I’M FINE (THANKS FOR ASKING)
When a recently widowed mother becomes houseless, she convinces her 8-year-old daughter that they are only camping for fun while working to get them off of the streets.
Women have been trained to be pleasers. Asking for help has not been hardwired into our DNA. It takes a lot for most of us to ask for help. In I’m Fine (Thanks For Asking) we follow Danny over the course of one very long day. She is desperately trying to earn the last $200 she needs to secure a new apartment for her and her daughter Wes. It is not going well. As she pounds the pavement to get them out of this tragic position, the reality of her situation slowly takes hold. I’m Fine (Thanks For Asking) boasts a genuine screenplay about grief and struggle. Kelley Kali‘s performance, direction, and writing are feminist-driven and incredibly honest. From comical to heartfelt, it was refreshing to hear the juxtaposition in dialogue. There are scenes where Kali allows herself the express exasperation. Others in which she pleads for leniency. Each encounter is equally important. This character is a fully fleshed-out woman with flaws and determination. Kali shows us she’s got the “it” factor. In fact, her performance is so down-to-earth to earth you might think this was a documentary. It’s raw and revelatory. So much about this film feels like the representation we need to see more of.
SOUND OF VIOLENCE
Alexis recovered her hearing during the brutal murder of her family when she was ten. The visceral experience awakened synesthetic abilities in her and started her on an orphaned path of self-discovery through the healing music of brutal violence. She goes on to pursue a career teaching and experimenting to find new sounds. She is supported and loved by her roommate Marie who is unaware of the dark secrets behind Alexis’ unique music and the part she unknowingly plays. Faced with the likelihood of losing her hearing again, Alexis escalates her pursuit of her masterpiece through gruesome sound experiments and devastating designs. She won’t let anything stop her not even love.
This film is definitely about trauma. That’s undeniable. Alexis is dealing with synaesthesia (the ability to see sound) and intermittent bouts of losing the hearing she has regained. Yes, it’s a lot. Her PTSD coping strategy goes off the rails faster than anticipated. The sound editing in this film is key to its success. Color is another factor that helps the audience immerse themselves into Alexis’ mindset. To auditorily and visually understand her euphoria is important here. This is the film’s most successful aspect. It is truly glorious. But something stalls the overall flow of the film. What I think is off is the order in which we see her unusual “Experiments” occur. The nonchalance is of it all needed to be explored more. I would have loved to see some scenes with a psychotherapist juxtaposed with the behavior. Is it fair to assess this film as one woman’s perfect form of torture porn? Maybe not. It’s certainly more complex. The beginning had so much potential but it really jumps the shark about 30 minutes in. Jasmin Savoy Brown as Alexis is as committed as they come, but I think the material fails her. Detective Fuentes’s dialogue is so over the top it reads farcical. There is a lot to work with but Sound of Violence ultimately becomes silly. Alexis’s journey begins as extreme commitment and mutates into complete disassociation.
Casting two of the biggest horror legends in Larry Fessenden and Barbara Crampton was pure genius. Fessenden gets his comeuppance as a misogynist minister and clueless husband when he stumbles upon the reason his wife is so different as of late. Witnessing him bungling around is extremely satisfying. His chemistry with Crampton is perfection. Barbara plays Anne; a woman who is not allowed to have a point of view, let alone shine. She is the dutiful wife who puts her dreams aside for stability. Her initial sadness is palpable. Once circumstances change, Crampton gets to play a new completely new role. She is fierce as hell. I loved every second of this character’s second chance at life. Her performance is borderline camp and I could not get enough of her. Crampton never seems to stop working. After this role, I can imagine she’ll be even more overwhelmed with offers.
Travis Stevens does an incredible job of highlighting the mundane and oftentimes loathsome trappings of marriage. The result of 30 years of oppression that Anne tolerates is infuriating but creates the perfect backdrop for her arc. This script is about the restructuring of power. Even the title is genius, subconsciously telling you that Anne isn’t in charge of her own identity. I laughed out loud and cheered audibly when Anne begins to stand up for herself. The pure, unadulterated sass is magic. After Girl On The Third Floor, I expected a lot from Stevens. Boy, does he deliver the goods. (Keep an eye out for CM Punk to make a quick appearance, btw.) Jakob’s Wife has kick-ass music from Tara Busch. Yvonne Reddy‘s costumes are carefully curated to reflect the vibrance of Anne’s newfound confidence. Based on Girl On The Third Floor, where bodily fluids were aplenty, I assumed the gore factor would be high. In fact, the amount of blood is glorious and over-the-top to the point of giggle fits. Stevens’ dialogue maintains its wit and unfiltered outbursts. Perhaps my favorite bit comes in the form of Crampton telling a little girl to, “Fuck Off.” But his would not be the only time I guffawed during Jakob’s Wife. A scene that has Anne rearranging her living room furniture is anything but ordinary. It’s revelatory. There’s a Death Becomes Her wackiness to it all. As one of the all-time great genre films, this is a huge compliment. Visually, the Master is clearly inspired by Salem’s Lot and the classic Nosferatu. This film is not just a vampire movie, it’s a complex look at relationships. It’s a feminist awakening. There is much to love about Jakob’s Wife. It’s one of the best films from this year’s SXSW virtual fest. It’s destined to be a massive hit, breaking the genre molds to make Crampton, Fessenden, and Travis Stevens household names.
Harry Shum Jr was one of the most underutilized actors on GLEE. With a true leading man role in Broadcast Signal Intrusion in the Midnighters section, he was up against genre fans’ huge expectations. I think he definitely delivered. He gave us brooding vulnerability and a badass attitude that played well against the jarring imagery of the tapes. They were truly skin crawling. The film’s score has a throwback feel. It’s pure noir thriller deliciousness. The cinematography is certainly noteworthy. There is no denying the inspiration from Brian De Palma‘s ‘Blow Out.’ Gentry’s finale leaves a lot of unanswered questions but Shum holds his own in an inspired by true events screenplay. I was fully invested as he went down the rabbit hole of mystery and obsession. Please cast him in more roles with the complexity of Broadcast Signal Intrusion. A few things that stuck out like a sore thumb; James’ newly acquired detective skills get him further than any FBI agent, and the mystery of his stalker breaks late then peters out to less of an impact. Aside from a few script tweaks, this is a solid entry from this year’s lineup and well worth being disturbed by.
This charming doc is the perfect family watch. More specifically, it is theatre nerd deliciousness. It’s Waiting For Guffman in real life. The rehearsals are almost painful to watch. I felt director Dave’s anxiety as his cast muddled through forgotten lines, missed cues, and disastrous blocking. You’re just rooting for it all to come together in the end. Each actor has a genuine love for the show. Most of them are completely clueless about dialogue delivery, making it a laugh riot for a hyped-up, tuned-in, sold-out audience. The amount of work these bus drivers and their family and friends put into this stage production of Alien is astounding. Every set piece, prop, and costume is made by hand with more love than a Broadway play. You will absolutely fall in love with them all. You’ll be cheering along with their live audience. Bravo to directors Lucy Harvey and Danielle Kummer for having the foresight to nurture this local charity production and turn cameras on them. Everyone involved in Alien On Stage deserves a standing ovation.
The visual progression of horrifying imagery is stunning. The sleep experiment costumes have a Tron meets Captain EO vibe and I really dig them. The script is solidly disturbing. In all honesty, I was locked in until the very final scene which for me stepped into “Huh?” territory. I’ve now watched this film twice. The second viewing was a lot more telling. I have new theories. That being said, the rest of the film is so powerful, Come True is completely worth your attention. Thoroughly engrossing original visuals and storytelling are ramped up by Electric Youth and Pilotpriest’s synth score. It manages to wrap itself around you and immerse you in fear. Each of these elements creates an experience making Come True its own entity. It may give you your own new set of nightmares.
The film features members of CAMP SAY community. Juliana, now graduating from the program uses singing to boost her confidence. Malcolm’s stutter was triggered after witnessing a violent act. His passion is baseball. This is his first year at camp. Sarah and Emily are best friends at CAMP SAY. They explain how important it is to be able to connect with someone who can genuinely relate and to finally realize that they’re not alone. Travis is one of the counselors at camp. He also uses music to feel uninhibited by his stutter. Will features his college entrance essay. The gorgeous, astute, poetic writing in that essay undoubtedly wowed any essay reader. My Beautiful Stutter brings together footage from home, camp, and beyond to immerse you into a world where communication is a double-edged sword.
One of the greatest days at camp happens when an older camper is paired with a younger one and they answer questions like, “What’s your favorite subject in school?” or “Something I’ve always wanted to try but haven’t had a chance to yet…” Watching these kids grow is profound. The amount of sadness they carry with them every single day will stay with you. As a former teacher and current parent of a child on the spectrum, it was disheartening to hear that these kids all recall their teachers not understanding how their stutter affects them emotionally. The stories of constantly being cut off by others must be ceaselessly frustrating. Frankly, they all feel exhausted.
How do I not know about The Matches? Their sound is right up my alley. The minute I heard their songs in the introduction, I was hooked. Shawn, Justin, Matt, and Jon have distinct personalities and styles, and together they are unbelievable. This is the most badass entrepreneurial band I’ve ever heard of. The things they did to become known were geniuses. This was pounding the pavement in its truest form. Members Justin and Shawn made all the band’s art. Their parents worked the door, security, snack bar while they slowly wracked up fans.
The 110% commitment to the absolute absurd is what makes Keep An Eye Out (Au Poste!) so phenomenal. It has an authentic Monty Python level of rapid-fire, totally ridiculous tone to the dialogue. You’re just smirking the entire time. Whatever these guys were selling I was buying. I gutturally laughed out through the entire 73-minute run. Also, can we please normalize these kinds of runtimes? Great, concise storytelling. I’m here for it.
Chief Inspector played by Benoît Poelvoorde is a real prick but in the best way possible. The perfect foil for Ludig. He isn’t really listening to anyone and meanders between genius and complete moron. His presence is commanding. Grégoire Ludig plays the completely unsuspecting Fugain. His character goes on the journey of a lifetime. Ludig is the “straight man” of the cast, which isn’t saying much. In an American version, he’d be played by Paul Rudd; genuine comic timing in an everyman sort of way. His charming panic becomes our panic. It’s a true testament not only to his talents but the magnificent script. The nonchalance of the entire thing will floor you. Enter Philippe, the underling assigned to watch Fugain when the Chief is called away. Actor Marc Fraize was honestly my favorite thing about the entire film. I wanted to put him in my pocket and take him with me. His loveable, quirky oaf delivery was something unto itself. He really completed the circle of greatness for me, personally.
The storytelling style is a mix of interrogation and creative recreations of Fugain’s official statement. All while attempting to hide another matter in plain sight. The cinematography is beautiful; something akin to a Wes Anderson film with its very distinct color palette. The visual gags are to die for. You will not know which end is up. It’s dizzying and meta, and once it takes off it doesn’t let up for a minute. It’s like watching a tennis match of wit and weirdness. I could not recommend KEEP AN EYE OUT more.
I was 19 years old in my freshman year at college in New York City when I entered a multileveled club in borrowed pleather pants and hair I had dyed blonde (without stripping first) when I found my way to a restroom after dancing my little suburban grown heart out. While washing my hands someone was next to me checking their lipstick in the mirror and casually asked me for the time. I glanced over to tell them, and without skipping a beat I told them 12:16. They thanked me and exited the bathroom. I had encountered my first live drag performer and I could not wait to tell my friends how much cooler I now was for it. After that, I regularly attended drag brunch, drag bingo, had a standing table at Lucky Cheng’s, and have sung on stage at Don’t Tell Mama. When RuPaul’s Drag Race began, I thought, “Yes! Now the world can experience what I’ve been so enamored with as a theater kid for so long.” To me, drag was and still is art. As for many a performance artist, the craft requires sacrifice, thankless long hours, and money for costumes, makeup, and hair sometimes just for the chance to be seen but always for the chance to live out your dream. Drag is performance at a showstopping level. And while Drag Race has certainly widened the platform, that same platform only has room enough for a small number of girls (and guys).
Slamdance 2021 audiences get to peek behind the curtain of what drag is really like. In its world premiere, WORKHORSE QUEEN gives Mrs. Kasha Davis her own time to shine, with and without the glitter and fanfare. This doc is about Ed Popil, the man under the wig and magic. His story is one that will most likely ring true for many individuals trying to find out who they are, told they are too much, and yet not enough. There is such an intriguing dynamic in this doc. Family is front and center. Not just Ed Popil’s husband and kids but his drag family. Mrs. Kasha Davis and Ed are genuinely loving and kind; everything you want and need them to be. Ed exposes his childhood trauma at the hands and words of his father, the decaying relationship with the mother he idolized, and his alcohol addiction. When you’re a queen with a catchphrase, “There’s always time for a cocktail,” how does your career survive rehab? The doc isn’t shy about the inequities faced by performers with lower profiles both on social media and among fellow performers. Drag Race is a competition, life should not be. WORKHORSE QUEEN is triumphant in its honesty. There is so much deliciousness packed into its hour and 27-minute runtime. It’s raw, celebratory, passionate, and revelatory. It honors living your true authentic self and how one person impacts people’s lives in ways you never thought possible.
There is no female equivalent for the phrase “Ballsy”. What would that even look like? Lippy? I BLAME SOCIETY is extra lippy. Starring as a version of herself, filmmaker Gillian Wallace Horvat says all the quiet parts out loud. Then she acts on them just to make a point. And goddamnit, virtual high five from me. This script is unapologetic, bold, and genuinely hilarious. It’s the “die for your art” meets “tell me I can’t and see what happens” mashup I didn’t know I wanted. Highlighting the ridiculously misogynistic side of the industry in the smartest ways. When the phrases, “This is a really big opportunity for you!” “You’re like the female him!” “We need an ally on your side!” I died laughing and I died inside. But the film also tackles social media, communication, and ambition all inside a twisted presentation of Dexter-esque mayhem.
The pace leading to murderous activities works so well to build up a tense WTF feeling. It’s just so imaginative and absolutely terrifying. You get to a point where you stop thinking it’s funny and start genuinely worrying about everyone she encounters. Wallace Horvat is awesome. I wanna hang out with her in real-life and make fun of everything that she makes fun of in this film. She knows exactly what she’s doing even as she leads you to believe otherwise. She has an overtly narcissistic sociopath nuance to “Gillian” and nothing short of that would have worked as well. When she references makeover sequences, I laughed out loud and then immediately gasped exclaiming, “Holy Shit! That’s her actual hair!” When you see it you’ll fully understand.
The DIY look of the camerawork makes it even more relatable, especially after last week’s Twitter battle claiming “you can’t make a film with just an iPhone.” I BLAME SOCIETY is a giant middle finger to still male-dominated and faux #MeToo accountability in Hollywood. And not just the film industry. I’ve been on the other end of these conversations, yes in writing rooms and screening rooms, but also retail jobs, teaching jobs, do I need to go on? Even outside that theme, I BLAME SOCIETY is for every single person obsessed with true crime yelling at the TV, “The Husband did it,” or “You know what I would have done…” We get to sit back, relax, and watch someone else live out our darkest fantasies and that’s satisfying and entertaining.
Back in 2016, I saw a disturbing and memorable short called The Stylist. Some of those images are still burnt into my brain. It’s not often I say that about a short. Now, writer/director/ producer Jill Sixx Gevargizian has developed that very short into a feature. That’s the funny thing about hairstylists. We totally end up telling them all about ourselves. It’s this unspoken, universal rule. We trust them with our hair and our secrets. Returning in the titular role is Najarra Townsend. She has this timeless look, with her gorgeous red hair and her vintage wardrobe. Signature colors people. Bravo to the costume department here. She has incredibly low self-esteem and social anxiety. Also, she’s a serial killer. This woman hates herself and craves connection. Gevargizian’s expertise as a real-life hairstylist shines through the opening scenes. She clearly guided Townsend’s hands to perfect the realism.
Brea Grant, who can do no wrong in my book, shines as Olivia, magazine exec, bride-to-be, and the unique object of Claire’s affection. She’s a firecracker. Her energy is the perfect foil for Najarra’s (mostly) quiet demeanor. Townsend has an amazing presence. Even when the focus is supposed to be on Olivia, her silhouette looms like a ghost in the background. She lives in the complexity of Gevargizian ‘s screenplay. She is both unsettling and mesmerizing.
We have to talk about the audio. The sound editing will make you cringe. The original score will throw your brain off-kilter and feels like an ode to 70’s horror classics. The editing is smart with side by side frames showing us Claire and Olivia as they navigate what seems mundane. The more we see them together, the more we realize how different these two women are. This script is built on the need for acceptance. There was a bit of a Single White Female (1992) meets May (2002) thing happening and I was all in. The Stylist is visually striking. You are enveloped in the lighting and overall color choices. The cinematic elements combined with stellar performances and an intense script creates a wildly successful atmospheric film dripping in nuance. Your heart is in your throat, constantly waiting for the other shoe to drop. It’s a very uncomfortable and bone-chilling watch. That. Final. Shot. And Cut.
Eerily the perfect film at this moment in our history, three girls wait in locked down isolation as their father scavenges for food in an uninhabitable world outside. The sisters pass the time with make-believe skits, attending to a strict schedule that revolves around their hyper-aggressive dad and reminiscing about their dead mother. But something else is very wrong here. Very, very wrong. Due to the current global pandemic, a phrase I am still not used to writing 11 months in, Darkness will resonate on a personal level, especially for parents. The film also has a similar circumstantial setup as 
Now, the scary. This is a double-edged sword for me. While the creature makeup of The Devil is one of the most successful parts of the film visually, the ways in which he is utilized felt cheap. For me, it was a reason to exploit Kirk. It makes zero sense to have her fornicate (probably the first time I’ve used that word in earnest) with The Devil, without that being a major plot point that comes to fruition. It takes away from the overall feminist narrative of the film. I absolutely loved being terrified by the appearance of The Devil. Those moments stick in my head for their fright factor but make me cringe when used tom over sexual a character who is already sexually harrassed over and over for her appearance. This film might fair better if those scenes are cut altogether. The climax is most certainly unexpected and incredibly satisfying. Although with a runtime of 1 hour and 51 minutes, The Reckoning could lose a good 30 mins. Neil Marshall and Charlotte Kirk set out to highlight the atrocities committed against women in a time of fear, sickness, and paranoia. They are able to tell this story through the experiences of Grace and even a few ancillary characters associated with her. The real-life horrors are enough.
I have actually spent a few days on the island of Malta. When I met my husband he told me that his heritage was Scottish, Irish, and Maltese. I honestly had no idea what he was talking about. I’m half Italian and was completely unaware of the small, bustling island off the coast of Italy. Even with my little experience in the area, I can attest to the authenticity you get in LUZZU. Pre-pandemic, it was filled with tourists taking ferry boats from Sicily or to the smaller island of Gozo, where they actually filmed some of Game Of Thrones. It boasts crystal blue waters and ancient architecture. It also contains kind, hardworking locals that have been thriving in the fishing industry for a long, long, time. Now, things are changing and everyone is being forced to adapt. LUZZU takes all that local beauty and then gives us a weighty story we can sink our teeth into.
Jes is down on his luck in every way possible. He’s not catching anything that he can sell. His new son is not growing as he should. His mother-in-law doesn’t respect him. Jes dives headfirst into the black market fishing industry. While he fixes his luzzu (which is his wooden fishing boat) by hand, he snatches up any side hustle that comes his way. It’s heartwrenching to watch him struggle. You just want him to make it. As the danger grows, so do the emotional consequences.
This is a fearless film. There is nothing shy about it. Writer/director/editor/DP Ben Hozie has given us an unapologetic look at sexual impulse, gratification, and all the complex feelings that come along with it. It’s not often we see an actor do full-frontal nudity. Leading man Peter Vack is not just full-frontal but masturbates (a lot) in PVT CHAT. And so he should. His character Jack has zero stability in his life with the exception of his need to connect with other humans. This is mostly achieved through cam sessions. While sexual gratification is s short-term goal, he’s really looking for companionship. He’s a great online gambler, that’s how he survives monetarily. At the heart of it, he has fallen in love with a girl he doesn’t completely know is real. Vack is excellent. His vulnerability pours off the screen. His portrayal of a seriously flawed and real human being is stunning.
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