
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.
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 |




Michael Patrick Lane is Emily’s captor and psycho ex, Charlie. Scary and somehow kooky, he is like the Michael Myers of ex-boyfriends. Missi Pyle plays Carole, and she’s a real asshole. Her performance is both caricature and authentically terrifying. Pyle gives us rich, tacky, gun-toting Karen energy. I mean, had station is in Tallahassee. Her character work is unreal.
Midori Francis is an absolute badass as Emily. Minutes in, I was yelling at the screen, cheering her on. Her shockingly calm demeanor is all the motivation Sam needs to help. Jolene Purdy plays Sam with zero self-esteem and a heart of hold. Her emotional arc in the film will leave you with a smirk. She and Francis have electric chemistry, especially considering they are never in the same space as one another. They are both stars.
Areal shots are stunning. The addition of out-of-focus camerawork puts you in Emily’s chaotic mindset. The splashy neon colors of the Gator Galore station contrast beautifully with Emily’s overcast forest landscape. Directed by Yoko Okumura and written by Salvatore Cardoni and Brian Rawlins, UNSEEN balances comic, over-the-top characters with nuanced ones and the plausible scenario of a woman’s abduction by her ex. The script is a commentary on class and one hell of a story of gender-based violence. It is undeniably entertaining. Some audiences might initially make comparisons with Shudder’s
Pure O
Raging Grace (United Kingdom)
Another Body





















Five Women Unpack the Deeply Entrenched Misogyny in Syria in this Intimate and Affecting Documentary
Ari Jan
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.
The writing is perfectly genius, as it disguises the mystery within the secretive nature of the religion. I watch a lot of horror. ATTACHMENT had me on the ropes. I had no idea where this script would land. The language barrier raises the stakes, as important revelations become lost in translation, literally. Performances are spectacular and nuanced. The emotional journeys are lush. Their pasts slowly revealed creating a genuine and curious bond. I could not take my eyes off the screen while watching Attachment, fearing I’d miss the smallest detail. Audiences will be hypnotized.


The film begins with intriguing flashbacks of a cult murder, newspaper clippings, and a hauntingly saccharine song. The setup immediately captured my attention. A sudden shift in style and time reveals Karma and Sunny living in fear and relying on the kindness of former cult members for protection. Small crumbs of cult life are just enough to keep you invested in Karma’s fate.
Michael Madsen is vile. His iconic voice serves him well as Paul, giving him an effortless presence. He could have been made more menacing with a few tighter shots overall. Kimberly Alexander plays Sunny with extraordinary nuance. This roller coaster ride of a role spans every emotion; adoration, cruelty, and unadulterated honesty. Alexander goes for it.
It takes a solid 25 mins to get to any action, but then it is pretty much maniacal from there on out. The plot gets more sick and twisted as we roll along, both physically and psychologically. WAKING KARMA shines brightest in the scenes between mother and daughter. The shockingly devastating dialogue by director Liz Fania Werner with co-director Carlos Montaner‘s DP work almost demands an in-depth 

Mesmerizing closeups of body parts beading with sweat captured with static and handheld camerawork beautifully complement the conversations and place the audience inside the room. Haunting vocals during transition moments captivate the audience. Images of south Estonian matriarchs are projected on the sauna smoke as their voices recall tales from their lives. It is another stunning addition to an already visually sumptuous film.
Topics like cancer, women’s rights, body shaming, unresolved trauma, sex, and sexuality swirl freely. It is a safe space I envy. Smoke Sauna Sisterhood brings a contagious joy. There is a raw elegance I think Sundance 2023 audiences, specifically female viewers, will welcome. This film is a celebration of our complexities, highlighting the tender care we take with one another. It is revelatory to rediscover the interconnectedness of women and our shared experiences, good and bad. It is an astonishingly rewarding emotional catharsis.
Anna Hints is an Estonian film director with a background in contemporary art and experimental folk music. Having deep roots in the distinct culture of South Estonia, Hints’ second home is in India. As an active dumpster diver, Hints’ short documentary For Tomorrow Paradise Arrives initiated public discussion and growth of new grassroot movements against food waste in Estonia.
Imagine a scenario, if you will, where the federal government controlled the entirety of the media. Ask North Korea and China’s citizens how well that works for them. Native American tribes are sovereign nations. They do not have freedom of the press. In the Sundance 2023 documentary from Rebecca Landsberry-Baker and Joe Peeler, BAD PRESS exposes the crushing actions of tribe leaders to remain in power. MVSKOKE MEDIA journalists are under attack while the Chief manipulates the Muscogee community with misinformation. Who will protect the truth?
The biggest question becomes, “What do you have to hide?” BAD PRESS is the perfect Sundance 2023 companion to watch with
Slamdance 2023 Premiere of
After jail-time, 12-step programs and five marriages, Annie begins her acting career in her mid-fifties with the help of a young director she met at a Burger King. In this show within a show, Annie tackles both her gigs as an actor and the role of herself in her own life story.
A farcical meta delight, Slamdance 2023 episodic WHO’S ANNIE skewers the absurdity of Hollywood, but that’s only the beginning. Annie Pisapia plays herself and doesn’t. Yup. You read that correctly. This “series within a series” is wildly entertaining and wholly bizarre.
Writer-director Sophia Peer plays “herself,” a television director with awkward and quirky energy. Peer bears a striking resemblance to Rhea Pearlman. It’s a head-scratching role, and I could not look away. Sofia Dobrushin plays the “series” version of Peers. Wide-eyed and perfectly cast, Dobrushin appears both afraid and at home in coordinated chaos. I adored her. Annie Pisapia owns the screen, as her comic timing is something to behold. Her rough exterior feels part false flag, part true identity. She is so convincing it is genuinely tough to discern between Annie’s real life and the script. That is the entire point of the series, and Peer has succeeded with flying colors. Adding in Peer’s manic confidence and Dobrushin’s “yes, and” attitude, these three women exquisitely complement one another.
Because the show jumps in style, so does the cinematography. It is eye candy that never gets boring. It is pure silliness, and I’m dying for more. It’s Comedy Central meets Mad TV. There is a lot of meat on the bone for series development. Everyone has enough (or a lot) of backstory to expand upon and plenty of weirdness to start. 
The editing combined with the score creates a charming and deeply affecting quality. Confessional diary logs place us in Ella’s headspace. She uses home videos and sit-down chats with her Mum and Dad about what it was like to raise her. Seeking specialists and families with the same disability offers Ella more questions than answers. We follow Ella through an unexpected pregnancy. Her gorgeous son River and the Covid 19 pandemic change how she views potential surgery options. As she speaks to others via Zoom, she contemplates the appreciation of her body.
The discussion of ableism is paramount to understanding Ella’s life and any family with a differently abled member. I am the mother of a seven-year-old son with Autism Spectrum Disorder. I suspect that with his off-the-charts cognitive abilities, the more precise diagnosis is Aspergers. I appreciated Ella and her best friend Naomi’s honest discussions about her autism and the challenges of an invisible disability. Each admits they cannot fully understand the inner workings of one another’s feelings and worry they have inadvertently said horrible things to one another. Understanding the staring, judgment, and how it pierces the heart cannot be ignored. That is also why the conversations with Ella’s parents resonated with me. Like Ella seeking someone to connect to, her Mum and Dad were touchstones for me.
IS THERE ANYBODY OUT THERE? tackles outdated stereotypes and deep-seated trauma, but also optimism. I hope Ella Glendining understands the gravity of her film. I have to thank her for sharing her life, and I look forward to sharing her story with my son when he is a bit older. IS THERE ANYBODY OUT THERE? celebrates individualism and isn’t that the ultimate goal?
The film looks beautiful. Fran Fernández Pardo‘s cinematography highlights the rich colors in fabrics and paint and captures extraordinary angles in fantasy sequences. The commentary on religious oppression and desire is unmissable. The performances are outstanding. Kiti Mánve breathes vulnerability and quiet ferocity into the role of Mari Cruz. It is a stunning, award-worthy turn.
Screening Times

Simon’s psychological manipulation appears in many forms. The constant beratement, the gaslighting, the incessant need to control Alice’s appearance, her whereabouts, what she eats, and when she communicates with him.
Simultaneously frightening and punchable, Charlie Carrick plays Simon with loathsome energy. Kaniehttio Horn, as Tess, brings tough cookie energy. It’s a wonderful balance for Wunmi Mosaku playing Sophie. She arrives with a genuine mother-hen vibe. As tensions rise, Mosaku serves as a mediator and mender. These three women complement each other perfectly. It was a joy to watch such grounded performances.
Anna Kendrick is captivating as Alice. Writer Alanna Francis hands Kendrick a gift by giving the character the hair-pulling disorder, Trichotillomania. She is the physical embodiment of anxiety. Her naturally petite frame and stature lend themselves to heightened physical frailty. But it is Kendrick’s idiosyncracies that place you inside the mind of a woman consumed by terror.
The script’s structure occurs in three distinct acts. The subplot of a local missing woman presents the viewer with a myriad of emotional and narrative possibilities. The gravity of female friendship and the innate protective instincts we carry loom large. The fear women face on a day-to-day basis feels weighty in the narrative. ALICE, DARLING is a keen reclamation of power through the love and support of their fellow sisters.
DUNGEONS & DRAGONS: HONOR AMONG THIEVES TO OPEN FEST
Flamin’ Hot
Parachute
Angel Applicant
Down Low
A Disturbance in the Force
Brooklyn 45
Breaking Fast with a Coca Cola
I Probably Shouldn’t Be Telling You This
The Bus (Spain)
Beyond The Fringe (Spain)
Dead Enders
Breaking Silence
Aespa VR Concert at Kwangya (Republic of Korea, U.S.)
Eggscape (Argentina)
present
Locke’s script sets a solid pace, with details of her daughter’s disappearance slowly revealing themselves, unrequited love, past regressions, and secrets boiling over. Darlene’s ex-brother-in-law lands on her doorstep under the guise of a surprise family reunion, but his ulterior motive involves a revelation in Sally’s case. The information he’s been sitting on as Darlene relentlessly searched for Sally, became an advocate for other families, and got her alcoholism under control. The rage and fear evolve into a knockdown, drag-out fight between redemption and revenge.
Compounded by the raging snow outside, any turmoil coming from the house is more than muffled. This simple device proves to be a wonderful segway for Gretchen to reenter the story.
Here is where I felt like
THE APOLOGY
Top L–R: Bravo, Burkina!, Girl, Polite Society, Mami Wata.
Director Jordyn Romero bonded with Sanu over their love of surfing, a predominantly male-dominated sport. Sanu’s fearless pursuit of wanting to become the first female surf instructor from Sri Lanka lies beyond the horizon. In Sanu’s words, “We Are Like Waves. You cannot stop us.” This simple act of rebellion is certain to have a ripple effect. Romero brings audiences a relatable story told with grace. Boasting a beautifully encompassing score, WE ARE LIKE WAVES sees Romero and Sanu carve a path for the next generation.

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