PBS
presents
FANNY: THE RIGHT TO ROCK
*This review was originally featured on AWFJ.org*
Sexism, racism, and rock & roll, Fanny: The Right To Rock is the story of how two Filipina American sisters started Fanny, the legendary rock group you may have never heard of until now. Jean and June Millington used to gather a crowd in their California backyard. After they decided to put together a band comprised of extraordinarily fearless and talented female musicians, the road to Fanny began.
After getting signed, Fanny moved into a house to live and, more importantly, make music. The rock history that went in and out of their “Fanny Hill” home in L. A. is astonishing; Bonnie Raitt, Joe Cocker, and Little Feat, to name a few. The freedom to express your sexuality, bed hop, do drugs, and make damn good music ruled that house. Unconscious healing that occurred through the safety inside Fanny Hill comes through the voices of all that crossed the threshold.
Experiencing Fanny’s songs for the first time, I immediately recognized the impact made on so many other artists. So how is Fanny not in my musical catalog? Jean, June, Alice, Brie, Patti, Cam, and Nickey were trailblazers who worked three times as hard as men and cranked out thought-provoking lyrics ahead of the times. Fanny was a feminist rock group with sharp wit and zero fear. The documentary utilizes sit-down interviews, studio sessions past and present, and live performances on stage and on television. The archival photography from Linda Wolf is extraordinary.
Fanny broke up due to a deadly combination of things; misogyny, societal times, no one big bop to make money, and having a studio that pushed them to their limits. As members came and went throughout the years, the sound morphed but always retained that iconic grit.
In 1975, they said goodbye to their rock days to pursue motherhood and personal musical pursuits. In 1999, David Bowie (whom June briefly dated) made a statement mentioning the band by name. This capsule appeared in Rolling Stone Magazine, thus sparking the ladies and their former producers to write a brand new album, Fanny Walked The Earth.
Bobbi Jo Hart’s doc comes at the perfect time in the band’s history and ours. It shines a light on their industry impact, from the importance of their Filipina culture to their mold-breaking lyrics and energy. Watching Fanny proves that great rock and roll lives forever. Get ready for their new single When We Need Her to be the anthem we need right now.
FANNY: THE RIGHT TO ROCK premieres on PBS on May 22, with streaming on PBS.org and the PBS app.
FILM DETAILS:
Title: Fanny: The Right to Rock
Directors: Bobbi Jo Hart
Release Date: May 27, 2022
Running Time: 96 minutes
Language: English
Screenwriter: Bobbi Jo Hart, Documentary
Distribution Company: Film Movement
FIRST WAVE OF TITLES FOR ITS 27th EDITION
All Man:
Matt Bomer‘s narration adds a brilliant touch of nostalgia in a way that is hard to describe until you experience it for yourself. The film uses archival footage and photography, sit-down interviews, and creative transitional animation. The catalog was bright, smart, and sexy, and gave men something to aspire to be. It challenged the idea of masculinity with its European-inspired fashion and copy, written by Gene. He was meticulous in his work ethic, taking customer feedback and recognizing that 75% of their shoppers were women. Watching the images from the catalogs made me want to order (almost) every single article of clothing for my husband. Gene clearly understood the broad appeal. If International Male existed today, I’d be begging them to take my money. 
Everything shifted for International Male once the AIDS epidemic touched the employees and the world. Gene sold the catalog, and the new creative directors were more hesitant to hire queer staff, in fact, firing a huge percentage of them. In the 90s, the positive changes came in the form of more models of color. But with the loss of gay buyers and department stores filled with men’s retail, International Male was no longer a cash cow. But it’s easy to see how the catalog catapulted our current influencers in pop culture with the freedom to express themselves on a gender spectrum now celebrated across the globe. So, thank you, International Male. You made a difference while allowing us to drool.
The End of Sex tells the story of a married couple (Hampshire and Chernick) who are feeling the pressures of parenting and adulthood. After they send their young kids to camp for the first time, they embark on a series of comic sexual adventures to reinvigorate their relationship.
Lily Gao
The script nails the unfiltered complexities of adult relationships, particularly co-parenting and the ebb and flow of physical attraction. It centers on communication and the dangers of giving up on ourselves to mollify our partners. Relationships are rarely 50/50. THE END OF SEX goes there and sometimes falls off the edge in the best way possible. 
The quirky and overtly sexualized visuals on signs throughout the film become an over-the-top running joke. A brief but brilliant cameo from a comedy legend takes the script to another level. It is an unforgettable scene. THE END OF SEX celebrates kink rather than shaming. It permits viewers to explore fantasy while reflecting on intimacy. It’s a beginning of a conversation between partners, new and old, and a hell of a good time.
The cast’s chemistry is spectacular. Michael Urie is Jamie, Larry’s fiance. He’s the most down-to-earth of the bunch, with the better part of his screen time in sequences over the phone. Urie can do no wrong in my book. Veanne Cox is Sylvia. Her performance is frightening and downright brilliant. I would watch a stand-alone film on her character. 
Nicholas Logan plays Harrison. His overtly masculine energy, physical discomfort, and aggressive nature are a perfect foil for our four friends. His aura forces the audience to take stock of microaggressions and outright bigotry. Logan handles the distasteful behavior like a champ, and Harrison’s arch is a nuanced breath of fresh air.
SUMMONING SYLVIA is one of the funniest queer films of the year. As a theatre girl, I was in my element. I knew these characters. The film’s climax has a dual purpose that beautifully mirrors life and the afterlife. The finale is celebratory. Do not miss this hell of a good time.
I’ve been a fan of filmmaker Onur Tukel‘s weird and wild sense of humor since 
If the internet comments section became a brilliant satirical dialogue, you might have an inkling of how smirk-inducing POUNDCAKE is. With every conspiracy theory, controversial subject matter, and offensive conversation you can think of, Tukel pushes the envelope. Simultaneously hilarious and politically on point, the film makes fun of us all. 
ENDLESS SEA
2022’s reboot thrived by finding the perfect balance of new + nostalgia. While that film could be seen as a symbolic passing of the torch from Neve Campbell’s Sydney Prescott to Barrera’s Sam, it is still jarring to watch a Scream film without Sydney. Especially when Scream 6 is so clearly inspired by Scream 2 (talk about sentences you never think you will write), which similarly followed Sydney as she escaped Woodsboro for a fictional college setting. This time though, Courtney Cox is the only original star returning, and she struggles to provide a meaningful link to the weight of original films. Honestly, with so many of the other beloved characters missing in action, a clean break might have been the better approach.
The much-promoted New York setting ultimately feels a bit underused – filming actually occurred in Montreal, and there are only a few scenes that truly attempt to capture the energy of the city. It’s a shame because those scenes are some of my favorites in the whole film. There’s a moment where Sam and Tara hide from Ghostface in a bodega, only to realize that this killer is willing to use weapons even more deadly than a knife. Another scene on the NYC subway captures the rising anxiety facing the city’s public transit today, where a rise in unprovoked attacks has left citizens suspicious of their fellow passengers. But that’s largely it – it feels like a waste of the setting (although to be fair, New York has posed a challenging setting for horror films in the past.) What about Ghostface popping up in a cab, a chase through central park, or a set piece on one of the iconic bridges?
Ezra Buzzington is the hard-line skeptic as Paul. Clad in his Magor’s uniform bespangled with medals, his bristly approach to patriotism is all too familiar even now. His audibly growing disdain makes the audience squirm. Jeremy Holm is Archie. He has the perfect touch of panache from his slicked-back hair, mustache, and crimson jacket. His looming figure, combined with his humor, creates a dazzling performance.
Gender identity is a hot-button issue around the globe. For intersex people, existing is complicated and emotionally taxing. SXSW 2023 doc WHO I AM NOT follows two individuals who follow divergent paths on their journey to self-acceptance. When intersex children are born, most doctors suggest that parents choose one set of genitals. This complex decision should not even be an option. Sharon-Rose and Katso were born with both sets of genitals. Neither function to produce children. The film exploring happiness, navigating family, discrimination, and dating is emotionally wrought and fascinating.
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)
Ashleigh Murray is Alex’s best friend, Grace. She gives us the perfect balance of sweet, supportive, and firey. She’s a foil for Beauchamp. Sherri Sheperd is outstanding as Alex’s AA sponsor Ronnie. This is a fantastic turn filled with grounded concern, loving energy, and wise words. Her calm demeanor balances the chaos beautifully. She is a thoughtfully curated character.
Jonny Beauchamp plays Alex. Writet-director Barry Jay‘s screenplay allows him to show his vast range as he assumes some of Shane’s personality traits as the story progresses. Beginning as a meek and mild, lost young man, Alex slowly becomes increasingly more aggressive. Mike C. Manning (Slapface) throws you off balance from the moment he appears onscreen. He oozes toxic masculinity, helped by his intense workout obsession and the score. Shane goes from subtle to overt manipulation quicker than I expected. He is downright scary. While Manning portrays the ultimate gaslighter, his character is more nuanced than at first glance.
Overall, the lighting is a bit dark for my taste, but the score is carefully crafted and smartly used. The script morphs into a sick and twisted revenge story I did not see coming. There is a complex moral ambiguity that is endlessly intriguing. The Way Out is an unexpected journey of self-discovery and one credible psychological thriller.
Mesmerizing closeups of body parts beading with sweat captured with static and handheld camerawork beautifully complement the conversations and place the audience inside the room. Haunting vocals during transition moments captivate the audience. Images of south Estonian matriarchs are projected on the sauna smoke as their voices recall tales from their lives. It is another stunning addition to an already visually sumptuous film.
Topics like cancer, women’s rights, body shaming, unresolved trauma, sex, and sexuality swirl freely. It is a safe space I envy. Smoke Sauna Sisterhood brings a contagious joy. There is a raw elegance I think Sundance 2023 audiences, specifically female viewers, will welcome. This film is a celebration of our complexities, highlighting the tender care we take with one another. It is revelatory to rediscover the interconnectedness of women and our shared experiences, good and bad. It is an astonishingly rewarding emotional catharsis. 
Anna Hints is an Estonian film director with a background in contemporary art and experimental folk music. Having deep roots in the distinct culture of South Estonia, Hints’ second home is in India. As an active dumpster diver, Hints’ short documentary For Tomorrow Paradise Arrives initiated public discussion and growth of new grassroot movements against food waste in Estonia.
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)
Yale University’s meticulous record-keeping in the Sterling library proves invaluable. After scanning 60, 000 pages in the microform media room, the aha moment appears; a 1959 letter between 
Chris Zylka‘s vulnerability is award-worthy. The performance reminds me a lot of Cooper Raiff in 
Demi Moore plays upstairs neighbor Maureen. She’s a hot pink and animal print-drenched eccentric woman and the perfect influence on Suze, giving her permission to let go of her inhibitions. Karl Glusman is Teddy, a member of The Young Gents with an eye for Arthur. Glusman nails the classic greaser role, adding a relentless sensuality to his words. He is fantastic. 
The score is brilliant, with a mix of bass plucking, bongo drums, and saxophone wails. Short bursts of choreography smartly encapsulate the mood and era. The sets are deliciously accentuated with neon-colored everyday objects, black light hues, and engulfing blues and magenta. Everything sort of glows like a live-action comic book.
You must be logged in to post a comment.