
SUJO

Juan Jesús Varela in SUJO
Ominous, heartbreaking, and beautifully shot, the Sundance 2024 film SUJO, from Fernanda Valadez and Astrid Rondero (Identifying Features), examines cyclical violence and trauma through the lives of the family left behind by a murdered cartel member.
Nemesia hides her nephew Sujo with the help of Rosalia and her two young sons, Jeremy and Jai. During early childhood, the five exist in abject poverty in the middle of nowhere, entertaining themselves as best as they can, knowing someday the isolation may be too much. As the boys grow, curiosity puts them into increasingly more precarious situations, proving the danger of their familial sins lingers forever.
Young Kevin Aguilar, as four-year-old Sujo, is beguiling. The camera loves him. Juan Jesús Varela plays teenaged Sujo, left to carry the emotional burdens of his father’s past. Varela’s performance is magnificent, as are his onscreen cousins, Jairo Hernandez and Alexis Varela. Their chemistry is magic.
Yadira Pérez gives Nemesia an authentically grounded aura. Her practical and watchful approach to raising Sujo gives him an emotional stronghold. Nemesia literally translates as “Vengeance.” This small detail is as brilliant as her vital otherworldly abilities. Karla Garrido brings an entirely different level of motherly kindness playing Rosalia. She is a beautiful foil for Pérez.
The film comes from an almost entirely female creative team whose blood, sweat, and tears pour off the screen. SUJO is infused with empathy, fear, and care. The screenplay is a skillfully crafted tale that pulls you into Sujo’s center of gravity. As a Mother, witnessing the integration of protective instincts speaks volumes. The score is haunting. At times, the dialogue mirrors Sujo’s journey. It is undeniably impactful. Throughout the film, women look out for Sujo’s best interests. In a way, the film is an ode to invisible labor.
For more information on SUJO screenings fn Sundance 2024, click here!
Credits
- DIRECTOR(S)
ASTRID RONDERO
FERNANDA VALADEZ
- SCREENWRITERS
ASTRID RONDERO
FERNANDA VALADEZ
- PRODUCERS
FERNANDA VALADEZ
ASTRID RONDERO
DIANA ARCEGA
JEWERL KEATS ROSS
VIRGINIE DEVESA
JEAN-BAPTISTE BAILLY-MAITRE
- CINEMATOGRAPHER
XIMENA AMANN
- PRODUCTION DESIGNER
BELÉN ESTRADA
- EDITORS
ASTRID RONDERO
FERNANDA VALADEZ
SUSAN KORDA
- PRINCIPAL CAST
JUAN JESÚS VARELA
YADIRA PÉREZ
ALEXIS VARELA
SANDRA LORENZANO
JAIRO HERNÁNDEZ
KEVIN AGUILAR
- YEAR
2024
- CATEGORY
FEATURE
- COUNTRY
MEXICO/UNITED STATES/FRANCE
- LANGUAGE
SPANISH
- RUN TIME
126 MIN






DIG! XX






Coming home for the holidays is always wrought with complex emotions. Directors Caroline Keene and Dan Kennedy give audiences much to ponder in MERRY GOOD ENOUGH. A film about familial chaos across generations, this enjoyable small-town film is sure to strike a chord this holiday season.
Joel Murray is George, the absent but immensely excitable father figure. Writer-director Caroline Keene drops early hints of his toxic masculinity, and Murray eases into the skin of a pretty loathsome man. Daniel Desmarais plays Tim. His sardonic wit meshes perfectly with this cast of fantastic misfits. Comfort Clinton is Cynthia. She is uptight and controlling. Clinton owns the role with her evident daddy issues and needs for approval.
Sawyer Spielberg is charming as neighbor Sam. His chemistry with Levine is magic, which makes sense since they’ve been married since 2018. Susan Gallagher‘s performance is spectacular. Keene’s script nails the mother of adult children vibe with running errands, asking if we’ve eaten, awkwardly using technology, grabbing coffee, and the overly stocked fridge. Gallagher captivates with her vulnerability. Raye Levine gives Lucy a tangible relatability. She’s funny, a little lost, and yet entirely grounded.
At the heart of MERRY GOOD ENOUGH, this script delves into unresolved childhood trauma, emotional isolation, mental health, and forgiveness. It’s a breezy watch about finding bliss and connection in the imperfect.

Lila Schmitz brings audiences the magic of West Ireland through the melodies of the locals and the emotional pull of a tune. THE JOB OF SONGS is a toe-tapping, viscerally joyous film. 

Filmmaker Henya Brodbeker turns the camera on her, her husband, and their young autistic son, Ari. Through years of filming, we witness the evolution of relationships in her Orthodox community, her marriage, and with herself. This is one family’s story about belonging.
Anyone who follows my career as a film journalist knows I’m a Mom of a young autistic son. I talk about his diagnosis and navigating the complexities of existing in a primarily neurotypical environment. We are lucky in the grand scheme of ASD possibilities. Our son’s cognitive abilities are off the charts. He is loving, funny, friendly, and would not hurt a fly. Dealing with public meltdowns, particularly if those around you do not know or understand, can be a crushing, demoralizing, tear-filled experience. Nothing is easy. It’s undeniably isolating. It’s the outside world we fear most. THE THREE OF US is irrefutable proof of how equal opportunity changes the lives of families.
2nd Annual Dances With Films – NYC 





As of today’s Halloween launch day, the platform will feature over thirty titles, including those from indie distributors Oscilloscope, Dark Star, Dark Sky, Dekanalog, Utopia, Yellow Veil Pictures, and others. Titles include Jane Schoenbrun’s 


The look of the film is dreamy. Moody indoor shots juxtaposed with lush Swiss landscapes create a visually sumptuous experience.
Emilia Jones plays Margot, a college student and movie theatre concession girl who goes on a date with an older patron who may or may not be a murderer. Based on Kristen Roupenian‘s 2017 viral short story in The New Yorker, director Susanna Fogel skillfully weaves a dark tale that every woman has lived.
Emilia Jones (
The script also comedically highlights how far women go to remain appealing, how we placate for acceptance, the self-deprecating behavior, and the blatant shunning of red flags. There is a sex scene that is truly something to behold. It is the most cringeworthy, amusing, icky, relatable thing any woman can watch. It accurately captures the constant fear of existing as a woman. The relentless anxiety, the people pleasing, and the patriarchal pressure from every direction, CAT PERSON nails each aspect with humor and truth in fiction.
MOSQUITO LADY
Phillipino folklore Manananggal meets Catholic guilt in Kristine Gerolaga‘s short film, MOSQUITO LADY. When a young woman can no longer hide her pregnancy from her devout parents, she resorts to a legendary monster to assist her. The practical and Special FX are exquisitely gag-worthy. What a frightening jab at religious righteousness and an exploration of culture.
A little girl who lost her sight tries to convince her mother that an old woman haunts her. ALICIA is a standout short in story, production, and performance. The score is a perfect combination of high-intensity strings. The film hinges on the spectacular young lead, Naia Las Heras, as the titular character. There’s nothing more unsettling than experiencing the genuine fear of a child. Director Tony Morales and writer Cekis Casanova give us enough information to grow an entire franchise. I could see studios from Blumhouse to IFC Midnight snapping this up for development.




Lewi Dawson plays Spencer, Sophie’s best friend and colleague. They are undeniably fantastic in this role. Stanley Browning is Adam, blind date and lead carrier of the infected alien hate worm. Etcetera Etcetera is our hostess with the mostess and hypnotizes with her spooky charm. Lauren Last gives us everything we need to feel grounded, permitting us to laugh at the premise. I would love to see her in more stories. I would welcome a sequel about Spencer and Sophie’s forthcoming shenanigans.
2023 has been a step in the right direction for trans, queer, and nonbinary representation with films like 

The cast is phenomenal. Focusing on our leading lady, Carmen Madonia, gives Renata an often aloof attitude, hiding a lost mindset. She’s soft-spoken, outwardly feeling othered by her sister’s personality. But little is said. Madonia’s face replaces any unneeded dialogue.

The film consists of informal sit-down interviews, extensive personal writings, archival footage, and plenty of home videos of the generations of strong women in the family. We discover the hurt from Hiam’s past, the emotional baggage of leaving behind the turmoil of Palestine, but also the treasured connections of the women who shaped her. Hiam’s letters and poems serve as both insight and narration. They are intensely affecting.
Hiam and her family love one another with their whole hearts. They have no filters when speaking to each other, and their words of affirmation are something to aspire to. Lina Soualem captures all of this in an elegant edit. The film is beautifully intimate. It’s a loving commentary on memory, identity, and honoring your past.
The overwhelming joy of hearing these kids laugh is infectious. SUMMER QAMP is an education, through and through. As a former theatre kid and current creative adult with two kids, I strive to understand how identity plays a part in overall confidence. I grew up with often crippling anxiety, a stranglehold of perfectionism, and feeling othered. It doesn’t feel good. My job is to protect my kids from the same overwhelming feelings of chaos any way I can.
SUMMER QAMP‘S brave kids allow the audience into their personal lives. They may not fully appreciate how fearless they are. Campers share their gender identity journey, the good, the bad, and the emotionally ugly. This film provides a conversation starter for understanding gender dysphoria from those experiencing it firsthand. It’s an aha of a film. 




Joëlle Haddad-Champeyroux plays innumerable ancillary characters. It is a fantastic running joke. Thomas Vieljeux gives Thibaut a melancholy and wounded self-esteem that suits the narrative. It also places Claire in an unexpected hero role.
Lizzie Kehoe is hilarious as Claire. She’s the quirky yet emotionally stunted girl who is genuinely charming. Her giddy exuberance is infectious. Kehoe gives it her all as we wade through an increasingly complex coming-of-age story.
The film’s only fault is perhaps its length. It could use a trim on some of the lingering shots. On the other hand, the story would benefit from being fleshed out and turned into a miniseries. I think the characters earn backstories and an even deeper emotional investment. GOODBYE, PETRUSHKA would make an accessible YA series. Writer-director Nicola Rose covers a lot of ground in an hour and forty minutes. Hidden beneath a classic meets modern fairytale structure lies political commentary, gender dynamics, emotional manipulation, and celebrated individuality. GOODBYE, PETRUSHKA has solid development potential. Rose has a voice, and there is an undoubtedly hungry audience for what she’s serving.
You must be logged in to post a comment.