YOU WOULDN’T UNDERSTAND
An idyllic picnic of one is upended after the arrival of a stranger.
9 minutes of sci-fi absurdity is what I Iive for during Fantasia International Film Festival. You Wouldn’t Understand no matter how hard you try. Impeccably shot and hilariously acted, the only thing wrong with it is that it ends! And that is entirely the point. This is one of the best treatments for an entire series I’ve ever seen, even if that was never the intention. I would watch the hundreds of other iterations of the same story with absolute giddiness. I knew it owned me when I exclaimed, “What the hell?” halfway through. I was as completely weirded out as I was confused… but also had a stupid grin on my face that wasn’t going anywhere even after the credits rolled. Then I watched it again. I cannot stop talking about this film which is also ironic seeing as how I don’t want to give too much away to an audience. Because YOU WOULDN’T UNDERSTAND.
The film is a true collaboration. Director Trish Harnetiaux, also co-wrote the script with actor Jacob A. Ware, while co-star Anthony Arkin edited the short. No surprise the three formed the production company Steel Drum In Space. Which is a hilarious moniker of its own… for obvious scientific reasons. If Monty Python gets your goat, if great writing is your jam, if superb cinematography gets your engine revved, then You Wouldn’t Understand will make complete sense as a viewing experience.
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YOU WOULDN’T UNDERSTAND
Color
English Language
9 minutes
Not Rated
For more information on the film and to find out about Fantasia 2020 click HERE
Something terrifying is happening off the coast of Block Island. A strange force is thriving, influencing residents and wildlife alike. Birds are dropping out of the sky. Some people have been dropping too, into inexplicable emotional collapse. Harry Lynch (Chris Sheffield, THE STANFORD PRISON EXPERIMENT) has always been a bit of an outsider in town. Now, he watches in dread as his father (Neville Archambault, 13 CAMERAS) grows increasingly forgetful and confused. And angry. Very, very angry. His sister Audry (Michaela McManus, THE VILLAGE), whose work in marine biology will soon prove invaluable, returns to town with her daughter and immediately sees what Harry sees. Her explorations into the increasingly grisly wildlife phenomena intersect with the triggers of her father’s actions, leading them all towards chilling revelations that no one is prepared for. Revelations that will affect her family in unimaginable ways.
Telsa is one of the most uniquely presented biographies on film. Told from the narrative point of view of Anne Morgan and her unrequited love for Nikola Tesla, we are led into the mind of this scientifically gifted and eccentric man. Socially awkward, as many geniuses are, Telsa was responsible for changing more of history than most of us realize. His intelligence oftentimes hindering true companionship, his ups and downs can be felt through the screen by the wonderful performance from Ethan Hawke. Ever the chameleon, Hawke’s physicality and vocal dynamics force you to sit up and pay closer attention. But with the intrigue of the film’s presentation, this is an incredibly easy feat. There was a sadness to Telsa, an unending need for more success and validation of his contributions. Eve Hewson is captivating as Anne Morgan. Her sense of calm and poise put you at ease while you go on this engrossing journey. Jim Gaffigan as Westinghouse is also a complete joy to watch.
The look of this film is nothing short of stunning. Half theatrical stage play and half tongue in cheek look at technology, Telsa uses a modern scope in period dress to engage the audience. It immediately reminded me of the surprise that A Knight’s Tale utilized in 2001; music choices decades outside of the plot’s timeline. It made it all the more relatable in the coolest way. Endlessly enthralling, Tesla shines a light on some of the darker parts of one brilliant man’s life and work.
This intensely dark and visually frightening sci-fi film will get under your skin and stay there. The lighting choices alone, the perpetually dark and ominous choices will throw you into a state of disorientation from the very beginning. Practical effects, mixed with stunning CGI and creature design make for an enthralling watch. Performances are so strong you will be audibly rooting for our leads. As the tension builds, so does your heart rate. Oksana Akinshina as Tatiana Yurievna is a force to be reckoned with. Her measured tenacity, boldness, and bravery jump off the screen. As the sole female, her energy is what drives this film to success. Pyotr Fyodorov as Konstantin is an entirely different animal (no pun intended). His physical and emotional arch are the perfect foil for Akinshina. The emotional energy displayed onscreen will drain you as much as it must have Fyodorov. Even with a runtime of nearly 2 hrs, Sputnik keeps you on the edge of your seat wondering how it will end. So, pop some popcorn, turn down the lights, and get ready for a spine chilling tale from a secret Russian location. Sputnik will make you look differently at the stars.
Playing out in real-time (56 minutes to be exact), 6 friends jump on a Zoom call after they hire a medium to entertain them. The visual setup is key. What appears to be totally casual laptop setups is actually comprised of very specific angles that will put any genre fan instantly on alert. A well-placed open door in any frame is a constant cause for anxiety. Since we’ve all been doing these damn calls for months now, Host stylishly lulls you into a false sense of familiarity before pulling the rug out from underneath you. It’s quite genius in its simplicity.
Under the structure of a crime thriller, this film is truly a redemption story. After seeing Cosmo Jarvis in the leading role, I can no longer imagine any other actor owning this role with such a tender precision. His physical presence has an ominous feel but at the core, he’s a gentle giant with emotional, and perhaps physical, PTSD. While The Devers family uses Douglas’ strength and stature to intimidate, their psychological abuse of him is pervasive and perhaps more effective than any threat of physical harm.
Now for the story’s most gripping aspect; a father/son connection, or lack thereof. Douglas’ son Jack is on the spectrum. As a mother of a young boy also on the spectrum, this story grabbed me immediately. The juxtaposition of him and Jack cannot be ignored. The script highlights trauma and the feeling of inferiority. It is grounded writing and extraordinarily acted. The Shadow of Violence is a perfect title. The tense action scenes keep the heart pumping. Seriously, nothing short of gripping sequences. The success of the film ultimately lies in family dynamics and letting go of guilt. You will undoubtedly be touched by this story. We all want better for our children than we had for ourselves.
The terror begins from the very first scene. Blink and you’ll miss the clues laid out from the getgo. Relic crawls under your skin and chills you to the bone. The script is skillfully crafted. Not only are you inside a haunted house story but you’re also tangled up in family trauma and dementia. As someone whose grandmother passed this spring, as someone who watched her mental and physical deterioration for years from Alzheimer’s, this film felt personal and all the more upsetting. For those who have had a relative with the disease, you’re constantly asking yourself, “Do I see traces of it in my Mother? My Father? Will I feel just as helpless in the future?” Relic is an allegory that builds upon fear, much 
Emily Mortimer, Bella Heathcote, and Robyn Nevin are phenomenal. Three generations of women expose themselves to give us some of the most epic horror performances since Toni Collette in Hereditary, Lupita Nyong’o in Us, and Riley Keough in The Lodge. The specificity to age and stage development is obviously there but it the reaction to trauma both unlying and on the surface that is played with precision. This story, outside of the horror aspect, will resonate with so many, regardless of generation. The cinematographer coupled with the story leaves so many things unanswered. I actually would love a sequel… or even a prequel. Director-writer Natalie Erika James and co-writer Christian White, they have given the viewing audience an exceptionally frightening masterpiece. Very few films still cause me to cover my eyes. Though I wished I had, I could not pull my attention from the screen. Brilliant performances, dark and lush cinematography, and alarmingly visceral storytelling make Relic completely hypnotic. It will, no doubt, paralyze you with fears beyond your understanding.
A romantic getaway for two troubled college sweethearts turns into a struggle for
So I have to admit that the night after I watched The Beach House I had some of the weirdest dreams since beginning lockdown in Mid-March. A lot of horror films are incredibly formulaic, not that I’m complaining about that. Sometimes all you want is a final girl and a monster to die, there’s almost a comfort in that. The Beach House is not your average genre fare, and that is awesome. There is a quiet unnerving that creeps in from the very beginning. You almost can’t put your finger on it. You will not notice just when you begin to lean into the clearly underlying tension being built up. The dynamics between our four characters have a grounded and yet completely off-kilter foreboding. A nod to mother nature being a vengeful creature is something that figures prominently. While it has elements of Stephen King‘s The Mist, M.Night Shyamalan‘s The Happening, and H. P. Lovecraft‘s Colour Out Of Space, there is most definitely something special about Jeffrey A. Brown’s writing and directorial debut.
As someone who grew up going to smaller Cape Cod towns, sometimes on the offseason, I felt that isolation of being the only ones in a neighborhood. I also felt the dread it would bring if something ever went awry. Liana Liberato is my hero in this film. She’s a freaking superhero as far as I’m concerned. I have been following her as of late in this year’s 
Ethics and emotion and two versions of one memory; a complex father/daughter relationship is told through time jumps. The new film by Academy Award-Nominated director & writer Atom Egoyan, The Guest of Honour is about questionable decisions and power dynamics. It is complicated in the most engrossing way. David Thewlis and Laysla De Oliveira make a compelling pair. Their chemistry has the perfect balance of volatility and authenticity. Each is afforded the opportunity to play contrasting traits of their characters. Luke Wilson plays a priest, but also a mediator and confession soundboard. He is a key player in the larger scope of the narrative.
Memories can be as delicate as the feelings that come with them. This script is driven by guilt and supposition. While, oftentimes, time jumps can muddle a story, but here the editing becomes another character driving the beats and mystery forward. The Guest of Honour is a nuanced and intriguing film about the intricacies of family, reclaiming power, and learning to let go.
The storyboarding that had to occur for this to succeed must have been painstakingly detailed. Think Looper meets 12 Monkeys. Do not blink while watching this film. The writing is on the wall (literally in some cases.) Volition is an incredibly high octane, sci-fi thriller. It challenges fate and consequences. It’s a never-ending stream of entertaining moments that build and build. The editors deserve a major high five.
Clearly written with some serious precision, Tony Dean Smith, who also directs, and Ryan W. Smith has given us a time-warped mindbender. Our leading man, Adrian Glynn McMorran is phenomenal. Beat to beat he nails the emotional uphill battle this script becomes. Speaking of which, the pacing is really a feat. The complexity will keep you glued to your seat. Volition is aptly named not only for its plot but for everyone involved in making the film as successful as it is. Check out the trailer below for a sneak peek!
If I’m being honest, when asked to review this film, I wasn’t able to name a single Linda Ronstadt song. Growing up, The Beach Boys and Carole King were on constant rotation in Mom’s station wagon tapedeck. How then, 40 years later, was I recognizing so many hits from a woman whom I assumed was a country singer when I heard her name? Clearly I was mistaken. This film was a reeducation, and boy am I glad for it. In watching Linda Ronstadt: The Sound of My Voice I came to realize I have always been a fan.
Linda Ronstadt’s extraordinary rise to fame is almost like a fairytale. Her incomparable voice quickly rose her from the LA club scene to a record deal. She broke genres and records along the way. Her intellect and wit were evident in the way she promoted herself and other female artists. She was fearless in calling out the toxic masculinity that was rock up until that point. Her vocal range was unmatched by almost any other artist. When a producer told her not to make a certain album, she went ahead and did it anyway… and usually won awards for it. Linda Ronstadt is someone to be respected and amazed by. You can tell, simply by the number of industry stars that participated in sit down interviews (Cameron Crowe, Bonnie Raitt, Dolly Parton, Don Henley, to name a few) what an impact she made in her long and successful career. Without even knowing it, I’ve been a Linda Ronstadt fan through Blue Bayou, Don’t Know Much, A Different Drum, Rescue Me, Desperado, When Will I Be Loved, You’re No Good, It’s So Easy To Fall In Love, and many many more. She is someone I can look up to as a performer and as a woman. Linda Ronstadt: The Sound Of My Voice is a stunning lesson in music history. You will find yourself singing along and living in the music just as Linda does.
Lucky for audiences, LINDA RONSTADT: THE SOUND OF MY VOICE At-Home Movie Night with BrightFocus can
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