La Dosis

Synopsis:
Marcos is an experienced nurse who works the night shift of a private clinic. He is successful and professional, though it is soon revealed that he uses his position to help suffering patients find early peace. A new nurse in the clinic, Gabriel, shakes the sector: he is young, intelligent, beautiful, and seduces everyone. He soon deciphers Marcos’ secret and the clinic becomes a battle of wits and seduction. Marcos retracts until he discovers that Gabriel also dabbles in euthanasia, though for different reasons. This revelation forces him to confront Gabriel and Marcos knows that only by exposing his own true identity will he be able to stop him.
La Dosis is a dark psychological thriller that from the very first scene pushes viewers to consider the harsh and subjective balance between life and death. At its center is Marcos, the lead overnight nurse of the ICU unit in a private hospital. By now, audiences are accustomed to anti-hero protagonists, so it is not hard to find compassion for Marcos even as he makes the ethically murky decision to euthanize critically ill patients that are suffering in their final days. In a nuanced and complex performance, Carlos Portaluppi excels in infusing Marcos’ actions with compassion. Through the many moody silent stretches of the film, the audience watches Marcos alone in shadowed rooms and backlit hallways as the weight of his actions plays across his face.
The fragile morality of Marcos’ world is shattered, however, by the arrival of Gabriel (Ignacio Rogers), a young charismatic nurse that immediately charms patients and hospital colleagues alike. Gabriel understands Marcos’ impulses at once, but it soon becomes clear that he has his own darker code. The discovery compels Marcos to reexamine the complex web of justifications that he has been telling himself for years. When is it mercy? When is it just power? Is there a difference? It also pushes Marcos toward action, even if he is putting himself at risk by exposing more egregious crimes.

The most compelling scenes in the film are interchanges between Gabriel and Marcos as they confront, coerce, and ultimately conspire for and against each other. In one tense nihilistic exchange, Gabriel exclaims to Marcos, “We are the only ones who care about what we do. Have you realized that?”
At its core, La Dosis is a complex meditation on power, the balance of which shifts subtly from scene to scene. It is not until the final shot that it is revealed who comes out on top.
LA DOSIS, the sharp slow-burn thriller from distributor Samuel Goldwyn Films, will be released on-demand and digital on June 11, 2021. The film world premiered at the Rotterdam Film Festival in 2020, and also played BFI Flare, the Fantasia Film Festival, and others.
Release Date: On VOD/digital on June 11, 2021
Directed by: Martín Kraut
Cast: Carlos Portaluppi, Ignacio Rogers, Lorena Vega
Genre: Thriller
Specs: 93 min
Distributor: Samuel Goldwyn Films











TRIBECA 2021











Nowadays, it seems like every athlete has a documentary crew following them around. The definition of “behind the scenes” has broadened, and what once was novel or surprising now can feel like table stakes. What makes the journey of budding NBA superstar Ja Morant in Promiseland unique is that the narrative is almost exclusively articulated via Ja’s network of family, friends, and mentors. The first installment follows Ja from humble beginnings in Sumnter, South Carolina to the bright spotlights of the 2019 NBA draft, where the Memphis Grizzlies select him as the #2 pick. Through it all, Promiseland’stop priority isn’t to dazzle you with basketball highlights (although it has plenty of those) but to root you in the places and people that motivate Ja daily.





Romania’s hit film Two Lottery Tickets is the most enjoyable buffoonery you can think of. In his second feature, writer/director Paul Negoescu takes a story from writer Ion Luca Caragiale and sends us on a €6 million fool’s errand. Local pushover Dinel’s wife fled to Italy with her boss two years ago. He is depressed and going broke trying to raise enough money to bring her back home. Drinking buddy Sile, a womanizing gambler, convinces him to spend his last few euros on a lotto ticket. Against all logic, Dinel’s idiotic chosen numbers end up being the winner. After two thugs steal his bum bag with the ticket inside, Dinel, Sile, and local conspiracy theorist Pompiliu must follow the clues by annoying neighbors, evading the police, and generally being ridiculous. It’s the sincerity of these three men simply being themselves that makes Two Lottery Tickets both loveable and hilarious. Actors Dorian Boguță, Dragoș Bucur, and Alexandru Papadopol all deliver lines in a way that makes you smirk and cringe. This is a film that has such comic ease to it. Once in a while, you come across a film that is like a cinematic hygge (because that’s a thing I just made up but you totally know what I mean, so whatever). Two Lottery Tickets has all the makings of that film you want to tell your friends about. Negoescu and cast have given viewers such relatable characters. In fact, if you watch it in a group setting, someone in the room is probably a Dinel, a Sile, or a Pompiliu. It is truly that delightful.

Wendell is an ex-con whose parole officer enjoys berating him over the phone. When a new handyman job brings him to the door of Suzanne, a quirky woman with dementia, he’s in for more than unclogging her pipes. The set-up gets weirder and weirder. Secrets and lies live in this house, but not for long. Wendell’s path to freedom is dean on arrival. Do not get comfortable for a single minute of Dementia Part II.
Graham Skipper plays such an asshole. It’s incredible to watch. Najarra Townsend, who was phenomenal in
Shout out to Matt Mercer and Mike Testin for normalizing a runtime of 1 hour and 5 minutes. Good storytelling doesn’t need to be overstuffed with unnecessary nonsense. The dark comedy of Dementia Part II mixed with the very serious underlying mental health issues makes this film ripe for midnight screenings. I can already hear the audience yelling out Wendell’s many alternative names, making lewd gestures with pipes, and throwing $100 bills at the screen. You cannot go wrong with its vomit-inducing practical fx and outstanding performances from the entire cast.
Transitioning from your college bubble to adulthood is hard enough. Add a breakup and no sense of direction and you’ve got yourself a basic outline for a film. Based on a story by screenwriter Chris Molinaro and directors Brandon LaGanke and John Carlucci, DRUNK BUS gives us a coming-of-age buddy comedy that you won’t see coming. This film is unexpectedly guffaw-inducing. I was knocked off my feet watching the chemistry of this cast. This film is about overcoming fear, anxiety, latent rage, guilt, you name it. DRUNK BUS has it all without ever getting too heavy.


The score immediately reminded me of The Goonies. It is a perfect mix of ominous and whimsical. Dylan’s reading voice is costar Rob Brownstein’s voice. As a mute boy, Dylan’s internal vocal reference would most certainly be that of his father. This moment of specificity from Charbonier and Powell is magic. The entire film’s sound design is award-worthy. Dylan’s hearing is likely acutely sharp due to developmental adaptation. The audio is jarring in a way that places the viewer in his constant state of hyper-awareness. His panic is our panic and it is palpable.
It’s a fresh take on the legend and more shudder-inducing than you’d expect. The pacing is perfection. All the tropes are there but with a hell of a twist. The Djinn‘s main conflict plays out within an hour, making the stakes feel higher as we count down the minutes alongside Dylan. Speaking of our leading young man, Ezra Dewey is a star. His chemistry with Rob Brownstein is charming and genuine. Dewey’s ability to own this entire film sans dialogue is the stuff of dreams. Mark my words, he will be everywhere. The Djinn is a very scary bedtime story warning us all to be careful what we wish for.



The mockumentary style is unbelievably hilarious. Every single cast member is a damn laugh riot. I don’t know how much of this film is improvised and how much is scripted, either way, you will be entertained from start to finish. Handheld camera work and snarky voiceovers push 15 Things to some next-level hilarity, but also a legit gorgeous looking movie. The editing and cinematography are ridiculously stunning. If you put it on mute, you’d never know the difference between this and Vice. It’s scary good. Is this the first of a franchise for these guys? I would not be mad at that. 15 You Didn’t Know About Bigfoot is now available In Theaters + on VOD. 
Low-budget creative genius. All hail Sean Kenealy and Eric Silvera, writers, directors, producers, and stars of IN ACTION. The dialogue is quippy and the chemistry is electric. The look of the film is truly impressive. Anything too elaborate to shoot is filled with super fun animation by Richard Walsh, close-ups, great sound effects, and sometimes just rudimentary home-movie style silliness. The overall setup of a sit-down interview is a fantastic premise. What essentially becomes a mixed media project forces you to not only pay attention but keep you completely engaged. Its sharp back and forth between visuals and over-the-top new dad/bro vibe is insane. Bravo to editor Billy Nawrocki. I cannot begin to imagine how long this film took to piece together. While this will hit harder with viewers of a certain age and stage for sure, it will undoubtedly tickle any film fan. The references on Eric and Sean’s t-shirts tell you everything you need to know about their baseline inspiration. These guys have no shame. Which, if we’re being honest, makes for great performances. The continuous gag about using foul language is laugh-out-loud funny. It’s not all dick jokes and movie clichés, we also get a nice takedown of toxic masculinity within the South Park-esque perverseness. It’s their commitment to every single moment of In Action that makes it relentlessly fun. Don’t get comfortable because 26 minutes in the script gets flipped. Can you imagine what this group of creatives could do with a large budget? As for In Action, it’s meta mayhem, movie magic. This is a labor of love made by honest-to-goodness fans. It’s an ode to indie filmmaking. Oh, makes sure you stay for the credits for some insider information. It’s worth it.

While the action revolves around the accident, these characters are fully fleshed-out people we recognize. The remarkable performances in SILO might even suggest that this film was a documentary and not a narrative. The cast has a chemistry that genuine. It’s astounding. You won’t have a moment to breathe once things go awry. Even within a 76-minute runtime, the writing is so great that we have enough backstory for every person on the scene to feel the emotional pull. We understand why they’re there and how they’re connected. SILO doesn’t simply address farming safety but gives us a compelling drama about small-town dynamics. It is impossible to watch this and not be consumed by the relationships in this film. That’s what happens when you have the perfect storm of acting, writing, and directing. This is a film that will resonate with a massive audience, regardless of their background. It sheds a light on a culture that is often taken for granted and the very real dangers of farming. SILO is a harrowing film about safety and an undeniably important watch.








What I loved about this film was watching the tenacity of a woman pushed past the breaking point. Using wit and pure gumption, Inga helps a community that’s being taken advantage of. Arndís Hrönn Egilsdóttir‘s performance is out of this world. She is funny, powerful, gutsy, and yet completely vulnerable and grounded. The film doesn’t simply rely on the natural cinematic landscape but smartly uses its scope to tell this story. The script has a beautiful flow to it. 
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