KATIE’S MOM

SYNOPSIS
A heartfelt comedy influenced by THE GRADUATE but told from the perspective of a protagonist inspired by Mrs. Robinson. Set in Pasadena, KATIE’S MOM is about Nancy Rosenfeld (Dina Meyer (STARSHIP TROOPERS, SAW)), a nurturing mom and recent divorcée, whose beloved Jewish/Christmas mashup holiday celebration with her adult children is derailed when she falls for Alex Rojas (Aaron Dominguez (Only Murders in the Building)), her daughter’s charming new boyfriend. Their electrifying affair upends her status quo and sets her on a path to becoming the woman she was meant to be.
Nancy is a divorcee trying to plan the perfect Christmanukah for her kids, Katie and Eli. When Her daughter arrives with her new boyfriend, things get complicated.
Nancy’s grown children, Katie and Eli, are selfish brats, if we are being honest. Julia Tolchin and Colin Bates tap into rude rich kid personas from different but equally effective angles. Aaron Dominguez is effortlessly charming as Alex. You buy into his sincerity. He’s a solid foil for both Tolchin and Meyer.
Speaking of the titular character, Dina Meyer nails the divorced Mom vibe with a combination of sexual frustration, invisible labor, and unconditional love. I would watch an entire series based on her upcoming shenanigans. She is incredibly camera friendly and oh-so-watchable.
Fantasy sequences are fun and sexy. The storytelling is undeniably relatable to any woman who has let her identity slip after marriage and kids. There is a broad audience for this film. KATIE’S MOM is a different kind of coming-of-age story. It is a sexual awakening and a reclamation of power.










WISTERIA


Directed by: Steve Buscemi














FIRST WAVE OF TITLES FOR ITS 27th EDITION



Once she finds Jackson, Marge discovers he has been spending his days surfing, coaching, and drinking himself into oblivion. He is in no shape to bring Marge into his life. Undeterred, Marge makes him pinky promise to do better. As they fumble toward reconciliation, Marge learns to be bolder, braver, and more self-accepting.
The women’s fútbol team overflows with cheeky personalities. These girls are great foils for Marge’s insecure nature. Jess Gabor is fantastic as Marge. She is natural, sarcastic, and vulnerable. Steve Zahn never disappoints. His comedic self-defense mechanisms pair well with the well-intended fatherly guidance. At the heart of it, Jackson is a damaged but kind soul. Zahn embraces his flaws, making him human and accessible. Together, they are easy to watch.
Waving the logistical fact that a minor would never be allowed to cross the border without a passport or note from their parents, GRINGA tells the story of two lost souls growing together. The script tackles body dysmorphia, eating disorders, culture, alcoholism, grief, and unresolved emotional trauma. In the end, GRINGA is a charming coming-of-age story for both father and daughter.
Azia Dinea Hale plays Nina, a young phone tech who gives private lessons to Mordecai. Dealing with an unexpected family secret, Nina pushes onward to assure Mordecai that he can take his future into his hands and heal through experience and art. Hale is as sweet and patient as we need her to be.
Sean Astin is Marvin, Mordecai’s son. Marvin’s confident facade begins to crack under the pressure of his cigar business, Fela’s diagnosis, and unresolved feelings with his father. Astin leaves his heart on the screen. Marvin is a complex person doing his best to keep his head above water. Astin takes each beat with thoughtfulness. It is a carefully crafted character study.

I feel like SCRAP would do well as a series. Kerr gives us just enough backstory to reel us in, and there is a complexity that drives Beth and Ben. I would love to see more of their childhood. SCRAP allows for a redemption story and one of healing. I feel compelled to ask Kerr for more of this family. The film speaks to a vast number of Americans struggling to stay afloat. It is unimaginably relatable.


GEOFF MCFETRIDGE: DRAWING A LIFE
The mind of an artist is a splendid thing. SXSW 2023 doc GEOFF MCFETRIDGE: DRAWING A LIFE delves into the wondrous mind of a nurtured creative. Director Dan Covert puts a face and a name to the work we’ve seen for years. Meet Geoff McFetridge, graphic designer, visual artist, and family man. 

Pietro’s father only begins to invest his interest in his son’s life when his abilities might benefit him financially. The juxtaposition of his father and Professor Moretti is ceaselessly absorbing. Pietro’s friends slyly represent the adults in the film, each playing a separate role in their treatment of his potential gift. The issues of class, old world vs. new, and family dynamics loom large in the narrative. The film mixes elements of skepticism, belief, science, and faith. It is undeniably intriguing, richly shot, and brilliantly performed.

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)
The 6-month journey from Earth to Mars captured the most intense solar flares ever experienced in all space exploration, forcing the team to reboot both rovers. Angela Bassett’s voice gently narrates Spirit and Opportunity’s actions. The CGI simulations of Spirit and Opportunity are breathtaking. I’ve never seen anything like them. The footage from inside the labs and control room, combined with the tense sci-fi-inspired score, keep you on the edge of your seat. You find yourself cheering, holding your breath, tearing up, and singing along to the mission-curated soundtrack.
If the mystery of space intrigues you, if you’ve ever looked up at the night sky and wondered if we were alone in the universe, GOOD NIGHT OPPY is a film tailor-made for your imagination. It’s a shame The Academy overlooked such a crowd-pleaser. If there ever was a more appropriate “To infinity and beyond” moment in documentary filmmaking, I sure as hell can’t think of one.


Victoria Moroles is Jane. Her precociousness is spot a delight. Segan gives her dialogue deliciously reminiscent of Dawson’s Creek, i.e., she is far too eloquent for fifteen. Her chemistry with Segan is comfortable and endlessly amusing. Her takedown of the film’s misogynist energy is chef’s kiss.
Writer-director-star Noah Segan plays Francis as a Yiddish-spewing loaner. His penchant for a happy-go-lucky attitude is more function over form. We learn about his deep-seated loneliness and unresolved trauma, which creates an equally funny and tragic persona. Segan gives a star-making performance.
BLOOD RELATIVES is an undeniably fun vampire coming-of-age family film. Heartwarming, silly, and intimate, it is easy to see why it garnered so much attention in the festival circuit. Shudder is the perfect platform for Segan’s madcap creation. I formally request a sequel when Jane gets to college. I have to know where this family unit ends up. Don’t forget to bring Fieldner along.

Annet Mahendru gives Alice palpable manic desperation. Her ability to jump from one emotion to another in the same breath is impressive. It is one hell of a turn. Milo Gibson is Dave Hayes. His character arc almost feels like the audience is witnessing a slow-motion car crash. Gibson brings not-so-subtle anger and protective alpha energy.
MANIFEST WEST addresses a myriad of current and alarming themes in America. The score is melancholy and ominous. Writer-directors Joe Dietsch and Louie Gibson use the girls’ history text as a smart foreshadowing device. Antigovernment sentiment compounds the simmering chaos. Add Alice’s deteriorating bipolar disorder, and you have a powder keg. Children learn from their parents, for better or for worse. MANIFEST WEST runs head-on with its relevance to a shocking conclusion.

The doc also discusses Mainstream Mickey and counterculture Mickey and how his image became synonymous with cultural change through the years. They touch upon copyright infringement and the complexities that grew out of Walt’s loss of Oswald the Rabbit. Filmmakers and interviewees do not shy away from the negative stereotypes appearing in certain cartoons and how Mickey became a corporate symbol. It’s an honest take.
I was lucky enough to have been a performer at Disneyland in 2000. For the insiders, I’ll say I had the magical title of “pageant helper,” which carries more weight than it suggests. I thought perhaps working at the parks would kill a little bit of the joy, as technically, I had peeked behind the curtain, quite literally. Nothing could be further from the truth. Anytime I stepped onto the grounds out from backstage (the areas no guest ever sees), I would be a giant kid all over again. On one unforgettable day, I had the unprecedented honor of meeting the actor Walt hired to wear the first Mickey costume on Disneyland’s opening day. There I am, a sweaty mess, in half a costume smiling like a fangirl. It was a part of history most people would never get to touch.
Visually, Mickey: The Story of a Mouse is a cinematic dream. From hand-drawn frame-by-frame cell animation to chemist-mixed paint to the collaborations we see today as animation and technology shift by the day. We experience the sheer artistry involved in Mickey as animators recreate some of his most iconic roles throughout history. In a sort of meta moment, these creators work on the newest Mickey short, “Mickey In A Minute,” during the doc, one hand-drawn scene at a time. The final product is Disney perfection. 
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