Category Archives: Film Festival

Sundance (2022) review: ‘Brian and Charles’ is a hilarious and heartwarming buddy comedy.

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BRIAN AND CHARLES

After a particularly harsh winter Brian goes into a deep depression; completely isolated and with no one to talk to, Brian does what any sane person would do when faced with such a melancholic situation. He builds a robot.

Brian is an eccentric inventor of creative, if not completely useless, things. After accidentally inventing a robot, he experiences the gambit emotions, the likes of which both he and the audience are not prepared for.

You have to wonder how much of the dialogue is improvised based upon David Earl‘s genius timing and rhythm. You will fall in love with this character. Earl creates a man that’s loveable, kind, and hilarious. You laugh out loud at moments that perhaps should not be funny. Ultimately, it’s Brian’s earnest care and wonder for Charles that hits you in the heart.

Chris Hayward as Charles is absolutely darling. As he is a newly created being, he possesses the whole of knowledge and yet has the social-emotional intelligence of a toddler. His unpredictable nature makes the chemistry with Earl pure magic.

 The awkward juxtaposition of Charles’ massively disproportionate body with Brian makes for quite the visual gag at any given moment. Bravo to Earl and Hayward for this one-of-a-kind screenplay. The mockumentary structure adds an extra element of levity. If you’re not grinning from ear to ear, I suggest you get your head checked. There is no doubt in my mind that this will be one of the biggest hits out of Sundance 2022. Brian and Charles is bursting with charm.

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) review: Rachel Lear’s ‘To The End’ is a doc where planet, politics, and progressive climate action collide.

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TO THE END

Stopping the climate crisis is a question of political courage, and the clock is ticking. Over three years of turbulence and crisis, four young women fight for a Green New Deal, and ignite a historic shift in U.S. climate politics.

To The End shines a light on the young activist movement that must succeed for us to survive, quite literally. This film took what was essentially a talking point to the vast majority of the country and finally gave it faces and ideas that mean something. The documentary spans a timeframe from the 2018 election cycle, the beginning of COVID, Black Lives Matter marches, to the 2020 election, the Code Red report, and most recently, the Build Back Better legislation. It clearly illustrates the inadequacies in our government and their direct connection to climate. It’s an inescapable reality for the audience. 

Heavily featured are the Sunrise Movement and their behind-the-scenes grassroots machine. They are the future of the climate movement. We know who Greta Thunberg is. We can conjure her image instantly. To The End introduces us to new faces. Varshini Prakash, Alexandra Rojas, and Rhiana Gunn-Wright should be added to our visual catalog. Another strong female household name that is also a large part of the climate narrative and the film is Representative Alexandria Ocasio-Cortez. I must admit, I was incredibly impressed by AOC and her resolute stance. Living in Manhattan, I’ve watched her rise to prominence through the lens of the media. To The End was the first time I got to see her unfiltered. You will not walk away from this film without newfound respect. 

The balance between performative politics and passionate change is a thin line. The open disdain for President Biden feels unproductive. It’s comparative to 2016 with Hillary Vs. Bernie Bros. Quite frankly, it’s borderline dangerous. Perhaps, this perspective has everything to do with my age and political exposure. I’ve worked on campaigns. I know how the legislative process works and how it doesn’t. Do I wish President Biden would use the power of the Executive Order more? Absolutely. I share the frustration and understand the urgency. I am terrified as I witness the destruction of the Earth at such a rapid pace. I do not want my young children to grow up and think that I say idly by as my parents’ generation has done for long enough. That is where the importance of To The End becomes crystal clear. There is a way forward through action and persistence, and the film is a successful blueprint on the real steps towards tangible progress. This passionate, up-and-coming generation of activists believes they can move the dial. I sure hope they do, for everyone’s sake. 

For more information on Sundance 2022 click here!

Sundance (2022) Midnight review: ‘SPEAK NO EVIL’ annihilates the notion of a gracious host.

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SPEAK NO EVIL

A Danish family visits a Dutch family they met on a holiday. What was supposed to be an idyllic weekend slowly starts unraveling as the Danes try to stay polite in the face of unpleasantness.

After meeting on an Italian holiday, two young families spend a weekend together in the Dutch countryside. Cultural misunderstanding and language barriers aren’t the only things creating tension, as guests become increasingly uncomfortable with their host family. 

The ominous score puts your frame of mind into peril immediately. Performances across the board will have you hanging on every word. The sly dialogue combined with increasingly cringe-worthy behavior keeps your skin crawling and your pulse elevated every second of the film. You are humming with anticipation of something terrible. Speak No Evil is the epitome of psychological horror. 

These people are not unfamiliar; the manipulation, the overly opinionated, the inappropriate, and overtly abusive. Boundaries are crossed and outright obliterated. As if that weren’t enough, the ultimate reveal of this odd couple will absolutely terrify you. Speak No Evil’s final third had me digging my nails into my palms so hard they almost drew blood. If that is not an endorsement, I don’t know what is.

To find out more about the entire Sundance 2022 lineup, click here!

Unseen Films Sundance (2022) review: ‘FIRE OF LOVE’

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FIRE OF LOVE

This is the story of volcanologists  Katia and Maurice Krafft who met and fell in love with each other and the earth’s firey mountains.

Made up mostly of the words and images of the Kraffts the film is many things. It is one of the most visually stunning films of the last few years. It is a history of volcanology over the life of the Krafft’s. It is one of the grandest love stories of our times. And the film is a philosophical examination of life and man’s place in the world. I was moved to tears.

What I love about the film is that the film doesn’t try to tell us everything, and in so doing does. Nominally it is about these two people, but the telling makes it into a myth. Not in the untrue sort of way, but the myth that gets at the hidden truth of human existence. It’s exactly the sort of thing that Werner Herzog strives for in his films where he will bend things toward the fantastic to give us a great truth. I don’t think anything was bent, I just think the shaping was a bit more mythic than the reality. And this is fine because it puts the love story on the level of the massive and overpowering volcanos

I can’t say this enough, the film moved me to tears.

A must-see, this is one of Sundances and 2022’s truly great films

To read all of Steve’s coverage of Sundance 2022, be sure to head over to Unseen Films!

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) review: ‘WATCHER’ is a slow-burn story of gaslighting and daily dread.

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WATCHER

Julia joins her husband when he relocates to his family’s native Romania for a new job. Having recently abandoned her acting career, she finds herself frequently alone and unoccupied.

Maika Monroe has solidified herself as a genre darling. If you somehow missed her It Follows or Villains, she’s a captivating performer. In Watcher writer-director, Chloe Okuno introduces us to a young couple’s international move to Bucharest takes a terrifying turn. A string of local murders haunts Julia as she spends her days alone and becomes aware of a neighbor staring at her from his apartment each night. Watcher takes you on a journey of cultural clash, instinct, and terror.

The film echoes the ingrained fear that women endure daily. We constantly live in a heightened state of awareness and anxiety that is exhausting. But it’s not only that aspect; it’s the gaslighting that might be more impactful than anything else and, its ensuing isolation can feel all-consuming. Monroe is in almost every frame. Her mindset will be all too familiar for the female audience. The sense that someone is a bit too close, looking at you a moment too long, and in many cases, we are helpless. What Monroe brings bravery to Julia that allows the viewer to be cautiously optimistic about her safety. Okuno and Zach Ford‘s script gives her a sense of action while maintaining fragility. It’s the moments of courage that we get to root for while simultaneously biting our nails. It’s a beautiful balance. Benjamin Kirk Nielsen‘s cinematography combined with Okuno’s blocking also put the viewer in Julia’s state of peril. Accompanied by a string-heavy score is everything we need it to be. The emotional manipulation in this film is sheer brilliance. While it’s not necessarily a new storyline, it is the bold approach that sets it apart. Watcher will have you maniacally screaming at the screen in terror and frustration. Sundance audiences are in for a ride.

To find out more about the entire Sundance 2022 lineup, click here!

Unseen Films reviews: Sundance (2022) feature ‘Leonor Will Never Die’

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LEONOR WILL NEVER DIE

Leonor is an older woman who can’t pay her bills. Her plan to sell an old script to a movie producer goes awry when she is clonked on the head by a TV and put into a coma. As her family deals with her medical issues she is living her script for real. It a one of a kind movie that mashes together genres into a film that is unlike any other, If you want a film that isn’t Hollywood but is entertaining look no further. This is one crazy film that mixes drama-comedy and 1980s action films into a story that grabs you and pulls you along.

I don’t know how to discuss this film. Then again I don’t know if I should. The film is just starting out on its journey to get to your screen and I don’t want to take the specialness of it away by telling you everything. I say this because I’m pretty certain this is going to hit a number of festivals in the coming months.

I will say that some of this doesn’t work. I was a bit lost at times, on the other hand, the film is so good that the bumps don’t matter.

Recommended, especially if you like off Hollywood one-of-a-kind gems.

To read all of Steve’s coverage of Sundance 2022, head over to Unseen Films!

Sundance 2022 short film review: ‘Long Line of Ladies’ is an intimate look into celebrating tradition and womanhood.

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Long Line of Ladies

A girl and her community prepare for her Ihuk, the once-dormant coming of age ceremony of the Karuk tribe of Northern California.

A journey of tradition and self-discovery, Long Line of Ladies is a Sundance 2022 short film that allows us to peek behind the curtain of a once lost ceremony in the Karuk tribe.

The openness of the Karuk culture and the lack of toxic masculinity are so refreshing to witness. The entire community comes together to support each young lady as an individual. They are gentle and ceaselessly encouraging. The deep connection to traditions and nature is mirrored in the ceremony. After fasting, a young lady is blindfolded on a journey through the woods for 4 days, then emerges to perform a dance. The meaning and emotion behind it made my heart swell. It symbolizes her journey into womanhood so perfectly. This intimate portrait of cultural tradition will live with me for a long time. As a mother of a little girl that will soon be five, Long Line of Ladies inspires me to seek out a way to honor what has mostly been deemed an embarrassing or awkward transition. It makes me want to do better for the next generation. 

Long Line of Ladies – Teaser from Rayka Zehtabchi on Vimeo.

Directed by:
Rayka Zehtabchi & Shaandiin Tome

Produced by:
Garrett Schiff, Pimm Tripp-Allen, Rayka Zehtabchi, Sam Davis and Dana Kurth

Run Time: 
22 minutes

ABOUT THE FILMMAKERS: 

Rayka Zehtabchi is an Academy Award-winning director and producer working in both documentary and fiction. In 2019, Rayka became the first Iranian woman to win an Oscar for her film “Period. End of Sentence.,” which can be seen on Netflix worldwide. In all her projects, she brings a naturalistic approach to her storytelling, striving for honesty and intimacy on screen.

Shaandiin Tome is a recognized writer, director, and cinematographer from Albuquerque, New Mexico. Her award-winning break-out short film Mud (Hashtł’ishnii) premiered at the Sundance Film Festival in 2018. She aims to bring resonating imagery in a blend of convergence with story, illustrating her perspective as a Diné woman.


Online Screening
Thursday, January 20 @ 8:00 AM PST to Sunday, January 30 @ 10:59PM PST

To find out more about the entire Sundance 2022 lineup, click here!

 

Unseen Films reviews: Sundance (2022) Midnight feature ‘FRESH’

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Fresh

(Spoilers Ahead)

I have to do this review in two pieces. The first is going to be a no-spoiler review and the second will have more details for those who don’t care about spoilers 

Part 1- No Spoilers

FRESH is the story of Noa, a young lady who is unlucky at love. She bemoans the fact to her friend that she can’t meet anyone nice online. She then meets Steve, a charming doctor in the supermarket. sparks fly and they are soon heading off to a quiet weekend getaway, where Steve reveals his appetites.

Without giving anything away this is a not bad little thriller that suffers from our having been here before and a pace that stretches things to almost two hours.

Part 2- Spoiler filled discussion

FRESH is a really well-made film with great performances, I just wish that the script and the pacing were up to everything else.

No, wait I wish going in the promotional material didn’t use the term “appetites” since it pretty much tells you someone is getting eaten. I suspect that the copywriter thought they were being clever, but the fact is it’s not, and coupled with the film’s love of food you know how this might go.

The real problem here is that after a leisurely first 35 minutes during which things are set up and we aren’t quite sure where this is going to go, the film turns and suddenly we’re in the “heroine is chained in a room genre” that has been done so many times that we can largely figure it out where it’s going. I mean the filmmakers gave Noa a plucky friend who wasn’t certin the trip was a good idea, so you know help is on the way. I felt no suspense while watching the film, other than curiosity about what condition the other trapped girl was going to be in.

It doesn’t help that the film runs almost two hours for no really good reason other than to have some sequences play out to 80’s songs in a “clever” way.  Despite what the film thinks it is not reinventing the wheel, and while entertaining it never really does anything to stand out from an overcrowded subgenre.

While I freely admit the fact that I see way too many films, especially horror/thrillers, every year influenced my feelings for the film, I can’t imagine anyone other than a non-horror film fan being over the moon about this film. (Additionally I also freely admit that the fact I had seen 30 Sundance films before I got to this did influence my feelings)

Then again the cast is so good that I could be wrong.

Ultimately worth a look for the curious.

Fresh will stream exclusively on Hulu starting on March 4.

To read all of Steve’s coverage of Sundance 2022, be sure to head over to Unseen Films!

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) short film review: ‘Warsha’ is pure cinematic joy.

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WARSHA

Warsha follows Mohammad, a Syrian migrant working as a crane operator in Beirut. One morning he volunteers to take on one of the tallest and notoriously most dangerous cranes in Lebanon. Away from everyone’s eyes, he is able to live out his secret passion and find freedom.

Circumstance drowning out his authenticity, Mohammad takes a risk at his construction job in the short film Warsha. Handheld and tight cinematography force the viewer into the vibrating chaos. But it’s the wide shots that astound in their scale and shared panic and awe. You will not see where this short is going.

Khansa plays Mohammad with a captivating vulnerability. Warsha introduces the entire world to Khansa, a multi-disciplinary artist redefining masculinity in the Middle East. I had chills watching his transformation. What brilliant casting. Writer-director Dania Bdeir has given Sundance audiences a short film that defies gender stereotypes. Its celebratory nature will leave you breathless.

To find out more information on Sundance 2022, including screening times, click here!

Double Bill Review: Gonzalo Calzada’s ‘Nocturna: Side A – The Great Old Man’s Night’ & ‘Nocturna: Side B – Where the Elephants Go to Die’ are where the theatrical and experimental meet.

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Nocturna: Side A – The Great Old Man’s Night

&

Nocturna: Side B – Where the Elephants Go to Die

“Nocturna: Side A – The Great Old Man’s Night” follows a nearly 100-year-old man who, on his final night on earth, fights for redemption from his life’s misdeeds. In “Nocturna: Side B – Where Elephants Go to Die,” Calzada embarks on an aesthetically opposite experimental twist of the same story.

Nocturna: Side A – The Great Old Man’s Night

 

Visual representations of grief, love, and regret make for a unique movie experience in the first of these two films. An extraordinarily haunting score adds to the emotional pull of the film. It’s a genre-defying film. There are brilliant clues along the way, but you have to stay sharp-eyed to notice them from the beginning. The added device of Alzheimer’s creates a perfect dance of deception and mystery. The cast is outstanding. Not a performance is out of place. Nocturna: Side A will break your heart as it inspires you to make peace with your shortcomings. Somewhere between memory and longing lies an enchanting storyline.

Nocturna: Side B – Where the Elephants Go to Die

 

This film has an entirely different approach and aesthetic. Audio and narration give it an almost accosting opening that prepares you for a drastically stylistic approach to more in-depth stories of the souls in the building. Nocturna: Side B is perhaps questionable as a stand-alone film. But it is undoubtedly a rich, nightmarish addition to the Nocturna: Side A.

Nocturna: Side A – The Great Old Man’s Night and Nocturna: Side B – Where the Elephants Go to Die will be released January 18 on iTunes/Apple TV, Amazon Prime Video, Google Play, Xbox, Vudu, Vimeo, DirecTv, local cable & satellite providers, and on DVD.

 

Sundance 2022: Some of what we’ll be watching at this year’s festival, and it’s a lot.

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Having switched from in-person to completely virtual, audiences of Sundance 2022 will have the opportunity to see a plethora of entertainment that will terrify, tantalize, and remind you of why we love storytelling so much. From horror to drama, television series to shorts, documentaries to VR experiences, we’ll be watching as much as our eyes can consume from January 20-30th. Things are finding distribution left and right, with is always great news. That means even if you miss something during the festival, it will most likely be coming to a theater or streaming platform very soon.

There is something for everyone. Genre favorite filmmakers, writers, actors, and wearers of all the hats,  Aaron Moorhead and Justin Benson, are bringing their latest film Something In The Dirt. Cooper Raif‘s newest Cha Cha Real Smooth is one we’re stoked for. His debut feature Shithouse was one of the most accurate films about college life I’ve ever seen. The shorts lineup this year is bound to blow you away. Do not overlook them, I beg you. There are feature documentaries on Kanye West and Princess Diana, the rise of TikTok, and Slave to Sirens (the first and only all-woman thrash metal band in the Middle East).

Without further ado, here is a list of some of the amazing content we’re excited about this year.

 U.S. DRAMATIC COMPETITION

Cha Cha Real Smooth / U.S.A. (Director and Screenwriter: Cooper Raiff, Producers: Dakota Johnson, Ro Donnelly, Erik Feig, Jessica Switch, Cooper Raiff) — A directionless college graduate embarks on a relationship with a young mom and her teenage daughter while learning the boundaries of his new bar mitzvah party-starting gig. Cast: Dakota Johnson, Cooper Raiff, Vanessa Burghardt, Evan Assante, Brad Garrett, Leslie Mann. World Premiere.

Besides Raiff being an obvious phenom, I suspect this one will hit harder for those with children on the spectrum. I’m particularly excited for Vanessa Burghardt’s performance, as she is on the spectrum herself. Representation matters, across the board.

Dual / U.S.A. (Director and Screenwriter: Riley Stearns, Producers: Nate Bolotin, Aram Tertzakian, Lee Kim, Riley Stearns, Nick Spicer, Maxime Cottray) — After receiving a terminal diagnosis, Sarah commissions a clone of herself to ease the loss for her friends and family. When she makes a miraculous recovery, her attempt to have her clone decommissioned fails, and leads to a court-mandated duel to the death. Cast: Karen Gillan, Aaron Paul, Beulah Koale. World Premiere.

This plot sounds like something out of West World and Doctor Who. Did I just mention those because of Paul and Gillan? Happy coincidence.

U.S. DOCUMENTARY COMPETITION

I Didn’t See You There / U.S.A. (Director: Reid Davenport, Producer: Keith Wilson) — Spurred by the spectacle of a circus tent that goes up outside his Oakland apartment, a disabled filmmaker launches into an unflinching meditation on freakdom, (in)visibility, and the pursuit of individual agency. World Premiere.

I fell into advocacy for those with disabilities when my son was diagnosed on the autism spectrum. I have a feeling that this film will give me a deeper understanding of not only my son’s perspective on society but the ever-present need for awareness and empathy.

WORLD CINEMA DRAMATIC COMPETITION

Brian And Charles / U.K. (Director: Jim Archer, Screenwriters: David Earl, Chris Hayward, Producer: Rupert Majendie)  — A story of friendship, love, and letting go. And a 7ft tall robot that eats cabbages. A comedy shot in documentary format. Cast: David Earl, Chris Hayward, Louise Brealey, Jamie Michie, Lowri Izzard, Mari Izzard. World Premiere.

Prediction: Brian And Charles will be one of the most endearing films of the entire festival. This unlikely buddy comedy is sure to capture everyone’s heart.

 

Leonor Will Never Die / Philippines (Director and Screenwriter: Martika Ramirez Escobar, Producers: Monster Jimenez, Mario Cornejo)  — Fiction and reality blur when Leonor, a retired filmmaker, falls into a coma after a television lands on her head, compelling her to become the action hero of her unfinished screenplay. Cast: Sheila Francisco, Bong Cabrera, Rocky Salumbides, Anthony Falcon. World Premiere.

As a writer, I’m selfishly looking forward to this. There’s always a bit of myself in my fiction, and who wouldn’t want to become an action hero?

WORLD CINEMA DOCUMENTARY COMPETITION

Calendar Girls / Sweden (Directors, Screenwriters, and Producers: Maria Loohufvud, Love Martinsen) — A coming-of-golden-age look at Florida’s most dedicated dance team for women over 60, shaking up the outdated image of “the little old lady,” and calling for everyone to dance their hearts out, while they still can. World Premiere.

Dancing since the age of three, this 41-year-old is looking for a few new role models.

 

Nothing Compares / Ireland, U.K. (Director: Kathryn Ferguson, Producers: Eleanor Emptage, Michael Mallie) — The story of Sinéad O’Connor’s phenomenal rise to worldwide fame and subsequent exile from the pop mainstream. Focusing on Sinéad’s prophetic words and deeds from 1987 to 1993, the film reflects on the legacy of this fearless trailblazer through a contemporary feminist lens. World Premiere.

NEXT

Something In The Dirt / U.S.A. (Directors: Justin Benson, Aaron Moorhead, Screenwriter: Justin Benson, Producers: David Lawson, Aaron Moorhead, Justin Benson)  — When neighbors John and Levi witness supernatural events in their Los Angeles apartment building, they realize documenting the paranormal could inject some fame and fortune into their wasted lives. An ever-deeper, darker rabbit hole, their friendship frays as they uncover the dangers of the phenomena, the city, and each other. Cast: Justin Benson, Aaron Moorhead. World Premiere. Fiction.

Genre fans will recognize these household names for their spellbinding skills. I’ve yet to watch away from their films without chills or an audible “WTF.”

The Cathedral / Italy, U.S.A. (Director and Screenwriter: Ricky D’Ambrose, Producer: Graham Swon) — An only child’s account of an American family’s rise and fall over two decades. Cast: Brian d’Arcy James, Monica Barbaro, Mark Zeisler, Geraldine Singer, William Bednar-Carter. North American Premiere. Fiction.

MIDNIGHT

Hatching / Finland (Director: Hanna Bergholm, Screenwriter: Ilja Rautsi, Producers: Mika Ritalahti, Nico Ritalahtit) — While desperately trying to please her demanding mother, a young gymnast discovers a strange egg. She tucks it away and keeps it warm, but when it hatches, what emerges shocks everyone. Cast: Jani Volanen, Siiri Solalinna, Sophia Heikkilä, Saija Lentonen, Reino Nordin, Oiva Ollila. World Premiere. Fiction.

 

PIGGY / Spain (Director and Screenwriter: Carlota Pereda, Producers: Merry Colomer, David Atlan-Jackson) — Sara deals with constant teasing from girls in her small town. But it comes to an end when a stranger kidnaps her tormentors. Sara knows more than she’s saying and must decide between speaking up and saving the girls or saying nothing to protect the strange man who spared her. Cast: Laura Galán. World Premiere. Fiction.

Speak No Evil / Denmark (Director and Screenwriter: Christian Tafdrup, Screenwriter: Mads Tafdrup, Producer: Jacob Jarek) — A Danish family visits a Dutch family they met on a holiday. What was supposed to be an idyllic weekend slowly starts unraveling as the Danes try to stay polite in the face of unpleasantness. Cast: Morten Burian, Sidsel Siem Koch, Fedja van Huêt, Karina Smulders, Liva Forsberg, Marius Damslev. World Premiere. Fiction.

KIDS

Maika / Vietnam (Director and Screenwriter: Ham Tran, Producers: Jenni Trang Le, Duy Ho, Anderson Le, Bao Nguyen) — After a meteor falls to earth, 8-year-old Hung meets an alien girl from the planet Maika, searching for her lost friend. As Hung helps her otherworldly friend search, the alien inadvertently helps Hung make new friends and heal a broken heart. But danger lurks everywhere… Cast: Phu Truong, Diep Anh Tru, Tin Tin, Ngoc Tuong, Kim Nha. World Premiere. Fiction.

INDIE EPISODIC PROGRAM

The Dark Heart / Sweden (Director: Gustav Möller, Screenwriter: Oskar Söderlund, Producers: Anna Carlsten, Caroline Landerberg) — Sweden: in a mythological landscape, search parties roam through forests of spruce, secret conversations are whispered in open fields, and verbal duels fought on narrow country roads. A story of family feuds, inheritances, and forbidden love. Cast: Aliette Opheim, Clara Christiansson Drake, Gustav Lindh, Peter Andersson. World Premiere. Fiction. 

Sweden’s true crime game is above and beyond. The US had already remade series like The Killing and The Bridge. Sundance 2022 audiences can dive headfirst into The Dark Heart. The series is a five-part psychological drama-thriller about how an old family feud clashes with a young, forbidden love story, leading to a tragedy with a deadly outcome, ultimately solved by a private investigator who gets obsessed with the case. The story is based on journalist Joakim Palmkvist’s book “The Dark Heart: A True Story of Greed, Murder, and an Unlikely Investigator”, which delves into the story about how a mysterious missing person’s case is investigated and solved by a local Missing People-volunteer involved in the searches.

INTERNATIONAL LIVE ACTION SHORT FILMS

Warsha / France/Lebanon (Director and Screenwriter: Dania Bdeir, Producer: Coralie Dias) — A Syrian migrant working as a crane operator in Beirut volunteers to cover a shift on one of the most dangerous cranes, where he is able to find his freedom. Cast: Khansa. World Premiere.

Once in a blue moon, a short film takes your breath away and Warsha might be that film in 2022.

U.S LIVE ACTION SHORT FILMS

Huella / U.S.A. (Director and Screenwriter: Gabriela Ortega, Producers: Helena Sardinha, Rafael Thomaseto) — When the death of her grandmother unleashes a generational curse, a disenchanted flamenco dancer resigned to a desk job is forced to experience the five stages of grief through a visit from her female ancestors. Cast: Shakira Barrera, Denise Blasor, Carla Valentine. 

U.S. NONFICTION SHORT FILMS

Long Line of Ladies / United States (Directors: Rayka Zehtabchi, Shaandiin Tome, Producers: Garrett Schiff, Pimm Tripp-Allen, Rayka Zehtabchi, Sam Davis, Dana Kurth) — A girl and her community prepare for her Ihuk, the once-dormant coming of age ceremony of the Karuk and Yurok tribes of Northern California. World Premiere. DAY ONE

For Sundance 2022 full line-up, tickets, and more click here!

 

Review: ‘The Shepherdess and The Seven Songs’ screening at MoMA this week.

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THE SHEPHERDESS AND THE SEVEN SONGS

Following an impressive global film festival run that began with the 70th annual Berlinale and included in MoMA’s 2020 New Directors/New Films festival, THE SHEPHERDESS AND THE SEVEN SONGS (Laila aur satt geet) returns to New York on January 12th, 2022 for a week-long run at The Museum of Modern Art, courtesy of Deaf Crocodile Films and theatrical partner Gratitude Films.

Laila Aur Satt Geet is part allegory, part ethnographic study, and part feminist fairy tale, using the narrative device of local folk songs – seven, to be exact – to describe the protagonist – Laila’s inner and outer worlds.

Laila uses her beauty as her weapon. While navigating misogyny, tradition, indifference, and desire, Laila embarks on a physical and spiritual journey. THE SHEPHERDESS AND THE SEVEN SONGS (Laila aur satt geet) is a genre-defying film. With dazzling cinematography, the camera tends to linger (sometimes stationary) and allows the viewer to experience a cinema verite effect during some scenes. Juxtaposed with sweeping shots of the lush locations and closeups of our leading lady’s face. The pensive moments are weightier when stillness consumes Laila. We watch a young woman reclaim her power through poetic song. Some selections are metaphorical and others literal. Writer-director Pushpendra Singh (The Honor Keeper, 2014; Ashwatthama, 2017; Pearl of the Desert, 2019) guides Navjot Randhawa along the emotional spectrum. She is a fully fleshed-out, flawed woman. It’s a brave performance that hit me in the gut. THE SHEPHERDESS AND THE SEVEN SONGS (Laila aur satt geet) never fails to keep you engaged, culminating in a gorgeous cinematic gem.

Following the run at MoMA, THE SHEPHERDESS AND THE SEVEN SONGS

will be released on VOD in North America in spring 2022

from Deaf Crocodile, Gratitude Films, and Grasshopper Films.

THE SHEPHERDESS AND THE SEVEN SONGS

Original title: Laila aur satt geet

Genre: Drama

Country: India

Runtime: 96 min

Year: 2021

Languages: Gujari and Hindi; English subtitles

Rated: NA

IFC Midnight trailer debut: ‘A BANQUET’ dishes out family and fear this February.

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A BANQUET

Directed by Ruth Paxton
Starring Sienna Guillory, Jessica Alexander, Ruby Stokes,
and Lindsay Duncan

Synopsis
Widowed mother Holly (Sienna Guillory) is radically tested when her teenage daughter Betsey (Jessica Alexander) experiences a profound enlightenment and insists that her body is no longer her own, but in service to a higher power. Bound to her newfound faith, Betsey refuses to eat but loses no weight. In an agonizing dilemma, torn between love and fear, Holly is forced to confront the boundaries of her own beliefs.

Opens in Select Theaters, on Digital Platforms
and VOD on February 18th

About the Director
Ruth Paxton is a Scottish filmmaker who graduated in 2007 with an MA in Film and TV from Screen Academy Scotland having gained her honours degree at Edinburgh College of Art. Her award-winning shorts have been exhibited and nominated in competition at numerous international events and prominent film festivals. Winner of Best Woman Director at the 12th London Short Film Festival for her film PULSE, and nominated one of Canongate Books 40 Scottish Storytellers of The Future; artists anticipated to dominate the next 40 years of creative life in Scotland. In 2019 Screen Daily featured her as one of ‘Six emerging Scotland based Directors you need to know.’ A BANQUET is Ruth’s debut feature, a psychological horror produced by Tea Shop Productions and Riverstone Pictures. The film is represented by HanWay Films, and was recently acquired by IFC Films for North America. It was selected for the Great 8 showcase at Cannes Marche presented by BFI, BBC Films and the British Council, and will have its World Premiere at Toronto International Film Festival 2021, in the Discovery section.

Directed by: Ruth Paxton
Written by: Justin Bull
Produced by: Leonora Darby, Nik Bower, James Harris, Mark Lane, Laure Vaysse
Director of Photography: David Liddell
Edited by: Matyas Fekete
Starring: Sienna Guillory, Jessica Alexander, Ruby Stokes, Kaine Zajaz, Lindsay Duncan
Runtime: 97 mins

IFC MIDNIGHT
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Review: From stage to screen, the verdict is in for ‘Who is Amos Otis?’

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WHO IS AMOS OTIS?

SYNOPSIS

After assassinating the President, Amos Otis pleads self-defense and must convince the jury that America was not only under attack by its unhinged ruler – but that his actions saved the country and the world. The assassin’s provocative testimony and ingenious defense turns the proceedings upside down and puts our country on trial. 

A wow of a film, Who Is Amos Otis? is like a swift punch in the throat. Written, produced, and directed by Greg Newberry, the story has us follow the President’s assassin and his subsequent trial. If you think this is a mere courtroom drama, think again. You’re in for one of the year’s most surprising and controversial films. It’s a hell of a way to end the year. 

Rico Reid as Amos’ court-appointed attorney Jason, is confident and brave. He brings a levelheadedness that superbly matches the ever-evolving energy in the room. Josh Katawick, as Amos, has a presence reminiscent of the late great Phillip Seymour Hoffman. He’s three steps ahead of everyone. It is an incredibly nuanced performance.

The script possesses inklings of The Life of David Gail and The Terminator. The writing is whip-smart. It keeps you guessing, all while prodding you with a steady stream of information. The script is thick with wordplay, snark, and wit. It dares to ask the questions many of us have been thinking over the past five years. You immediately recognize the theatricality of Newberry’s dialogue. The project moves from stage to screen, with Reid and Katawick starring in their original roles. It explains the perfect chemistry between them. I would have loved to feel that live energy in which the audience was the jury during its 2019 run. I am formally requesting a New York run. Everyone I know would vie for a chance to be a jury member.

Without spoiling anything, Who is Amos Otis? takes a sharp left turn roughly 45 minutes in, obliterating the genre you think you’re consuming. Compounding the political thriller are the hottest and most controversial topics front and center. It is a film that people will either love or hate, but the brightest viewers will respect it for its audacity and artistry. Who is Amos Otis? is a fearless and enthralling film. It’s not only a conversation starter. Who is Amos Otis? is a conversation igniter.

Official Trailer for Who is Amos Otis? on Vimeo.

WHO IS AMOS OTIS? a searing, mind-bending, SCI-FI political thriller based on the Pulitzer Prize nominated play from Cincinnati playwright and award-winning filmmaker GREG NEWBERRY (Beemer Baby, Homefree) will be released by Gravitas Ventures on Digital | VOD on December 28th.

Starring an ensemble cast of strong characters JOSH KATAWICK  (“Glengarry Glen Ross” “A Few Good Men”), RICO REID (Tolerance, All Wars),  MICHAEL G. BATH (Miles Ahead, Healing River, Notzilla), A.J. FORD (One Flew Over the Cuckoo’s Nest, Of Mice and Men, All The Way), CHRISTINE BRUNNER (The New Detectives, The Life Project), DEREK SNOW (The Shawshank Redemption, The Old Man & the Gun, Extremely Wicked, Shocking Evil and Vile), CHRISTINE JONES (Carol, Healing River, Promises to Keep), MIKE DENNIS (Carol, Miles Ahead, Surviving Compton), DONALD VOLPENHEIN (Gotti, “The Kill Point”), PEGGY ALLEN (Hourglass – A Smallville Story, Sphragida,  2 Mars), DENISE DAL VERA (Dark Waters, “Tell Me a Story”), CAROL BRAMMER (Hands Down).

Review: Explore a Riveting Doc with ‘Dead Man’s Switch: A Crypto Mystery’ on Discovery+ tomorrow!

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DEAD MAN’S SWITCH: A CRYPTO MYSTERY

$215 million dollars disappeared in 2018 when Gerry Cotten, CEO of one of North America’s largest crypto exchanges, died suddenly – or did he? Journalists, regulators and crypto enthusiasts are determined to discover what happened to Gerry and the fortunes of 115,000 creditors. Dead Man’s Switch: A Crypto Mystery tracks a tantalizing unsolved story of deception, greed, corruption, and the potential of unregulated currency to be used for both good and evil.

A mysterious death abroad, $215 million missing, and a deep dive into the murky world of cryptocurrency– what else could you wish for? 

 Dead Man’s Switch is a captivating watch where viewers can’t be sure if they’re diving into the story of a heist, fraud, or perhaps even a murder mystery. Exploring the meteoric rise and dramatic fall of Quadriga CX, one of North America’s largest crypto exchanges, the documentary examines fascinating possibilities about what happened to its charismatic leader Gerry Cotten and– potentially more important for the many investors– where did all that money go? 

Amidst the intriguing narrative of Gerry Cotten’s rise and the close-knit community that propelled his success, an unexpected element comes into play – the world of crypto trading bots. This group of journalists, crypto enthusiasts, and Gerry’s former friends delve deep into the allure of cryptocurrency. As the story unfolds, the once vibrant and communal atmosphere of Quadriga CX faces challenges when the crypto markets experience a downturn, leading many investors to seek safer and more reliable platforms, such as the Best Crypto Exchange Canada, to secure their assets. You may also check out Instant Funding prop firm reviews here.

The facade of success begins to crack, revealing a more complex reality. However, it is Gerry Cotten’s sudden demise in 2018 that marks a turning point, raising questions that lead these individuals to explore the mysterious realm of crypto trading bots and their role in the unfolding drama. Explore https://immediate.net/cs/ to gain further insights into cryptocurrency trading bots. For those keen on staying informed about the potential implications of such initiatives and seeking investment opportunities in the cryptocurrency space, a valuable approach is to delve into review of Invest Diva to navigate the dynamic world of crypto investments.

 This doc is a fun watch for those intrigued by true crime or big tech, and also serves as an excellent primer for anyone itching to join in on fiery crypto-conspiracy Reddit boards.

Streaming on discovery+ on December 23rd

Written and Directed by Sheona McDonald (When Dreams Take Flight)

*Official Selection – Hot Docs 2021*
*Official Selection – Calgary International Film Festival*
*Official Selection –  DOXA*
*Official Selection – Melbourne Documentary Film Festival*
*Official Selection – Gimli Film Festival*

Review: ‘Keep it Secret’ Gives us a Glimpse but Maintains the Mystery

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KEEP IT SECRET

Keep It A Secret recounts the inspiring true story of the dawn of Irish surfing and how the sport’s brave pioneers found the peace in the surf during the most violent years of The Troubles conflict.

Most people probably don’t even know about Irish surfacing culture, but perhaps that is exactly the point. In “Keep in Secret”, founding members of the Irish surfing community share a treasured history of bringing the ocean sport born and developed on the sunny shores of Hawai’i to the chilly white-tipped waters of the Irish coastline. A fascinating exploration into what was once just a curiosity sparked from 1960’s travel magazines, Irish surf culture grew into a close-knit community a continent and an ocean away. To fully enjoy sports like this, one must be fully-equipped with items such as bow cases. 

Anchored by charming first-person narratives from a crew you’ll wish you could keep up with, “Keep it Secret” is a total gem. Their tales of surf safaris around the Irish coastline are scrappy and steeped in the complex history of the 20th century. They crafted their first boards by hand and surfed the icy waters without wetsuits bolstered by a sense of exploration, camaraderie, and good Irish whiskey. 

The documentary hits the mark of gloriously showcasing a unique surf culture that should be celebrated but it also draws a line. Among local fears that these treasured surfing locations might soon be swamped with international tourists forcing the locals out, the documentary does keep some secrets close to the chest leaving the best of them for the insiders.

Short film review: ‘Shadow Bird (Sonsi)’ enchants from beginning to end.

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SHADOW BIRD (SONSI)

Every morning, eight-year-old Nadi wanders somewhere between the conscious and the unconscious, to meet her dream-etched Shadow Bird. A second character unfailingly follows – the mysterious Timekeeper, who has a clock fitted inside his heart. Every day upon his arrival, the sleepy village would wake up. But one morning neither the Shadow Bird nor the Timekeeper arrive…and Nadi ventures alone into the deep, mysterious woods in search of them.

If you’re looking for something akin to the world of Guillermo Del Toro films, look no further than the Indian short film Shadow Bird (Sonsi). Boasting twenty-four minutes of extraordinary lighting, lush colors, and dazzling cinematic dynamics. These elements are carefully curated by writer/director/cinematographer Savita Singh. I was immediately consumed by Shadow Bird’s glorious sound editing from Ajit Singh Rathore and Anmol Bhave. The score from Tajdar Junaid tops off this elegant folklore tale. The cast is phenomenal. We’re plunged into this dreamlike world with the calming narration from Rasika Duggal. Young actress Aarohi Radhakrishnan portrays Nadi with the perfect amount of precociousness and innocence. Jameel Khan, as Time-Keeper, brings yet another magical element to Shadow Bird. There’s something so whimsical about his facial expressions and voice. What a stunning treatment for a feature. I could watch this over and over, it’s simply that enchanting. This is one of those films that reminds us of why we go to the cinema. It is art.

​Shadow Bird, the latest film by groundbreaking director Savita Singh has qualified for the 2022 Academy Awards and is in consideration for nomination in the ‘Best Short Film’ category.

This builds on the National Award the film received in India for Best Cinematography (Non-Feature Film), the highest recognition for cinema in India. ‘Shadow Bird’ qualified for the Oscars by virtue of winning the Bengaluru International Short Film Festival, the only Oscar-qualifying film festival in India. It also won ‘Best Short Film’ at the Lady Filmmakers Festival in Beverly Hills, CA.

WINNER: BEST FILM

Bengaluru International Short Film Festival 2021

WINNER: BEST CINEMATOGRAPHY

67th National Film Awards

WINNER: BEST SHORT FILM

Lady Filmmakers Festival 2021

 

NOMINEE: BEST SHORT FILM

NYIFF New York Indian Film Festival 2021

 

OFFICIAL SELECTION

Montecatini International Short Film Festival 2021

 

IFFSA Toronto 2021

Vancouver International South Asian Film Festival 2021

Dharamshala International Film Festival

Shudder original review: ‘THE ADVENT CALENDAR’ is the holiday horror gift that keeps on giving.

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THE ADVENT CALENDAR

Eva (Eugénie Derouand, Paris Police 1900), an ex-dancer, is now using a wheelchair, unable to walk. When her friend Sophie (Honorine Magnier, Tomorrow is Ours) gives her an old wooden antique advent calendar before Christmas, she realizes each window contains a surprise that triggers repercussions in real life. Some of them are good, but most of them are bad, really bad. Now Eva will have to choose between getting rid of the calendar or walking again – even if it causes death and destruction to everyone she holds dear around her.

Writer/Director Patrick Ridremont gives Shudder audiences enough horror to rude into the holidays with The Advent Calendar. Think of it as a Christmas-themed Pandora’s box. Eva’s life is pretty sad. Isolated by the insensitivity of people who only see her wheelchair, combined with the declining health of her beloved father, Eva trudges through day-to-day life. When given a unique birthday gift, each day brings the unexpected. For better, and most certainly, for worse.

There’s an immediate and visceral Wow factor that occurs when the box first appears. The design is intricate. It’s simultaneously inviting and terrifying. It also allows for a brilliant screenplay structure as we know there are more surprises to come counting down the days with Eva. The Advent Calendar could have been an entire series on Shudder. 

Eugénie Derouand, as Eva, is outstanding. You can see the gears turning as her moral compass disintegrates. It’s an emotional rollercoaster. Derouand makes it look easy, and you cannot help but root for her. 

The practical fx and makeup are unsettling and grotesque. I found myself unable to look away, quite frankly. The tropes are consuming, and they’ll send a shiver down your spine. They are relentless. Overall, The Advent Calendar is a gift that keeps on giving, whether you like it or not. Add this one to your annual holiday horror lists immediately. 

Shudder, AMC Networks’ streamer for horror, thrillers and the supernatural will premiere writer/director Patrick Ridremont’s ornate and elegant French horror fantasy The Advent Calendar exclusively on Tuesday, December 2nd. Combining Faustian themes and allusions with European folklore and tense, chilling terror, the Shudder Original film provides some highly original holiday season horror.

The Advent Calendar world premiered earlier this year at London’s Frightfest and was produced by Alain Benguigui, Virginie Ogouz, Jean-Yves Roubin, and Cassandre Warnauts.

HBO original documentary review: ‘ADRIENNE’ lets us peek inside the life of the immensely talented Adrienne Shelley.

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ADRIENNE

As the muse of Hal Hartley’s indie classics and as writer/director of the critically acclaimed Waitress, Adrienne Shelly was a shining star in the indie film firmament.

Indie film darling, writer, and director Adrienne Shelley‘s tragic death in 2006 sparked immediate action by her husband, Andrew Ostray. His new documentary explores Shelley’s childhood, her artistic talents, and her legacy. What happened that fateful day? How would he explain everything to their then 2-year-old daughter? Andy sets out to let people into Adrienne’s world, her career, and to help his own family navigate their grief.

Adrienne’s rise to fame seemed written in the stars. Certainly in her diary entries. Her daughter Sophie, who bears a striking resemblance to her mother, reads passages from the diaries through the years. Andy talks to Adrienne’s childhood friends, co-stars, and former directors as they recall her talents and loyal friendship. He documented conversations he had with Sophie about Adrienne. Richard O’Connor creates beautiful line-drawn animation with Sophie and Andy’s voiceovers that become great transition moments. 

Adrienne was so self-aware. It’s inspiring to watch the interviews where she expresses her values. Her uniqueness and vision allowed her to make a space for herself in the entertainment industry and quickly. She was also making a doc herself about happiness. There is so much insightful footage of Adrienne being Adrienne. A repeating theme is a sadness that she carried with her for a great deal of her life. It’s a heaviness that hovers over the entirety of the film. But she and Andy’s love story is never diminished. It’s the reason we have Waitress; this glorious celebration of a woman breaking free and understanding unconditional love. 

The doc swells to the gut-wrenching moment when Andy confronts the man who murdered Adrienne. It is a powerful interaction that had me trembling. But, most likely, you’ve already wept while watching ADRIENNE. You cannot sit through Jessie Mueller’s rendition of “She Used To Be Mine” from Waitress: The Musical and not be a complete emotional wreck. It’s not physically possible. This film is partly a gift to his daughter and Adrienne’s fans. It’s undoubtedly a physical catharsis, leaving the human experience of how one single person can impact everyone around them. It’s a legacy of an extraordinary woman and her story. ADRIENNE will touch your soul. 

Director: Andy Ostroy
Executive Producer: Marc Levin, Nancy Abraham, Lisa Heller
Producer: Andy Ostroy; Co-Producer: Jillian A. Goldstein; Supervising Producer: Daphne Pinkerson
Cinematographer: Trish Govoni
Editor: Angela Gandini, Co-Editor: Kristen Nutile
Music: Andrew Hollander
Language: English, Spanish
Country: USA

Year: 2021

So many stories left to tell. Adrienne, an HBO original documentary about the life and legacy of actress, director, and screenwriter Adrienne Shelly, premieres December 1 at 8 pm on HBOMax.

DOC NYC (2021) review: ‘Come Back Anytime’ is a Visual Feast with Charisma to Spare

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Come Back Anytime

For more than forty years, ramen master Masamoto Ueda has been serving his legendary Tokyo-style ramen to a community of regulars who are not only his customers, but true friends.

Sometimes the simple pleasures are the best: good food, great friends, and a cold glass of sake. “Come Back Anytime” is a lovely tribute to Bizentei, a cozy ramen noodle restaurant located on a quiet corner of suburban Tokyo. Within this neighborhood gem, ramen master Masamoto Ueda has served comforting bowls of noodles for over thirty years while cultivating a cast of charming regulars that return week after week. While the lush cooking scenes bring to mind the much-heralded “Jiro Dreams of Sushi,” Bizentei has a relaxed communal atmosphere much more akin to “Cheers.” Serving a ramen style considered somewhat old-fashioned but with seriously upgraded ingredients, the regulars cherish the nostalgic qualities of the food as much as Master Ueda’s company, and if you have employees in this company the use of  instant paystubs generator free is useful to manage this. Through first-person interviews with the patrons, viewers gain privileged access to a cozy hub, and it quickly becomes apparent why it holds such a special place in the community. 

The film opens with the subtle ASMR of Chef Ueda opening his shop for the day. Beautiful cinematography captures both art and skill as Chef prepares delicate broths that simmer gently in the background forming swirls of quiet steam, then sharpens glistening knives on a dark stone before chopping picture-perfect vegetables into neat symmetrical rows. I was captivated less than five minutes in. 

“Come Back Anytime” grabs your attention with a stunning presentation of traditional Japanese cuisine, but it is the intimate portraits of friendship forged over crispy fried gyoza or melt in your mouth chashu that will capture your heart.

For more info on DOC NYC 2021 click here!