
ANOTHER BODY

*This review also appears on AWFJ.org
Women have always felt unsafe. It is ingrained in our nature to fear, to look over our shoulders, and to carry our keys between our fingers late at night. As if we didn’t have enough to worry about, enter the newest AI nightmare into the conversation. Anyone can go online and copy and paste your photo to create a duplicate or entirely new profile on social media. As if things weren’t bad enough, catfishing gets a superpower with the introduction of deep faking. SXSW 2023 documentary ANOTHER BODY from directors Sophie Compton and Reuben Hamlyn follows the story of a young woman named whose life is upended by one spiteful person with an agenda.
Meet Taylor, an engineering grad student living her quiet life attending classes and living a quiet goal-oriented life with her boyfriend. After receiving what she thought to be spam messages from her classmates, Taylor finds her image stolen, her name tarnished, and harassed by strange men who now know where she goes to school and where she lives. She discovers her face has on someone else’s body in videos on an adult website. Her image and name have an entire account, and new videos keep appearing. ANOTHER BODY is a film about consent on numerous levels and the battle against gender-based violence.
The film mixes sit-down interviews with Taylor, cell phone footage from her investigative journey, and animated recreations of her emotional processing. That is not the most impressive visual aspect of the film. “Taylor” is not what she appears to be. Let me explain this statement. The face projected to the audience is an actress whose face has been deepfaked onto our storyteller. The reveal comes as a complete surprise but perfectly encapsulates the danger of this technology. You will find yourself overanalyzing her movements on screen and realizing how vulnerable our identities are. It is nothing short of fascinating work.
When Taylor reaches out to the police, it is clear that they are out of their element. There are no clear laws about a technology that is rapidly changing. Then the inevitable victim-blaming begins both from law enforcement and friends and family. Taylor takes it upon herself to discover the identity of the culprit. Becoming a DIY detective, she narrows it down to three likely suspects. The mystery deepens as her online sleuthing and fight for justice play out in real time. Taylor finds that other women in her circle are also victims. As they compare notes, one name stands out from the rest. It is undeniably compelling to witness her take action. ANOTHER BODY is an infuriating and invigorating watch. It will resonate with true crime audiences and victims of gender-based violence. When body autonomy becomes threatened, you must become your own warrior.
Directors: |
Sophie Compton, Reuben Hamlyn |
|---|---|
Executive Producer: |
Jenny Raskin, Lauren Haber, Geralyn Dreyfous, Maiken Baird, Gloria Zhu & Stanley Tang – Bearcat Content, Ruth Ann & Bill Harnisch – The Harnisch Foundation, Inmaat Productions, Mason Orfalea & The Natalie Orfalea Foundation, Ann Lewnes, Meadow Fund, Lisa & Matthew Sonsini, Chris & Heidi Stolte |
Producer: |
Elizabeth Woodward, Sophie Compton, Reuben Hamlyn |
Screenwriter: |
Sophie Compton, Reuben Hamlyn, Isabel Freeman |
Cinematographer: |
Nausheen Dadabhoy |
Editor: |
Isabel Freeman, Rabab Haj Yahya |
Sound Designer: |
Gisela Fullà-Silvestre |
Music: |
Holland Andrews |
Additional Credits: |
Co-Executive Producers: Nina & David Fialkow, Meryl Metni – Ubiquitous EG, Kelsey Koenig, Co-Producer: Avery McCann, Post Production Supervisor & Associate Editor: Claudia Tanney, Animation Studio: Cream Projects, Motion Graphics: Spencer Haley, Studio Macuna, Deepfake Artist: Fernando Sánchez Liste, Consulting Producer: Scott Macauley, Consulting Editor: Karen K.H. Sim |


Pure O
Raging Grace (United Kingdom)
Another Body





















Swallowed is a genre-obliterating film with fantastic performances. Jena Malone adds gritty believability. To no one’s surprise, she manages to bring charm and intensity. Koch and Colon have spectacular chemistry, and you 100 percent buy their relationship. Koch possesses an accessible vulnerability. Colon’s honesty feels grounded. Bravo for their openness to go full frontal nude. We all know how rare that is, and it makes complete sense given the plot. The film also features a solid villainous turn from Mark Patton, a genre legend from A Nightmare on Elm Street 2. One line, in particular, is slyly redemptive given his status in the horror canon.
The camera work has visceral intimacy. Writer-director Carter Smith (The Ruins) gives audiences a unique genre entry, with the leads being LGBTQ male characters in scenarios we usually see female characters tackle. Swallowed is part crime thriller, part coming-of-age, and body horror. This film is an LGBTQ scenario of nightmares. Get ready to squirm.
It stars Jena Malone (The Hunger Games Film Series, Cold Mountain, Stepmom), Mark Patton (A Nightmare on Elm Street 2: Freddy’s Revenge, Freddy vs. Jason), Cooper Koch (Fracture) and Jose Colon (Feature Acting Debut)
An hour in, we briefly meet a round of new characters. One, in particular, provides a cringeworthy moment that is a complete waste of time. On the other hand, actress April Lang provides a tangible grounding for Vince as a character, but the glaring lack of a thick Boston accent matching her son made me roll my eyes. That’s not on Lang. Her performance is the most natural in the film, and I wanted to see her storyline more than anyone. Kenny Johnson also impressed me as Vince’s pilot Carter. That’s another story I’d like to explore.
DUNGEONS & DRAGONS: HONOR AMONG THIEVES TO OPEN FEST
Flamin’ Hot
Parachute
Angel Applicant
Down Low
A Disturbance in the Force
Brooklyn 45
Breaking Fast with a Coca Cola
I Probably Shouldn’t Be Telling You This
The Bus (Spain)
Beyond The Fringe (Spain)
Dead Enders
Breaking Silence
Aespa VR Concert at Kwangya (Republic of Korea, U.S.)
Eggscape (Argentina)
present
Locke’s script sets a solid pace, with details of her daughter’s disappearance slowly revealing themselves, unrequited love, past regressions, and secrets boiling over. Darlene’s ex-brother-in-law lands on her doorstep under the guise of a surprise family reunion, but his ulterior motive involves a revelation in Sally’s case. The information he’s been sitting on as Darlene relentlessly searched for Sally, became an advocate for other families, and got her alcoholism under control. The rage and fear evolve into a knockdown, drag-out fight between redemption and revenge.
Compounded by the raging snow outside, any turmoil coming from the house is more than muffled. This simple device proves to be a wonderful segway for Gretchen to reenter the story.
Here is where I felt like
THE APOLOGY

John Travolta plays island crime boss Buckley. His eccentricity is evident through costume choices and dialogue. Thank goodness he is who he is because the character leans heavily into caricature territory. He is at his best in high-stakes action sequences.
Bruce Willis plays Ian Swan with that legendary, effortless swagger we love. He is funny, charismatic, and a total badass. He is everything you want him to be.
Somehow, PARADISE CITY makes Jenner’s character impervious to automatic rifle bullets and, somehow, possesses the ability to survive a 10th-floor header into a shallow koi pond. It is unbelievable. No, literally, even for an action film, it is far-fetched. And this pains me to say that every female performance is downright atrocious, except for Mary Ann Perreira as Auntie Kona. She is a treasure. The dialogue from director Chuck Russell and co-writers Corey Large, and Edward John Drake, is mostly eye-roll-inducing. The already sped-through, convoluted plot also jumps in time, but not enough. It is messy.
Here is what works. The fight choreography is undeniably entertaining. (Extra points for having Savannah kick off her heels for brawling.) Overall, the tightest scenes occur when Savannah and Ryan arrive in Paradise City proper. There is genuine yet surprising humor and a grounded backstory. That’s all I’ll say to avoid spoilers. I could see this story maybe working better in serial form. But that’s a big maybe. Jenner is the only one that sustains authenticity. He deserves better, and so does Bruce Willis’s legacy. 

The systemic failure at Fort Hood will leave you seething. After two months of desperate outcry, the Army finally makes a statement and begins to search, but it is too little too late. With the pro bono help of maverick lawyer Natalie Khawam, The Guillen family takes their fight to Capital Hill.
I remember this story. I remember feeling so angry when I heard how long Vanessa had been missing before I heard about it on the news. Then, when the details emerged of her murder and subsequent failure at Fort Hood, I was disgusted. Those feelings returned and multiplied as I watched this film. Understanding the extent of their coverup will blow your mind. The military justice system allows for secrecy and discretion to sweep everything under the rug. It is beyond broken.
It’s the summer of 1948 in Redhook, Brooklyn, and the Trouth family exists in quiet peace until Louis Jr. appears after years away. Old wounds have festered, and now he’s back for revenge. Guilt is his weapon. Well, that and a unique knife with a Turkish inscription belonging to younger brother Charles. BRUTAL SEASON is like an immersive theater experience on film. This slow-burn thriller is not what I expected, in all the right ways.
Performances across the board are stellar. One is particularly inescapable. The subtle manipulation Houston Settle brings into the fray, you know he’s up to no good. Jr.’s bitterness is palpable. His passive-aggressive nature turns vicious.
There’s no denying that BRUTALSEASON has a similar energy to 
Performances from the entire cast are spectacular. There is not a loose thread in the bunch. Here is where things get tricky. To tell you more about the plot defeats the purpose. You need to go into with as little information as possible. The complexity of MISSING is relentless. Do not get comfortable with what you think you know. Writer-director Shinzô Katayama and co-writers Kazuhisa Kodera and Ryô Takada bring twist after twist. I stopped counting at a certain point. The final scene is a mindblowing metaphor for everything we witness in two hours. Wow doesn’t even begin to cover it. Fantastic Fest 2022 audiences are in for one of the year’s best features.


Natascha McElhone is elegant and effortlessly charming. CARMEN is essentially a later coming-of-age tale. McElhone’s wide-eyed exploration of life is enchanting, funny, and honest. Shot on the beautiful island of Malta, which if you’ve never been, I suggest you visit. The script’s structure utilizes flashbacks of Carmen’s elusive backstory. Writer-director Valerie Buhagiar brings unbridled joy and hidden complexity to audiences. CARMEN is a delight.














*Resisting the urge to title this review “camping is in tents.”*
Performances are fine. I wish I sensed more believable chemistry between our four protagonists. Michael D’ Amico and Jonathan Vanderzon fare better as our villains. Their presence elicited a genuinely visceral reaction.
Camping Trip would benefit from a 15 to 20-minute cut. While the climax is satisfying, by no means did it need that much slow-motion editing. What follows is a confusing shift in relationships that feels forced. Like much of their response to finding a body and a bag filled with money, their decisions are laughable, if not infuriating. If nothing else, it gives the audience a reason to keep watching and wondering how this bungling crew parts ways.
The camera work in the final ten minutes is quite literally dizzying. It also allows the audience to use their imaginations, rather than relying on mediocre fight choreography and the continued use of watered-down practical fx blood. Polly’s particular skill makes for a slick final moment. I had hoped it was featured more in the story. Michel DeMars’ score in this scene, in particular, is perfect. In the end, Camping Trip has an intriguing plot, even if the exposition lacks polish.





Catching A Killer- Episode 2:














You must be logged in to post a comment.