CHRONICLES OF A WANDERING SAINT
“Manifest your destiny” becomes literal in writer-director Tomas Gomez Bustillo‘s SXSW 2023 film CHRONICLES OF A WANDERING SAINT. In a small village in Santa Rita, Riat is an elderly chapel keeper who longs for sainthood. At odds with the righteous women from her prayer group, she cooks up a scheme to produce a “miracle’ at the expense of everyone in her life.
CHRONICLES OF A WANDERING is two films in one. It is a stunning bait-and-switch. Do not leave when you see the credits roll. The second half of the film is laugh-out-loud funny and beautifully profound. The visual gag of sneezing took me a moment to understand. It is brilliant.
Rita is the definition of a “corruptible soul.” Hers is an arc of redemption. Mónica Villa is magnetic. She nails the subtle comedy with precision. CHRONICLES OF A WANDERING is a clever commentary on goodness and eternal love. Do not miss it at this year’s festival.
Film Screenings
Credits
Director: |
Tomas Gomez Bustillo |
|---|---|
Executive Producer: |
Samir Oliveros, Doriane Desfaugeres, Ciro Apicella, RJ Glass |
Producer: |
Gewan Brown, Amanda Freedman, Tomas Medero (co-producer) |
Screenwriter: |
Tomas Gomez Bustillo |
Cinematographer: |
Pablo Lozano |
Editor: |
Benjamin Tolentino |
Production Designer: |
Doriane Desfaugeres |
Sound Designer: |
Andres Velazquez |
Music: |
Felipe Delsart |
Principal Cast: |
Monica Villa, Horacio Marassi, Pablo Moseinco, Silvia Mackenzie, Noemi Ron, Silvia Porro, Hernan Bustamante, Dahyana Turkie, Iair Said |
Additional Credits: |
Co-Producer: Tomas Medero, Associate Producer: Geronimo Coldesina |
Ezra Buzzington is the hard-line skeptic as Paul. Clad in his Magor’s uniform bespangled with medals, his bristly approach to patriotism is all too familiar even now. His audibly growing disdain makes the audience squirm. Jeremy Holm is Archie. He has the perfect touch of panache from his slicked-back hair, mustache, and crimson jacket. His looming figure, combined with his humor, creates a dazzling performance.
Dollars and the Devil. SATAN WANTS YOU at SXSW 2023 is more relevant than most of us would like it to be. In 1976, Dr. Lawrence Pazder and Michelle Smith had an unusual doctor/patient relationship. Under hypnosis, Michelle describes dreams as Pazder records and interprets for her. These sessions became a bestselling book, ‘Michelle Remembers, and the beginning of what we know as ‘Satanic Panic.” The monetization of fear is a powerful little devil on your shoulder. 
Gender identity is a hot-button issue around the globe. For intersex people, existing is complicated and emotionally taxing. SXSW 2023 doc WHO I AM NOT follows two individuals who follow divergent paths on their journey to self-acceptance. When intersex children are born, most doctors suggest that parents choose one set of genitals. This complex decision should not even be an option. Sharon-Rose and Katso were born with both sets of genitals. Neither function to produce children. The film exploring happiness, navigating family, discrimination, and dating is emotionally wrought and fascinating.
Cheney is building his Arc and documenting each step by delving into the history of the slightest details, human, animal, and mineral. Sporadically punctuated by amusing original limericks and images on his vintage portable television “Rex,” the film is a fascinating rumination on history, memories, and sentimentality. Ezra Wolfinger‘s striking drone shots juxtaposed with Melissa McClung‘s stop-motion transitional sequences are delightful. Close-up shots of wood rings and the ocean floor are awe-inspiring. It is a skillfully crafted journey. Oh, and Werner Herzog appears and produces, and it just makes sense. The final song choice, “Road To Nowhere,” is perfection.
Pure O
Raging Grace (United Kingdom)
Another Body
The plot and narrative are an awkward fit for such an intriguing setting. Troubled young Finn (Hart Denton, toned down from his manic turn on Riverdale) drifts through the town. He’s obviously troubled. His relationship with his parents is strained, and we can tell there’s anger (or worse) bubbling under his quiet exterior. He connects with Eliza, a girl at his school. Eliza is troubled too, in her own quieter way: she lives with her alcoholic mother, the two of them living through a trial separation from her step-father and step-sister. As Finn and Eliza deepen their bond, it quickly becomes clear that he will bring great love or great danger into her life (perhaps both.)
I found much to love about American Cherry, but left confused surrounding its tone and intention. From a genre perspective, it somehow sits right at the intersection of romance and psychological thriller, but that ambiguity was confusing in ways that felt unintentional. Is this trying to be Fear for the zoomer generation? Good Will Hunting with more bite? I felt it needed to commit a little bit more firmly. By seeking such balance, it risks underdelivering on both counts.
Pietro’s father only begins to invest his interest in his son’s life when his abilities might benefit him financially. The juxtaposition of his father and Professor Moretti is ceaselessly absorbing. Pietro’s friends slyly represent the adults in the film, each playing a separate role in their treatment of his potential gift. The issues of class, old world vs. new, and family dynamics loom large in the narrative. The film mixes elements of skepticism, belief, science, and faith. It is undeniably intriguing, richly shot, and brilliantly performed.
Five Women Unpack the Deeply Entrenched Misogyny in Syria in this Intimate and Affecting Documentary
Ari Jan
As Carl’s chances for individualism seem to dwindle, augmented audio in transitional scenes complements visuals of deterioration. The primarily static 16mm camerawork gives the film a documentary feel, as does the often sparse dialogue and long takes. The intensely funny town gossip and local far-right ignorance come together to paint a picture of global tension. 
Wuthering Heights fans will recognize the inspiration in Frances O’Connor‘s screenplay. Sibling and familial dynamics loom large, as does jealousy. A myriad of topics appears in the script; grief, individualism, and life in the arts. Emily shirks gender norms and yet yearns for the approval of her Father. Betrayal, morality, lust, defiance, sibling rivalry, adoration, and spite play keen roles in EMILY. A particularly sharp monologue serves as a Freudian confessional. It is brilliant and heartbreaking.
Fionn Whitehead plays Branwell Brontë with the vibrancy of a firecracker. He is a delightful foil for Mackey. Their connection is undeniable. Oliver Jackson-Cohen is Mr. Weightman. Battling societal morality and love, Jackson-Cohen gives a stunning performance. His intuition and chemistry with Mackey are explosive.
Swallowed is a genre-obliterating film with fantastic performances. Jena Malone adds gritty believability. To no one’s surprise, she manages to bring charm and intensity. Koch and Colon have spectacular chemistry, and you 100 percent buy their relationship. Koch possesses an accessible vulnerability. Colon’s honesty feels grounded. Bravo for their openness to go full frontal nude. We all know how rare that is, and it makes complete sense given the plot. The film also features a solid villainous turn from Mark Patton, a genre legend from A Nightmare on Elm Street 2. One line, in particular, is slyly redemptive given his status in the horror canon.
The camera work has visceral intimacy. Writer-director Carter Smith (The Ruins) gives audiences a unique genre entry, with the leads being LGBTQ male characters in scenarios we usually see female characters tackle. Swallowed is part crime thriller, part coming-of-age, and body horror. This film is an LGBTQ scenario of nightmares. Get ready to squirm.
It stars Jena Malone (The Hunger Games Film Series, Cold Mountain, Stepmom), Mark Patton (A Nightmare on Elm Street 2: Freddy’s Revenge, Freddy vs. Jason), Cooper Koch (Fracture) and Jose Colon (Feature Acting Debut)
You must be logged in to post a comment.