Category Archives: Genre

Slamdance (2022) review: ‘HONEYCOMB’ tackles female complexity in this unusual coming of age debut.

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HONEYCOMB

Five small-town girls abandon their mundane lives and move into an abandoned cabin. Growing increasingly isolated, their world becomes filled with imagined rituals and rules but the events of one summer night threaten to abruptly end their age of innocence forever.

Honeycomb feels akin to watching a slumber party on Lord of the Flies terms. The timing of the film’s premiere is perfectly paired with the recent finale of Showtime’s Yellowjackets. It’s got similar energy with its underlying rage, free spirit intentions, and coven-like atmosphere. Each girl selecting a red party dress is not a mistake. The group creates a set of rules that they must obey in order to live in the house. Two rules struck me as most powerful. The “Empty” and “Suitable Revenge”. I’ll let you find out what those entail for yourselves.

It is an interesting commentary on female relationships. The vindictive nature combined with hormones with zero adult supervision is a recipe for disaster. The most insane part of this film is the plausibility of it all. If you’ve ever lived with a large number of girls, you understand. The raw emotion and uninhibited vitriol can be overwhelming. 

The majority of the acting is pretty hammy. There are disaffected or stagey line readings. But, two standout performances come from Destini Stewart as Leader and Henri Gillespi as PJ. Also, make sure you stay through the credits. It’s worth your time. 

There’s a voice here. It feels like the early stages of The Adams family films (The Deeper You Dig & Hellbender), sans Toby and John‘s guidance. I’m eager to see what writer-director Avalon Fast creates next. 

 

The feature debut from 21-year old writer/director Avalon Fast world premiered virtually January 27th, 2022

Sundance (2022) review: In ‘DUAL’ writer-director Riley Stearns wades into emotional darkness through deadpan sci-fi.

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DUAL

 After receiving a terminal diagnosis, Sarah commissions a clone of herself to ease the loss for her friends and family. When she makes a miraculous recovery, her attempt to have her clone decommissioned fails, and leads to a court-mandated duel to the death.

The minute I realized the deadpan nature of most of the cast’s delivery, I exclaimed, “Oh shit, this has to be by Riley Stearns!” In 2019, I saw The Art Of Self-Defense, and the stylized nature of the dialogue has stuck with me ever since. Festivals can be a blur. I usually enjoy going into a screening blind. Either that or I can’t remember a damn thing by the time I’ve consumed 20+ films. Lucky for me, DUAL was my final watch. It was on my dance card immediately because of Gillan and Paul. I’m a big fan of Doctor Who and Westworld, and this plot sounded like a combo of the two worlds. I wasn’t necessarily wrong from a storyline and humor perspective. 

There’s a blunt absurdity to it everything in this film. The indifferent nature of this emotionally complex scenario makes it cringe-worthy in the best way possible. There is no filter on anyone. Aaron Paul is Trent, Sarah’s Death Dual coach. He’s so zen and focused you cannot help but smirk every time he speaks. Could I watch him dance every day of the week? You’re damn right. Would I hire his character to teach me to disassociate violence and be a badass? Every time. Karen Gillan plays both original and clone Sarah. They are two distinct but equally fascinating characters. As original Sarah, her dispassionate personality is jarring. Once her training begins, Gillan’s past roles come in handy. As her clone, she gets to play Sarah with a bit more uppity finesse. Besides her tone, Gillan’s physicality made me laugh out loud. The 110% commitment by these actors makes DUAL so damn entertaining. Beyond the sci-fi aspect, it’s the emotional depth and darkness that hits me harder a day after watching. Riley Stearns, you wily bastard. You got me again.

Cast: Karen Gillan, Aaron Paul, Beulah Koale.

World Premiere.

To find out more about tickets and the full lineup for Sundance 2022, click here!

Sundance (2022) reviews: ‘The Cathedral’ & ‘Framing Agnes’ are two very different films retelling the past.

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THE CATHEDRAL

An only child’s account of an American family’s rise and fall over two decades.

Fascinatingly stylized look at the memories that compromise our childhood, The Cathedral is a unique entry in the Sundance 2022 NEXT section. Writer-Director Ricky D’Ambrose uses static camera work to capture angles a child might see, either themselves or from physical photographs from an album. Interspersed with news clips and commercials from the 80s, 90s, and early 2000s, the sets, and costumes nail the eras. The Cathedral is narrated by an unknown female voice, recalling the family history in a frank, rather emotionless manner. There are jarring moments due to the lack of sensitivity. They speak volumes and, they make you squirm. There’s something about a multigenerational household that can ruffle feathers. The awkward exchanges from grandmother to grandson, the one-sided conversations from volatile phone calls, and those infamous family gatherings are all things we can relate to from our childhoods. 

Performances run the gambit between harsh, exuberant, uneventful, and that is what makes them so realistic. Our memories are but a collection of random references. The anxiety we carry as adults may stem from events such as divorce and/ or prolonged exposure to familial toxic masculinity. At least for many in my generation. The Cathedral shows us D’Ambrose’s ability to captivate an audience in the most unexpected ways. I’m eager to see what comes next.

Cast: Brian d’Arcy James, Monica Barbaro, Mark Zeisler, Geraldine Singer, William Bednar-Carter.

North American Premiere. Fiction.

FRAMING AGNES

After discovering case files from a 1950s gender clinic, a cast of trans actors turn a talk show inside out to confront the legacy of a young trans woman forced to choose between honesty and access.

If you think trans history is something new, Sundance 2022 documentary Framing Agnes is about to blow your mind. Director Chase Joynt, sociologist Kristen Schilt, historian Jules Gill-Peterson, and trans actors Zachary Drucker, Angelica Ross, Silas Howard, Jen Richards, and Max Wolf Valerio all play dual roles. The doc is structured in reenactments of the 2017 discovered files from Dr. Harold Garfinkel’s UCLA gender health study in the 1950s. Christine Jorgensen‘s glamourized story plays as a backdrop for the media. In many ways, trans women find it difficult to avoid. Through the UCLA transcripts, we learn about the varied physical and emotional difficulties they endure daily. The interviews are presented in a 50s era talkshow format, spotlighting the sensationalized platforms of the past all the way to the Katie Couric interview with Carmen Carrera and Laverne Cox. This experimental mesh of styles would also present well in a live stage format. It’s an important film that further enlightens us of the plight of the trans community. Framing Agnes melds past and present in a beautiful way. While it’s a personal film for the cast and crew, it will also hit home for a wide range of viewers.

For Sundance 2022 full line-up, tickets, and more click here!

Sundance (2022) capsule reviews: ‘The Dark Heart’ series & feature ‘Leonor Will Never Die’

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THE DARK HEART

Sweden: in a mythological landscape, search parties roam through forests of spruce, secret conversations are whispered in open fields, and verbal duels fought on narrow country roads. A story of family feuds, inheritances, and forbidden love.

Sweden’s true crime game is above and beyond. The US had already remade series like The Killing and The Bridge. Sundance 2022 audiences can dive headfirst into The Dark Heart. The series is a five-part psychological drama-thriller about how an old family feud clashes with a young, forbidden love story, leading to a tragedy with a deadly outcome, ultimately solved by a private investigator who gets obsessed with the case. The series is based on journalist Joakim Palmkvist’s book “The Dark Heart: A True Story of Greed, Murder, and an Unlikely Investigator”, which delves into the story about how a mysterious missing person’s case is investigated and solved by a local Missing People-volunteer involved in the searches. Think Broadchurch and Mare of East Town vibes. Small town politics and mystery with enough breadcrumbs and insinuation to keep you guessing. You will not be able to look away.

Cast: Aliette Opheim, Clara Christiansson Drake, Gustav Lindh, Peter Andersson.

World Premiere. Fiction. 

LEONOR WILL NEVER DIE

Fiction and reality blur when Leonor, a retired filmmaker, falls into a coma after a television lands on her head, compelling her to become the action hero of her unfinished screenplay.

As a writer, this script is essentially a dream, pun intended. Leading lady, Sheila Francisco is an absolute joy to watch and her energetic narration/script reading is a blast. In her coma, she is living inside her story. The recreations of 80s action films are astounding from the perfectly hokey score to the fight sequences. The visual jumps from these, to real-life, to memories, keeps you on your toes. The semiautobiographical nature of Leonor’s writing makes for a haunting present circumstance. The nonchalance in which her son and ex-husband converse with their lost loved one is bizarre. But that’s only half of the wackiness that ensues. Leonor is weird meta fun. You cannot help but adore the heart behind it.

Cast: Sheila Francisco, Bong Cabrera, Rocky Salumbides, Anthony Falcon.

World Premiere.

For more information and the complete lineup for Sundance 2022 film, click here!

Slamdance Film Festival (2022) review: ‘IMPERFECT’ razzles dazzles ’em.

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IMPERFECT

A professional company of actors with disabilities defies expectations by taking center stage in Chicago the musical.

I was a musical theatre major at a conservatory program in Manhattan twenty years ago. As a performer and director, I understand what it takes to make a musical come to fruition. The amount of work ethic required to succeed is unfathomable for anyone outside the industry. I cannot imagine the added uphill battle of mounting a show where every cast member has a disability. IMPERFECT showed me that it’s not only possible but positively triumphant.

The film takes us from pre-production to auditions, all different kinds of rehearsals, and leads us into opening night. You fall in love with each cast and crew member instantly. Their vulnerability hits you in the heart.

The film breaks away from rehearsals to focus on each individual’s personal life. These moments successfully solidify our emotional investment in the cast. We get to know who these actors are and why they choose the theatre. Everyone is unique. Sometimes we forget that disability comes in all forms. Their spotlights shine with eloquence and honesty. They raise awareness, shatter stereotypes, and remind us to choose kindness.

Chicago possesses a poignant song for this particular community. It’s called “Mr. Cellophane.” It’s a song performed by Amos. He is Roxie’s adoring pushover of a husband, where he sings about feeling invisible. As the number ends, he proceeds to apologize. I have a feeling this hit home for much of the cast.

I could have watched an entire film on the audition process alone. Frankly, I would watch a series of “imperfect” shows. It is a brilliant treatment for years of unique entertainment. Phamaly Theatre Company might have cornered an untapped market for the masses. Televising the process could have these performers reach a massive audience beyond “Chicago.” Pushing that grandiose idea aside, as a stand-alone doc, you’ll fall head over heels in love with this company. Directors Brian Malone and Regan Linton (who plays double duty as “Chicago’s” director) have given audiences everywhere a heartfelt gift in IMPERFECT. We learn much in an hour and fifteen minutes.

IMPERFECT bleeds authenticity. The fearless nature of baring one’s soul on stage takes on new meaning in IMPERFECT. Was I weeping with overwhelming pride and pure unadulterated joy as opening night finally came to life? Yup. The cast and crew made magic for that audience, the one at home, and themselves. You’ll give them a standing ovation because “they had it coming, all along.”

IMPERFECT will be screening in competition, in the Documentary Features section at the 2022 Virtual Slamdance Film Festival. To purchase a festival pass, please visit https://slamdance.com/2022-passes/

RT: 77 Minutes | Not Yet Rated

Genre: Documentary

Website: www.imperfectfilm.com

Review: ‘The Midnight Swim’ is hypnotic.

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THE MIDNIGHT SWIM

THE MIDNIGHT SWIM, which world premiered at the Fantasia International Film Festival in 2014 and went on to win the Breakthrough Audience Award from AFI Fest and Best Feature Film from the Denver International Film Festival, marked the debut feature of Sarah Adina Smith (Buster’s Mal Heart, 2016; Birds of Paradise, 2021). The film follows half-sisters Isa, June, and Annie in the wake of the disappearance of their mother, Dr. Amelia Brooks, during a deep-water dive in Spirit Lake. The three women decide to travel home to settle her affairs, where they accidentally summon a local ghost and find themselves drawn deeper into the mysteries of the lake as their relationship begins to unravel.

Folklore and family meld too well in The Midnight Swim. You won’t know where one ends and the other begins. As we watch this story unfold all in “found footage” from Annie’s vintage camera. It becomes clear that their relationships with their mother were complex and dark. Grief manifests in a variety of ways, but the most successful aspect as strange things begin to occur is the connection between the three sisters. Aleksa Palladino, Lindsay Burdge, Jennifer Lafleur pull you into the film like sirens. There is tension, adoration, irritation, and unadulterated fun that happens amid weirdness. Did their mother drown, or was it suicide? These discussions are ongoing. We discover Annie is/was unwell, never specified in the film. We see this in her solitude when the camera is pointed at her, predominantly in mirrors, as she is the film’s “cinematographer.” We’re tipped off in moments when the girls explain that she only eats alone, when she pretends to be a stranger calling her deceased mother’s office and then begins to take “night swims” she cannot recall until time-lapse footage appears the following mornings.

Strangely enough, one of my favorite scenes is the only earnest tension breaker in the film. It’s an oddly placed music video performed by the sisters. Each has a chance to show off their personalities. It’s seemingly something they did as children, and like the rest of the film, it lands somewhere between enchanting and creepy as hell. The set’s dressing, particularly the bedrooms, have a candy-colored aesthetic to them. Laura Ashley-Esque prints against morose faces unsettle your body. The story of the ill-fated seven sisters becomes more intriguing once you realize the ancient origins apply both to the sea and stars. While writer-director Sarah Adina Smith‘s film ultimately leaves us with more questions than answers, it’s a film that is impossible to shake.

Pre-sale on collector’s BluRay launches Jan. 1, on Digital and VOD Jan. 25, 2022

Sundance (2022) review: Family friendly ‘MAIKA’ is universally entertaining.

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SYNOPSIS:
Ham Tran’s Maika follows 8-year-old Hung, who is still coping with the death of his mother and having difficulty connecting to his father, when his best friend moves away, along with others in his apartment as a greedy landlord conspires to push everyone out so he can sell the place. One night, as Hung retreats to the roof to be alone and watch the night sky he witnesses an errant falling star hitting the ground by a lake near his town. Hung hops on his bike in search of adventure. He arrives at the crash site, and instead of a meteor, discovers an alien girl from the planet Maika, who came in search of her lost friend. As Hung helps Maika find her friend and get back to her home, she inadvertently helps Hung make new friends and mend his broken heart. But danger lurks everywhere, as Hung is not the only one who knows of his new alien friend…

A grieving boy comes face to face with an alien girl trying to find her way home. Their adventures will bring unadulterated joy to Sundance 2022 audiences. Maika‘s cinematography is eye-popping. The production team dressed the sets and the actors in ways that hypnotized me. It’s the perfect eye candy for kids and parents alike. 

Our three youngest leads, Phu Trong, Diep Anh Chu, and Tin Tin are darling. These kids are out of this world fantastic. Their relationships are the purest and most honest I’ve seen in ages. You’ll double over in fits of giggles at Hung and Maika’s first interaction, while unexpected sidekick Beo takes the comedy to the next level.  

Maika has a familiar arc with all the finesse of E.T. and the charming goofiness of Little Rascals. Maika stands out with the emotional pull of grief and unconditional love. Add in some family-friendly subplot hijinks, all wrapped in a hilarious and sweet package, and you’ve got yourself a hit. With a whimsical score, every aspect of this film is enchanting. I laughed and cried a lot. Dub this in every language because its messaging is undeniably universal. It is a magnificent addition to Sundance 2022. Maika’s future is written in the stars.

Director/Writer:                      Ham Tran
Producers:                             Jenni Trang Le, Duy Ho, Anderson Le, Bao Nguyen
Executive Producers:           Quang Binh Nguyen Phan, Bich Hien Ngo Thi
Associate Producer:             Vi Vincent Ngo                           
Editors:                                  Ham Tran, Jayson Cabugason, Eunice Goh Yi Hui
Cinematographer:                 Minh Cong Trang
Composer:                             Christopher Wong
Cast:                                       Phu Truong, Diep Anh Chu, Tin Tin, Ngoc Tuong, Kim Nha
TRT:                                        105 min
Country:                                 Vietnam

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) review: ‘Meet Me In The Bathroom’ is a story of fame, friendship, and influence.

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MEET ME IN THE BATHROOM

An immersive journey through the New York music scene of the early 2000s. A new generation kick-started a musical rebirth for New York City that reverberated around the world.

I was a Freshman in college in NYC when The Strokes, Yeah, Yeah, Yeahs, Interpol, and The Moldy Peaches were making a name for themselves. They came about in the city pre-9/11 and the ensuing global turbulence in the following years. New York’s energy back then was a revitalized monster that has not let up since. Music and art would serve as our escape and savior and influence us forever. Based on Lizzy Goodman‘s book, directors Will Lovelace and Dylan Southern Sundance 2022 doc, Meet Me In The Bathroom, perfectly encompasses that rebirth. 

Meet Me In The Bathroom talks about the push and pull between art and fame. The relatable anxiety of Julian Casablancas makes the film all the more charming. The Strokes, Yeah, Yeah, Yeahs, Interpol, and The Moldy Peaches‘ nonchalance and earnest wonder at their lives will enchant you. The fame facade was just that; these artists were far more interested in music than money. It speaks to the plight of the artist in general. The darker reasons we make art. It’s a deflection and/or coping mechanism. 

9/11 is still visceral for those that were here on that day. Any footage still brings cold sweats and chills from head to toe. There’s a video of these musicians walking in the ash-covered streets. The aftermath of sadness in the days and nights that followed, how we coped was through art and creation. I was a musical theatre major at the time, which means I really wanted to be a rockstar. At the time, Karen O explains, performance was our only outlet. We were not quite kids, not quite adults. Any Gen X New Yorker still has that fire 20 years later.

The editing is a whirlwind of wonderful. Their personal footage and raw confessions make Meet Me In The Bathroom a pretty riveting watch. Their bold honesty keeps you glued to your seat. (Almost) ending with one long uncut take of Karen O in “Maps” is goddam magic. It’s a real stand-out from Sundance 2022 because it just plain rocks. 

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) review: ‘GOD’S COUNTRY’ is far beyond a feminist reclamation of power. It’s a “Hell Yes” of a film.

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GOD’S COUNTRY

Based on the short story “Winter Light” by James Lee Burke, Sundance 2022 feature GOD’S COUNTRY is here to rock you to your core. Sandra Guidry is a local professor mourning the loss of her mother. She now resides alone, surrounded by memories of her past and the miles of wilderness that make up her canyon property. When she arrives home to find a red truck parked in her yard, it is accosting, at the very least. When it reappears the following day, Sandra confronts the passengers. After polite requests to desist, matters escalate, and a battle of wills begins. 

Ingenuity, culture, and passion all have you cheering out loud for Sandra. The script smartly comments on race in America. Sandra’s quiet “don’t fuck with me” attitude makes God’s Country as successful as it is. It also tackles commonality in a carefully curated way, allowing us to take breaths amongst the deep-seated hatred and ignorance. But, don’t for a second get comfortable. God’s Country is ultimately about power. 

Thandiwe Newton is spectacular. She’s fearless, vulnerable, and captivating. Sandra’s backstory adds another level of insight for the audience. Newton masterfully uses every device in her toolbox. There is a relentless simmering of anxiety that keeps you unsettled. The repetition of the rising water visual takes on an entirely new meaning as the plot progresses. 

Shaye Ogbonna and director Julian Highins’ screenplay shifts the power dynamic. It’s a reclamation of sorts, a rise above trauma, work through of grief, and obliteration of toxic masculinity. The final shot will stop your heart. God’s Country demands your attention with its complexities. It’s a tremendous highlight of Sundance 2022.

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) review: ‘Brian and Charles’ is a hilarious and heartwarming buddy comedy.

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BRIAN AND CHARLES

After a particularly harsh winter Brian goes into a deep depression; completely isolated and with no one to talk to, Brian does what any sane person would do when faced with such a melancholic situation. He builds a robot.

Brian is an eccentric inventor of creative, if not completely useless, things. After accidentally inventing a robot, he experiences the gambit emotions, the likes of which both he and the audience are not prepared for.

You have to wonder how much of the dialogue is improvised based upon David Earl‘s genius timing and rhythm. You will fall in love with this character. Earl creates a man that’s loveable, kind, and hilarious. You laugh out loud at moments that perhaps should not be funny. Ultimately, it’s Brian’s earnest care and wonder for Charles that hits you in the heart.

Chris Hayward as Charles is absolutely darling. As he is a newly created being, he possesses the whole of knowledge and yet has the social-emotional intelligence of a toddler. His unpredictable nature makes the chemistry with Earl pure magic.

 The awkward juxtaposition of Charles’ massively disproportionate body with Brian makes for quite the visual gag at any given moment. Bravo to Earl and Hayward for this one-of-a-kind screenplay. The mockumentary structure adds an extra element of levity. If you’re not grinning from ear to ear, I suggest you get your head checked. There is no doubt in my mind that this will be one of the biggest hits out of Sundance 2022. Brian and Charles is bursting with charm.

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) review: Rachel Lear’s ‘To The End’ is a doc where planet, politics, and progressive climate action collide.

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TO THE END

Stopping the climate crisis is a question of political courage, and the clock is ticking. Over three years of turbulence and crisis, four young women fight for a Green New Deal, and ignite a historic shift in U.S. climate politics.

To The End shines a light on the young activist movement that must succeed for us to survive, quite literally. This film took what was essentially a talking point to the vast majority of the country and finally gave it faces and ideas that mean something. The documentary spans a timeframe from the 2018 election cycle, the beginning of COVID, Black Lives Matter marches, to the 2020 election, the Code Red report, and most recently, the Build Back Better legislation. It clearly illustrates the inadequacies in our government and their direct connection to climate. It’s an inescapable reality for the audience. 

Heavily featured are the Sunrise Movement and their behind-the-scenes grassroots machine. They are the future of the climate movement. We know who Greta Thunberg is. We can conjure her image instantly. To The End introduces us to new faces. Varshini Prakash, Alexandra Rojas, and Rhiana Gunn-Wright should be added to our visual catalog. Another strong female household name that is also a large part of the climate narrative and the film is Representative Alexandria Ocasio-Cortez. I must admit, I was incredibly impressed by AOC and her resolute stance. Living in Manhattan, I’ve watched her rise to prominence through the lens of the media. To The End was the first time I got to see her unfiltered. You will not walk away from this film without newfound respect. 

The balance between performative politics and passionate change is a thin line. The open disdain for President Biden feels unproductive. It’s comparative to 2016 with Hillary Vs. Bernie Bros. Quite frankly, it’s borderline dangerous. Perhaps, this perspective has everything to do with my age and political exposure. I’ve worked on campaigns. I know how the legislative process works and how it doesn’t. Do I wish President Biden would use the power of the Executive Order more? Absolutely. I share the frustration and understand the urgency. I am terrified as I witness the destruction of the Earth at such a rapid pace. I do not want my young children to grow up and think that I say idly by as my parents’ generation has done for long enough. That is where the importance of To The End becomes crystal clear. There is a way forward through action and persistence, and the film is a successful blueprint on the real steps towards tangible progress. This passionate, up-and-coming generation of activists believes they can move the dial. I sure hope they do, for everyone’s sake. 

For more information on Sundance 2022 click here!

Sundance (2022) Midnight review: ‘SPEAK NO EVIL’ annihilates the notion of a gracious host.

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SPEAK NO EVIL

A Danish family visits a Dutch family they met on a holiday. What was supposed to be an idyllic weekend slowly starts unraveling as the Danes try to stay polite in the face of unpleasantness.

After meeting on an Italian holiday, two young families spend a weekend together in the Dutch countryside. Cultural misunderstanding and language barriers aren’t the only things creating tension, as guests become increasingly uncomfortable with their host family. 

The ominous score puts your frame of mind into peril immediately. Performances across the board will have you hanging on every word. The sly dialogue combined with increasingly cringe-worthy behavior keeps your skin crawling and your pulse elevated every second of the film. You are humming with anticipation of something terrible. Speak No Evil is the epitome of psychological horror. 

These people are not unfamiliar; the manipulation, the overly opinionated, the inappropriate, and overtly abusive. Boundaries are crossed and outright obliterated. As if that weren’t enough, the ultimate reveal of this odd couple will absolutely terrify you. Speak No Evil’s final third had me digging my nails into my palms so hard they almost drew blood. If that is not an endorsement, I don’t know what is.

To find out more about the entire Sundance 2022 lineup, click here!

Unseen Films Sundance (2022) review: ‘FIRE OF LOVE’

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FIRE OF LOVE

This is the story of volcanologists  Katia and Maurice Krafft who met and fell in love with each other and the earth’s firey mountains.

Made up mostly of the words and images of the Kraffts the film is many things. It is one of the most visually stunning films of the last few years. It is a history of volcanology over the life of the Krafft’s. It is one of the grandest love stories of our times. And the film is a philosophical examination of life and man’s place in the world. I was moved to tears.

What I love about the film is that the film doesn’t try to tell us everything, and in so doing does. Nominally it is about these two people, but the telling makes it into a myth. Not in the untrue sort of way, but the myth that gets at the hidden truth of human existence. It’s exactly the sort of thing that Werner Herzog strives for in his films where he will bend things toward the fantastic to give us a great truth. I don’t think anything was bent, I just think the shaping was a bit more mythic than the reality. And this is fine because it puts the love story on the level of the massive and overpowering volcanos

I can’t say this enough, the film moved me to tears.

A must-see, this is one of Sundances and 2022’s truly great films

To read all of Steve’s coverage of Sundance 2022, be sure to head over to Unseen Films!

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) review: ‘WATCHER’ is a slow-burn story of gaslighting and daily dread.

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WATCHER

Julia joins her husband when he relocates to his family’s native Romania for a new job. Having recently abandoned her acting career, she finds herself frequently alone and unoccupied.

Maika Monroe has solidified herself as a genre darling. If you somehow missed her It Follows or Villains, she’s a captivating performer. In Watcher writer-director, Chloe Okuno introduces us to a young couple’s international move to Bucharest takes a terrifying turn. A string of local murders haunts Julia as she spends her days alone and becomes aware of a neighbor staring at her from his apartment each night. Watcher takes you on a journey of cultural clash, instinct, and terror.

The film echoes the ingrained fear that women endure daily. We constantly live in a heightened state of awareness and anxiety that is exhausting. But it’s not only that aspect; it’s the gaslighting that might be more impactful than anything else and, its ensuing isolation can feel all-consuming. Monroe is in almost every frame. Her mindset will be all too familiar for the female audience. The sense that someone is a bit too close, looking at you a moment too long, and in many cases, we are helpless. What Monroe brings bravery to Julia that allows the viewer to be cautiously optimistic about her safety. Okuno and Zach Ford‘s script gives her a sense of action while maintaining fragility. It’s the moments of courage that we get to root for while simultaneously biting our nails. It’s a beautiful balance. Benjamin Kirk Nielsen‘s cinematography combined with Okuno’s blocking also put the viewer in Julia’s state of peril. Accompanied by a string-heavy score is everything we need it to be. The emotional manipulation in this film is sheer brilliance. While it’s not necessarily a new storyline, it is the bold approach that sets it apart. Watcher will have you maniacally screaming at the screen in terror and frustration. Sundance audiences are in for a ride.

To find out more about the entire Sundance 2022 lineup, click here!

Unseen Films reviews: Sundance (2022) feature ‘Leonor Will Never Die’

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LEONOR WILL NEVER DIE

Leonor is an older woman who can’t pay her bills. Her plan to sell an old script to a movie producer goes awry when she is clonked on the head by a TV and put into a coma. As her family deals with her medical issues she is living her script for real. It a one of a kind movie that mashes together genres into a film that is unlike any other, If you want a film that isn’t Hollywood but is entertaining look no further. This is one crazy film that mixes drama-comedy and 1980s action films into a story that grabs you and pulls you along.

I don’t know how to discuss this film. Then again I don’t know if I should. The film is just starting out on its journey to get to your screen and I don’t want to take the specialness of it away by telling you everything. I say this because I’m pretty certain this is going to hit a number of festivals in the coming months.

I will say that some of this doesn’t work. I was a bit lost at times, on the other hand, the film is so good that the bumps don’t matter.

Recommended, especially if you like off Hollywood one-of-a-kind gems.

To read all of Steve’s coverage of Sundance 2022, head over to Unseen Films!

Sundance 2022 short film review: ‘Long Line of Ladies’ is an intimate look into celebrating tradition and womanhood.

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Long Line of Ladies

A girl and her community prepare for her Ihuk, the once-dormant coming of age ceremony of the Karuk tribe of Northern California.

A journey of tradition and self-discovery, Long Line of Ladies is a Sundance 2022 short film that allows us to peek behind the curtain of a once lost ceremony in the Karuk tribe.

The openness of the Karuk culture and the lack of toxic masculinity are so refreshing to witness. The entire community comes together to support each young lady as an individual. They are gentle and ceaselessly encouraging. The deep connection to traditions and nature is mirrored in the ceremony. After fasting, a young lady is blindfolded on a journey through the woods for 4 days, then emerges to perform a dance. The meaning and emotion behind it made my heart swell. It symbolizes her journey into womanhood so perfectly. This intimate portrait of cultural tradition will live with me for a long time. As a mother of a little girl that will soon be five, Long Line of Ladies inspires me to seek out a way to honor what has mostly been deemed an embarrassing or awkward transition. It makes me want to do better for the next generation. 

Long Line of Ladies – Teaser from Rayka Zehtabchi on Vimeo.

Directed by:
Rayka Zehtabchi & Shaandiin Tome

Produced by:
Garrett Schiff, Pimm Tripp-Allen, Rayka Zehtabchi, Sam Davis and Dana Kurth

Run Time: 
22 minutes

ABOUT THE FILMMAKERS: 

Rayka Zehtabchi is an Academy Award-winning director and producer working in both documentary and fiction. In 2019, Rayka became the first Iranian woman to win an Oscar for her film “Period. End of Sentence.,” which can be seen on Netflix worldwide. In all her projects, she brings a naturalistic approach to her storytelling, striving for honesty and intimacy on screen.

Shaandiin Tome is a recognized writer, director, and cinematographer from Albuquerque, New Mexico. Her award-winning break-out short film Mud (Hashtł’ishnii) premiered at the Sundance Film Festival in 2018. She aims to bring resonating imagery in a blend of convergence with story, illustrating her perspective as a Diné woman.


Online Screening
Thursday, January 20 @ 8:00 AM PST to Sunday, January 30 @ 10:59PM PST

To find out more about the entire Sundance 2022 lineup, click here!

 

Unseen Films reviews: Sundance (2022) Midnight feature ‘FRESH’

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Fresh

(Spoilers Ahead)

I have to do this review in two pieces. The first is going to be a no-spoiler review and the second will have more details for those who don’t care about spoilers 

Part 1- No Spoilers

FRESH is the story of Noa, a young lady who is unlucky at love. She bemoans the fact to her friend that she can’t meet anyone nice online. She then meets Steve, a charming doctor in the supermarket. sparks fly and they are soon heading off to a quiet weekend getaway, where Steve reveals his appetites.

Without giving anything away this is a not bad little thriller that suffers from our having been here before and a pace that stretches things to almost two hours.

Part 2- Spoiler filled discussion

FRESH is a really well-made film with great performances, I just wish that the script and the pacing were up to everything else.

No, wait I wish going in the promotional material didn’t use the term “appetites” since it pretty much tells you someone is getting eaten. I suspect that the copywriter thought they were being clever, but the fact is it’s not, and coupled with the film’s love of food you know how this might go.

The real problem here is that after a leisurely first 35 minutes during which things are set up and we aren’t quite sure where this is going to go, the film turns and suddenly we’re in the “heroine is chained in a room genre” that has been done so many times that we can largely figure it out where it’s going. I mean the filmmakers gave Noa a plucky friend who wasn’t certin the trip was a good idea, so you know help is on the way. I felt no suspense while watching the film, other than curiosity about what condition the other trapped girl was going to be in.

It doesn’t help that the film runs almost two hours for no really good reason other than to have some sequences play out to 80’s songs in a “clever” way.  Despite what the film thinks it is not reinventing the wheel, and while entertaining it never really does anything to stand out from an overcrowded subgenre.

While I freely admit the fact that I see way too many films, especially horror/thrillers, every year influenced my feelings for the film, I can’t imagine anyone other than a non-horror film fan being over the moon about this film. (Additionally I also freely admit that the fact I had seen 30 Sundance films before I got to this did influence my feelings)

Then again the cast is so good that I could be wrong.

Ultimately worth a look for the curious.

Fresh will stream exclusively on Hulu starting on March 4.

To read all of Steve’s coverage of Sundance 2022, be sure to head over to Unseen Films!

To find out more about the entire Sundance 2022 lineup, click here!

Review: ‘Salt In My Soul’ is inspiration through posthumous eloquence.

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SALT IN MY SOUL

Based on the bestselling posthumously published memoir of the same name, SALT IN MY SOUL is a documentary and classic coming of age story about a young woman figuring out how to live while dying. Mallory Smith was diagnosed with cystic fibrosis at the age of three. In her twenty-five-year battle with the deadly disease, she carved out a life that most of us don’t come close to. Using Mallory’s posthumously published 2500-page secret diaries, hundreds of hours of newly discovered footage, and audio recordings, the film offers Mallory as the narrator of her own extraordinary chronicle.

 

Mallory Smith‘s physically and emotionally fraught journey is equal parts heartbreaking and extraordinary. How does a person come to terms with death a such a young age? That’s the ultimate question as we delve into the mind of Mallory in her own intimate, raw, and eloquent reflections. Mallory’s parents, Diane and Mark, her brother Micah, friends, and doctors tell stories in sit-down interviews. A mix of photographs, home movies, cellphone videos, online and handwritten journals tell Mallory’s story and of those around her. Diane and Mark tasked themselves with different end goals. Mom took to fundraising and awareness while Dad researched relentlessly for new treatments. Mallory lived her life with a vigor you don’t often see or feel from a person twice her age. Her drive and determination to be present is an inspiration. No one treated her like a fragile object. It was the opposite.

Be warned that the film does involve scenes of surgery. They can be a bit intense if you are squeamish. Salt In My Soul predominantly shows Mallory and her family teaching us to celebrate and fight for life. The timing of this doc is more impactful given the current state of the world. The importance of masks for the immunocompromised has never been more relevant. An unfathomable number of us have been closer to death in the past two years than we ever thought possible Mallory’s message of living each moment to its fullest could not resonate more than in this moment in time. Salt In My Soul is a unique film. Undeniably intimate and relentlessly moving, it’s a film that stays with you.

SALT IN MY SOUL

A Feature Documentary Film by Will Battersby
Run time: 96 Minutes (USA- Feature Documentary)

SALT IN MY SOUL will be released theatrically in New York (Cinema Village) and Los Angeles (Laemmle Royal) on January 21 followed by the VOD Release in the US, Canada, and UK & Ireland and key territories worldwide on January 25.

 

VOD Platforms: 

US- Apple TV/iTunes, Amazon, Google Play, Microsoft/Xbox, Vudu
Canada- Apple TV/iTunes, Microsoft/Xbox
UK- Apple TV/iTunes, Amazon, Google Play, Microsoft/Xbox
Ireland- Apple TV/iTunes, Google Play

Cable Platforms: 

US- InDemand TVOD (Comcast, Spectrum, Cox), DirectTV/AT&T, and more 


ABOUT THE BOOK

SALT IN MY SOUL: An Unfinished Life, by Mallory Smith, is a powerful, intimate, and inspiring portrait of a brave young woman living with chronic illness. Mallory understood that patient voices need to be amplified in order to improve healthcare, that the intersection of human behavior and nature is critical to environmental sustainability, and that love and friendship give life meaning. As Mallory’s body deteriorated, she sharpened her mind, crystallized her thinking, and honed her writing skills. In her 2500 pages of private journal entries, she created poetry out of prosaic experiences.  Beautifully written, provocative, and peppered with insights, SALT IN MY SOUL reminds us to follow Mallory’s mantra and “Live Happy.”  

For more information about the book SALT IN MY SOUL: An Unfinished Life please go to: https://www.penguinrandomhouse.com/books/607965/salt-in-my-soul-by-mallory-smith/

 

Sundance (2022) short film review: ‘Warsha’ is pure cinematic joy.

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WARSHA

Warsha follows Mohammad, a Syrian migrant working as a crane operator in Beirut. One morning he volunteers to take on one of the tallest and notoriously most dangerous cranes in Lebanon. Away from everyone’s eyes, he is able to live out his secret passion and find freedom.

Circumstance drowning out his authenticity, Mohammad takes a risk at his construction job in the short film Warsha. Handheld and tight cinematography force the viewer into the vibrating chaos. But it’s the wide shots that astound in their scale and shared panic and awe. You will not see where this short is going.

Khansa plays Mohammad with a captivating vulnerability. Warsha introduces the entire world to Khansa, a multi-disciplinary artist redefining masculinity in the Middle East. I had chills watching his transformation. What brilliant casting. Writer-director Dania Bdeir has given Sundance audiences a short film that defies gender stereotypes. Its celebratory nature will leave you breathless.

To find out more information on Sundance 2022, including screening times, click here!

Double Bill Review: Gonzalo Calzada’s ‘Nocturna: Side A – The Great Old Man’s Night’ & ‘Nocturna: Side B – Where the Elephants Go to Die’ are where the theatrical and experimental meet.

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Nocturna: Side A – The Great Old Man’s Night

&

Nocturna: Side B – Where the Elephants Go to Die

“Nocturna: Side A – The Great Old Man’s Night” follows a nearly 100-year-old man who, on his final night on earth, fights for redemption from his life’s misdeeds. In “Nocturna: Side B – Where Elephants Go to Die,” Calzada embarks on an aesthetically opposite experimental twist of the same story.

Nocturna: Side A – The Great Old Man’s Night

 

Visual representations of grief, love, and regret make for a unique movie experience in the first of these two films. An extraordinarily haunting score adds to the emotional pull of the film. It’s a genre-defying film. There are brilliant clues along the way, but you have to stay sharp-eyed to notice them from the beginning. The added device of Alzheimer’s creates a perfect dance of deception and mystery. The cast is outstanding. Not a performance is out of place. Nocturna: Side A will break your heart as it inspires you to make peace with your shortcomings. Somewhere between memory and longing lies an enchanting storyline.

Nocturna: Side B – Where the Elephants Go to Die

 

This film has an entirely different approach and aesthetic. Audio and narration give it an almost accosting opening that prepares you for a drastically stylistic approach to more in-depth stories of the souls in the building. Nocturna: Side B is perhaps questionable as a stand-alone film. But it is undoubtedly a rich, nightmarish addition to the Nocturna: Side A.

Nocturna: Side A – The Great Old Man’s Night and Nocturna: Side B – Where the Elephants Go to Die will be released January 18 on iTunes/Apple TV, Amazon Prime Video, Google Play, Xbox, Vudu, Vimeo, DirecTv, local cable & satellite providers, and on DVD.