CANCHAS
From the moment it begins, DWF NY 2024 short film CANCHAS perfectly captures the chaos, fear, and unresolved trauma of COVID-19. The story follows a dermatologist who has become a vital frontline worker. The intimate hand camera work immerses the audience in those new and meticulous routines we created in masking, social distancing, sanitizing, and disinfecting.
Watching brings back all the PTSD for this writer of having a three and four-year-old in Manhattan during those days. Unlike so many of our lifelong city dwellers, we did not flee. It was an experience entirely different from suburban living.
CANCHAS is a beautiful platform for leading lady Anuska Martínez. She is equal parts vulnerable, strong, stoic, and resilient. Like NYC, Madrid’s nightly applause from windows and balconies in support of frontline workers felt like a single moment in the day to live in the hope of survival as a human race.
In seventeen minutes, Paula Blanco Pérez delivers a raw and personal short film that hits every emotional note, returning us to the days that challenged the globe in ways I hope we never experience again. It deserves your applause and perhaps a feature-length version.
CANCHAS Trailer: https://vimeo.com/
CANCHAS will have its world premiere at DANCES WITH FILMS NYC on Sunday, December 8. The film follows Bárbara, a dermatologist turned frontline worker in Madrid during the height of the COVID-19 pandemic, who endures exhaustion and heartbreak as she fights for her patients against the virus. CANCHAS offers a poignant glimpse into her journey of quiet courage amid an overwhelming crisis.
The film is very personal to Paula, as Bárbara is based on her mother’s experience during the COVID-19 pandemic. She can discuss her creative process and insights on capturing the essence of a global crisis through the lens of an intimate, personal story.
PAULA BLANCO PÉREZ – Director / Writer / Co-Editor
Paula Blanco Pérez is an award-winning filmmaker from Madrid, Spain, who has been making movies in Arkansas for eight years. She has a bachelor’s degree in digital filmmaking and a master’s in film from the University of Central Arkansas. She was Director of Education at Fayetteville Public TV and won a Telly Award for the “Cinematic Rig FPTV Promo” she directed. She has also directed and produced several short films like “Dust,” “Mirona,” and “Dandelion,” which won Best Student Film at the Freedom Festival International 2022 and Best International Film at The Continental Film Festival-Tokyo Edition 2022. She has also directed music videos like “Mistakes & Dear Shadow,” which was nominated for Best Student Film at the California Music Video and Film Awards 2023, commercials, and much more! Her latest film, “Canchas,” was the first international production at the University of Central Arkansas, where she shot it in Spain. She is ambitious and motivated to continue making films that combine her Spanish and American culture!
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THE SHADE
Laura Benanti plays the family matriarch, Renee. She adds authentic warmth to every role. Even if her scenes are few and far between, she steals every single one. Dylan McTee plays the eldest brother, Jason. He exudes hurt with an overly aggressive demeanor that perfectly suits the role. 
There are a few particularly memorable shots by cinematographer Tom Fitzgerald. Heather Benson and the makeup department give us startling work. They deserve all the applause. 
What gets the pulse-pounding is undeniably well done. Chipman and cowriter David Purdy use dreams as a gateway to terror. Perry Blackshear‘s 
HIPPO
Daruma deals with addiction, PTSD, and redemption in an honest way. There is zero sugarcoating. Immersive camera work helps place the viewer in Patrick’s emotionally injured mindset by placing the camera in his lap whenever he gets intoxicated in a club. Yellen’s overall cinematography is spectacular. His choice to mix follow shots, close-ups, and stunning drone footage while our players embark on their road trip captures Daruma’s vulnerability and heart. 
John W. Lawson is undeniably charming as curmudgeonly neighbor Robert. His nuanced backstory is the perfect foil for Tobias Forrest. You’ll fall in love with him. Forrest gives his all, leaning into Patrick’s flaws and working to find his suppressed humanity. Forrest nails each beat. He and Lawson share relatable chemistry. It’s a dramedy duo you didn’t know you needed. 
Rob Morrow
The script is relatively predictable, except for one late reveal that had me simultaneously yelling, “WTF?”. It’s something you’ll have to witness to understand. Overall, the editing and storytelling style feels disjointed. Even at only an hour and thirty-plus minute run, the cuts feel like snippets of a Law & Order series rather than a single film.
CELLAR DOOR
The set is marvelous. Wood-paneled rooms mixed with modern updates, a sprawling terrace, and an exterior straight out of Great Expectations, the audience falls in love with the house at first glance.
2. The varying visual aspects are so cool, from the black and white to the halo effect. Those specificities keep the audience relatively grounded in Jack’s chaotic “space and time.” What did this storyboarding look like? With all the elements involved, I imagine it was a huge wall or an entire room.
4. Can you tell us about casting Kelly Marie, Chris, and Jack? Their chemistry is magic. Did you let them play with dialogue during the shoot?
5. The set is incredible. As a theatre nerd, it was immersive enough for the imagination to fill in the blanks and for the cast to play on. How did you decide on a unit set?
6. Would you and Nik consider a franchise with new characters? I would be the first person watching the interactions of other people’s minds swirling with what-ifs!
BA
You’re damned if you do, and you’re damned if you don’t. In Benjamin Wong‘s Screamfest 2024 film BA, a father in dire straights makes a supernatural bargain with hideous consequences. On a mission to provide a better life for his young daughter, Daniel must reap souls until he settles his debt. His appearance is a decaying skeleton, names carved into his skin, and physical touch kills any living thing. But, if he breaks the otherwordly agreement, it could be deadly.
Daniel’s challenges are plenty. Besides the Faustian bargain, he must keep his features hidden from his daughter. If she comes in contact with her, she will perish. He makes extra cash by working nights for a near-blind convenience store owner. He walks in the daylight draped in clothing to conceal his literal Death mask. With Collette missing school, Daniel must also dodge child services.
The FX makeup is sleek and scary, and the team matches Daniel’s reflection moments. Kai Cech delivers a lovely performance as Collette, giving her natural innocence and an appropriate fear of abandonment. Lawrence Kao gives a relatable turn, making impossible decisions that any parent would replicate in his position. It is a nuanced role, and Kao brings us along on his emotional rollercoaster with gentle hands.
Based on the 1957 stage play The Kitchen by Arnold Wesker, filmmaker Alonso Ruizpalacios brings LA COCINA to the big screen. This exquisite drama follows the staff at a restaurant in Times Square and the coordinated (and uncoordinated) chaos behind the scenes. It is a beautiful character study that will punch you in the gut.
SYNOPSIS: It’s the lunch rush at The Grill in Manhattan, and money has gone missing from the till. All the undocumented cooks are being investigated, and Pedro (Briones) is the prime suspect. He’s a dreamer and a troublemaker, and in love with Julia (Mara), an American waitress who cannot commit to a relationship. Rashid, The Grill´s owner, has promised to help Pedro with his papers so he can “become legal”. But a shocking revelation about Julia compels Pedro to spiral into an act that will stop the production line of one of the city’s busiest kitchens once and for all.
BAD GENIUS
What begins as a favor to one morphs into a financial opportunity for Lynn. Using her staggering math skills, Lynn initially creates a secret code to pass test answers to a small group of acquaintances. As the scheme grows, so does the danger. The stakes get even higher when the SATs come around. Lynn must recruit help from the only other student needing tuition funds. A borderline insane plan comes with a price tag bigger than any dollar amount.
This cast is fantastic. Benedict Wong plays Lynn’s hardworking widower father. He is a lovely addition to the film. Performances from Jabari Banks and Callina Liang are the anchors. Banks delivers vulnerable energy that perfectly mirrors his character’s backstory. Liang effortlessly leads, giving Lynn a slick confidence from start to finish. Focusing on a whip-smart female lead is a winning strategy.
The script begs the broader question, “Why should three hours on a Saturday morning determine the rest of our lives?” In a system that is entirely rigged by and for the wealthy, why not beat them at their own game? Some systems deserve to break. BAD GENIUS will captivate audiences who have testing PTSD and parents who know it’s coming for their kids. It boasts a deliciously satisfying finale. Tens across the board. A must-see.
Saoirse Ronan narrates the constant temptation in scientific terms while scenes of alcoholic behavior play against her words. Rona’s work in rehab is beautifully juxtaposed with her nature work in Orkney. This narrative device becomes a repeated reprieve from her reality. It feels poetic.
Saoirse Ronan is spectacular, delivering a raw portrait of a fractured and flawed woman. Rona is incredibly lonely, seeking genuine human connection. When drunk, she is emotionally abusive. Saoirse explores every facet of sickness and redemption. It is a nuanced turn. Give her an Oscar already.
The entire cast nails each beat. Kelly Marie Tran oozes charm as Mia. She is so watchable and gives Mia a genuine heart. Chris W. Smith delivers honest best-friend vibes. He’s got that sitcom aura in the best way possible. Jack De Sena is spectacular, running through the emotional gambit. He reminds me of Jack Black, with a loveable quality that draws you in. Discovering that Smith is De Sena’s comedy partner in their popular sketch comedy channel Chris and Jack and now the world makes more sense.
The script is whip-smart. It is a ping-pong match of wits between best friends through self-doubt, anxiety, and depression. The film is a dizzying whirlwind of meta-purgatory, tackling the incredible nuance in relationships and the importance of communication. It’s about owning your shit. Me, Myself, & the Void is one of the best indie gems of the year.
A MISTAKE
Christine Jeffs writes, directs, and produces the adaptation of the best-selling novel by Carl Shuker, A MISTAKE. The film follows Dr. Elizabeth Taylor, a teaching surgeon whose resident falters during a routine cut. The script jumps right into the case in question. The next morning’s death of the patient begins an avalanche of questions, accusations, and steering misogyny. We witness the systematic attempt at taking down a successful female surgeon who challenges power.
Elizabeth Banks starts as a confident and calming presence in the OR. Amid the chaos, Banks walks a tightrope of mothering Richard through his doubts and defending her skills and judgment. As circumstances spiral, her protective, almost cold exterior begins to crack, and mistakes manifest outside the hospital. One scene with a dog will bring you to tears and puts Banks’s character on the other side of loss. It’s a subtly powerful performance.
The cinematography, especially the quiet moments, has an emotional impact. Jeffs masterfully captures the nuance of being a woman, particularly in any position of power. Words and actions somehow have an entirely different meaning if you are female. Jeffs highlights the infuriating double standards. A MISTAKE delves into the wildly erratic medical field, the human element of playing God, and noble pursuits.
Zach Galifianakis is Reality’s activist-minded father, Ron. He plays a proud papa with a brilliant mind and passion for justice. The apple did not fall far. Galifianakis brings the sass in all the right ways. Connie Britton is Mom Billie Winner-Davis, someone I greatly admire. I followed her on social media once the story broke, urging others to retweet and signing petitions for the Biden administration to pardon Reality. Britton delivers a pitch-perfect performance as a Texas mother with the typical priorities before Reality’s arrest.
It’s an entire hour before we even touch on the infamous Russia document. The front end of the film gives us foundational reasons to root for Winner. Fogel skillfully injects humor into a story that appears authentically absurd from any sane outsider’s perspective. Jones’ narration sets the tone for the entire film. If you know Reality’s story, you understand what an indisputable hero she is. How this story got buried as quickly as it did will never cease to baffle me. 
SUPERBOYS OF MALEGAON
Director Reema Kagti brings TIFF ’24 audiences a dramatized version of the 2008 documentary Supermen of Malegaon. The film begins in 1997 and follows aspiring amateur filmmaker Nasir Shaikh and fellow hometown artists in Malegaon, India. SUPERBOYS OF MALEGAON is a story of small-town dreams coming true. Get ready to feel all the feels.
Frida Kempff brings TIFF 2024 audiences the true story of Sally Bauer, a single mother attempting to swim the English Channel in 1939. THE SWEDISH TORPEDO is a unique and multilayered sports docudrama. It will take you by surprise. 
Omari Douglas, Arthur Darvill, and Harriet Walter are perfectly cast. Each delivers a memorable performance. Colin Hanks gives Nathan an effortless sweetness so desperately needed in the circumstances. Susan Wokoma plays Gemma’s best friend, Ruth. She is a glorious balance of sense and sass. Billie Lourd is Nathan’s sister, Audrey. She’s flighty, fearless, and passionate. 
Aisling Bea is endlessly hysterical playing the straight woman to Lourd’s outlandishness. Her accessible nature makes you want to be her best friend. You are buying what she is selling. Lourd and Bea share a chemistry that is magic. I’d love to see a film of Wokoma, Lourd, and Bea doing anything together. 
Screenwriter Melissa Bubnic utilizes flashbacks to solidify the emotional stronghold between Gemma and Nathan. The editing is essential here. Reisinger gives audiences a unique examination of grief, love, and family. AND MRS is a romcom that is one-of-a-kind, built upon a surprising complexity. “Love waits for no one.” 
Ps-stick around for the credits. You won’t regret it.
Kim Ho-jung is magnificent. Sara’s journey spans motherhood, friendship, sleuthing, romance, and identity. Ho-jung embodies silliness, anxiety, boldness, and worldly naivete. She masters each moment with ceaseless charm. She is a star.
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