmark Vancouver Trilogy and additional screenings and events. 

Cited by David Cronenberg as “a heroic figure,” Larry Kent made films “so ahead of their time” (to quote Atom Egoyan) that they eventually fell out of official circulation. 

Situated somewhere between the vivid indie dramas of John Cassavetes and the lurid melodramas of Doris Wishman, Kent’s films brought new vitality to Canadian cinema — and time has only added to their potency. 

Even as his 90th birthday approaches, he continues to make singular and gutsy independent features: his most recent works, EXLEY (2011) and SHE WHO MUST BURN (2015)  both World-Premiered at Fantasia, the latter winning Spectacular Optical’s 2015 Barry Convex Award for Best Canadian Feature at the festival. 

Whether audiences have caught up with Kent’s boldly uncompromising vision or not, CIP  is working on an ambitious restoration initiative that aims to resurrect his most seminal films, starting with The Vancouver Trilogy: THE BITTER ASH (1963), SWEET SUBSTITUTE (1964), and WHEN TOMORROW DIES (1965), each of which will be unveiled at Fantasia this summer.

The original camera negatives for all three films have been newly scanned in 4K and restored by CIP, giving these enduring works of underground Canadian cinema a chance to be discovered (and re-discovered) by adventurous cinephiles. 

In addition, Fantasia will also be presenting a rare 35mm print of YESTERDAY (1981) and a special screening of SHE WHO MUST BURN (2015). 

Join us in celebrating the career of one of Canadian Film’s most courageous originals!

Presented in association with Canadian International Pictures and the Cinémathèque québécoise.


Review: ‘GRINGA’ is a breezy story of finding family and forgiveness.

GRINGA

After the sudden death of her mother, Marge seeks out the father who abandoned her. Crossing the border into Mexico in search of her soccer phenom and estranged Dad, Marge hopes to overcome childhood trauma and connect with the only person who understands her grief.

Once she finds Jackson, Marge discovers he has been spending his days surfing, coaching, and drinking himself into oblivion. He is in no shape to bring Marge into his life. Undeterred, Marge makes him pinky promise to do better. As they fumble toward reconciliation, Marge learns to be bolder, braver, and more self-accepting.

The women’s fútbol team overflows with cheeky personalities. These girls are great foils for Marge’s insecure nature. Jess Gabor is fantastic as Marge. She is natural, sarcastic, and vulnerable. Steve Zahn never disappoints. His comedic self-defense mechanisms pair well with the well-intended fatherly guidance. At the heart of it, Jackson is a damaged but kind soul. Zahn embraces his flaws, making him human and accessible. Together, they are easy to watch.

Waving the logistical fact that a minor would never be allowed to cross the border without a passport or note from their parents, GRINGA tells the story of two lost souls growing together. The script tackles body dysmorphia, eating disorders, culture, alcoholism, grief, and unresolved emotional trauma. In the end, GRINGA is a charming coming-of-age story for both father and daughter.


In theaters and on VOD on April 21st

Directed by:

EJ Foerster and Marny Eng

 

Written by:

Patrick Hasburgh

 

Starring:

Steve Zahn

Jess Gabor

Roselyn Sanchez

Judy Greer

Jorge A. Jimenez

 

Run time:

1hr 42 min

Review: Get revved up for Indy Saini’s ‘Women in the Front Seat’

WOMEN IN THE FRONT SEAT

Filmmaker Indy Saini seeks out like-minded female motorcycle riders across the country. Women of all ages, races, and backgrounds share their reasons for the ride. This unexpected film overflows with depth and heart.

We meet riders and their bikes. Each possesses a unique personality. I loved discovering what each woman packs and what they consider road essentials. The attention to detail fascinates me but does not surprise me. Women are responsible for an incalculable amount of invisible labor. We have to keep track of so much information all the time.

Saini interweaves her family history into her search. She films herself on long solo journeys from interview to interview and in the back of a pickup truck.

Every subject speaks to their fear of their first ride. You never hear men share those sentiments. The misogyny is pervasive. They thrive on breaking gender stereotypes, many inspired by the pushback they received from their mothers. “You can’t do this” became a rallying cry. Mack explains that she never asks for permission.

These women are genuinely fearless and incredibly generous. Many groups attach charity to their rides. Many have been in life-threatening accidents and got tight back on a bike. These women thrive in a community. Their clear communication creates a sense of safety and care for each other.

The film is a quiet reclamation of power through motorcycles. It is a perfect metaphor for the everyday challenges and celebrations of womanhood. Women in the Front Seat is an unapologetic, fierce, hell yeah of a doc. Take the ride.



Indy Saini’s WOMEN IN THE FRONT SEAT
now streaming on Amazon


Director/Writer: Indy Saini
Producers: Indy Saini, R.K. Janmeja Singh
Editor: Esther Shubinski
Cinematographer: Indy Saini
Music: Catherine Joy
TRT: 74 min
Country: USA

 

Review: ‘One True Loves’ is a complex love story written by The New York Times bestselling author Taylor Jenkins Reid.

ONE TRUE LOVES

SYNOPSIS: Simu Liu (Shang-Chi And The Legend Of The Ten Rings), Phillipa Soo (Hamilton), and Luke Bracey (Point Break) star in this modern twist on a classic love story from NY Times bestselling author Taylor Jenkins Reid. Emma and Jesse are living the perfect life together until Jesse disappears in a tragic helicopter crash on their first wedding anniversary. Four years later, Emma has found happiness again and is about to marry her best friend when Jesse resurfaces, turning her world upside down and leaving her torn between two great loves.


Emma faces an impossibly complex scenario. ONE TRUE LOVES puts the audience in the shoes of a woman torn in opposite directions through memory, loss, and love.

Luke Bracey plays Jesse, a photographer who returns with PTSD. His anger, bitterness, and assumptions sabotage a return to normalcy. Bracey takes us along on a journey that provokes real questions. Simu Liu is Sam. He is a high school orchestra teacher. His scenes are funny, charming, and self-deprecating. I would have happily watched an entire film about him and his students. I request a spin-off. Phillipa Soo plays Emma, a former travel writer. At the urging of her older sister, Emma uses books to heal. Soo is enchanting as she embraces change. She brings a timeless leading lady energy. You will fall in love with her sincerity. 

The script would benefit from more scenes establishing the strength of Emma and Sam’s bond. The humor comes from Sam’s endearing and feisty conversations with his students. These scenes are genuine and hilarious. The film probably needs one or two at the beginning to establish Sam as a fully fleshed-out character, which only happens much later in the plot. Additionally, I would have loved to see Sam pining away for Emma as a kid. These nitpicky issues speak to the editing as a whole. The narrative is tricky as we jump in time. It could use a bit of reworking, in my opinion. I would watch this story as a series. There is so much to dig into.

ONE TRUE LOVES has all the makings of a Hallmark classic; a quaint New England town, a bookshop, grief, and a love triangle. It speaks to the nuance of relationships, not just romantic but familial. It addresses the concept of growing apart rather than together. In a world where divorce is statistically high, ONE TRUE LOVES dares to challenge the audience’s moral compass and sense of loyalty. It is a glorious springboard for Phillipa Soo, letting audiences experience her range from stage to screen.


ONE TRUE LOVES will be in theaters on April 7th and on digital April 14th.

IN THEATERS: April 7, 2023
ON DIGITAL: April 14, 2023
ON DEMAND: April 28, 2023
DIRECTOR: Andy Fickman
WRITERS: Taylor Jenkins Reid, Alex Jenkins Reid
CAST: Phillipa Soo, Simu Liu, Luke Bracey

RUN TIME: 100 minutes
RATING: PG-13
GENRE: Romance, Drama, Comedy
DISTRIBUTOR: The Avenue


 

Review: Starring Owen Wilson as a local PBS legend, ‘PAINT’ is not a stroke of genius.

PAINT

Carl Nargle is a Bob Ross-like local icon with an exceptional sexual pull for his viewers and staff, but his old-school misogyny and pride rub those close to him the wrong way. Newcomer Ambrosia takes the hour after Carl when he refuses to boost ratings by extending the show. Ambrosia’s popularity skyrockets with her quirky paintings. PAINT becomes a battle of personalities and a search for personal redemption. 

The cast makes PAINT watchable. Stephen Root and Wendi McLendon-Covey are ensemble highlights. Ciara Renée plays Ambrosia with cool confidence. She is a smart foil for Wilson. Michaela Watkins plays Katherine, Nargle’s producer and ex-lover. Watkins displays a down-to-earth vibe. Her warmth is endearing, and her coping mechanism for rejection is relatable and funny. Owen Wilson brings his iconic vocal stylings to Carl. The character is more complex than at first glance. Underneath the fame is a lack of SF esteem and regret. Wilson does his best to save the script.

The pace perfectly mirrors the setting of a PBS station in Burlington, Vermont. The dry humor will hit or miss with audiences. It plays like a Christopher Guest film without the mockumentary structure. It pokes fun at the art industry in a tangible and blunt way. In the end, PAINT is an unexpected love story. If you can rock with the vibe, good for you. If not, it’s a bit like watching paint dry.


Release date: April 7, 2023 (USA)
Director: Brit McAdams
Producers: Sam MaydewPeter Brant
Distributed by: IFC Films
Music by: Lyle Workman

Review: Agnieszka Smoczyńska’s complex film ‘FUGUE’ comes to U.S. cinemas.

FUGUE

Agnieszka Smoczyńska‘s sophomore feature, FUGUE, centers around memory loss and gender expectations. The film opens with a disheveled woman emerging from the subway tracks, clearly traumatized and unaware of her surroundings. In a quick jump forward two years, the same woman, now sporting short dark hair and just as confused, surrounded by medical experts. Her memory comprised only the past two years in Warsaw, and calling herself Alicja, doctors parade her on a talk show in a last-ditch effort to uncover her identity. A viewer calls in to claim the woman is his daughter. Reintroduced into a traditional household as a wife and mother of a young son, Alicja/Kinga struggles to integrate into a life she does not remember while being grilled about her disappearance.

Sporadic blue-tinged purgatory-like flashbacks of the woman in her heels, mussed blonde hair, and filthy trench coat give us little to go on. These sequences are undeniably unsettling. For most of the film, we draw our own conclusions based on the apparent hollowness of their marriage and a suggestion of an affair. Jakub Kijowski‘s bleak, but ravishing, cinematography sets the tone. Alicja stands apart from most of the action, furthering the feeling of isolation in an already stark environment.

Iwo Rajski plays Daniel with a natural fierceness that suggests he is starring in a documentary rather than a narrative. He is fantastic. Gabriela Muskala pens the screenplay and plays Alicja/Kinga. Her ability to reel you into her turmoil feels effortless. She is magnetic.

FUGUE is a far cry from The Lure and closer to the darkness and mystery of The Silent Twins. It begs the question of maternal instinct and gender roles. It touches on deep unresolved trauma and the unrealistic expectations of women to keep moving headlong. The heartbreaking finale sticks with you long after the credits roll.


Poland, Czech Republic, Sweden • 2018

Directed by: Agnieszka Smoczyńska

Written by: Gabriela Muskala
Starring: Gabriela Muskala, Lukasz Simlat, Iwo Rajski

 

Run time: 102 minutes

Language: Polish, English

Subtitles: English

Color: Color

Format: 2.35:1

Sound: 5.1


 

BUFF23 capsule review: ‘PIAFFE’- a surprising tale of obsession, sexual awakening, and otherness.

PIAFFE

Eva takes over as a Foley artist for her hospitalized sibling Zara. With no knowledge or self-esteem for the task, Eva endures shockingly abusive behavior from every angle; Zara, her boss, and the hospital nurse. When threatened with dismissal from Zara’s position, she becomes obsessed with the assigned commercial clip.

The video features a horse. Upon visiting a stable for research, Eva’s determination to perfect the audio ignites an immersive approach. Her relentless work ethic causes Eva to grow a horsetail. As she embraces her newfound appendage, Eva becomes entangled with a Botonist who opens her eyes to different forms of pleasure, increasing her confidence and sparking her sexual awakening.

PIAFFE gives audiences a fever dream of imagery and sound. Music is an eclectic Giallo-inspired mix of ominous cello and techno. The color Red features symbolically in lipstick, a telephone, tinsel, roses, and lighting. Simone Bucio is fearless as Eva. Her palpable anxiety and social awkwardness pour off the screen, making her relatable in the most unexpected ways.

The real star of PIAFFE is Robert Hefter and Jonas Vincent‘s jarring augmented sound mixing. As a viewer with Sensory Processing Disorder, PIAFFE is equal parts hair-raising nightmare and auditory orgasm. The sparse dialogue contributes to the focus on the heightened sound. Writer-director Ann Oren celebrates otherness in all its forms. BUFF23 audiences experienced a sensory explosion with an unpredictable complexity.

Oscilloscope Labs will release PIAFFE in theaters later this year.


Review: ‘SCRAP hides unresolved trauma behind bad behavior.

Beth (Vivian Kerr) has recently been laid off and struggles to maintain the appearance of a successful middle-class lifestyle as she bounces around Los Angeles. Hoping to land a new job and change her situation before her estranged older brother Ben (Anthony Rapp) finds out, Beth must confront her own pride in order to reconnect with him and provide for her young daughter Birdy. Meanwhile, Ben and his wife Stacy (Lana Parrilla) consider a third round of IVF and Stacy, a successful attorney, must re-evaluate her own conflicted relationship with motherhood.


Writer-director Vivien Kerr brings a story of estranged siblings Beth and Ben. One thrived, while the other faltered after the death of their parents. Beth lives in her car, spending beyond her means and shirking parenting responsibilities of her 5-year-old daughter, while Ben is a successful fantasy novelist whose wife is going through IVF.

Beth is not a likable character. She is a selfish mess. Underneath is deep unresolved trauma that manifests in habits like spending money as a coping mechanism, endless lying, and terrible decision-making. Kerr lives in the role. You will grapple with supporting her self-destructive behavior. Anthony Rapp plays Ben with a gentle tone. He carries palpable guilt for things beyond his control. Rapp is excellent. He effortlessly embodies a man in a quiet emotional crisis.

I feel like SCRAP would do well as a series. Kerr gives us just enough backstory to reel us in, and there is a complexity that drives Beth and Ben. I would love to see more of their childhood. SCRAP allows for a redemption story and one of healing. I feel compelled to ask Kerr for more of this family. The film speaks to a vast number of Americans struggling to stay afloat. It is unimaginably relatable.




SCRAP was written, directed, and produced by Vivian Kerr and was produced by Rachel Stander. The film has a running time of 105 minutes and is available for sale in all territories.

The film had its World Premiere at Deauville International Film and is currently screening as part of Cinequest where it recently had its US Premiere.



SCRAP WILL SCREEN AT THE PHOENIX FILM FESTIVAL AT THE FOLLOWING TIMES:



​Friday, March 31st, 2023 – 2:25pm
Saturday, April 1st, 2023 – 4:35pm
Sunday, April 2nd, 2023 – 4:40pm
​ (Harkins Scottsdale 101 Theater)


 

Review: ‘THE WORST ONES (Les Pires)’- art imitates life in this beautifully moving film.

Set in the suburbs of Boulogne-Sur-Mer in northern France, The Worst Ones captures a film within a film as it follows the production of a feature whose director turns to the local Cité Picasso housing project for casting. Eager to capture performances of gritty authenticity, the director selects four working class teenagers to act in the film to the surprise and consternation of the local community, who question the director’s choice of “the worst ones.” As the director and crew audition, rehearse, film, and interact with their hand-picked cast, jealousies are stoked, lines are crossed, and ethical questions arise, with thought-provoking and at times darkly funny results. Winner of the top prize in the Un Certain Regard section of the 2022 Cannes Film Festival, The Worst Ones announces directors Lise Akoka and Romane Gueret as exciting new voices in French cinema.


THE WORST ONES is a meta-narrative that succeeds in conveying hope through hardship. Not only does the film shine in its storytelling, embracing heartbreak and socioeconomic trauma, but the performances also by our four young actors will hypnotize the viewer. Check out the clip below for a taste:

Timéo Mahaut and Mallory Wanecque play the theatrical brother and sister duo, Lily and Ryan. Each pulling from the script an element of abandonment and aggression. This recurring theme is “permission to feel,” The screenplay skillfully taps into the idea that these children struggle to experience a traditional childhood when food, parents, stability, and peace seem out of reach. Their casting becomes the ultimate healing outlet. THE WORST ONES boasts a compelling film-within-a-film structure with an ending that leaves an impression on your soul.

 


Cannes award-winning feature THE WORST ONES (Les Pires), will open theatrically today in New York on March 24 (The Quad) and in Los Angeles on April 7 (Laemmle Monica) with additional cities including Chicago, Denver, and more to follow.

SXSW 2023 short film reviews: ‘ENDLESS SEA’ & ‘FUNNY FACE’ are two stories of humanity and compassion.

ENDLESS SEA




 Follows Carol, an elderly woman on Medicare in New York City, as she struggles through the US healthcare system, a reality faced by millions of Americans who find themselves stuck between a rock and a hard place.


Carol navigates the healthcare system after finding that her heart medication has quadrupled in price. Doing all she can to pay for her pills, she hustles through Valentine’s Day, calling in favors, delivering flowers for tips, and waiting on hold with Medicare customer service. ENDLESS SEA culminates in a choice between life and death. Brenda Cullerton plays Carol brilliantly. She breaks your heart with unfiltered vulnerability and desperation.

Did you know we are the only country that advertises drugs? Profit over people, I guess. I lived in India in 2008 and had a health scare. I walked into a top hospital, saw the head of the ER, a specialist, got a biopsy, a mammogram, and results on a scanned card and printed in a folder I got to take from appointment to appointment, all for $73. The American healthcare system is broken. ENDLESS SEA illustrates the chaos of remaining healthy or merely staying alive in this country. In a short amount of time, this film packs a punch. It’s a must-see.


Film Screenings

 
Mar 15, 2023
6:30pm8:12pm
 

Credits

Director:

Sam Shainberg

Executive Producer:

Henry S., Alex O Eaton, Sam Shainberg, Catherine Shainberg

Producer:

Rachel Walden

Screenwriter:

Sam Shainberg

Cinematographer:

J. Daniel Zuniga

Editor:

Luca Balser

Production Designer:

Charlie Robinson

Sound Designer:

Eric Brown

Principal Cast:

Brenda Cullerton, Jacque Sebag , Iskandar Dridi, Johnny Zito, Vilma Ortiz Donovann, Nora Delighter, Alexandra Templar , Basil Constable, Anne Zuk , Muhammad Gueye

Additional Credits:

Casting Director: Eleonore Hendricks, 1st AC: Carlos Amador Wong, Gaffers: Adam Kim, Vuk Lungulovk, Wardrobe: Emily Costantino, Sound Mixer: Boris Krichevsky, Art Directors: Holly Mcclintock, Key Grips: Jordan Tetewsy, Eli Freireich


Live-action FUNNY FACE




An autobiographical dramedy that retells Harris’ experience directly following her facial feminization surgery with the support of her brother and girlfriend, played by their real-life counterparts.


From the filmmakers of GAY HAIRCUT, SXSW 2023 short film FUNNY FACE brings audiences a conversation starter. The plot revolves around the hours following Sophie’s ten-hour face feminization surgery. It’s a family affair with her girlfriend and her brother from out of town, who are also meeting for the first time. Both take on the in-home care nurse who’s too wrapped up in her drama to do her job or be a human being. Funny Face is about respect and sacrifice, identity and love. The script is grounded in emotional honesty. It allows space for discussion while remaining lighthearted. Writer-director Jude Hope Harris retells her very personal story with her real-life family in the starring roles. Amusing, thought-provoking, and brave. FUNNY FACE is one to see.


Film Screenings

Credits

Director:

Jude Hope Harris

Producer:

Genevieve Jones, Nick Vitale

Screenwriter:

Krista Fatka, Jude Hope Harris

Cinematographer:

Ingrid Sanchez

Editor:

Aviva Siegel

Music:

Charlie Harrison

Principal Cast:

Charlie Harrison, Krista Fatka, Sharon Zhang, Marieve Herington, Jude Hope Harris

Additional Credits:

Special Effects Makeup Artist: Kyrsta Morehouse

SXSW 2023 documentary review: ‘ART FOR EVERYBODY’ reveals the darkness inside the painter of light.

Art For Everybody

The brand vs. the man. In the 90s, looking at a Thomas Kinkade painting felt like peering into a storybook. But Miranda Yousef‘s SXSW 2023 doc ART FOR EVERYBODY shows audiences that the self-appointed “Painter of Light” was, in truth, filled with darkness the public never saw. Could a dream lead to the discovery of his entire body of work? Prepare for your shining vision of the world’s most marketable artist to change color. His family, friends, fans, and critics speak about the man they knew.

You could not escape Kinkade work in the 90s. There were calendars, postcards, commemorative plates, and entirely dedicated galleries in the mall of idyllic cottages. As an English lit nerd, I remember being enamored by his paintings. So much so that I almost dropped $600 on a piece in my early 20s. I did not have that kind of money to spend on art back then.

Critics hated him. Kinkade didn’t align with the idea of what real art is, so he took it as a business opportunity to lean into a facade of marketable Christianity. The ego is the most cringeworthy part of the story. Outtakes from the numerous video archives are increasingly abrasive and eye-roll-inducing. Then the spiraling behavior. The film reveals a more nuanced side to the man. Original audio from Thom at age 16 echoes behind photographs from his youth should have tipped us off from the beginning. Once his daughters open his vault, the real Kinkade spills into reality. His family drops the forced filter they used to keep up in front of the cameras. Thomas Kinkade becomes a shattered image.

It’s a conversation about how art affects your soul, the nuance of the industry, and how creativity can be an outlet for trauma. ART FOR EVERYBODY is a complex portrait of how we bought a fake.


 

Film Screenings

Mar 13, 2023
5:45pm7:23pm
 
Mar 15, 2023
8:45pm10:23pm
 
Mar 16, 2023
12:30pm2:08pm
 
Mar 16, 2023
1:00pm2:38pm
 

Credits

Director:

Miranda Yousef

Producer:

Morgan Neville, Tim Rummel

Cinematographer:

Tasha Van Zandt

Editor:

Miranda Yousef, ACE

SXSW 2023 documentary review: ‘PLAN C’ features the saving grace of abortion access.

PLAN C

*This review originally appeared on AWFJ.org*

The modern-day version of The Janes are revolutionaries protecting people who seek abortion access in SXSW 2023 documentary PLAN C. Elisa Wells and Francine Coeytaux are co-founders and the creator of the organization Plan C. “They are not providers. They share information.” They and their team of doctors and regular women across the globe do everything they can to provide the healthcare that is being stripped away by the minute.

The film begins in 2019 and progresses into 2023. As the laws change and public tensions rise, tactics must shift in kind. In-person meetings turn into zoom calls. When the 6-week abortion ban took effect in Texas on September 1st, 2021, Francine got extra creative, making QR code stickers that led to the site and paying for a brightly lit digital advertisement truck. Private mailboxes across state lines became a lifetime. Accessing the abortion pill once again becomes a clandestine operation. Plan C is careful to protect its volunteers and those they serve. It is all hands on deck, lawyers on call, with states battling between righteous morality and freedom.

Some women hide their faces for safety. Frankly, I don’t blame them. The hysteria from the right has become a full-blown Handmaid’s Tale situation. The film features audio from users of Plan C. Each woman explained her intensely personal motives. The stigma attached to abortion can be soul-destroying. Family planning and body autonomy should not be an issue! PLAN C is more important than ever. It is required viewing for champions of basic human rights. You’ll never stop abortions, no matter what laws you pass. Pre-Roe came “The Janes.” Post-Roe, Francine, Eisa, and innumerable women take up their mantle. SXSW 2023 audiences get a peek behind the curtain of the women fighting the good fight, the ones you won’t regularly see in the spotlight.


Film Screenings

Mar 12, 2023
11:00am12:39pm
 
Mar 14, 2023
5:45pm7:24pm
 
Mar 18, 2023
3:00pm4:39pm
 

Credits

Director:

Tracy Droz Tragos

Executive Producer:

Jess Jacobs, Dr. Holly Corn & Jonathan Kaufelt, Kopcho Reproductive Justice Fund, Margaret Munzer Loeb, Kathryn Everett, Bryn Mooser, Tracy Droz Tragos

Producer:

Tracy Droz Tragos

Cinematographer:

Emily Topper and Derek Howard

Editor:

Meredith Perry

Music:

Nathan Halpern

Additional Credits:

Impact Producer: Jess Jacobs

SXSW 2023 short film reviews: ‘SLICK TALK’ & ‘SPROUT’ tackle identity and bravery.

SLICK TALK

(Live-action)

A young Chinese-American rapper from New York struggles with her identity and career path in the thought-provoking short SLICK TALK. Balancing culture, passion, and parental pressure, Kiki responds to a manager who messages her online after watching her music video.

Jess Hu plays Kiki with an intriguing mix of talent, sass, and self-doubt. You can see the flicker of self-doubt and perhaps questioning her cultural appropriation. This idea comes back around in her meeting with Gabe. He asks if she would be willing to learn Mandarin, seemingly suggesting it would make her more accessible. It is nothing short of a conversation starter.

Director David Karp‘s editing and Co-director Courtney Loo‘s script keep you guessing and reel you into her story. When the film ends, you feel compelled to see what happens next. Will she say Yes to potential manager Gabe? Does she stand up for herself? SLICK TALK is a clever double-entendre title. Loo and Karp have a solid treatment for either a feature or series to come.


Film Screenings

 
Mar 15, 2023
12:00pm1:41pm
 

Credits

Directors:

Courtney Loo, David Karp

Executive Producer:

Thrice Cooked; Josh Feshbach

Producer:

Katie Mykrantz

Screenwriter:

Courtney Loo

Cinematographer:

Max Erickson

Editor:

David Karp

Production Designer:

Patricia Cruz Jamandre

Sound Designer:

Samuel Stevenson-Yang

Music:

Pink Sweat$ & Doc

Principal Cast:

Jess Hu, Fay Ann Lee, Paris Peterson, Alex Mali, Cosi Leong

Additional Credits:

Colorist: Mikey Pehanich, Stylist: Heji Rashdi, Sound Designer: Nikolay Antonov, Gaffer: Abi Polinsky, Key Grip: Liam Murphy, Grip: Timothy Truesdell, Art Assistant: Jack Layer, 1st AC: Simeon Pol


SPROUT
(Animated)

Animated short film SPROUT sees an agoraphobic scientist accidentally create a baby-like plant. As the creature rapidly grows, so does its curiosity to explore the outside, upending life in more ways than one. Written, directed, and animated by Zora Kovac, this sweet and child-friendly film tackles anxiety, bravery, human connection, and of course, growth. Watch it with the entire family.


Film Screenings

 
Mar 15, 2023
3:00pm4:45pm
 

Credits

Director:

Zora Kovac

Producer:

Zora Kovac

Screenwriter:

Zora Kovac

Sound Designer:

Jesse Springer

Music:

w. baer

Principal Cast:

Christian Cerezo, Zora Kovac

SXSW 2023 review: Kim Albright’s ‘WITH LOVE AND A MAJOR ORGAN’ is hooked on a feeling.

WITH LOVE AND A MAJOR ORGAN

Disassociate with me, will you? Anabel is an artist who wears her emotions on her sleeves. She exists in a world that lets technology take away stress or pain by installing an app that manages your life as a checklist. Now you don’t have to feel anything. After Anabel finds a sudden proclamation of love rejected, she removes her heart, giving it to the man. The consequence being she becomes a disassociated drone. What happens when someone steals your heart? SXSW 2023 film from Kim Albright  With Love and A Major Organ lets us feel again.

Quippy and biting dialogue plus a slick socially relevant plot (the reliance on technology) make With Love and A Major Organ one of the imaginative selections at SXSW 2023. The hilarious and somehow simultaneously romantic poetry from Anabel is captivating. Lighting plays a delightful role in the film. It is whimsical and gorgeous and underscores Anabel’s fantasies. The score sweeps you off your feet.

Hamza Haq plays George with childlike irrationality, and it is a masterpiece. Verna Sood is George’s mother, Mona. She is an unexpected anchor in this emotional roller coaster. Anna Maguire plays Anabel with both wild abandon and a dry robotic acidity. Julia Lederer‘s script allows her to soar, and she rises to the occasion at every turn.

“You can dedicate your whole life to something and still do it wrong.” This single statement punched me in the gut. The edited representation of unconditional love and their connection to memory is gasp-worthy. A very pointed opening credit sequence comes back to make sense halfway through the film. The visual metaphors in With Love and A Major Organ are exquisite.

With Love and a Major Organ has exceptional storytelling and visual style. It permits us to feel without stigma. It celebrates individuality and allows people to love what they love in peace. It’s a perfect match for SXSW audiences. It’s an absolute charmer.


Film Screenings

 
 
Mar 14, 2023
9:00pm10:31pm
 
Mar 17, 2023
2:30pm4:01pm
 

Credits

Director:

Kim Albright

Executive Producer:

Lori Lozinski, Carol Whiteman

Producer:

Madeleine Davis

Screenwriter:

Julia Lederer

Cinematographer:

Leonardo Harim

Editor:

Tony Zhou

Production Designer:

Megan MacAulay

Sound Designer:

Matt Drake

Music:

Jeremy Wallace Maclean

Principal Cast:

Anna Maguire, Hamza Haq, Veena Sood, Donna Benedicto, Lynda Boyd, Arghavan Jenati, Enid-Raye Adams, Kerën Burkett, Ryan Beil, Laara Sadiq

Additional Credits:

Story Consultant: Anita Doran, Costume Designer: Nicole Swan, Casting by: Erin Lally, CSA, Annalese Tilling, Co-Producer: Nessa Aref, Production Manager: Shyam Valera, First Assistant Director: Rachel Rose, Art Director: Tiana P. Gordon, Gaffer: Yannie Yu, Sound Mixer: Coby DeGroot, Hair & Makeup: Alison Jeffreys

SXSW 2023 documentary review: ‘WHO I AM NOT’ is an eye-opening lesson on humanity and identity.

WHO I AM NOT

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.

Dimakatso Sebidi is a male-presenting person whose intersex identity prevents them from finding a job. They feel their family made a terrible decision at birth, stealing any chance for pure happiness. In the search for medical answers, a pelvic exam proves excruciating for Katso. An ultrasound allows them to see what their internal sex organs look like for the first time. A chromosomal test confirms something astonishing. The stress and fear are palpable. They go so far as to seek validation and cleansing from elders. Spritual reckoning involves bone reading and four chickens.

Sharon-Rose Khumalo presents as a female. She and Katso connect for the same reasons but exist on opposite sides of the gender spectrum. Sharon-Rose is a beauty pageant winner, works in marketing, and hosts a DIY home decor Youtube channel. She longs to bear children but knows it is impossible. The classically beautiful and happy facade disguises deep, longing sadness. Her attempts to find a partner that accepts her inability to have biological children nearly break her. Director Tünde Skovrán takes the opportunity to convey her Sharon-Rises inner turmoil with thoughtful creativity.

I find it ironic that Christianity plays such a looming role in the lives of South Africans. If God created people in his image and is infallible, why do so many preachers and institutions narrowly define male and female? Religion is so often a spirit murderer. WHO I AM NOT explores how each family confronts these issues.

Sharon-Rose and Katso seek respect and live in harmony without judgment. In the way sexuality is not a choice, being born intersex is not a choice. WHO I AM NOT is an essential education for audiences far beyond the seats at SXSW 2023. It deserves a global audience.


Film Screenings

Mar 11, 2023
8:30pm10:12pm
 
Mar 12, 2023
6:00pm7:42pm
 
Mar 16, 2023
11:15am12:57pm
 

Credits

Director:

Tünde Skovrán

Executive Producer:

Patricia Arquette, Andrei Zinca, Tünde Skovrán, Marc Smolowitz, Jafta Mekgoe, Danielle Turkov, M.J. Packham, Maryse Rouillard

Producer:

Andrei Zinca

Screenwriter:

Tünde Skovrán

Cinematographer:

Daniel Szandtner, Felix Striegel, Guillaume Beaudoin

Editor:

Marianna Rudas HSE

Sound Designer:

Martin Cadieux-Rouillard

Music:

Luc Sicard; songs by Bonzegive Mabandla, Desiree, Brian Bibb

Additional Credits:

Co Producer: Paul Cadieux, Co-Producer: Patrick Hamm, Associate Producer: Amy Shepherd, Associate Producer: Daniel Szantnder, VFX & Color grading: Dean Lewis, Sound recording: Blaise Rival, Sound recording: Adam Vadasz, Associate Producer: Janos Kovacs, Associate Producer: Edith Weil

 

SXSW 2023 review: ‘THE APPENDAGE’ is body horror with a moral.

THE APPENDAGE

In Anna Zlokovic‘s SXSW 2023 narrative horror APPENDAGE, Hannah’s anxiety physically manifests as a gnarly growth. One that gets stronger every day. While Hannah struggles to keep it together, as everything in her life begins to deteriorate, she discovers she isn’t the only one with this problem.

Kausar Mohammed is Hannah’s best friend, Esther. She knows Hannah better than anyone, eventually leading her to hero status. Mohammed gives us a fast-talking energetic performance that charms the audience while maintaining a grounded and caring nature. Emily Hampshire plays a fellow support group member Claudia. Starting with cool-girl energy, she flips the script and is undeniably hilarious. It is an epic performance. Hadley Robinson plays Hannah with palpable anxiety. Her physicality places the audience inside that mindset. Robinson shows her acting chops with more than just emotionally intense scenes.

The sound editing deserves a shout-out with their visceral introduction to Hannah’s intense physical pain. It made me twinge. With Hannah and Esther being young fashion designers, the costume choices by Naomi Wolff Lachter are eye-catching. The Appendage creature from Douggy Pledger is equal parts kooky and hideous. Imagine slimy misshapen Ghoulies. As the appendage grows, the special effects makeup from Matt Barrett is downright horrifying. Just wait until you find out who voices the puppets!

The biggest twist gives the audience what feels like Appendage 2.0. Zlokovic’s script allows for some wickedly fun acting choices. I won’t spoil the fun, but multiple roles are distinct and biting. APPENDAGE is body horror that tackles unresolved trauma, mental health, and pushing past fear. I found the final scene reminiscent of Jennifer Kent‘s The Babadook. It is one hell of a metaphor for living with depression. SXSW 2023 audiences understand what a compliment that is.


Film Screenings

Mar 11, 2023
11:15am12:49pm
 
Mar 14, 2023
9:45pm11:19pm
 
Mar 16, 2023
2:00pm3:34pm
 

Credits

Director:

Anna Zlokovic

Producer:

David Worthen Brooks, Arbi Pedrossian, Jenna Cavelle, Katrina Kudlick, Alex Familian, Hadley Robinson, Anna Zlokovic

Screenwriter:

Anna Zlokovic

Cinematographer:

Powell Robinson

Editor:

Alex Familian

Production Designer:

Michelle Olivia Patterson

Music:

Nick Chuba

Principal Cast:

Hadley Robinson, Emily Hampshire, Brandon Mychal Smith, Kausar Mohammed

Additional Credits:

Costume Designer: Naomi Wolff Lachter, Creature Designer: Douggy Pledger, Special Effects Department Head: Amber Mari, Key Effects Artist: Jim Ojala

SXSW 2023 documentary review: ‘ANOTHER BODY’ is a new nightmare for women everywhere.

ANOTHER BODY

*This review also appears on AWFJ.org

Women have always felt unsafe. It is ingrained in our nature to fear, to look over our shoulders, and to carry our keys between our fingers late at night. As if we didn’t have enough to worry about, enter the newest AI nightmare into the conversation. Anyone can go online and copy and paste your photo to create a duplicate or entirely new profile on social media. As if things weren’t bad enough, catfishing gets a superpower with the introduction of deep faking. SXSW 2023 documentary ANOTHER BODY from directors Sophie Compton and Reuben Hamlyn follows the story of a young woman named whose life is upended by one spiteful person with an agenda.

Meet Taylor, an engineering grad student living her quiet life attending classes and living a quiet goal-oriented life with her boyfriend. After receiving what she thought to be spam messages from her classmates, Taylor finds her image stolen, her name tarnished, and harassed by strange men who now know where she goes to school and where she lives. She discovers her face has on someone else’s body in videos on an adult website. Her image and name have an entire account, and new videos keep appearing. ANOTHER BODY is a film about consent on numerous levels and the battle against gender-based violence.

The film mixes sit-down interviews with Taylor, cell phone footage from her investigative journey, and animated recreations of her emotional processing. That is not the most impressive visual aspect of the film. “Taylor” is not what she appears to be. Let me explain this statement. The face projected to the audience is an actress whose face has been deepfaked onto our storyteller. The reveal comes as a complete surprise but perfectly encapsulates the danger of this technology. You will find yourself overanalyzing her movements on screen and realizing how vulnerable our identities are. It is nothing short of fascinating work.

When Taylor reaches out to the police, it is clear that they are out of their element. There are no clear laws about a technology that is rapidly changing. Then the inevitable victim-blaming begins both from law enforcement and friends and family. Taylor takes it upon herself to discover the identity of the culprit. Becoming a DIY detective, she narrows it down to three likely suspects. The mystery deepens as her online sleuthing and fight for justice play out in real time. Taylor finds that other women in her circle are also victims. As they compare notes, one name stands out from the rest. It is undeniably compelling to witness her take action. ANOTHER BODY is an infuriating and invigorating watch. It will resonate with true crime audiences and victims of gender-based violence. When body autonomy becomes threatened, you must become your own warrior.


SCREENINGS:
 
Mar 11, 2023
12:15pm1:35pm
 
Mar 14, 2023
5:00pm6:20pm
 
Mar 16, 2023
9:15pm10:35pm
Directors:

Sophie Compton, Reuben Hamlyn

Executive Producer:

Jenny Raskin, Lauren Haber, Geralyn Dreyfous, Maiken Baird, Gloria Zhu & Stanley Tang – Bearcat Content, Ruth Ann & Bill Harnisch – The Harnisch Foundation, Inmaat Productions, Mason Orfalea & The Natalie Orfalea Foundation, Ann Lewnes, Meadow Fund, Lisa & Matthew Sonsini, Chris & Heidi Stolte

Producer:

Elizabeth Woodward, Sophie Compton, Reuben Hamlyn

Screenwriter:

Sophie Compton, Reuben Hamlyn, Isabel Freeman

Cinematographer:

Nausheen Dadabhoy

Editor:

Isabel Freeman, Rabab Haj Yahya

Sound Designer:

Gisela Fullà-Silvestre

Music:

Holland Andrews

Additional Credits:

Co-Executive Producers: Nina & David Fialkow, Meryl Metni – Ubiquitous EG, Kelsey Koenig, Co-Producer: Avery McCann, Post Production Supervisor & Associate Editor: Claudia Tanney, Animation Studio: Cream Projects, Motion Graphics: Spencer Haley, Studio Macuna, Deepfake Artist: Fernando Sánchez Liste, Consulting Producer: Scott Macauley, Consulting Editor: Karen K.H. Sim