Tribeca Film Festival 2022 review: ‘An Act Of Worship’ is required viewing.

An Act Of Worship

Reenactments, sit-down interviews, home videos, photos, and intimate storytelling, Tribeca 2022 feature documentary An Act Of Worship highlights the continued pain and persecution of Muslims in America. Thirty years of pivotal historical trauma shape the community, as told through three female activists and those around them. 

The doc addresses the highs and lows through the lens of personal identity from Oklahoma City to the election of President Obama. His presidency felt like a bait and switch. Then came Trump, and we’re all still reeling from that atrocity. 

The continued trauma permeates everyone who practices Islam. The film does not shy away from the implicit bias we’ve come to acknowledge only recently. It addresses racism head-on with honesty. Imagine if the NYPD monitored Christian charities, households, and churches the same way they harass Muslims. White people would lose their minds. 

Hearing the emotional impact on Muslims is undeniably powerful. Listening to these vibrant and hopeful young people alongside their parents is enlightening. These are the stories we must hear in order to connect new generations and old generations. 

I attended Catholic school from first to eighth grade. I am now an agnostic because of this. But, I distinctly remember my father encouraging me to explore other religions if I felt I needed to. I firmly believe that students in the United States should learn about every religion, its origins, and its belief structure to quell fear based on ignorance or propaganda. Multicultural panels and open discussions are imperative to understand that we’re more alike than different, as cliche as it sounds. An Act Of Worship is undeniably a beautiful and important conversation starter. We need more films like this.


Running Time: 83 Minutes

Language: English, Arabic Country: USA

DIRECTOR
Nausheen Dadabhoy
PRODUCER
Sofian Khan, Kristi Jacobson, Heba Elorbany
CINEMATOGRAPHER
Nausheen Dadabhoy
COMPOSER
Mary Kouyoumdjian
EDITOR
Ben Garchar


Tribeca Film Festival 2022 review: ‘My Love Affair With Marriage’ is an animated handbook to the complexities of female existence.

My Love Affair With Marriage

From an early age, songs and fairytales convinced Zelma that Love would solve all her problems as long as she abided by societal expectations of how a girl should act. But as she grew older something didn’t seem right with the concept of love: the more she tried to conform, the more her body resisted. A story about the acceptance of the inner female rebellion.


A musical evolution of one girl’s journey into womanhood, navigating every cliché influence thrown at her from birth. 2D and stop motion animation illustrate Zelma’s life and thoughts. The film charms you with a mix of science and storytelling. Zelma narrates her journey like diary entries performed at a read-aloud. They are honest, funny, and universally relatable. Viewers will grin from ear to ear and nod knowingly. “Biology” explains how Zelma’s chemistry simultaneously affects her actions and reactions. 

The musical numbers are snappy and frequent. The lyrics allow those clichés to become confessions of the ridiculous patriarchal structures. They are predominantly performed by three women, akin to muses, following Zelma through life. The nonsensical expectations of society, combined with the hardwiring of a woman’s brain, create an incredible insight into our behavior. 

I am a big fan of Signe Baumane‘s film Rocks In My Pockets. I was delighted to see My Love Affair With Marriage on Tribeca 2022 slate. This film is something special. It’s unafraid to reveal our innermost thoughts, fears, hopes, regrets, mistakes, and dreams. It celebrates unfiltered authenticity with clever writing and delightful visuals. It’s an outstanding feminist film that will undoubtedly win over audiences everywhere. 



https://www.tribecafilm.com/films/my-love-affair-with-marriage-2022

RT: 107 minutes

Sunday, 06/19/2022, 4:00 PM at VEC-05 – 3rd Screening


Director & Screenwriter: Signe Baumane

Cast: Dagmara Domicnik (“Succession,” “We Are The City”), Matthew Modine (“Stranger Things”), Emma Kenney (“Shameless,” “The Conners”), Cameron Monagha (“Shameless”) and Stephen Lang (Avatar 1-4)

Producers: Roberts Vinovskis, Sturgis Warner, Signe Baumane, Raoul Nadalet

Executive Producers: Matthew Modine, Adam Rackoff, John Jencks


Tribeca Film Festival 2022 review: ‘CHERRY’ slides by with authenticity.

CHERRY

Stunted adult Cherry discovers she’s pregnant and has 24 hours to decide whether or not to go through with an abortion. The film counts down the day one hour at a time while she encounters all the people in her life; bosses, coworkers, doctors, her boyfriend, and her family. Cherry is a master of bad decisions. Now, it’s time to grow up. 

Alex Trewhitt brings flighty and raw energy to the titular role. She’s comfortable in her skin, and the camera loves her. Her nonchalance compels you to invest in Cherry’s wellbeing, whether because you’re disappointed in her or because you relate. Trewhitt leans into Cherry’s flaws, embodying the coming-of-age spirit of the film.

The handheld camera work works perfectly for this anxiety-ridden, real-time storytelling. The momentum seems to lull about halfway in, particularly when Cherry arrives home. But, writer-director Sophie Galibert, who co-writes with Arthur Cohen, has a clear vision of the weight of such a decision. I would gladly see what she has up her sleeve next. If you put the film into personal context to realize where you were at 25, Cherry nails it with a messy authenticity. Did Cherry make me want to buy a new set of rollerskates at 42 years old? Absolutely. 


To find out more about Tribeca 2022 and how to watch CHERRY, click here!


DIRECTOR
Sophie Galibert
PRODUCER
Sophie Galibert, Shincy Lu, Philippe Gompel
SCREENWRITER
Sophie Galibert, Arthur Cohen
EXECUTIVE PRODUCERS
Sophie Galibert, Matthew Michel, Jacqueline Garcia Ortega
CINEMATOGRAPHER
Damien Steck
COMPOSER
Clémentine Charuel
EDITOR
Camille Delprat
ASSOCIATE PRODUCER
Alexander Akoka, Clara Sansarricq, Arthur Cohen
CO-PRODUCER
Cameron Holly Dexter
COLORIST
Lionel Kopp
CASTING DIRECTOR
Jasmine Gutierrez
PRODUCTION DESIGNER
Yuelin Zhao
COSTUME DESIGNER
Gigi Harding
MUSIC SUPERVISOR
Roxanne Oldham
CAST
Alex Trewhitt, Joe Sachem, Dan Schultz, Sandy Duarte, Alice Bang, Hannah Alline, Melinda DeKay, Angela Nicholas, Charlie S. Jensen, Darius Levanté



Tribeca Film Festival 2022 review from Unseen Films: ‘BLAZE’

BLAZE

After accidentally witnessing a violent crime, a young girl is left catatonic with shock, and struggles to make sense of what she saw, ultimately finding renewal in the inestimable world of her own imagination.


It is a  brilliantly made, beautifully acted film that is an excellent exploration of dealing with trauma. I applaud the filmmakers for making a film that deals honestly with the subject and doesn’t make it so everything instantly goes away in 90 minutes.

That said, we have to talk about the opening.

I am being more forthcoming than the promotional material for the film in that I am telling you our right that the terrible thing mentioned in the promotional material is a sexual assault, I am also warning you that it is really brutal.  While I hate warning audiences this time there should have been a warning on the content before going in – especially since some write-ups mention the film being about a girl and her invisible dragon- which many, myself included, made us think slightly lighter fare.

I mentioned this because I have friends who are victims of sexual assault and watched them walk out after discovering a film or play not knowing the subject matter. I have a day job where I have come into contact with survivors and I have seen them triggered by off-handed mentions of their own or another’s assault.  I have been yelled at by friends for not mentioning lesser assault in a film recommendation, so despite the filmmaker’s desire that audiences not be told and discover the event on their own, I am warning you.

Critically the assault raises an important question about the structure of the film in that there is no constructive need for us to witness the whole thing when our heroine does not. She only peaks at the rape, hiding behind a tree and listening to what she can hear over the sound in her headphones. There is no rational reason for us to see the rape in detail from multiple angles other than the creating of a head space, which ends up being overdone since the rape hangs over the film. Think about it- I am talking about the start of the film despite the ending being hopeful.

In an age where we label what is in the film, there was, as of this writing (June 3) no warning anywhere. There should be one. More so since I know other festivals such as Sundance and SXSW earlier this year had warnings on films that were much less jarring.

And no I am not big on trigger warnings but this film really requires one- even if my calling for one may make you think it’s not as bad as all that- because someone is not going to get the memo.

Warning given the film is gorgeous and amazingly well made (dare I say it could be called a great film), but everything is colored by the rape and as such, I don’t want to discuss it.

You’re on your own


For more Tribeca coverage from Unseen Films click here!


Remaining screenings:
Fri June 10 – 5:45 PM

Cinépolis: Theater 5

Fri June 17 – 8:00 PM

Village East by Angelika: Theater 2


Review: ‘Tales From The Other Side’ is spooky fun for horror lovers.

I love a good horror anthology. With a classic Halloween trope of three kids getting pulled into the town legend’s Victorian mansion, Tales From The Other Side finds Scary Mary spinning tales of terror for her eager guests. Six separate stories send shivers down their spines and sweets into their bellies. 

“Petrified Boy”

A ringmaster takes advantage of a tragedy.

“Flicker”

An aspiring filmmaker takes a job making memorial videos for a funeral home. 

“Crystal Ball”

A couple in turmoil steals the coveted object of a fortune teller. 

“Either / Or”

Trae Ireland, Tonya Cornelisse, and James Duval pack a punch in a story about a mental facility patient claiming to be the prophet, Elijah. This segment is the epitome of masterful performance. The finale will blow you away. 

“Blood Red”

An artist’s triste gets bloody complicated. 

“Krampus Vs. Elf”

A visually jarring stop motion battle between good and evil. It’s pretty disgusting, but the ending is chef’s kiss. 

Our three young leads are fantastic. Brooklyn Anne Miller, in particular, is flawless. Get that girl a show on Nickelodeon ASAP. Roslyn Gentle, as Mary, is a superstar. I’d watch an entire franchise with her as the center. 

Tales From The Other Side has a solid “Are You Afraid of the Dark?” vibes. It’s tricky to stand out amongst hits like The Mortuary Collection and the VHS franchise, but Tales From The Other Side gives it an honest-to-goodness try. The filmmakers are clear classic genre fans working on a micro-budget. The makeup and scores are great additions. The opening title sequence from Sean Wyn is creative and disturbing. What more could you ask for setting up scary stories with anything but horrifying drawings from children? It’s not as if you don’t know where the overarching narrative around Scary Mary is going. Tales From The Other Side is still a gruesome delight.


ON DIGITAL AND DVD JUNE 7


Directors: Pablo Macho Maysonet IV, Jamaal Burden, Scotty Baker, Jacob Cooney, Lucas Heyne, Kern Saxton, Frank Merle

Cast: Ros Gentle, Michael Broderick, Rafael Delgado Jr., James Duval, Chelsea Vale, Vernon Wells, Andreas Rodriguez


Review: Drag superstar Bebe Zahara Benet gets real in Emily Branham’s documentary ‘Being Bebe’

BEING BEBE

BEING BEBE intimately charts 15 years of drag performer Marshall Ngwa (aka BeBe Zahara Benet): An immigrant to America from homophobic Cameroon, first champion on now-iconic LGBTQ+ reality show phenomenon RuPaul’s Drag Race. Grounded by Marshall’s present-day narration, the film features vérité, interviews and performances illustrating his journey to Queer Black Excellence.


A cultural icon in the world of female illusion, BeBe Zahara Benet rose to international fame as the first winner of RuPaul’s Drag Race. But Marshal Kudi Ngwa‘s career was years in the making before the reality series. Director Emily Branham uses archival footage mixed with sit-down interviews during COVID. How does a star slowed down by a global pandemic remain relevant without a live audience’s love and energy? Being BeBe is a heartfelt and honest look at the artist pushing boundaries without pause.

The film addresses the criminality of queerness in Cameroon. Branham respectfully blurs the faces of the participants not only for their physical safety but to give them the freedom to express themselves fully on camera. These young men explain the constant fear of being discovered by family or friends. The isolation takes a toll. The slip of a gesture could mean putting their existence at risk. BeBe has become a role model for those in Cameroon. She uses her platform to support the queer community and give a face to black excellence.

Marshall has a personable and glorious nature. You long to be in his presence as he radiates kindness, humor, grace, and an intensely inspiring work ethic. The film is an unfiltered look at the industry’s ups and downs. That unpredictability causes Marshall to push his ego aside, emotional breakthroughs, and unapologetic admissions. Being BeBe is infectious. If you weren’t a fan before, get ready for newfound respect and adoration for BeBe Zahara Benet because, honey, she continues giving us Face, Face, Face, no matter what.


BEING BEBE // Festival Teaser from Emily Branham on Vimeo.

BEING BEBE, roars into Pride Month on June 7th on major Transactional Video on Demand (TVOD) platforms via digital distributor Giant Pictures
(Apple TV, Prime Video, Google Play, Vudu – Pre-Order at https://geni.us/BeingBeBe).
The film will also make its Broadcast Premiere on Fuse on June 21st.


The countdown is officially on for Tribeca Film Festival 2022. Here are 20 films we’re keeping our eyes on this year.

Tribeca is back in action. The 2022 interaction of the festival will have events including films, talks, masterclasses, immersive selections, and a watch at-home option if you’re not in the city. There is so much to experience this year, but here is a list of films we’re keeping our eyes on. More to come as the festival rolls on over 12 days.


HALFTIME

– Opening Night –

Launches on Netflix on June 14th

HALFTIME offers an intimate peek behind the curtain revealing the grit and determination that makes Jennifer Lopez the icon she is, from her performances onscreen and on stages around the world, to her Super Bowl Halftime show, to the recent Presidential inauguration. The documentary focuses on an international superstar who has inspired people for decades with her perseverance, creative brilliance, and cultural contributions. And it’s only the beginning. HALFTIME serves as the kickoff to the second half of Lopez’s life, as she lays bare her evolution as a Latina, a mother, and an artist, taking agency in her career and using her voice for a greater purpose.

Directed by: Amanda Micheli

Produced by: Benny Medina, Elaine Goldsmith-Thomas, Dave Broome, Angus Wall, Terry Leonard, Jennifer Sofio Hall, Kent Kubena, and Serin Marshall

Screenings: 

6/8 at 7:00pm – United Palace

6/9 at 9:00pm – Village East by Angelika: Theater 1

6/11 at 11:30am – Cinépolis: Theater 4


CAROL AND JOHNNY

The unbelievable, decade-spanning, and surprisingly heart-warming true story of two of America’s most successful bank robbers, Carol & Johnny provides the opportunity for the real-life Bonnie and Clyde to reflect upon and record their unique love story in their own words. Comparing and contrasting the oral histories of both now-elderly ex-cons, Colin Barnicle’s riveting biographical documentary traces the history of the duo with equal intensity and intimacy, transforming true crime into a rich, literary epic. 

If you’re not obsessed with true crime at this point, I don’t know what rock you’ve been living under. This one has an intimate and personal touch to it.

Directed by: Colin Barnicle 

Produced by: Barnicle Brother with Words and Pictures

Section: Viewpoints, Feature Documentary

Screenings:

6/12 a 5:00pm – Village East by Angelika: Theater 2

6/14 at 6:00pm – At-home Virtual Screening  

6/15 at 2:45pm – Village East by Angelika: Theater 6

6/16 at 8:00pm – Village East by Angelika: Theater 2


RUDY! A DOCUMUSICAL

Whether you love, hate, or loved then hated Rudy Giuliani, everyone knows his name. He was “America’s mayor,” Time Magazine’s Person of the Year, US Attorney for the Southern District of New York, and a personal lawyer to the former President of the United States. Dissecting the rise and fall of its titular subject with thorough research and an inquisitive eye, Rudy! A Documusical is a political documentary that goes beyond well-known headlines to explore the psyche and circumstances of a man in free-fall.

The downfall of “America’s Mayor” (and yes, we did call him that as someone who experienced 9/11 here in the city as a college student) is one of the most shocking things to witness. Share in the media-frenzied weirdness why don’t you?

World Premiere

Directed by: Jed Rothstein

Produced by: Ross M. Dinerstein and Sarit G. Work

Section: Spotlight Documentary

Screenings: 

6/9 at 8:30pm – SVA Theater 1 Silas 

6/10 at 2:45pm – Cinépolis: Theater 5

6/17 at 8:15pm –  Tribeca Center


FAMILY DINNER

It’s no surprise that the Midnight films happen to be the ones I covet most during Tribeca. This year, Peter Hengl’s film Family Dinner features a young woman named Simi visiting her family for Easter. Seeking the guidance of her famous nutritionist aunt, Claudia, she is introduced to a diet that will take every ounce of willpower. The film simmers in uncomfortable tension. Don’t think that for a moment, I missed  Ant Timpson as one of the executive producers. Family Dinner has all the ingredients for a feast, that might just come back up later.

Fri June 10 – 9:00 PM
Village East by Angelika: Theater 6
 
Sat June 11 – 9:45 PM
Village East by Angelika: Theater 4
 
Wed June 15 – 8:15 PM
Tribeca Film Center

BODY PARTS

This stellar documentary dives headfirst into the “reality” of sex scenes in Hollywood. In conversation with actresses, directors, and intimacy coordinators, Body Parts mixed social relevance and amazing editing to bring you into the bedrooms of some of the most iconic sex scenes in cinematic history. And that’s only the beginning of what this film tackles. Get ready for a lesson in industry intimacy.

DIRECTOR

Kristy Guevara-Flanagan

 
EXECUTIVE PRODUCERS
Ruth Ann Harnisch, Abigail Disney, Daniel Chalfen, Adrienne Becker, Roger Clark
 
CAST
Jane Fonda, Joey Soloway, Angela Robinson, Karyn Kusama, Rose McGowan, David Simon.
 
Sun June 12 – 2:45 PM
Village East by Angelika: Theater 1
 
Mon June 13 – 8:15 PM
Tribeca Film Center
 
Tue June 14 – 6:00 PM
At Home

Only available in New York state

Thu June 16 – 9:00 PM
Cinépolis: Theater 6
 

THE YEAR BETWEEN

(US Narrative Competition) – Clemence Miller, played by comedian writer/director Alex Heller, is coming home to live in her family’s basement after dropping out of college with a newly diagnosed mental illness. Having to face her battered relationships and responsibilities of adulthood, she is driving everyone around her… crazy.

Alex Heller is a tour de force in this unapologetic and in-your-face indie. Wearing all the hats in this film as star, writer, director, and producer. 
 
DIRECTOR
Alex Heller
 
PRODUCER
Eugene Sun Park, Amanda Phillips, Sonya Lunsford, Rachel Gould, Caterin Camargo-Alvarez, Alex Heller
 
SCREENWRITER
Alex Heller
 
CINEMATOGRAPHER
Jason Chiu
 
EXECUTIVE PRODUCER
Adrienne Becker, Susanna Fogel, J. Smith-Cameron, HaJ
 
CAST
Alex Heller, J. Smith-Cameron, Steve Buscemi, Wyatt Oleff, Emily Robinson, Kyanna Simone, Rajeev Jacob, Waltrudis Buck
 
Sun June 12 – 5:30 PM
Village East by Angelika: Theater 1
 
Available Starting
Tue June 14 – 6:00 PM
At Home
 
Tue June 14 – 8:45 PM
Village East by Angelika: Theater 3
 
Fri June 17 – 9:00 PM
Cinépolis: Theater 6

NAKED GARDENS

(Documentary Competition) – An immersive film from filmmakers Ivete Lucas and Patrick Bresnan (Pahokee), about the unseen world of nudism. Set in the Florida Everglades, NAKED GARDENS follows the stories of individuals drawn to this lifestyle and the dilemmas they face, as they prepare for the Midwinter Naturist Festival.

Charming and insightful, push your judgment aside and meet a community attempting to live and accept one another. They just happen to be nude.

DIRECTOR
Ivete Lucas, Patrick Bresnan
PRODUCER
Patrick Bresnan, Ivete Lucas, Tabs Breese, Julia Nottingham, Roberto Minervini, and Denise Ping Lee
SCREENWRITER
Ivete Lucas
CINEMATOGRAPHER
Patrick Bresnan
EDITOR
Ivete Lucas
 
Fri June 10 – 5:45 PM
Village East by Angelika: Theater 3
 
Sat June 11 – 5:15 PM
Tribeca Film Center
 
Thu June 16 – 5:45 PM
Village East by Angelika: Theater 3


AMERICAN DREAMER

Based on a true story. American Dreamer is the story of Dr. Phil Loder (Peter Dinklage), a low- level, adjunct professor of economics, whose grand dream of owning a home is tragically out of reach…until an incredible, once-in-a-lifetime opportunity comes his way when a lonely, near-death widow (Shirley MacLaine) offers Phil her sprawling estate for pennies. But Phil quickly learns the deal is too good to be true and the American dream is not quite what it used to be.

You had me and most viewers at Peter Dinklage. The man can do no wrong in my book and we’re beyond excited to see him tackle this role based on a true story.


Directed by: Paul Dektor
Written by: Theodore Melfi
Produced by: Toyo Shimano, Emily Shimano, Theodore Melfi, Kimberly Quinn, Peter Dinklage, David Ginsberg, Paul Dektor
Starring: Peter Dinklage, Shirley MacLaine, Matt Dillon, Danny Glover, Kimberly Quinn, Danny Pudi

RT: 106 Minutes

Public Screenings
Saturday, June 11, 2022, 8:00 PM at BMCC Tribeca Performing Arts Center
Tuesday, June 14, 2022, 5:30 PM at Village East Cinema: Theater 3
Friday, June 17, 2022, 3:00 PM at Village East Cinema: Theater 3



THERE THERE

World Premiere – Spotlight Category

Directed by: Andrew Bujalski
Starring: Jason Schwartzman, Lili Taylor, Molly Gordon, Lennie James, Avi Nash, Annie LaGanga 
Music by: Jon Natchez, Roy Nathanson

RT: 93 minutes

Ever wonder if falling in love again is worth the effort? If someone you cared about were crazy, or if you were crazy for caring? Could someone you trust destroy you while trying to support you, or vice versa? What if the boundaries were getting awfully blurred? Are we being judged for these choices, and who’s judging? Should we have another drink? Are we even communicating now, are we on the same planet, in the same time and place here?

A lover’s doubt in the cold light of morning leads to a chain of uneasy intimacies–counselors, disrupters, peacemakers, and firestarters–everyone looking to have a little faith rewarded.


Public Screening
Friday, June 10, 2022, 5:30PM at SVA Theater 2 Beatrice
Saturday, June 11, 2022, 6:00PM at Cinépolis: Theater 6
Friday, June 17, 2022, 3:45PM at Village East by Angelika: Theater 4



CORNER OFFICE

World Premiere – Spotlight Narrative Category 
 

Directed by: Joachim Back
Starring: Jon Hamm

RT: 101 minutes

CORNER OFFICE an absurdist tale of a man lost in his own space. Orson (Jon Hamm) is a corporate drone trying to move up in his newly acquired entry-level job who discovers a secret room in his drab, soul-crushing office building; a discovery that causes problems with his new colleagues (Danny Pudi and Sarah Gadon). Director Joachim Back’s Kafka-esque debut feature, adapted by Ted Kupper from Jonas Karlsson’s international best-selling novel The Room, explores how to be sane in a world gone mad.

Public Screenings

Thursday, June 9, 2022, 8:00 PM at BMCC Tribeca PAC
Friday, June 10, 2022, 3:00 PM at Cinépolis: Theater 6
Wednesday, June 15, 2022, 8:30 PM at Village East Cinema: Theater 1



THE COURTROOM

World Premiere – Online Premieres 

Directed by: Lee Sunday Evans
Executive Produced by: Lee Sunday EvansArian MoayedRyan ChanatryGena KonstantinakosAnne Carey
Starring: Marsha Stephanie BlakeMichael BraunKathleen ChalfantHanna CheekMichael ChernusMichael Bryan FrenchMick HilgersLinda PowellKristin VillanuevaBD Wong

 
RT: 87 Minutes
 
In this powerful drama from director Lee Sunday Evans and writer (and Succession breakout star) Arian Moayed, the legal thriller is given a bold and innovative new twist. Adapted verbatim from court transcripts, The Courtroom follows the harrowing journey of Elizabeth Keathley (Kristin Villanueva) a Filipina immigrant who mistakenly registers to vote while on a K3 visa, a crime punishable by deportation. Married with a newborn baby, Elizabeth, with the support of her husband and the tireless efforts of their lawyer, struggles to navigate an increasingly convoluted and nightmarish legal system.
 
Originally presented as a critically-acclaimed off-Broadway play, The Courtroom successfully captures the intensity and intimacy of live theater while also feeling undeniably cinematic. Audiences are thrown directly into Elizabeth’s story and through fluid, immersive direction and striking set design, experience her terror and desperation right alongside her. Evans and Moayed’s fascinating experiment with dramatic reenactment and hybrid storytelling is anchored by standout performances from an accomplished cast of actors – including BD Wong in a moving third act appearance – who bring genuine nuance and emotional heft to an already gripping true story.

Online Screening
Sunday, June 12, 2022, 8:00 PM


THE DROP 

World Premiere – US Narrative Competition

Written & Directed by: Sarah Adina Smith 
Produced by: Mel Eslyn, Jonako Donley, Mark Duplass, Jay Duplass
Starring: Jermaine Fowler, Anna Konkle, Utkarsh Ambudkar, Jillian Bell, Robin Thede, Elisha Henig, Jennifer Lafleur, Joshua Leonard, Aparna Nancherla

RT: 92 Minutes

Lex and Mani’s happy marriage is thrown into a tailspin when Lex accidentally drops their friend’s baby during an otherwise picturesque destination wedding weekend. While the baby is fine, the adults are not.  Lex’s mistake causes a crisis of confidence in those around her, challenging our most primal gender expectations.   

Can a relationship withstand the stress of when things get real? When things get “baby-on-the-pavement” real? 



Public Screenings
Saturday, June 11, 2022, 8:30 PM at SVA1 – Silas
Sunday, June 12, 2022, 9:00 PM at Cinepolis Chelsea -06
Friday, June 17, 2022,  9:30 PM at Village East Cinema -07


 NEXT EXIT 

DIRECTORMali Elfman
WRITERMali Elfman
CAST: Katie Parker, Rahul Kohli, Rose Mciver, Tongayi Chirisa, Tim Griffin, Diva Zappa, Nico Evers-Swindell, and Karen Gillan
 
SYNOPSIS: When a research scientist makes national news proving she can track people into the afterlife, Rose sees a way out and Teddy sees his chance to finally make it. These two strangers, both harboring dark secrets, race to join the doctor’s contentious study and leave this life behind. While Rose is haunted by a ghostly presence that she can’t outrun, Teddy is forced to confront his past. As these two misfits humorously quarrel their way across the country, they meet people along the way who force them to reckon with what is really driving them.
 
This genre-bending road trip film will get under your skin with its incredibly thoughtful performances. Parker and Kohli’s chemistry is cinematic magic. 
 
RUN TIME: 106 minutes
GENRE: Dramedy, Horror, Fantasy
 

TRIBECA PREMIERE DATE: June 10, 2022 / 6:15 p.m. ET / Village East by Angelika Theater 7 


TAURUS

DIRECTOR: Tim Sutton
WRITER:  Tim Sutton
CAST: Colson Baker, Maddie Hasson, Demetrius “Lil Meech” Flenory, Megan Fox, Ruby Rose, Scoot McNairy, Lil TJay, Naomi Wild
 
SYNOPSIS: A rising but troubled musician searches for the inspiration to record one last song, pushing himself deep into the void. A work of fiction that explores fame, addiction, the artistic process, and the music industry, Taurus is a soulful and universal cautionary tale. 
 
 Colson Baker ( AKA Machine Gun Kelly) gives an award-worthy performance. While described as a work of fiction, the story is a cautionary tale. 
 
RUN TIME: 95 Minutes
GENRE: Drama, Music
 

TRIBECA PREMIERE DATE: June 9, 2022 / 8 p.m. ET / Beacon Theatre


FOUR SAMOSAS

*WORLD PREMIERE**
 
WRITER/DIRECTOR: Ravi Kapoor
CAST: Venk Potula, Sonal Shah, Sharmita Bhattacharya, Nirvan Patnaik, Karan Soni, Summer Bishil, Meera Simhan


 
 Synopsis: Determined to disrupt the wedding of his ex-girlfriend by stealing her dowry, underachieving, wanna-be rapper Vinny and his neighborhood pals in LA’s “Little India” concoct a plan to take her family jewels from a supermarket safe.
 

Tribeca Film Festival 2022 In-Person Screening Info
– Friday, June 10th at 6:00pm ET at VEC-06 (181-189 2nd Ave, New York, NY 10003) *World Premiere*
– Saturday, June 11th at 8:45pm ET at CIN-04 (260 W 23rd St, New York, NY 10011)
– Saturday, June 18th at 2:45pm ET at CIN-04 (260 W 23rd St, New York, NY 10011)
 
Tribeca Film Festival 2022 Online Screening Info
– Available online starting on June 12th at 6:00p EST


CHERRY

**WORLD PREMIERE**
 
DIRECTOR: Sophie Galibert
CAST: Alex Trewhitt, Joe Sachem, Dan Schultz, Sandy Duarte, Alice Bang, Hannah Alline, Melinda DeKay, Angela Nicholas, Charlie S. Jensen, Darius Levanté
 
 

Synopsis: Cherry, a driftless 25-year-old young woman discovers she is 11 weeks pregnant and has only 24 hours to make a consequential decision.
 

Tribeca Film Festival 2022 Online Screening Info
– Available online starting on June 11th at 6:00p EST

 


GOD SAVE THE QUEENS

**WORLD PREMIERE**

WRITER/DIRECTOR: Jordan Danger
CAST: Justin Andrew Honard AKA Alaska Thunderfuck, Jay Jackson AKA Laganja Estranja, Kelly Mantle, Jordan Michael Green, Peter Facinelli, Michelle Visage, Joaquim De Almeida, Lunell, Zack Gottsagen

Synopsis: A dramedy about four Drag Queens who find themselves at the very same therapy retreat. In an effort to overcome issues holding them back, they dissect their dilemmas, seen through vignettes of their lives. They discover common ground; Perhaps, it wasn’t serendipity that brought them together. Maybe they’re not alone? 


Tribeca 2022 Online Screening Info
– Available online starting on June 8th at 8:00p EST


YOU CAN LIVE FOREVER

**WORLD PREMIERE**
 
WRITER/DIRECTORS: Sarah Watts, Mark Slutsky
CAST: Anwen O’Driscoll, June Laporte, Liane Balaban, Deragh Campbell, Tim Campbell, Antoine Yared, Hasani Freeman
 

Synopsis: When lesbian teen Jaime is sent to live in a Jehovah’s Witness community, she falls hard for a devout Witness girl and the two embark on an intense affair with consequences that will reshape the rest of their lives. 


Tribeca Film Festival 2022 In-Person Screening Info
– Saturday, June 11th at 5:30p ET at VEC-06 (181-189 2nd Ave, New York, NY 10003) *World Premiere*
– Sunday, June 12th at 2:30p ET at VEC-06 (181-189 2nd Ave, New York, NY 10003) 
– Tuesday, June 14th at 9:00p ET at VEC-06 (181-189 2nd Ave, New York, NY 10003)
 

The Integrity of Joseph Chambers

Desperate to acquire the skills necessary to provide for his family in case of an apocalypse, insurance salesman Joseph Chambers goes deer hunting for the first time ever, alone, when his experienced buddy is too sick to join him.
 
DIRECTOR
Robert Machoian
 
PRODUCER
Clayne Crawford, Kiki Crawford, Robert Machoian
 
SCREENWRITER
Robert Machoian
 
 
CAST
Clayne Crawford, Jordana Brewster, Jeffrey Dean Morgan
 
WORLD PREMIERE – Thursday, June 9th, 5:30 PM at SVA Theater 2 Beatrice

Subject

SUBJECT explores the life-altering experience of sharing one’s life on screen through key participants of acclaimed documentaries The Staircase, Hoop Dreams, The Wolfpack, Capturing the Friedmans, and The Square. These erstwhile documentary “stars” reveal the highs and lows of their experiences as well as the everyday realities of having their lives put under a microscope. Also featuring commentary from influential names in the doc world, the film unpacks vital issues around the ethics and responsibility inherent in documentary filmmaking. As tens of millions of people consume documentaries in an unprecedented “golden era,” SUBJECT urges audiences to consider the often profound impact on their participants.

DIRECTOR
Jennifer Tiexiera, Camilla Hall
 
PRODUCER
Camilla Hall, Jennifer Tiexiera, Joe Caterini
 
SCREENWRITER
Jennifer Tiexiera, Camilla Hall, and Lauren Saffa
 
 
CAST
Arthur Agee, Ahmed Hassan, Margie Ratliff, Michael Peterson, Mukunda Angulo, Jesse Friedman, Elaine Friedman, Lisa Walsh, Susanne Reisenbichler
 
Sat June 11 – 4:30 PM
SVA Theater 2 Beatrice

At this time, SVA Theatre requires proof of vaccination for entry. Masks must be worn at all times. More Info

Mon June 13 – 5:30 PM
Cinépolis: Theater 4
 
Sat June 18 – 3:00 PM
Cinépolis: Theater 6

Don’t forget to check in here at Reel News Daily throughout the fest for reviews, photos, insights, and shared content from our amazing friends at UnseenFilms!

The 2022 Tribeca Festival will take place across the city from June 8-19.


Netflix Review: ‘OUR FATHER’ is a disturbing and infuriating true story of one fertility doctor’s mission.

Synopsis: Jacoba Ballard was an only child, conceived via donor sperm, who always dreamed of having a brother or sister. An at-home DNA test led her to the discovery of not one but seven half-siblings – a number that defied best practices in fertility medicine. As the group set out to learn more about their curious family tree, they soon discovered the sickening truth: Their parents’ fertility doctor had been inseminating his patients with his own sperm – without their knowledge or consent. As Ballard and her newfound siblings realized they’ve barely begun to untangle his dark web of deceit, their pursuit of justice lies at the heart of this profoundly unsettling story about an unimaginable breach of trust.


Real audio, sit-down interviews, and recreations tell the shocking story of one fertility doctor’s sinister plans. Dr. Donald Cline assisted innumerable women in becoming mothers. What those mothers didn’t know would change lives forever. DNA test “23 and Me” blew this story wide open.

Having worked for Dr. Cline for 13 years, Jan Shore candidly speaks about the entire process. The initial moral ambiguity in the voice of Cline’s partner, Dr. Colver, is cringeworthy as he expresses gratitude and awe for Dr. Cline’s innovative science. And yet, as a woman who recalls the monthly tears and disappointment when I couldn’t get pregnant for months on end, listening to these women retell their experiences feels visceral. The most joyous gifts come with an unimaginable caveat.

The emotional trauma in each sibling is palpable, and as the number of newly discovered individuals involved climbs, a chill reruns down your spine. Led by Jacoba Ballard, this unique group of now adults goes through every high and low imaginable. Their strength is beyond admirable. The violation doesn’t end with the initial deception. When the identified siblings push back, a barrage of madness in the form of various threats rains down upon them.

OUR FATHER gets increasingly more disturbing by the minute. The religious aspect is simultaneously eerie and infuriating. Once expanded upon, it’s almost unsurprising. We’ve seen this time and time again. We’re experiencing it as we speak nationally. When the Supreme Court leak used the phrase, “domestic supply of infants,” make no mistake, this is a larger problem than we could possibly understand. OUR FATHER brings forth a string of white men telling women they have no body autonomy, over and over. Not only Dr. Cline but the Indiana Attorney General and even the lawyer for the siblings. While this documentary seems unique, the intent behind the actions, and the far-reaching legal ramifications, could haunt this country for literal generations. Get ready to be nauseated and enraged.


Releasing Globally on Netflix on May 11, 2022


The upcoming documentary feature, OUR FATHER tells the story of one of the most shocking and horrific cases of fertility fraud, catching nationwide attention with coverage in the New York Times and The Atlantic.

Directed by: Lucie Jourdan
Produced by: Jason Blum, Lucie Jourdan, Michael Petrella and Amanda Spain
Executive Produced by: Chris McCumber, Jeremy Gold and Mary Lisio


Review: Despite fantastic performances, ‘The Ravine’ takes a turn for the worse.

presents

In THE RAVINE, when an unspeakable crime rocks a peaceful community, family and friends are left to wonder if they overlooked the murderer among them or if there might be more to the story. Inspired by true events, this haunting thriller stars Eric Dane, Teri Polo, Peter Facinelli, and Leslie Uggams.


Based on a true story, The Ravine skillfully creates a tense atmosphere. The film opens to ominous phone messages, tight-knit relationships, and one pulse-pounding vignette. It’s a familiar panic for someone who has lost a friend in the prime of their life; the unanswered phone tag, the swirl of shock, and unadulterated, unfiltered emotion. Performances are heartbreaking from the children to the adults. They are raw and riveting. All these positive aspects cannot save the film from a failed ending.

Director Keoni Waxman writes the script based on Robert and Kelly Pascuzzi‘s novel of the same name. Its structure utilizes flashbacks and present-day fallout. Through police work, past regressions, and the unexpected introduction of a gifted and religious psychic, The Ravine takes a turn in genre and never fully recovers. The script leans on religious redemption in the end, but the audience does not expect the hard right turn in the narrative. As a choice in storytelling, regardless of how close these depictions are to true events, it doesn’t match with the repetitive scenes of violence. The final 20+ minutes of the moment-by-moment explanation felt rushed and overwhelming. For a film that begins like an episode of True DetectiveThe Ravine ends in a preachy manner. It soured the entire experience. 


Cinedigm will release THE RAVINE in theaters and on Demand and Digital on May 6, 2022.


 
The film stars Eric Dane (“Euphoria”), Teri Polo (Meet the Parents), Peter Facinelli (The Vanished), Byron Mann (The Big Short), Leslie Uggams (Deadpool), and Kyle Lowder (“Days of Our Live”).

THE RAVINE was written and directed by Keoni Waxman (The Hard Way). It was co-written with Kelly Pascuzzi and Robert Pascuzzi whose book “THE RAVINE” is the basis for the film.


Fantaspoa 2022 review: ‘FOLLOW HER’ is a clever social media revenge thriller.

Director Sylvia Caminer brings her new film Follow Her to Fantaspoa 2022. It features Dani Barker as social media up-and-comer Jess as she grinds away, posting live videos about her various paid gigs. When a glitch in her facial blur app causes an online frenzy, Jess must navigate not only a barrage of new followers and mixed comments but a new job offer. A meta revenge thriller, Follow Her, will have your heart in your throat.

Luke Cook plays Tom, the man who hires Jess to assist him in writing an erotic thriller. He’s effortless suave and ceaselessly witty. It is tricky to distinguish between written dialogue and what might be improved. The script allows him to play up the maniacal angle. You’re still rooting for him as a genre fan. Cook is exceptionally enigmatic, and Dani Barker keeps up with his energy. 

Barker plays double duty as Jess and screenwriter. She bears a striking resemblance to Kate Hudson and Chloe Fineman and possesses the charm of both combined. Barker understands the complexities of social media and the myriad of baggage that can accompany the lifestyle. She’s given audiences a slick screenplay.

Follow Her would make a great triple feature evening with CAM and Spree. Overall, the meta aspect of the screenplay comes into focus at around the 38-minute mark. The innate anxiety of being a woman alone with a man is front and center. Follow Her had me in full panic mode at 45 minutes. Each consecutive beat skillfully ups the ante. It speaks to the dark side of the internet age, gigging, vulnerability, sexual control, greed, and the consequence-free world we see more and more. Barker cleverly utilizes horror tropes and acknowledges them directly. Fantaspoa 2022 audiences are in for a treat. Genre fans will go nuts for this killer film. I’d “like & subscribe” for franchise development.


FOLLOW HER screens as part of Fantaspoa 2022. For more information on the festival, please visit www.fantaspoa.com.


Review: ‘Marevelous and The Black Hole’ is a family film with heart and pizzazz.

MARVELOUS AND THE BLACK HOLE

A teenage delinquent (Miya Cech, ALWAYS BE MY MAYBE) befriends a surly magician (Rhea Perlman, “Cheers,” MATILDA) who helps her navigate her inner demons and dysfunctional family with sleight of hand magic. A coming-of-age comedy that touches on unlikely friendships, grief, and finding hope in the darkest moments.


After losing her mother, Sammy lashes out physically and emotionally. When her dad forces her to take a business class in summer school, she encounters a magician by happenstance. Under the guise of a final project, Sammy trades anger for magic. 

The score heightens the film’s charm. Cartoon animation and black & white fantasy sequences create playful transitions whenever Sammy feels rage. The costumes are meaningful. Sammy is in black the entire film, while Margot dons lush colors adorned with embroidery or applique. 

Rhea Perlman plays Margot, AKA The Marvelous. Perlman’s cheery disposition is a brilliant foil for Miya Cech‘s Sammy. She brings a motherly quality that Sammy so desperately needs. Cech is outstanding. She possesses a fierce attitude that’s relatable. Cech levels up the typical teenage angst with grounded sass and genuine vulnerability underneath. Together, their chemistry is like a warm hug. If I’m being honest, I would gladly watch an entire series about these two characters.

Marvelous and The Black Hole is nothing short of darling. This family-friendly flick is about navigating grief. Writer-director Kate Tsang gives audiences a sweet ode to storytelling and healing. 


MARVELOUS AND THE BLACK HOLE
Opens in Select Theaters on April 22, 2022


Written + Directed by: Kate Tsang
Produced by: Carolyn Mao
Co-Producers: Allison Avery Jordan, Christa Boarini
Director of Photography: Nanu Segal, BSC
Production Designer: Yong Ok Lee
Edited by: Cyndi Trissel, Ryan Denmark
Costume Designer: Amanda Bujak

TRT: 81 minutes


 

Festival review: Kelsey Peterson’s personal documentary ‘MOVE ME’ inspires.

MOVE ME

At 27, Kelsey Peterson dove into Lake Superior, off the shores of Wisconsin, and emerged paralyzed. Now, the former dancer struggles to redefine who she is while adapting to life with a disability. At the intersection of acceptance and hope, Kelsey unexpectedly finds herself facing an opportunity to dance again, showing her a new path toward acceptance, all the while grappling with a decision to participate in a cutting-edge clinical trial that could bring her much-desired change — forcing her to evaluate the possibilities of her recovery, body, and spirit.

In Move Me, a first-time filmmaker with a disability simultaneously takes the reins behind the scenes, while revealing her inner revolution through raw storytelling onscreen.


Dancer and choreographer Kelsey Peterson was paralyzed from the chest down after diving into shallow waters. In conjunction with a friend injured in the same manner, Kelsey decides to dance for the first time since her accident by creating a unique piece of choreography. Her documentary feature MOVE ME is a portrait of a woman attempting to reclaim her identity.

The combination of home movies, rehearsals, and scenes from her daily life create a raw picture of Kelsey’s existence. Kelsey explains that after the accident, she realized that the world does not accommodate her current state. This singular statement makes MOVE ME so much more profound for able-body viewers. When you see the rehearsal restroom, the irony is exhausting. 

MOVE ME doesn’t simply tell the tale of a single dance. Kelsey navigates her father’s declining health while simultaneously researching the possibility of joining an experimental trial. She speaks with other participants, discovering that it’s not all positive outcomes. Uncertainty looms large as Kelsey weighs her options. She holds nothing back, tackling everything from bowel function to sexual sensation.

“A Cripple’s Dance” bases pieces of its choreography on Kelsey and Gabe’s moments of impact and what followed in the water. The intimacy of the camera work is visceral. Gabe’s lyrics are profoundly beautiful and hit you in the heart like a dagger. The result will give you chills. 

This film was personal for me. I began dancing at the age of three. Since then, I have competed, choreographed, and expressed myself through movement. When I lost some of my abilities from an emergency appendectomy and then years later, a neck injury, I was devastated. I remember the grief of losing those lifelong skills, talents that came without thought as they were muscle memory. Let me be clear I am able-bodied. You would not know I was in pain by the way I move through the day. I cannot begin to fathom the strength Kelsey Peterson possesses daily. Her positive outlook and relentless optimism drive her film. To me, she’s fearless. She’s sort of my hero. MOVE ME makes me appreciate my body’s movement tenfold.


Co-Directors: Kelsey Peterson, Daniel Klein

Producers: Kelsey Peterson, Daniel Klein, Madeline Brown

Executive Producers: Lois Vossen, Sally Jo Fifer, Joanna Rudnick

Cinematographer: Brennan Vance

Editor: Nico Bovat


Festival Screening Info:
Full Frame Documentary FF (World Premiere)
Streaming April 7 -10, 2022
 
Reel Abilities FF New York
Streaming April 7 -13, 2022
In-Person Screening Tues. April 12, 8:00pm
Film Info:

Review: Mayim Bialik’s directorial debut ‘As They Made Us’ is relatable in its drama.

AS THEY MADE US

As They Made Us follows Abigail (Agron), a divorced mother of two, who is struggling to find sanity in her dysfunctional family as she attempts to cultivate new love. Her father, Eugene (Hoffman), has a degenerative condition that he and his wife, Barbara (Bergen), refuse to accept. Her brother Nathan (Helberg) has been estranged from the family for decades. A self-appointed fixer, Abigail attempts to mend her complicated family before it’s too late.


Mayim Bialik‘s feature debut packs an emotional punch. As They Made Us feels like a fresh wound for anyone with childhood trauma. Brilliantly structured with flashbacks and present-day chaos, Bialik weaves a portrait of a family existing in turmoil. 

Simon Helberg plays the son who escaped the weight of negativity. Estranged from the family, he leaves Abigail (Agron) behind to take the brunt of the aggression. Helberg plays a vastly different role from Bialik’s costar on The Big Bang Theory, and her script allows Helberg to show his range. Dustin Hoffman is patriarch Eugene. Navigating his cognitive decline, Hoffman plays dual roles in a way. At times, happy go lucky and defiant, others violent and loud. His journey is the most outwardly complex. Candace Bergen is the epitome of Jewish mother cliches, with a real mean streak. She lands somewhere in between abrasive and meddling. Still managing to be charming, Bergen brings heightened energy to the film. 

Dianna Agron is the default child, the emotional packhorse. Taking on caregiver roles that ought to belong to Bergen’s Barbara, Agron must shift between daughter, nurse, and wife roles to ease Eugene’s suffering. These are all at her own cost as she carries these scars. Agron is the star of this film. Even with Hoffman and Bergen, she steals the show. Her exhaustion is palpable. 

The family’s Jewish faith is a significant plot point. It becomes a large part of Abigail’s coping mechanisms, parenting, and healing. The character reminds me a lot of my Mother. Replace Judaism with Catholicism, and I’ve witnessed this same story play out a generation before. As They Made Us speaks volumes in roughly 90 minutes. Tackling forgiveness, acceptance, and mortality, Bialik’s voice as a filmmaker is pretty striking for her first time out. I am eager to see what comes next.



OPENS APRIL 8, 2022
IN THEATERS AND DIGITAL / VOD


Writer & Director: Mayim Bialik

Cast: Dianna Agron and Simon Helberg, with Candice Bergen, Dustin Hoffman, Justin Chu Cary, Charlie Weber, and Julian Gant

Producers:  Jordan Beckerman, Ash Christian, Anne Clements, Michael Day, Jordan Yale Levine, Mark Maxey

Runtime Time: 96 minutes

Rated: R for language


 

Cleveland International Film Festival 2022 review: Anna Baumgarten’s ‘DISFLUENCY’ speaks volumes. #CIFF46

DISFLUENCY

SYNOPSIS:
After unexpectedly failing her final college class due to a traumatic personal event, Jane, an aspiring speech pathologist, retreats home to her parent’s lake house in the hometown she grew up in. Her older sister and friends, as well as an old high school crush, soften the burden of failure, inspiring her to embrace the carefree summer as she tries to sort out what to do next. She also rekindles an old friendship with her neighbor Amber, a single mother with a difficult toddler, utilizing her skills and knowledge to help her connect with her son. Jane, however, fights through PTSD and imposter syndrome as she attempts to piece together what exactly happened in order to unravel the emotional and psychological tangle that’s been haunting her as she finds a path forward toward the never-ending process of healing.


Writer-director Anna Baumgarten has a way with words. In her new film Disfluency, their weight is unfathomable. After flunking her final college course, aspiring speech therapist Jane navigates her next steps at her parent’s lake house. Struggling to reveal her motives for failure, she makes her friends and family her test subjects, studying how others use language. Jane slowly works her way to catharsis over the summer months, wearing every possible emotion on her sleeve. Disfluency is the perfect title for a film that’s bound to captivate a massive audience. Words have power and how we express them is life-changing.

Beautifully grounded performances make you fall for these characters. Discovering that actress Ariela Barer is Libe’s real-life sister makes so much sense now. As Lacy, she is hilarious, and I would be remiss not to mention her. Their chemistry is electric. Don’t assume for one second she only exists for comic relief. Lacy is a catalyst for healing.

PTSD is something that never truly leaves you. As a sexual assault survivor, I can attest to the flashbacks and how my trauma affected my relationships moving forward. It’s a permanent piece of my psyche. I understand why women don’t come forward, even to family. Not until #MeToo became mainstream did I reveal my hurt to family, and even that occurred via social media. Jane’s functionality in Disfluency mimics mine. PTSD is often an unseen burden.

Chelsea Alden‘s portrayal of Amber was also personal to me. From the sadness on her face to the eagerness to learn, I felt that performance and the care Alden brings to Amber. As a Mother of a neurodivergent son now in Kindergarten, his language delay was something I suspected early on. I remember the fear in my body when he failed his initial hearing test in the NICU. In the end, that wasn’t the issue after all. Lucky for us, his pediatrician flagged him at 18 months. Two weeks after his second birthday, he had five days a week of ABA and speech services. Now he’s a thriving, sweet, curious, and brilliant little boy. The screenplay utilizes sign language. Featured in an emotionally climactic scene that tears your heart out, it’s one of this year’s most impactful cinematic moments. 

Libe Barer, as Jane, nails every single beat, working through gaslighting, second-guessing, victim-shaming, depression, anger, and everything in between. The script gives Barer the space to explore all the complexities accompanying trauma. In a breathtaking monologue, Barer says it all, quite literally. It’s a wave of emotional nuance that packs one hell of a punch. 

With tight visual flashbacks and accidental therapy sessions in the form of slick dialogue, Baumgarten provides a conversation starter for many. It’s easy to see why it won Best Narrative Film at Oxford FF. Disfluency tackles the boundless intricacies of communication. It’s a must-see.


Screening information (VIRTUAL):
Sunday, April 10 at 11:00AM
Sunday, April 17 at 11:59PM

Ticketing information:
https://www.clevelandfilm.org/films/2022/disfluency?fbclid=IwAR0J0cyFMWDN56qzc0YXuzE-UtazQi9SWpwlxX_RmgDve9SJyMyxEZ3a6mU

ABOUT THE FILM:
Based on the 2018 award-winning short film, DISFLUENCY just won the 2022 Oxford Film Festival Jury Prize for Best Narrative Feature, which followed last year’s 2021 Austin Film Festival Jury Prize for Best Narrative Feature Film.

Director/Writer:                      Anna Baumgarten
Producers:                    Danny Mooney, Elaine Hastings Edell
Executive Producers:           Ben Wiessner, Jim Cummings, Alex Rudolph, Chicago Media Angels
Editor:                       Kevin Birou
Cinematographer:                 John Fisher
Music:                                     Nathan Alexander
Cast:                         Libe Barer, Ariela Barer, Chelsea Alden, Dylan Arnold,
Travis Tope, Kimiko Singer, Molly Hagan, Ricky Wayne,
Diana De La Cruz, Wayne David Parker
TRT:                                      95 min
Country:                      USA

Shudder Original review: ‘Night’s End’ is a creepy and campy crowd-pleaser.

NIGHT’S END

An anxious shut-in moves into a haunted apartment, hiring a stranger to perform an exorcism which quickly takes a horrific turn.


Director Jennifer Reeder and screenwriter Brett Neveu bring us the Shudder Original Night’s End. Anxiety-ridden Ken is apartment-bound and attempting to get his life back on track. In doing so, he accidentally records a strange occurrence while filming his amateur YouTube videos. Things get weirder when he’s encouraged to pursue the building’s history and provoke whatever entity might be lurking in his domain. Night’s End is the perfect marriage of creepy and campy. Shudder audiences will love it. 

Every single performance adds to the overall arc of Night’s End. Dark Corners host Daniel Kyrie, and Lyden Knight, played by Theo Germaine, give that YouTube clout appearance. Their distinct personalities up the anty for the finale. The camp enters the arena officially with the introduction of author Colin Albertson, played by Lawrence Grimm, a famous paranormal expert guiding Ken on his journey. Grimm, whose name evokes perfect casting, represents every talking head in any SyFy channel show. He will make you smirk with familiarity. 

Comic relief comes in the form of Michael Shannon. Yes, Michael Shannon! He plays Isaac, Ken’s marital replacement. Donning Hawaiian shirts and giving us an honest-to-goodness stepdad goofiness, Shannon is effortlessly hilarious.

Felonious Munk is Ken’s best friend, Terry. He’s encouraging and genuinely interested in getting Ken well. Walker and Munk’s banter is essential to Jen’s backstory. Kate Arrington, as ex-wife Kelsey, is down-to-earth and loveable. The chemistry with Walker has a closeness that feels grounded. Keep in mind, every single interaction Ken experiences is through Zoom. Bravo to the editor Mike OlenikGeno Walker plays Ken with a super natural (two words) energy. His paranoia is palpable as frustration and confusion pour off the screen. Walker is a commanding lead. 

Night’s End uses horror tropes to tackle mental health uniquely. Fran Bittakis‘ set dressing, cleverly disguised in draped plastic, serves a dual purpose. The apartment appears amid repair, but it also allows for some ghostly apparition moments. Zoom works perfectly, considering Ken suffers from crippling anxiety and agoraphobia throughout the film. The significance hits home in the finale. The creepy factor will turn your knuckles white, even if the film’s climax begets an eye roll. Know what you’re going into with Night’s End, and you’ll undoubtedly have a good time. I still think there is sequel potential. That’s a character journey I want to explore. 


Premieres March 31 on Shudder


Review: Feminist horror ‘THE YELLOW WALLPAPER’ available today on Digital release.

THE YELLOW WALLPAPER

The debut film THE YELLOW WALLPAPER from creative duo—Alexandra Loreth and Kevin Pontuti—is a chilling and boldly original vision of madness. Jane, a writer and young mother, is prescribed a rest treatment by her physician husband John, who takes her to a remote country estate for the summer. She becomes obsessed with the peculiar yellow wallpaper in the bedroom he has chosen for her. In her isolation, she secretly writes about a woman trapped in the wallpaper—that she must free.


Opening with a disturbing turn, The Yellow Wallpaper is a slow burn horror about Postpartum Depression and gaslighting. New mother Jane and her physician husband rent a summer home in hopes of settling Jane’s nerves after giving birth. Jane becomes obsessed with the wallpaper in the couple’s bedroom. As her behavior becomes more and more erratic, she is less understood by all those around me. Perhaps, it is because they are not truly listening. 

The score from Robert Coburn haunts with heavy, ear-piercing strings, oboe, and maybe even bagpipe? I almost wish there were more music for me to contemplate. Era records, perhaps, to contrast such a purposeful and grating score. The slow, lingering closeups of the titular wallpaper are chilling. The costumes and set are outstanding. Bravo, to the hair and make-up team for their meticulous work. It did not go unnoticed. 

Alexandra Loreth evenly plays Jane with the nuance of PPD topped off with gaslighting. Postpartum depression was not yet a diagnosis in the Elizabethan era. Nor is it acknowledged as much as it should be today, quite frankly. Loreth’s voiceovers are a nice reprieve from the predominant silence. Her performance hits its peak as her isolation and writings increase. The faster editing and closeups help greatly. 

While the film opens with a bang, that same energy feels sapped in the one hour and forty minutes runtime. The Yellow Wallpaper would benefit from a 20 to 30-minute cut. I found myself glancing at the clock more than once. The final 20 minutes are, by far, the most intriguing. The variation and mounting intensity make The Yellow Wallpaper meaningfully upsetting. Loreth and director Kevin Pontuti penned the screenplay together. There’s a lot of depth and potential. You could easily make this a franchise with some tweaking. 


 

THE YELLOW WALLPAPER is a dark and disturbing contemporary adaptation of Charlotte Perkins Gilman’s well-known and controversial gothic feminist horror story about patriarchy and mental health. The film is a collaboration between partners Alexandra Loreth and Kevin Pontuti and stars Alexandra Loreth, Joe Mullins, Clara Hart, and Jeanne O’Connor. The film was written by Alexandra Loreth and Kevin Pontuti and directed by Pontuti. THE YELLOW WALLPAPER has a running time of 99 minutes and will not be rated by the MPAA. The film World Premiered at Cinequest followed by a successful festival run. Mutiny Pictures will release the film on March 29.

BUFF 2022 capsule review: Creature feature ‘HATCHING’ takes growing pains in a horrifying direction.

HATCHING


Tinja exists in a world where her mother expects perfection. Subconsciously, she seeks to replace her lack of affection. When she stumbles upon a strange abandoned egg, she decides she will nurture it. When things go awry, Mother has created a monster.

There’s no denying Hatching is a metaphor for puberty. Physical and emotional changes in Tinja are tied directly to the creature. As terror, anxiety, and jealousy intensify, so does Hatching’s horror. Our leading lady, Siiri Solalinna, is nothing short of extraordinary. She’s vulnerable, grounded, and fearless. It’s an astounding performance.

The creature design is reminiscent of something that might come out of the Wētā Workshop from Jim Henson‘s team. Its evolution is fascinating. It manages to be shockingly grotesque and yet adorable. If you’re a fan of Labyrinth or The Dark Crystal, you’ll especially appreciate the aesthetic. Hatching is a unique and terrifying journey. It’s one of the most emotionally brutal scripts of the year. BUFF 2022 fans are in for one hell of a film. 


IFC Midnight releases HATCHING in theaters April 29th and on VOD everywhere you rent movies May 17th.

Starring: Siiri Solalinna, Sophia Heikkilä, Jani Volanen, Reino Nordin

Directed By: Hanna Bergholm

Synopsis: 12-year-old Tinja is desperate to please her mother, a woman obsessed with presenting the image of a perfect family. One night, Tinja finds a strange egg. What hatches is beyond belief.


To find out more about BUFF22, click here!


BUFF 2022 capsule review: Playground dynamics get ramped up in ‘THE INNOCENTS.’ It’s pure good vs evil.

THE INNOCENTS

Synopsis: During the bright Nordic summer, a group of children reveal their dark and mysterious powers when the adults aren’t looking.


“With great power comes great responsibility.” A group of children in an apartment complex realizes they have a strange and often dangerous bond. They possess otherworldly powers. As the connection between the children grows, so too do their abilities. The Innocents plays like a mysterious superhero and villain origin story.

The complexity of The Innocents is endless. This young cast carries a heavy emotional weight. They delighted and terrified me. The evolution of this dark sci-fi narrative gave me full-body goosebumps. The volatility of young feelings is on an entirely uncharted plain. What these characters do with their power speaks to the purity of good and evil. Look for an extraordinary turn from Alva Brynsmo Ramstad as Anna. It’s pure wow. BUFF 22 audiences, get ready for one hell of a showdown. 


US Release Date: May 13, 2022

Starring: Rakel Lenora Fløttum, Alva Brynsmo Ramstad, Sam Ashraf

Directed By: Eskil Vogt


To learn more about BUFF 22, click here!


Review: ‘TOPSIDE’ asks ambitious questions about society and parenthood.

TOPSIDE

SYNOPSIS- Underneath the streets of New York City, a five-year-old girl and her mother live among a community that has claimed long-abandoned subway tunnels as home. When the pair is forced to flee above ground into a cold winter night, mother and daughter are plunged into a challenging world of chaos and tragedy that makes their uncertain underground life seem idyllic in comparison. TOPSIDE deftly weaves escalating suspense with sharp bursts of humanity in a nocturnal urban tangle.


TOPSIDE is a dark and dispiriting portal into the literal underbelly of New York City. The film follows a suburban community hidden amongst the subway tunnels of the city, and the struggles a mother and daughter face when they are suddenly evicted from this home. They are forced to venture up onto the city streets, but even there, there’s no real light to be found. Powerful but stomach-turning, this stuff is bleak with a capital B.

Logan George and Celine Held’s vision is unflinching and brutal. In addition to directing, Held also acts in the film as Nikki.  Zhaila Farmer (in an amazing, subdued performance) co-stars as her daughter, Little; the first half of the film is told largely from Little’s perspective. We know little about Nikki and the other adults in the tunnel, and we aren’t meant to.  Through Little’s eyes, life in the tunnels is magical. The first shot of the film lingers on particles of dust dancing in a sunbeam – the kind of simple beauty we all forget to appreciate as we age into job searches, mortgages, and all the other pleasures of adult life.

By contrast, Little’s first experience in the sunlight is traumatic and saturated with new noises and fears. The narrative moves behind Nikki, and here the film began to lose me.  Where Little’s view is full of naïve wonder, Nikki’s is laid low by the crushing reality of her circumstances. However wonderful life in the tunnels may seem to Little, there’s no romancing Nikki’s reality. But it also quickly becomes clear that those dark, dirty tunnels below Manhattan are in fact far safer than what lies ahead.

I couldn’t look away during the film’s final coda. TOPSIDE asks ambitious questions about society and parenthood. At times, I found it to be brutal and uncaring. I was repulsed by several of Nikki’s choices. But I am grateful to have watched it, and for the questions I’ve asked myself since.


RELEASE DATE
March 25, 2022

In Select Theaters and On Demand


SXSW 2022 review from Unseen Films: ‘The Thief Collector’

The Thief Collector

In 1985, Willem de Kooning’s “Woman-Ochre,” one of the most valuable paintings of the 20th century, vanished into the Arizona desert after being cut from its frame at the University of Arizona Museum of Art. 32 years later, the $160 million painting was found hanging in the home of Jerry and Rita Alter in rural New Mexico. The Thief Collector takes a deep look at how, and why, this mild-mannered couple pulled off one of the greatest art heists of a generation, exploring the complicated dynamics of family, the contours of criminality, and just how far people will go to weave their own grandiose narratives.


The Thief Collector is a film that is not what you expect. The film is nominally about the theft of de Kooning’s painting Woman Ochre from the University of Arizona in 1985. The painting was cut from the frame and carried off by a couple not long after the museum opened on the day after Thanksgiving. Where it went or who took it remained a mystery for decades…until it was rediscovered in the effects of Rita and Jerry Alter.  While that is a part of the story, the film actually is a look at the Alters and their obsessions. This is not a look at the crime but at the way people feed their obsessions and how seemingly normal people almost always seem to have another side to them.

I should point out that this is not saying that the Alters were bad in that they were secretly murdering people, rather they simply had a side where they went against the fine upstanding citizens they seemed to be to the rest of the world. As a result, the film has become a more complicated and richer film than it would have been if it had just been about the crime.

I really liked this film a great deal. It’s a film that stayed with me through an evening in which I watched three other films after it. Yes, I saw another documentary and two edge-of-your-seat thrillers, but when it was all done I found I was still thinking about The Thief Collector even as the other films were fading from my mind. Hell, I wanted to know more and I reached out to the PR person to get the press notes because I knew that they would give me even more details.

You have to love any film that takes its basic premise to hook you and then drags you into another direction and makes you think about things in a new way. It had my mind going so much that I wish I could have gone back and rewatched several other SXSW films that dealt with obsessions because it put those films into a new light.

This is a neat little film and is highly recommended.


Director:

Allison Otto

Executive Producer:

Bryn Mooser, Kathryn Everett, Tony Hsieh, Andy Hsieh, Justin Lacob, John Boccardo and Derek Esplin, Shizuka Asakawa, and Kathleen L’Esperance

Producer:

Caryn Capotosto, Jill Latiano Howerton, Joshua Kunau

Screenwriter:

Mark Monroe, Nick Andert

Cinematographer:

Rod Hassler and Matt Ryan (recreations)

Editor:

Nick Andert

Music:

Daniel Wolf

Principal Cast:

Glenn Howerton, Sarah Minnich, Scott Takeda, Matt Pittenger

Additional Credits:

Co-Producers: Mary Kay Cook, Heath Cullens, Graphics: Scott Grossman


For more of Steve’s incredible coverage of SXSW22, go to Unseen Films