BIBI
Writer-director Christopher Beatty gives DANCES WITH FILMS audiences a stunningly atmospheric film with BIBI. Stuck in a cycle of grief, Vivian experiences nightmares of her late daughter Ava. Seeking solace through a strained relationship with her eldest daughter Bibi, the nightmares bleed into her reality. Discerning between the two becomes a battle between good and evil, the past and the present.
Stand-out editing from Benjamin Murphy keeps viewers on their toes, while John Paesano‘s score takes you to another world. The costume design by Kimberly G. Grader completes the picture of upper-echelon existence and ethereal madness.
Tammy Blanchard counters the mood with her brash persona. She is a necessary and memorable piece of this puzzle. Performances from Judith Ann DiMinni and Elizabeth Paige, playing Bibi and Vivian, respectively, are phenomenal. Beatty’s script gives both women the chance to show their acting chops. They wade deep into anguish, darkness, and mystery.
BIBI is a compelling supernatural thriller that is reminiscent of Jennifer Kent’s The Babdook, possessing a shocking final act you will not see coming. The physical manifestation of grief and trauma swirls into a hypnotic storm of emotional chaos. BIBI should not be missed.
Directed by: Steve Buscemi
FIRST WAVE OF TITLES FOR ITS 27th EDITION
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.
Cheney is building his Arc and documenting each step by delving into the history of the slightest details, human, animal, and mineral. Sporadically punctuated by amusing original limericks and images on his vintage portable television “Rex,” the film is a fascinating rumination on history, memories, and sentimentality. Ezra Wolfinger‘s striking drone shots juxtaposed with Melissa McClung‘s stop-motion transitional sequences are delightful. Close-up shots of wood rings and the ocean floor are awe-inspiring. It is a skillfully crafted journey. Oh, and Werner Herzog appears and produces, and it just makes sense. The final song choice, “Road To Nowhere,” is perfection.
Pure O
Raging Grace (United Kingdom)
Another Body
The competition does not occur annually, making it all the more exclusive. Here is how it works: Stage One: 87 participants, Stage Two: 46, Stage Three: 23, Stage Four: 12. The film bounces from the competition to our pianists’ hometowns before competing. A peek beyond the bench, we witness rehearsals, family life, and personal confessions.
An undeniably shocking level of emotional investment comes with experiencing PIANOFORTE. The amount of pressure is unimaginable. The film’s final edit is a masterpiece. Undoubtedly, the audience may suddenly find themselves unexpected piano enthusiasts.
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)
Top L–R: Bravo, Burkina!, Girl, Polite Society, Mami Wata.
Will-o’-the-Wisp
Bones and All
Radical Honesty
At 41, I cannot imagine navigating a new relationship at this precise moment in time. I remember when Match.com first became a thing and how weird I thought it sounded. Then I recall attending four weddings in the years that followed, each couple had met through Match. RADICAL HONESTY, a 7-minute short film, tackles the complexities that Gen Z and Millenials face day-to-day. Performances are natural and the opening camerawork is fun. It is no surprise that the idea of radical honesty is something we experience more and more now. With the push of social media platforms, everyone is encouraged to share an opinion. Yes, this leads to awareness, self-discovery, and connections across the globe, if we’re talking upsides, only. My Xennial self also understands this to be a potential trap. C’est la vie.
The original music by The Halluci Nation and vocal performances by Tanya Tagaq are electrifying. It vibrates off the screen. During the opening credits, I stood up and danced in my kitchen because it was so infectious. The special FX makeup and CGI are startling. But it is the performances from this fresh young cast that pulls you into the narrative. These kids are stars. The emotional upheaval is all too familiar as they struggle with hormones, racism, and, in this instance, aliens. While most of us don’t have the alien experience in our back pocket, we can all agree that pre-teen to teenage years was complicated. The dialogue from writers Nyla Innuksuk (who also directs) and Ryan Cavan almost feels improvised. They have nailed the jargon of youth. The cinematography is breathtaking. Even if the characters aren’t impressed with the landscape, the audience unmistakably experiences the natural grandeur of Pangnirtung.
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