Capsule review: Inspired by actual events, ‘NITRAM’ is a gripping tale of inevitable violence.

NITRAM

SYNOPSIS: Nitram (Caleb Landry Jones) lives with his mother (Judy Davis) and father (Anthony LaPaglia) in suburban Australia in the Mid 1990s. He lives a life of isolation and frustration at never being able to fit in. That is until he unexpectedly finds a close friend in a reclusive heiress, Helen (Essie Davis). However, when that relationship meets a tragic end, and Nitram’s loneliness and anger grow, he begins a slow descent that leads to disaster.


Witness the downward spiral of an already unwell young man as he slowly travels down the rabbit hole of complete darkness. When Nitram finally connects with a reclusive heiress named Helen, his world appears brighter. Helen provides the comfort and emotional shelter his parents could not. When the sadness becomes too much, his anger and anxiety manifest in violence and unfathomable tragedy. Inspired by actual events, NITRAM tells the story of one man’s undoing, changing Australia’s history forever. 

Caleb Landry Jones embodies the mentally fragile Nitram with his entire being. It’s no wonder he won Best Actor when the film premiered at Cannes last year. Jones’ uncanny ability to live in the skin of his character is something you don’t see often. He’s on another level, whether that be his voiceover work in Finch or his haunting performance in Antiviral. Alongside stellar performances from Judy Davis and Anthony LaPaglia as Nitram’s emotionally exhausted parents and a breathtaking turn from Essie DavisNITRAM is an eerie chronicling of inevitable implosion.


IFC Films will release the thriller/drama NITRAM in Theaters, on Digital Rental and AMC+ on March 30, 2022.

Directed by Justin Kurzel (TRUE HISTORY OF THE KELLY GANG, SNOWTOWN MURDERS, MACBETH) and written by Shaun Grant (TRUE HISTORY OF THE KELLY GANG, BERLIN SYNDROME), NITRAM stars Caleb Landry Jones (THREE BILLBOARDS OUTSIDE EBBING MISSOURI, GET OUT, HEAVEN KNOWS WHAT), Essie Davis (THE BABADOOK, TRUE HISTORY OF THE KELLY GANG), Oscar Nominee Judy Davis (HUSBANDS AND WIVES, BARTON FINK, NAKED LUNCH), and Anthony LaPaglia (EMPIRE RECORDS, WITHOUT A TRACE).


 

Review: Chris Pine helmed action thriller ‘The Contractor’ has franchise potential.

THE CONTRACTOR

SYNOPSIS: Chris Pine stars in the action-packed thriller as Special Forces Sergeant James Harper, who is involuntarily discharged from the Army and cut-off from his pension. In debt, out of options and desperate to provide for his family, Harper contracts with a private underground military force. When the very first assignment goes awry, the elite soldier finds himself hunted and on the run, caught in a dangerous conspiracy and fighting to stay alive long enough to get home and uncover the true motives of those who betrayed him. Also starring Kiefer Sutherland, Ben Foster, Gillian Jacobs and Eddie Marsan.


If you’re a fan of hit franchise films like The Bourne Identity and TakenTarik Saleh’s new film The Contractor is right in your wheelhouse. J. P. Davis’ script gives us a top-tier espionage and black ops storyline, creating an emotionally taut thriller with Chris Pine as our hero.

Keifer Sutherland does his effortless badass thing, and you’ll be on your toes every second he’s on screen. Ben Foster, who I attended Interlochen Arts Camp with when we were young, is a star yet again. Ben has that “it” factor. I knew it the second I met him. As Mike, Pines’ former Sargent and best friend, he’s charming and funny. He, too, handles the physical aspects of the film like an expert. You cannot help but focus on Foster when he appears onscreen. His presence is undeniable. 

Chris Pine gives James Harper all the qualities we need. Harper is a fully fleshed-out, flawed human being. He’s layered and complex, and Pine gives him life. The action sequences are just as hard-hitting as the emotional ones. It should come as no surprise, given Pine’s natural ability to pull you into any role. I’d love to see The Contractor become its own franchise. Pine has the chops. 

The film’s plot comes at an auspicious time in history. To give any more detail would be spoiling it for the audience. The fight choreography is enthralling. The twists and turns and emotional impact glue you to your seat. The Contractor is a solid action thriller with the heart to back it up. You can catch the film in theaters, Digital, and On-Demand on April 1st.

IN THEATERS, ON DIGITAL AND ON DEMAND: April 1, 2022
DIRECTOR: Tarik Saleh
WRITER: J.P. Davis
CAST: Chris Pine, Ben Foster, Gillian Jacobs, Eddie Marsan, JD Pardo, Florian Munteanu and Kiefer Sutherland
RUN TIME: 103 minutes
RATING: R for violence and language
GENRE: Action, Thriller

DISTRIBUTOR: Paramount Pictures


Review: Feminist horror ‘THE YELLOW WALLPAPER’ available today on Digital release.

THE YELLOW WALLPAPER

The debut film THE YELLOW WALLPAPER from creative duo—Alexandra Loreth and Kevin Pontuti—is a chilling and boldly original vision of madness. Jane, a writer and young mother, is prescribed a rest treatment by her physician husband John, who takes her to a remote country estate for the summer. She becomes obsessed with the peculiar yellow wallpaper in the bedroom he has chosen for her. In her isolation, she secretly writes about a woman trapped in the wallpaper—that she must free.


Opening with a disturbing turn, The Yellow Wallpaper is a slow burn horror about Postpartum Depression and gaslighting. New mother Jane and her physician husband rent a summer home in hopes of settling Jane’s nerves after giving birth. Jane becomes obsessed with the wallpaper in the couple’s bedroom. As her behavior becomes more and more erratic, she is less understood by all those around me. Perhaps, it is because they are not truly listening. 

The score from Robert Coburn haunts with heavy, ear-piercing strings, oboe, and maybe even bagpipe? I almost wish there were more music for me to contemplate. Era records, perhaps, to contrast such a purposeful and grating score. The slow, lingering closeups of the titular wallpaper are chilling. The costumes and set are outstanding. Bravo, to the hair and make-up team for their meticulous work. It did not go unnoticed. 

Alexandra Loreth evenly plays Jane with the nuance of PPD topped off with gaslighting. Postpartum depression was not yet a diagnosis in the Elizabethan era. Nor is it acknowledged as much as it should be today, quite frankly. Loreth’s voiceovers are a nice reprieve from the predominant silence. Her performance hits its peak as her isolation and writings increase. The faster editing and closeups help greatly. 

While the film opens with a bang, that same energy feels sapped in the one hour and forty minutes runtime. The Yellow Wallpaper would benefit from a 20 to 30-minute cut. I found myself glancing at the clock more than once. The final 20 minutes are, by far, the most intriguing. The variation and mounting intensity make The Yellow Wallpaper meaningfully upsetting. Loreth and director Kevin Pontuti penned the screenplay together. There’s a lot of depth and potential. You could easily make this a franchise with some tweaking. 


 

THE YELLOW WALLPAPER is a dark and disturbing contemporary adaptation of Charlotte Perkins Gilman’s well-known and controversial gothic feminist horror story about patriarchy and mental health. The film is a collaboration between partners Alexandra Loreth and Kevin Pontuti and stars Alexandra Loreth, Joe Mullins, Clara Hart, and Jeanne O’Connor. The film was written by Alexandra Loreth and Kevin Pontuti and directed by Pontuti. THE YELLOW WALLPAPER has a running time of 99 minutes and will not be rated by the MPAA. The film World Premiered at Cinequest followed by a successful festival run. Mutiny Pictures will release the film on March 29.

BUFF 2022 capsule review: Creature feature ‘HATCHING’ takes growing pains in a horrifying direction.

HATCHING


Tinja exists in a world where her mother expects perfection. Subconsciously, she seeks to replace her lack of affection. When she stumbles upon a strange abandoned egg, she decides she will nurture it. When things go awry, Mother has created a monster.

There’s no denying Hatching is a metaphor for puberty. Physical and emotional changes in Tinja are tied directly to the creature. As terror, anxiety, and jealousy intensify, so does Hatching’s horror. Our leading lady, Siiri Solalinna, is nothing short of extraordinary. She’s vulnerable, grounded, and fearless. It’s an astounding performance.

The creature design is reminiscent of something that might come out of the Wētā Workshop from Jim Henson‘s team. Its evolution is fascinating. It manages to be shockingly grotesque and yet adorable. If you’re a fan of Labyrinth or The Dark Crystal, you’ll especially appreciate the aesthetic. Hatching is a unique and terrifying journey. It’s one of the most emotionally brutal scripts of the year. BUFF 2022 fans are in for one hell of a film. 


IFC Midnight releases HATCHING in theaters April 29th and on VOD everywhere you rent movies May 17th.

Starring: Siiri Solalinna, Sophia Heikkilä, Jani Volanen, Reino Nordin

Directed By: Hanna Bergholm

Synopsis: 12-year-old Tinja is desperate to please her mother, a woman obsessed with presenting the image of a perfect family. One night, Tinja finds a strange egg. What hatches is beyond belief.


To find out more about BUFF22, click here!


BUFF 2022 capsule review: Playground dynamics get ramped up in ‘THE INNOCENTS.’ It’s pure good vs evil.

THE INNOCENTS

Synopsis: During the bright Nordic summer, a group of children reveal their dark and mysterious powers when the adults aren’t looking.


“With great power comes great responsibility.” A group of children in an apartment complex realizes they have a strange and often dangerous bond. They possess otherworldly powers. As the connection between the children grows, so too do their abilities. The Innocents plays like a mysterious superhero and villain origin story.

The complexity of The Innocents is endless. This young cast carries a heavy emotional weight. They delighted and terrified me. The evolution of this dark sci-fi narrative gave me full-body goosebumps. The volatility of young feelings is on an entirely uncharted plain. What these characters do with their power speaks to the purity of good and evil. Look for an extraordinary turn from Alva Brynsmo Ramstad as Anna. It’s pure wow. BUFF 22 audiences, get ready for one hell of a showdown. 


US Release Date: May 13, 2022

Starring: Rakel Lenora Fløttum, Alva Brynsmo Ramstad, Sam Ashraf

Directed By: Eskil Vogt


To learn more about BUFF 22, click here!


SXSW 2022 review: ‘JETHICA’ kills it with humor and uniqueness.

JETHICA

Hiding out in New Mexico after a freak accident, Elena runs into Jessica, an old friend from high school. When Jessica’s stalker suddenly shows up at their door, they must seek help from beyond the grave to get rid of him, for good.


JETHICA contains a unique screenplay structure. After the twist comes to light, we slowly realize certain aspects were in our faces from the very beginning. And while we’re dealing with the legit issue of stalking- viewers who’ve experienced any of this behavior will shudder- you’ll simultaneously find your moral compass in knots. This feeling is 100 percent due to the relentless energy of Will Madden. His longwinded, manic dialogue is like watching a tweaker come down from bath salts, sans the eating people’s faces. 

I love how badass Callie Hernandez and Ashley Denise Robinson are together. Their teamwork is all lady power. The relationship between Elena and Jessica is breezy and genuine. Not an ounce of judgy fuckery. As for Andy Faulkner, you’ll fall in love with him. The nonchalance from the entire cast made me guffaw. Writer-director Peter Ohs‘ decision to fully collaborate with his actors makes me love it even more, going so far as giving them writing credit. It speaks volumes to Ohs’ instincts. 

Jethica is difficult to describe in the sense that what I want to say is, “Just shut your stupid mouth and watch this brilliant piece of genre obliterating magic.” (*Insert Futurama Meme “Shut Up and Take My Money”) It’s a film that speaks for itself as it progresses. It’s weird and wonderful and has “cult classic” written all over it. So yeah, I liked it a lot.


Check out  a brand new clip from JETHICA:

A supernatural dark comedy like you’ve never seen, JETHICA was shot in New Mexico in January 2021, in the midst of the pandemic, and world premieres at SXSW in the Visions section. JETHICA boldly blends and bends genres, all at once shining as a sharp comedy and dire stalker thriller with an undead edge.

The third feature from Pete Ohs, one of Filmmaker Magazine’s 2013 ‘25 New Faces of Independent Film’ and co-director of the award-winning Julia Garner lead sci-fi fable Everything Beautiful Is Far Away, the film stars Austin-raised actress Callie Hernandez (The Flight Attendant, Blair Witch [2016]), Will Madden (Beast Beast, The Wolf Of Snow Hollow), Ashley Denise Robinson (Taking Stock), and Andy Faulkner (Youngstown).

Conceived and created through radical approaches to filmmaking, Pete Ohs continues to push the boundaries of indie film, collaborating with his four leads on the script and story of JETHICA, each of whom shares writing credits, and editing the feature live last year on Twitch.


To Learn More About SXSW22 click here!


SXSW 2022 review: Gracie Otto and Krew Boylan take on Dolly Parton, big hair, and even bigger dreams in ‘Seriously Red’

SERIOUSLY RED

This infectious homage to tribute performers focuses on a quirky redheaded young woman whose passion in life has been the songs and personality of Miss Dolly Parton. While she’s has a patterned history of screwing up, Red is a bold, kind-hearted spirit determined to make it as a Dolly impersonator. As her star rises, so does her self-esteem, affecting her personal life, for better or worse. 

Flashy sequins and blonde wings aside, deep down, the film is about self-actualization. The things we try and disguise from others and ourselves. When I was younger, someone asked me why I performed. “Is it because you’re hiding behind those characters?” First, I was offended. Then I thought about it. It was the perfect opportunity to try on someone new. But, Seriously Red is also about having the bravery to do what you love. 

Bobby Cannavale, Rose Byrne, Celeste Barber, Daniel Webber, and Thomas Campbell give superb performances. Seriously Red lives and breathes in screenwriter and star Krew Boylan. She brings unbridled nuance to Red. Comedy timing from the gods, slapstick chops, and a voice for days, Boylan owns every scene. You can’t take your eyes off of her.

The energy never fades, with glorious musical numbers (live and choreographed fantasy sequences.) This film will resonate with an audience wider than Dolly fans. While we revel in the legend’s words throughout the script, the themes stand undoubtedly on their own. Seriously Red will make you smile from ear to ear.


To Learn More About SXSW22 click here!


SXSW 2022 short film review: ‘THE VOICE ACTRESS’ is an elegant ode to the unseen legends.

Kingyo, a veteran voice actress working in Tokyo, possesses a unique ability to see the soul in all things, living and inanimate. The voice acting world is changing and she must find a way to reconcile her way of living with the modern industry. As Kingyo prepares for an upcoming audition, she seeks inspiration from the world around her and from her pet goldfish, Asatte. In the face of professional and personal adversity, Kingyo looks decidedly inward for strength through empathy and kindness.

Urara Takano plays Kingyo, a voice actress whose passion for her work is clear to the audience from the very beginning. In 15 minutes we get an emotional journey worth every second of screen time. Competing with a new generation proficient in self-promotion, how does a dedicated veteran compete? The Voice Actress gives us a peek behind the curtain that is the boys club of entertainment, while simultaneously putting us inside the mind of an accomplished performer. Writer-director Anna J. Takayama gives Takano space to bloom. I would happily watch a feature on this character. There is a purposeful beauty to the costumes, especially the use of the color red. The undeniable quirkiness from Takano makes you fall in love with her. It’s no wonder the short garnered SXSW22’s Mailchimp Support the Shorts Award.


 

SXSW 2022 short film review: ‘NOT EVEN FOR A MOMENT DO THINGS STAND STILL’ is a film that will imprint on your soul.

NOT EVEN FOR A MOMENT DO THINGS STAND STILL

Art as catharsis happens when we have no words. It is one of the innumerable reasons we create. In September 2021, artist Suzanne Brennan Firstenuerg made something that would stun the country. She planted a white flag on the National Mall for each person who had died of Covid-19 in America. The reaction was nothing short of awe-inspiring.

You can see the momentary panic on the faces of friends, family, and frontline workers wondering where to place their small white flag in an eventual sea of over 700,000. We hear the intimate audio, prayers, sobs, and send-offs that no person dreams of giving in this way. Beyond that, the sound design is simple, the wind blowing gently against each tribute. The result is like the sound of the ocean. The title serves as a triple entendre, echoing the relentless tragedy of the ever-evolving virus, the flapping of the flags, and the words of the Japanese Death Poem by Seiju.

Not even for a moment
do things stand still; witness
color in the trees.

Even though we’re watching on a screen, the vastness of the piece is never lost. The visual impact is visceral. Somehow, this representation is almost a better reference to those who still deny the virus existed in the first place. While those minds may never change, those living in reality can feel the massive impact of this monument. NOT EVEN FOR A MOMENT DO THINGS STAND STILL is 15 minutes of collective grief. It is one of the most powerful short films I’ve ever had the privilege to experience. And it is precisely that, an experience.


Director/Writer:                      Jamie Meltzer
Producers:                              Annie Marr, Jamie Meltzer, Suzanne Brennan Firstenberg
Editors:                                   Jamie Meltzer, Annie Marr
Cinematographers:                Mario Furloni, Melissa Langer
Sound Design:                       Dave Cerf
TRT:                                        15 min
Country:                                 USA


 

SXSW 2022 review: ‘THE PRANK’ has Rita Moreno and revenge.

THE PRANK

The Prank sxsw 2022

We all had that teacher in high school that we loathed, either because they were a terrible teacher or just plain evil. In The Prank, two students sick of an AP Physics teacher terrorizing the school come up with a scheme to frame her for murder. Can Ben and Tanner shift the power dynamic? More importantly, how will Mrs. Wheeler react?

Ben is your typical overachiever, while his best friend Tanner is a slacker. Funny thing, neither is what they appear to be. Tanner is a hacker genius. When the infamous teacher from our nightmares, Mrs. Wheeler, discovers someone has cheated on her Physics midterm, she threatens to fail everyone. Fed up with the power she holds, Ben and Tanner make a plan to take her down. A handful of ridiculous memes and embarrassingly fake “evidence” spirals out of control. But that’s just the beginning of The Prank.

Connor Kalopsis plays Ben with visceral anxiety in his attempt at a scholarship. His quiet confidence is a solid foil for co-star Ramona Young. I would be remiss to mention Meredith Salinger as his Mom. She’s quick-witted and down-to-earth and would have loved to see more of her. She’s a charmer.

Ramona Young as Tanner is a spitfire. With excitable energy, she bounces off of Kalopsis without ever getting campy. Their chemistry is akin to any series regulars on The Disney Channel or Nickelodeon. Kate Flannery plays the lunch lady with a sass that deserves a standing ovation. The scenes between her and Young, while short, are undeniably memorable.

Rita Moreno brings this Goosebumps-friendly film to life with her iconic character-building abilities. Her comic timing is legendary. Her presence onscreen and onstage is massive. She nails every beat of Mrs. Wheeler. Playing against Kalopsis and Young, her ability to outwit her scene partners is unmatched. Moreno captures the familiar sternness that made us shake in our boots when we were younger. Her acid-tongued delivery of screenwriters Becca Flinn-White & Zak White’s dialogue is chef’s kiss. You’ll love to hate her.

The Prank leans into the classic rumor mill, updating it through social media. Without spoiling the film, the fallout that makes this film special. It was a surprising selection for SXSW22 but in a good way. The Prank is the most fun teen-centric comedy at this year’s festival. Stick around for the credits.


To Learn More About SXSW22 click here


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Review: Charlotte Gainsbourg’s directorial debut ‘Jane By Charlotte’ is a beautiful ode to her mother.

Charlotte Gainsbourg looks at her mother Jane Birkin in a way she never did, overcoming a sense of reserve. Using a camera lens, they expose themselves to each other, begin to step back, leaving space for a mother-daughter relationship.


A love letter from a daughter to mother, actress Charlotte Gainsbourg‘s directorial debut, Jane By Charlotte, is one of the most intimate looks at the international icon, Jane Birkin. Through photographs, home movies, and quiet, casual sit-down interviews, we learn things about Jane right along with Charlotte. It is as if we are experiencing the same revelations. Seeing Jane and Charlotte perform, you’d never guess they were so soft-spoken in real life. There’s breezy energy about the film that is difficult to describe. As a mother, it touched me in a very personal way. At 41, I’m only just becoming comfortable with questions like Charlotte asks of Jane. As an American, I acknowledge the cultural differences with which we discuss intimacy. In the conversations between Jane and Charlotte, I am in awe of their relationship. Will I be more comfortable having such an open line of communication with my daughter? My daughter, also named Charlotte, is just about to turn five, but it is something I aspire to attain.

Jane and Charlotte find common ground in parenting styles and celebrity. They speak openly about Jane’s lifelong dependency on sleeping pills, inspiration for songs, and her various marriages. The loss of her daughter Kate was perhaps the most impactful event in her life. The grief she carries is palpable. Jane and Charlotte discuss maternal guilt. It’s one of the most poignant through lines in the film. Charlotte’s eye and adoration for her mother are written all over this doc. It’s a lovely ode to a beloved icon from a daughter who continues to idolize her. As a mother, Jane By Charlotte has a revelatory feeling of intimacy. Gainsbourgs documentary makes me jealous in the best way possible.


Opens Friday, March 18th at the Quad Cinema in New York and
March 25th at the Landmark Westwood in Los Angeles
Expands to additional cities in April + Available on Digital May 6th (Mother’s Day weekend)


About Jane Birkin
A native of London, Jane Birkin began her career as an actress appearing in Michelangelo Antonioni’s Blowup (1966), and Kaleidoscope (1966). In 1968, she began a years-long working and personal relationship with Serge Gainsbourg; The duo released their debut album Jane Birkin/Serge Gainsbourg in 1969, and Birkin also appeared in the film Je t’aime moi non plus (1976) under Gainsbourg’s direction. Birkin later starred in the Agatha Christie adaptations Death on the Nile (1978), and Evil Under the Sun (1982), and continued to work as both an actress and a singer, appearing in various independent films and recording numerous solo albums. In 1991, she appeared in the miniseries “Red Fox,” and in the American drama film, A Soldier’s Daughter Never Cries in 1998. Having lived primarily in France since the 1970s, Birkin is the mother of photographer Kate Barry, actress and singer Charlotte Gainsbourg, and musician Lou Doillon.

About Charlotte Gainsbourg
Charlotte Gainsbourg grew up on film sets as both of her parents, Jane Birkin and Serge Gainsbourg, were involved in the film industry. At the age of 13, she debuted in her first motion picture playing Catherine Deneuve’s daughter in the film Paroles et Musiques. In 1986, Charlotte won a César Award for Most Promising Actress for An Impudent Girl. That same year she appeared in the film Charlotte For Ever written and directed by Charlotte’s father Serge Gainsbourg. From 1988 until today, Charlotte expanded her career with various projects such as The Cement Garden, Jane Eyre, 21 Grams, Ma Femme Est Actrice, I’m Not There, The Science of Sleep, Golden Door, The Tree, Samba, Mon Chien Stupide, and Lars von Triers’ films Melancholia, Antichrist and Nymphomaniac. In 2009, she won the award for Best Actress at the Cannes Film Festival for Antichrist. While Charlotte has been working on film projects, she led another rich career in Music as a singer and a composer and released several albums: Charlotte for Ever (1986), 5:55 (2006), IRM (2009), Stage Whisper (2011), Rest (2017).


 

SXSW 2022 review: ‘DEADSTREAM’ is a horror-comedy fan’s dream.

DEADSTREAM

After a public controversy left him disgraced and demonetized, a washed up internet personality tries to win back his followers by livestreaming himself spending one night alone in an abandoned haunted house. When he accidentally pisses off a vengeful spirit, his big comeback event becomes a real-time fight for his life (and social relevance) as he faces off with the sinister spirit of the house and her own powerful following.


Joseph Winter plays Shawn, a delightful douchebag. Or, as we regularly refer to this type of personality, a YouTube star. He promises his audience he’ll spend the night in an infamously haunted location. As the evening unfolds, Shawn’s backstory slowly comes to light. Is this stunt an act of redemption or a money grab? Whichever it is, we win with Deadstream.

Shawn interacts with the livestream comments ranging from rude to fangirl, skeptical to genuinely helpful. Some of those comments come with videos making the narrative feel immersive for the audience. The Host was a huge indie hit in 2020. The plot occurs over a Zoom seance, where the audience is also a participant on that call. Dreadstream benefits from this similar format because it will feel like you’re part of the action. It’s only the second film I would recommend watching on a laptop.

The cinematography is a collection of Go Pro and infrared cameras, giving Deadstream a first-person gamer experience. While Shawn performs promised acts of silliness, he also tells the history of each room and its associated ghost. The majority of the set is lit from Shawn’s headlamp, enhancing the scares. I constantly anticipated a jump scare. But, it’s the brilliantly written buildup of tension that kept me on the edge of my seat. 

Joseph Winter abandons every ounce of his dignity in Shawn. He’s fearless in his slapstick and could not care less how absurd he looks. The way he screams is comedy gold. Winter nails that manic energy and the over-the-top vocal nuance of any YouTube star or influencer. I cannot imagine anyone but Winters doing Shawn justice. 

Deadstream is an ode to horror fans. It is a film Sam Raimi would be proud of. As for us genre nerds, don’t act like you didn’t watch Paranormal State, Ghost Hunters, or Ghost Adventures whenever Evil Dead wasn’t available to rent, again. Deadstream takes all the elements of those staples and melds them together with modern-day social media and cancel culture. If you’re not laughing out loud, check your pulse. Writing and directing team Vanessa Winter & Joseph Winter let SXSW22 audiences in on the joke. Deadstream gets me to hit “Like & Subscribe.” These filmmakers just earned a new fan. 


To learn more about SXSW22 click here!


SXSW 2022 review: ‘THE CELLAR’ begins with great source material.

THE CELLAR

Filmed on location in Roscommon, Ireland, The Cellar tells the story of Keira Woods (Elisha Cuthbert), whose daughter mysteriously vanishes in the cellar of their new house in the country. Keira soon discovers there is an ancient and powerful entity controlling their home that she will have to face or risk losing her family’s souls forever.


Shudder original The Cellar made its debut at SXSW 2022 in the Midnighter’s section. Elisha Cuthbert helms this haunted house film alongside Eion Macken. As a husband and wife team working on a new Gen X influencer platform, their strangely inexpensive Irish mansion comes with more than some old furniture. With Mom and Dad busy pitching their ideas, kids Ellie and Steven are home alone when the power goes out. As Ellie descends the creepy stairs of the pitch-black basement in search of the fuse, she mysteriously disappears while on the phone with Kiera. 

Writer-director Brendan Muldowney made a short film in 2004 titled The Ten Steps (which you can find online.) The short film is horror perfection. The Cellar is a feature expanded from that story. The Ten Steps captured all the fear in 10 minutes. The Cellar takes a lot of cliches that genre fans will love, and frankly work well, and becomes an overlong and dimly lit film. As a mom, I felt Cuthbert’s sense of urgency was missing. These parents are the least panicked Mother and Father I’ve ever seen. Where are the missing posters? No tears of distress? 

As Kiera investigates the house’s history, we are introduced to everything from Jewish mysticism to quantum physics. I wasn’t expecting math to be a thing, yet here we are. I thought the record player that coaxed the family members into all sorts of trouble was clever. But, not so much the characters googling Latin quotations. It’s a lot. There are fleeting moments of greatness, such as an ancient abacus moving on its own, air blowing from underneath the cellar door as if a creature were heavily breathing. The classic scares worked best for me. The final 20 minutes is where the real action occurs, a clear nod to The Beyond. This is what I was waiting for, and it is genuinely satisfying. The visual change-up was an honest “Hell, Yes” moment, no pun intended. The Cellar is ultimately a film Shudder audiences will dig. So, simply sit back, don’t overthink it, and enjoy the devilish chaos.

 

*Perhaps ignore the fact that it will remind a few of you of Krampus.


Official Selection, SXSW 2022. If you miss its Shudder release, you can catch The Cellar in theaters on April 15 from RLJ Films.


To learn more about SXSW 22 click here!


SXSW 2022 short film capsule reviews: ‘Roommates,’ ‘Gay Haircut,’ & award winner ‘Glitter Ain’t Gold’

Roommates


Synopsis: Students Izzy and Sophia get placed as dorm-mates because they’re both disabled. They reach common ground via vodka shots and getting personal, christening their first day of college with a night of adventure.


Simultaneously awkward and natural, this is an awesome and important ten minutes about accessibility, perception, and power. Stay for the credits!

·      Writer/Director: Ashley Eakin

·      Writer: Kelsey Johnson

·      Cast: Kiera Allen (RUN), Kelsey Johnson


Gay Haircut

Synopsis: For a stand-up comic, a drastic life change can mean losing one’s entire act. Bisexual comedian Krista has decided her relationship with a trans woman is worth coming out over—but will she commit to an entire rebrand with one gay haircut?


A seemingly simple change with a lot of weight attached. In 7 minutes we get an entire journey about identity filled with some quirky weirdness.

·      Director/Producer: Jude Harris

·      Writer/Producer: Krista Fatka

·      Cast: Krista Fatka (Shaky Ground, Night of the Living Karens), Zach Holmes (JACKASS FOREVER, Too Stupid to Die, Tosh.0Ridiculousness)


GLITTER AIN’T GOLD

*Winner*

SXSW 22 Special Jury Recognition for Directing and Community Filmmaking

     Synopsis: Sixth-grader Jibril and his reluctant best friend Tawanda hustle up some cash and journey to the flea market to buy Jibril’s first chain, in hopes that it will catch the eye of his crush Marlana and divert her attention away from his sworn enemy Rashad.


Writer-director Christian Nolan Jones brings to life a coming-of-age short that dives into the universal feeling of acceptance. Set in the 90s, two best friends Jibril and Tawanda are on a mission to purchase an item that will catch the eye of his crush. Glitter Ain’t Gold perfectly captures middle-school angst. The costumes and overall aesthetic were spot on. Our two young leads Alfred R. Lewis III and Priah Ferguson are stellar. This might as well have been a documentary with their natural ability to captivate the audience. Each beat is authentic. Glitter Ain’t Gold is a tight treatment for s feature or series.

·      Writer/Director: Christian Nolan Jones

·      Executive Producers: Common, Corey Gamble

·      Cast: Priah Ferguson (Stranger Things, THE OATH, Atlanta), Alfred R. Lewis III (Law & Order: Special Victims Unit, Bunk’d)


 

Netflix documentary series review: ‘BAD VEGAN: Fame. Fraud. Fugitives.’ is the weirdest con job you’ll ever see. Streaming today!


Presents

Bad Vegan: 

Fame. Fraud. Fugitives.
From Chris Smith, the executive producer of Tiger King and director of Fyre: The Greatest Party that Never Happened, comes BAD VEGAN: FAME. FRAUD. FUGITIVES., a wild four-part documentary series that explores how Sarma Melngailis, the celebrity restaurateur behind the glittering New York hotspot Pure Food and Wine, went from being the queen of vegan cuisine to being known as the “Vegan Fugitive.” Shortly after meeting a man named Shane Fox on Twitter in 2011, Melngailis begins draining her restaurant’s funds and funneling the money to Fox after he cons her into believing he could make her dreams — from expanding her food empire to making her beloved pitbull immortal — a reality…but only if she continues to obey his every request without question. A few years later the couple, now married and on the lam after stealing nearly $2 million from the restaurant and its staff, are found holed up in a Tennessee motel by law enforcement. Their undoing? A charge made under Fox’s real name, Anthony Strangis, for a Domino’s pizza. BAD VEGAN: FAME. FRAUD. FUGITIVES. takes viewers on a journey more bizarre than fiction.


On the heels of The Tinder Swindler and Inventing Anna, watching individuals fall under the spell of another human being is fascinating. The overlooked red flags are easy for me to spot as I watch from my couch at home. We’ve watched some crazy stories over the years, but nothing like Netflix’s documentary series, BAD VEGAN. Sarma Melngailis gets into hot water when a conman steals not only her heart but her employees’ money. But, is it that cut and dry? Witnessing this twisted plot unfold, I have serious reservations about the genuine involvement of Sarma in her own undoing. Desperate for funds, her entanglement and secretive marriage to Anthony Strangis leads to massive fraud, lies, and some of the strangest behavior from a smart and successful woman I’ve ever heard of.

The doc has unprecedented footage, some of which looks like it came from Strangis’ cell phone. Sarma’s moments of pushback while on the run show a clear head through her tears and anger. I’m not sure I believe her version. Through sit-down interviews with her former staff, restaurant associates, lawyer, and even her father, I don’t think they know what the real truth is, either. Along with phone calls between Sarma and Anthony, the series spans the rise and fall of this sophisticated businesswoman. The promises and threats she endured are, quite literally, unbelievable. When do we ask Sarma to take responsibility for her part in this apparent lunacy? The book deals and tv appearance feel inevitable if we’ve learned anything from Anna Sorokin (who is being deported back to Germany as of this week). Part of me wants Sarma to rise from the ashes, and yet there is this nagging feeling that she doesn’t deserve it. The series covers a lot, but I’m glad to know that I’m not the only one that has reservations *no pun intended* when it comes to Sarma Melngailis.

BAD VEGAN is now streaming on Netflix. We’re very eager to hear your thoughts as you watch.

Premieres on Netflix this Wednesday, March 16th, 2022

From Director and Executive Producer Chris Smith (Tiger King,
Fyre: The Greatest Party that Never Happened)
Executive Producers: Chris SmithRyann FraserMark Emms


SXSW 2022 short film review: Is ‘RADICAL HONESTY’ merely an expression or a way of life?

Radical Honesty

At the tail end of a great date, Jack and Rachel bond over a shared interest in deconstructing traditional relationship structures. When Jack reveals the reality of his “radical” open relationship, things take a turn for the absurd in this short film about the co-option of the language of liberation for means of manipulation and control.


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.

I am excited to see this short get an expansion into series form (which is currently in the works). I anticipate having further investment into the world of Jack and Rachel, and whomever they intend to take along on their “journey of truth.” It’s bound to be a hot mess, in the best way possible. Radical Honesty is a great pairing with Hannah Marks‘ film Mark, Mary, and Some Other People. Modern dating is complicated by a lot more than just email and actually showing up these days. Director Bianca Poletti, and actress and screenwriter Allison Goldfarb nail this idea.


Check out the teaser trailer for the film’s aesthetic.

To learn more about how you can watch Radical Honesty and SXSW22 in general, click here!


Director: Bianca Poletti

Screenwriter: Allison Goldfarb

Principal Cast: Allison Goldfarb, John Hein, Melanie Alexa Buenrostro

Executive Producers: Jacki Calleiro, Mindy Goldberg, Bianca Poletti

Producer: Shayna Gianelli

Cinematographer: Corey C. Waters

Editor: Nina Sacharow

Production By: Epoch Films, Disco Pants Inc

SXSW 2022 review: Winner of Best Cinematography ‘A VANISHING FOG’ is spellbinding journey of whimsy and warning.

A VANISHING FOG

Facing the imminent return of an unnamed social and ecological violence, F – played by the emblematic and commanding newcomer Sebastián Pii in his debut cinematic role—yearns to overcome his human limitations and plan his escape, knowing all too well that his departure will come with a heartrending goodbye to the only world he has ever known.


It should be no surprise that A Vanishing Fog won the SXSW22 film festival award for Best Cinematography. This film not only speaks to the race against the climate crisis, but The Vanishing Fog also specifically tackles the helpless human aspect. The film follows a young man named F. He appears to be the last protector of an enormous and lush hidden landscape. As capitalist outsiders seek to buy his home, F’s internal struggle between escape and loyalty is palpable. Caring for his ailing father, attempting to communicate with any possible remaining ally by yelling out into the abyss, F understands the end is nigh, whatever that form may take. 

First-time cinematographer Gio Park shot A Vanishing Fog in the mysterious and formidable Páramo of Sumapaz—the largest swath of alpine moorland in the world. It is the first feature film to be shot in this location. You won’t believe such a place exists. It is so incredible that it looks to have been created on a soundstage or green screen. It will take your breath away. 

A Vanishing Fog is a film that deserves enormous screens. Imagine sitting in a room surrounded by IMAX-sized walls. The film begs this experience. I could easily see this becoming a staple at any museum. Lead actor Sebastián Pii leaves every ounce of himself in this role. He’s charming, innocent, desperate, endearing, and determined. You are right alongside his emotional journey. Visual grandeur aside, Pii captures your heart with his wonder and physical fearlessness. A Vanishing Fog is unlike anything you’ve experienced before. It’s a must-see.

 


A VANISHING FOG (Entre la niebla). Colombia/Czech Republic/Norway, 2021, 76 min. In English and Sunapakún with English subtitles. Director / Writer: Augusto Sandino; Producer: Augusto Sandino; Executive Producer: Alejandro Santo Domingo, Munir Falah and Nubia Stella Cubillos; Cinematography: Gio Park; Editor: Augusto Sandino; Production Designer: Constanza Romero; Sound Designer: Emil Nygård Olsen; Music: Emil Nygård Olsen; Principal Cast: Sebastián Pii, Mario de Jesús Viana, Christian Ballesteros; Worldwide Sales: Pluto Film.

About the director:

Augusto Sandino is one of the outstanding names in Colombian contemporary cinema. Winner of over 30 international accolades and the National Cinema Award 2000-2005 given by the Ministry of Culture of Colombia for his short Aniversario. His feature debut Gentle Breath (Suave el aliento) won the Special Jury prize and the FIPRESCI award at Tallinn Black Nights Film Festival in 2016. Founding Director of the Auteur cinema symposium manifesto with Carlos Reygadas, Lisandro Alonso and Amat Escalante in 2014, Sandino has also been the producer of his films plus the works La forma del presente (The Shape of Now) at DOK Leipzig Next Masters 2018; La torre (The Tower) at IFFR Bright Future 2018; and Karen llora en un bus (Karen Cries on the Bus) at Berlinale Forum 2011. A Vanishing Fog (Entre la niebla) is his second feature film.


SXSW.com


SXSW 2022: ‘HYPOCHONDRIAC’ is a disturbing journey towards self-actualization.

HYPOCHONDRIAC

A young potter’s life devolves into chaos as he loses function of his body while being haunted by the physical manifestation of his childhood trauma.


HypochondriacWill has created a facade of mental wellness. As the past comes back to haunt him, can he keep himself together? Hypochondriac tells the story of a man unraveling and coming to terms with what hides inside. 

Marlene Forte as Mom is a thing of manic beauty. If you want to talk about personality? Forte has it in spades. Zach Villa is a star. His wildly nuanced, fully fleshed-out performance as Will leaps off the screen. He will not be ignored.

The camera work is an entire entity. Editing wise, reflection, double vision, echoing of dialogue all build as the story progresses. These devices slowly place us into the mindset of Will, forcing us to question reality. There are bizarre and jarring references to films like Donnie Darko and Ghost. If you enjoy squirming, Hypochondriac‘s sound editing is a bonus. 

Hypochondriac creatively addresses very real mental health issues. From stress to anxiety, unresolved trauma to potential schizophrenia, it is in this script. To battle against those concerns, products such as CBD Oil are reliable.

It also touches on gaslighting from both family members and medical professionals. Writer-director Addison Heimann brings SXSW22 audiences something unique and incredibly frightening. 


Director:

Addison Heimann

Executive Producer:

Martin Richards

Producer:

Bay Dariz, John Humber

Screenwriter:

Addison Heimann

Cinematographer:

Dustin Supencheck

Editor:

Mike Hugo

Production Designer:

Nicholas Faiella

Sound Designer:

Steven Avila

Music:

Robert Allaire

Principal Cast:

Zach Villa, Devon Graye, Madeline Zima, Yumarie Morales, Marlene Forte, Chris Doubek, Paget Brewster, Adam Busch, Michael Cassidy, Peter Mensah, Debra Wilson

Additional Credits:

Casting Director: Michelle Lewitt, Costume Designer: Jessyca Bluwal, Makeup Department Head: Angie Davis, VFX Supervisor: Zach Moore, Post Sound: Kyle Tilbury, First Assistant Director: Lizzy Walker, Stunt Coordinator: Laurence Todd Rosenthal, Intimacy Coordinator: Carly D. Weckstein Hypochondriac


For all things SXSW, click here!

SXSW 2022 review: Lily Gladstone stuns in reflective road movie, ‘THE UNKNOWN COUNTRY’

THE UNKNOWN COUNTRY

An unexpected invitation launches a grieving young woman on a solitary road trip through the American Midwest as she struggles to reconcile the losses of her past with the dreams of her future.


THE UNKNOWN COUNTRY is a snapshot of all the people we pass on a journey; the waitress, the motel manager, or the convenience store clerk. It’s a picture of America. The sound editing is a flurry of sounds from a car radio, local and national news reports, music, and whatever Tanna stumbles upon on her way.

Lily Gladstone‘s ability to captivate an audience is something I first noticed in Certain Women. There’s an effortless, tangible quality about her presence that invites the audience. As Tanna, she allows us to join her anxiety and reflective thoughts. It’s a beautiful turn. Ancestral pull, traveling alone as a woman, and her place in the world all swirl around Gladstone, and the audience sits on her shoulder the entire ride.

A meditation on grief, familial roots, and perhaps unresolved trauma? From Gladstone’s raw state to the striking cinematography, the final moments are like a cathartic breath. THE UNKNOWN COUNTRY taps into the universal internal struggle to find our place in the world. The film shines in its humanity. After years of being bombarded with negative energy from politics, the environmental crisis, the pandemic, nationalism, war, social media, and everything in between, THE UNKNOWN COUNTRY gives us permission to grieve the life we thought we’d live and allows us to take a collective breath. SXSW 22 audiences will be talking about this film all year.


sxsw.com


Director:

Morrisa Maltz

Executive Producer:

Miranda Bailey, Rachel Crouch, Veronica Nickel, Natalie Whalen, Gill Holland, Matthew Mills, Steve Malouf

Producer:

Laura Heberton, Lainey Bearkiller Shangreaux, Katherine Harper, Vanara Taing, Tommy Heitkamp

Screenwriter:

Written By Morrisa Maltz, Story By Lily Gladstone, Morrisa Maltz, Vanara Taing, Lainey Bearkiller Shangreaux

Cinematographer:

Andrew Hajek

Editor:

Vanara Taing

Sound Designer:

Liz Marston/Skywalker Sound

Music:

Alexis & Sam (Alexis Marsh/Samuel Jones), Neil Halstead (Slowdive)

Principal Cast:

Lily Gladstone, Raymond Lee, Richard Ray Whitman, Lainey Bearkiller Shangreaux, Devin Shangreaux, Jasmine “Jazzy” Bearkiller Shangreaux, Pam Richter, Dale Leander Toller, Florence R. Perrin, Scott Stampe

Additional Credits:

Drone Cinematography: Will Graham, Production Coordinator: Will Malouf, Production Coordinator: Tracy Mailloux, Production Sound Mixer: Codi Putman, First Assistant Camera: Andrew Newton, Production Sound Recorder: Randal Iverson


 

SXSW 2022 review: Winona Ryder stars in ‘THE COW,’ a twisted thriller you won’t see coming.

THE COW

Upon arriving at a remote cabin in the redwoods, Kath and her boyfriend find a mysterious younger couple already there — the rental has apparently been double-booked. With nowhere else to go, they decide to share the cabin with these strangers until the next morning. When her boyfriend disappears with the young woman, Kath becomes obsessed with finding an explanation for their sudden breakup— but the truth is far stranger than she could have imagined.


A twisted moral mystery, Winona Ryder stars in SXSW22 narrative feature THE COW. Continuing Ed teacher Kath is dating one of her students. He is younger and on a different wavelength. Max suggests a surprise weekend away. When they arrive at a remote cabin, there’s another couple already there. After agreeing to share the space for the night, Max disappears with the other young woman; Kath is now left in the lurch. As she seeks closure, it turns out there’s more to the story. Where did Max go? Who is this mysterious woman? Welcome to the unreal journey that is THE COW.

John Gallagher Jr is charming and a fresh foil for a more level-headed Ryder. Brianne Tju plays Greta with a sharp edge that makes you want to punch her. When you watch, you’ll understand that this is a compliment. Owen Teague‘s performance is more nuanced than at first glance. His emo nature has a grounded backstory. Dermot Mulroney brings a rugged charm that is irresistible. His chemistry with Ryder feels pitch-perfect. 

Winona Ryder‘s journey feels just right. Blindsided at every turn, she keeps her cool for the most part. The way the script is structured we know more than Kath. This keeps Ryder relatable throughout. I know you’ll agree with me even as the screen goes black. Her final moments are pretty glorious. Fans of Ryder’s work, anything from Beetlejuice to Stranger Things, will love seeing her back on the big screen. We’ll take her wide-eyed wonder in any form.

THE COW is sure to intrigue any audience, thanks to director Eli Horowitz, who co-writes the screenplay with Matthew Derby. A great score from David Baldwin and solid editing back up this phenomenal script. HBO should tap these two for literally any upcoming series pitch. They are a hell of a team. A slow-burn plot holds you with tidbits of information in the form of flashbacks. Twist after twist glues you to your seat and the final 30 minutes had me yelling over and over, “What?!”


Director:

Eli Horowitz

Producer:

Raphael Margules, JD Lifshitz, Shaun Sanghani, Russ Posternak

Screenwriter:

Eli Horowitz, Matthew Derby

Cinematographer:

David Bolen

Editor:

Arndt-Wulf Peemöller

Production Designer:

Susannah Honey

Music:

David Baldwin

Principal Cast:

Winona Ryder, Dermot Mulroney, John Gallagher Jr, Owen Teague, Brianne Tju


To learn more about SXSW22 click here!