
A LIFE ON THE FARM

Somerset, England, and a mysterious VHS tape of a local farmer named Charles Carson. A LIFE ON THE FARM is a documentary feature that has had genre festivals buzzing since last year. Well, the chickens have come to roost, as they say, because the film finally arrives in theaters. You are not ready.
Carson’s tape provides viewers with so much unwanted information and detail. Most notably, a distasteful closeup of a bovine afterbirth and a dead cat. That is only the first taste of weirdness, as images get much darker the longer you watch. Carson’s nonchalant attitude toward everything on the farm feels jarring. His nervous laughter echoes throughout the film and viewers are disturbed. A LIFE ON THE FARM is one of the most bizarre home movies ever discovered. It feels wrong to watch, and yet you cannot look away!
Director Oscar Harding happened upon the tape as a child but had only had the pleasure of watching until his father hit stop on the VCR. It isn’t until the VHS reemerges in his adulthood that he feels compelled to dig deeper into the man beyond the vast amount of background provided by Charles along the way.
Carson’s neighbors and fans of the tape share their confusion, fascination, and shock at the tape’s contents, but I stopped in my tracks and took a step back when I realized the deeper meaning behind Charles’s actions. The films are part of his coping mechanism for loneliness, loss of purpose, grief, and, eventually, dementia. Friends honor Carson’s memory with understanding and respect for his complicated circumstances.
A new chapter to the mystery of Charles Carson occurred in 1996 when a new video appeared on YouTube. Harding and his peers are astounded by the short film’s artistry, story, and editing. Carson’s view of mortality is astonishing. A LIFE ON THE FARM is a creepy, enchanting, unusual, and extraordinary chronicling of a particular life.
** Theatrical tour at Alamo Drafthouse theaters throughout the US
starts April 13th (schedule below); both films available On Demand May 9th **

Fan Favorites from Fantastic Fest 2022, CHOP & STEELE, and A LIFE ON THE FARM will be screened as a double feature, with a theatrical rollout starting on April 13th at Alamo Drafthouse theaters throughout the country. The above special screenings will all precede live comedy shows with Found Footage Festival founders Joe Pickett and Nick Prueher, as well as filmmaker Q&As for A LIFE ON THE FARM in select cities. This double feature will screen as part of the theater chain’s fan-favorite “Fantastic Fest Presents” series and will expand further with additional shows in the weeks following.



Giedrius Kiela and Gabija Bargailaite play Paulius and Indre, respectively. Each brings qualities of pain. Kiela’s aggression has the audience in a death grip. His volatility is frightening. Bargailaite is more subtle. Her unraveling happens in a finale that breaks you. They are hypnotizing.
Slick editing and long takes on a stationary camera make the audience an unwilling witness to Paulius and Indre’s plans. The script’s structure leaves much to the imagination as clues come slowly. My mind swirled as I watched Paulius walk Indre through the crime’s timeline. You feel compelled to keep watching. As someone whose close friend died under mysterious circumstances years ago, the unresolved pain and trauma are palpable. The need to understand and reason with the devil never fades, no matter how many years go by. PILGRIMS captures the very messy essence of grief.


Thomas Parigi‘s performance transfixes. His ability to hold the audience in the palm of his hands, quite literally in this case, has the viewer waiting with bated breath for his next move. Parigi is a musician. His Soundcloud is as mesmerizing as his performance in the film. This debut role should garner him the attention he deserves. Parigi pulls you into this one-of-a-kind folklore horror dealing with loss, love, self-confidence, and generational embracement. The Strange Case of Jacky Caillou is an undisputable gem.



Alex Vincent, the original Andy, speaks to his experience at ages six and seven. Everyone boasts of his maturity and the professionalism he displayed on set. Jennifer Tilly plays Tiffany, aka Bride of Chucky. When Tilly came into the franchise, it revitalized the humor as a straighter foil for Dourif’s maniacal Chucky. The creation of her character is cinematic genius involving the Bride of Frankenstein and a bathtub. Dourif raves about her ability to improvise.
For
As a Child’s Play fan, transition scenes show you every minute detail of creating a single Chucky doll, and popping in each physical piece of media one at a time is fascinating. Everyone comments on the difficulty of movie-making and maintaining family life. The franchise structure is a unique chance to reconnect with people from year to year. They become your support system while away from your biological crew. Director Kyra Elise Gardner brings her second family into the limelight. LIVING WITH CHUCKY allows fans to celebrate one of their horror legends and those responsible for his status. It’s killer fun. 
Sporadic blue-tinged purgatory-like flashbacks of the woman in her heels, mussed blonde hair, and filthy trench coat give us little to go on. These sequences are undeniably unsettling. For most of the film, we draw our own conclusions based on the apparent hollowness of their marriage and a suggestion of an affair. Jakub Kijowski‘s bleak, but ravishing, cinematography sets the tone. Alicja stands apart from most of the action, furthering the feeling of isolation in an already stark environment.
Iwo Rajski plays Daniel with a natural fierceness that suggests he is starring in a documentary rather than a narrative. He is fantastic. Gabriela Muskala pens the screenplay and plays Alicja/Kinga. Her ability to reel you into her turmoil feels effortless. She is magnetic.
Azia Dinea Hale plays Nina, a young phone tech who gives private lessons to Mordecai. Dealing with an unexpected family secret, Nina pushes onward to assure Mordecai that he can take his future into his hands and heal through experience and art. Hale is as sweet and patient as we need her to be.
Sean Astin is Marvin, Mordecai’s son. Marvin’s confident facade begins to crack under the pressure of his cigar business, Fela’s diagnosis, and unresolved feelings with his father. Astin leaves his heart on the screen. Marvin is a complex person doing his best to keep his head above water. Astin takes each beat with thoughtfulness. It is a carefully crafted character study.



I’ve been a fan of filmmaker Onur Tukel‘s weird and wild sense of humor since
If the internet comments section became a brilliant satirical dialogue, you might have an inkling of how smirk-inducing POUNDCAKE is. With every conspiracy theory, controversial subject matter, and offensive conversation you can think of, Tukel pushes the envelope. Simultaneously hilarious and politically on point, the film makes fun of us all. 
Kristine Kujath Thorp is magnificent as Signe. Her ability to cry on cue serves the character at any given moment. Her self-absorption knows no bounds, and Thorp leans into obsessive and damaging behavior like a pro. Her performance feels effortless.


Two dominant themes in The Lost King are disability visibility and gender bias. Phillipa feels a kinship with Richard, angered he has been deemed a monster due to his severe scoliosis. It seems Shakespeare had a hand in demonizing his appearance for these years. The historical digging that happens in the film is eye-opening. She is whipsmart and undeterred in her mission to clear King Richard’s sullied reputation. We feel the frustration as Philiipa comes up against men taking credit for her work. Cheering her on when she stands up for herself, choosing to spread a strong feminist message to young girls rather than chase the fame regaled onto male archeologists on her dig.
The film’s magical realism adds a beautiful element to Phillipa’s journey. It highlights the emotional pull to finish her search. Not to mention how charming actor Harry Lloyd is as Richard. Steve Coogan plays Phillipa’s ex-husband John, a man going through a mid-life crisis who grows to respect Phillipa’s passion for her subject. Coogan is an icon and is no less intriguing in this role. Sally Hawkins plays Phillipa. Her ability to live in a character’s skin is magnificent. Her physicality dazzles. She can do no wrong in my book. Her enthusiasm is contagious.

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

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



BUFF 2023 documentary feature STAND BY FOR FAILURE is an acid trip in creativity. An explosion of overlapping media and audio, jump cuts, and dissolves are mind-bending. Filmmaker Ryan Worsley takes us on a journey through Willy Wonka’s creepy ass tunnel whether or not we want to ride. Welcome to the world of Negativland.
GEOFF MCFETRIDGE: DRAWING A LIFE
The mind of an artist is a splendid thing. SXSW 2023 doc GEOFF MCFETRIDGE: DRAWING A LIFE delves into the wondrous mind of a nurtured creative. Director Dan Covert puts a face and a name to the work we’ve seen for years. Meet Geoff McFetridge, graphic designer, visual artist, and family man. 

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