Some of the best new discoveries of the year come out of Dances With Films. (Their brilliant lineup of shorts is to die for.) It’s a festival you should never sleep on. Here is a preview of a few titles you can catch from June 22nd to July 2nd.
DANCES WITH FILMS (DWF: LA & DWF: NYC), now in its 25th year, champions the unflinching spirit at the very core of the independent film scene. While the vast majority of film fests rely heavily on celebrity, we have relied on the innovation, talent, creativity, and sweat equity that revolutionized the entertainment industry. And that reliance continues to prove successful with alumni moving on to write, direct and produce celebrity-studded vehicles, star in blockbuster movies and television series, produce multi-million dollar films, and create hit TV shows. Oh…. and we even have several OSCAR® nominees… In a world of homogenized, formulaic film festivals, DWF: LA continues to defy the rules.
THE MAD WRITER– LA Premiere Documentary
SYNOPSIS: This music documentary by Zach Kashkett takes us on both the mental and physical health journey of hip-hop beat writer L’Orange as he faces a medical condition that could affect his career in music. The Mad Writer premiered at Slamdance Film Festival in Park City in January, and this is their Los Angeles Premiere. Zach’s most notable projects include: Shawn Mendes: In Wonder (documentary), Always Jane (TV Series), Sins of The Mother (TV Mini Series).
(70 minutes)
Monday, June 26, 2023—7 pm-Mann Chinese Theater- Hollywood/Highland
FAREWELLING– World Premiere Narrative
SYNOPSIS: In the midst of the pandemic and aftermath of her best friend’s overdose, Jenna finds herself in crisis as she reunites with those still around her. Questions of her own ethics and morals surface as she grapples with the “why” of everything, eventually discovering what it takes to truly break us. This is the World Premiere for the film at Dances with Film 26th Annual Film Festival. Writer/DIrector: Rodes Phire
Lead Actress: Cristen Coppen (Shameless)
(93 minutes) Farewelling Trailer
Saturday, June 24, 2023—9:30 pm- Mann Chinese Theater-Hollywood/Highland
THE BLACK GUELPH– US Premiere (Ireland) Feature
SYNOPSIS: Irish actor turned director John Connors brings the US his latest film. This film was inspired by Dante’s Inferno and the seventh terrace of Lust. The symbolism of unresolved sexualized trauma permeates down through the generations and flows deep within the psyche. The film based on the Irish Traveller’s Group community, creates a cathartic social question in the way that it addresses toxic masculinity in the context of unresolved childhood trauma. The film ultimately throws a lens at the human spirit and the capacity to overcome adversity, when it seems utterly hopeless. (125 minutes)
Friday, June 30, 2023—9:30 pm- Mann Chinese Theater- Hollywood/Highland
ABLED- THE BLAKE LEEPER STORY– LA Premiere Documentary
SYNOPSIS: This Documentary by Director Einar Thorsteinsson documents paralympian Blake Leeper’s story using candid interviews, incisive reporting, and rigorous scientific testing, to reveal the deliberate biases faced by disabled athletes who want to compete against the able-bodied, and the dubious science and deceptive publicity used to bar them from cross competitions. The film just had its World Premiere at Seattle International Film Festival in May and this is their Los Angeles premiere through Dances with Films.
(87 minutes)
Saturday, July 1, 2023—12:30 pm-Mann Chinese Theater- Hollywood/Highland
MERMAID’S LAMENT– World Premiere
The film follows two women: Oee (Dayva Summer Escobar) a traumatized woman who has lost her voice and may or may not be a mermaid. Her therapist, Dr. Nell Jamison (Justina Mattos) battles with anxiety herself, and attempts to help Oee overcome her delusions and connect with reality.
91 min.
Sunset in the desert. A modern mobile home splashed with paint, the bold hues almost glowing in the half-light. A man with a rifle. A shrill scream. Stuart Gatt’s Catching Dust announces itself by beginning with these enthralling moments. A film centering on a painter, it is interested in the motivations of its character, but also in placing them as figures within beautiful tableaus. The cinematography is gorgeous – there are shots in this film that could be framed and hung on your living room wall. 
Peppergrass
Chantelle Han
Barbara Crampton, whom I retain the right to declare a Time Lord, plays Dr. Danielle Upton. Had this film been made 20 years ago, she would be Beth. Crampton is as good as it gets. She’s sharp, 100% committed, and slyly comic. Her casting is no accident, and writer Dennis Paoli (Re-Animator) again does her justice. Judah Lewis plays Asa like a pro. His ability to switch characters and match Graham’s energy is astounding. I think it is legitimate to call him a Scream King by now. Graham goes all out, essentially playing three roles in one. She’s feisty and unbridled. Easily keeping up with Crampton’s iconic status, Graham nails the style. 
Luke Evans plays Nicky with a workhorse attitude that comes off as dismissive and arrogant against Billy Porter’s caregiver grace. This dynamic rings authentic for me as the default parent in my marriage. Porter nails every aspect, from his sing-songy tone of voice with Owen to the hesitancy to speak up for his emotional needs. Seeing myself on screen hit hard. While I’ve not had to go through divorce and custody dynamics, I have had these “come to Jesus” moments with my husband. I’ve been lucky.
In the fall of 2021, filmmaker James Gallagher rode across the country with Marc Rebillet on his sold-out Third Dose Tour to capture what it was about the artist, showman, and robe-clad musical alchemist that brought thousands of people out of their homes for the first time.
Young Je’Vida comes to life through the eyes of Agafia Niemenmaa. This personification of innocence is captivating against the stark quiet of Finnish snow and ice. She is a star. Sanna-Kaisa Palo gives present-day Lida a palpable lived-in trauma and definitive rage. Dismissive at the beginning, her healing journey comes with the shedding of shame and reclamation of identity through the next generation.
Jennifer Kim plays Meg with frayed nerves and pent-up trauma on every inch of her skin. She lives inside the mind of someone who survived unspeakable horror. But, her feisty spirit and take-no-shit attitude barrel this unrelentingly intense story onward. Kim owns every second of screen time. 
Troy’s vulnerability flows off the screen. Reenactments directly from Troy’s storytelling deliver every emotion possible. Have tissues on hand. It will be impossible to maintain a dry eye. I wept through this film, thinking about my child with autism. If I can be a fraction as supportive as Len Kotsur, imagine what Wes may be capable of achieving. In just over twenty minutes, this unforgettable film is an ode to a parent’s unconditional love.
The moment Sav Rodgers meets Kevin, it’s fireworks. Kevin gives Sav access to everything the rest of us have always wanted to know. Smith confesses that Holden is him. The film plays through his lens, and much of the story comes from real people in his life. Some conversations are word for word. Just ask a close friend of Kevin and GO FISH screenwriter Guinevere Turner, who put much of herself into Amy when collaborating on the script. 
Joey Lauren Adams, who gives us the iconic performance as Alyssa, explains her power in the role through archival interviews and a sense from the film. Kevin was, perhaps, ahead of their time in featuring a strong bisexual woman. But, the biggest irony may be Joey’s truth about CHASING AMY. This pivotal interview changes everything for everyone. Both Kevin and Joey get into their complicated past with Harvey Weinstein. Their experiences are vastly different. I am so grateful for their honesty. It means so much to so many survivors. *Waves hands in the air* 
Intertwined with everything else in this glorious doc, Sav lets us into their relationship with his girlfriend, Riley. Delving into deeply personal issues, he may or may not realize how universal they are until now. One part fanboy film, another part film history, all self-discovery story, and a love letter to Riley, CHASING CHASING AMY is tailor-made for Smith fans and indie fans, the queer community, and allies.
WISTERIA
Directed by: Steve Buscemi
MOTION DETECTED relies entirely on Natasha Esca‘s performance as Eva. Her descent into madness goes from 75 to 200 very quickly. A moment with wine is, perhaps, a touch over the top. Esca shines brightest when speaking Spanish. It’s her most natural delivery.
The film struggles with picking a storytelling lane. Eva’s PTSD and (*spoiler alert*) the haunted alarm system conflict more than they mesh. The idea that Diablo might manifest your greatest fears to lure you in needs a better narrative anchor in the film’s opening scene. Overall, the notion of tech knowing too much about us at every moment is a solid starting point. We can all relate to using some version of an AI assistant. The meat is on the bone in MOTION DETECTED, but it is a tad undercooked, in my opinion.
Save one or two, a group predominantly of elitist little shits wage war against the weaker for power. To no one’s surprise, these kids could not care less about following the religious aspects of the camp’s intentions, instead actively torturing the child with the darkest skin. Perhaps the saddest part is how the hatred spreads so quickly.
Outside the inner workings of the boys, there is a grander racism playing out beyond the chain link fence of the camp. A hole brings fear that an outsider has infiltrated the grounds. Slowly, we discover the nefarious intentions of the staff, the indoctrination of following orders, and never questioning authority.
The film plays out in two distinct acts. Once in the woods, the fractures widen, and smaller groups become exceedingly hostile. This Lord Of The Flies meets The Village script is exhilarating. My nerves almost could not take it. Performances are extraordinary. The film speaks to a growing global evil in Christofascism, sexual abuse in the church, and the destruction of otherness. A HOLE IN THE FENCE displays toxic masculinity at its core. It is a sick test and focuses on the myth of manhood. It is a microcosm, and we should all be afraid.
Interrogation videos are startling, to put it nicely. The difference in tone and language between the accused and accusers will infuriate you. Victims appear in shock; most of them are taught to respect authority. The victim blaming and shaming will make your blood boil. This systematic problem is the personification of rape culture. Detective Carl Hershman, an incredible former SVU officer, helps us understand the why and how. The force needs more people like him.
The psychological damage is unfathomable. Trust me when I say there are more sexual assault survivors than you are comfortable comprehending. VICTIM/SUSPECT uses police officers’ own words against them. The blatant lies and heinous tactics to have these victims recant will blow you away. Your head will spin when you discover their training includes using “ruse” in questioning. The lack of actual investigation is staggering. Journalists like De Leon are quite literally saving lives. Nancy Schwartzman and Netflix are doing an essential service to victims with VICTIM/SUSPECT. It can only lead to justice.
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