Review: ‘ABERRANCE’ could be 2023’s most WTF film to date.

ABERRANCE

SYNOPSIS: When city dwellers Erkhmee and Selenge arrive at an old cabin deep in the Mongolian wilds, a foreboding settles over the couple. Erkhmee’s seemingly keen desire to provide a safe and nurturing space for his artistic wife is at odds with the violent actions and mannerisms their quizzical neighbor observes. As the neighbor digs deeper for the reason behind this aberrant behavior, only more questions and trouble arise.

A controlling husband and his skittish artist wife take some time in a remote cabin in the Mongolian woods. His behavior gives you the shivers immediately, even alarming the next-door neighbor and two close visiting friends. As Erkhmee tries to get Selenge to eat and take her pills, you know something in this relationship is wrong. But that’s only a slice of the madness coming at you in ABERRANCE.

Performances are stellar all around. The immersive camera work sets the film apart. As does the score, which sounds like a ticking cuckoo clock. The lighting is a character all its own. The script keeps you guessing. I definitely yelled, “WTF,” over and over during one particular scene. I was already there in my mind, but when you get to this moment (and you’ll know when you see it), you’ll better understand why that phrase burst forth audibly. All credible theories were thrown out the window beyond that point. Filmmaker Baatar Batsukh gives us a next-level tale of horror and deceit. Do not move an inch once the credits begin to flash. One last scene gets the gears moving. I have no doubt we’ve discovered a genre visionary in Batsukh. I fear whatever comes next.


Freestyle Digital Media will release the Mongolian horror feature film ABERRANCE on October 6, 2023.




ABERRANCE marks an impressive milestone as the first Mongolian horror feature to be released theatrically in the U.S. introducing Mongolian cinema to new audiences.


The film had its North American premiere at the 2023 SXSW Film Festival to positive reviews as an Official Selection in the Midnighters section.


ABERRANCE is the theatrical directing debut film by Baatar Batsukh who also co-wrote the film with Erdene Orosoo (Kinsman of the Sun) and Byambasuren Ganbat. The film stars an ensemble Mongolian cast of Selenge Chadraabal (Six Feet), Erkhembayar Ganbat, Yalalt Namsrai (Snowman), Oyundary Jamsranjav (Disorder), Badamtsetseg Batmunkhand, Bayarsanaa Batchuluun and Ariunbyamba Sukhee (Guardians). The film was produced by Enkhmandakh Nemekhbaatar, Trevor Doyle and Alexa Khan of Three Flames Pictures and Team Hero Production.


 

Fantastic Fest 2023 capsule review: ‘The Other Laurens’ brims with mystery and mayhem

THE OTHER LAURENS

Beginning in Shakespearean fashion, the chaos and bait-and-switch screenplay of Claude Schmitz‘s THE OTHER LAURENS earns your attention. Private investigator, Gabriel gets contacted by his niece to look into the recent death of her father and Gabriel’s estranged twin brother, François.

THE OTHER LAURENS is a whirlwind of mafialike underworld, bikers as protective soldiers, drug trafficking, double dealings, and bombastic characters. The script’s dramatic complexity gets a momentary reprieve from the two local detectives and their witty banter.

Loise Leroy wows in her feature debut as Jade. The emotional turmoil she endures puts Leroy through the wringer, and she handles it like a pro. She is a star. Olivier Rabourdin plays dual roles as Gabriel and François. His ability to shape-shift will captivate you. THE OTHER LAURENS is an epic film, brimming with twists and turns, and is a real stand-out from Fantastic Fest 2023.


Director: Claude Schmitz
Writer: Claude Schmitz and Kostia Testut
Starring: Olivier Rabourdin, Louise Leroy, Kate Moran 
Producers: Jérémy Forni, Benoit Roland
Co-Producers: Valérie Berelmont, David Claikens, Tanguy Dekeyser, Phillipe Logie, Alex Verbaere  

Year: 2023
Runtime: 117 minutes
Language: French, English, Spanish
Country: Belgium, France
Premiere: North American


 

Fantastic Fest 2023 review: Nicholas Tomnay’s delicious treat ‘WHAT YOU WISH FOR’ is a twisted tale of wealth, power, and consequence.

WHAT YOU WISH FOR

Writer-director Nicholas Tomnay takes us on a journey of twisted morality. Down on his luck, chef Ryan steps into the life of his schoolmate and cooks for a small group of ultra-wealthy diners. The experience is nothing like he imagined.

Nick Stahl plays Ryan, a chef running from his gambling debts. When he assumes the identity of his former culinary schoolmate, he must outpace the threats at home while managing the expectations of “playing” Jack. Questions of morality loom large. You’ll root for a man bending the rules to survive.

Nick Stahl has been on my radar my entire life. We are the same age, and as a cinephile from the womb, I’ve followed his career from The Man Without a Face to Disturbing Behavior and, more recently, Hunter Hunter and What Josiah Saw. To me, he’s a genre staple. WHAT YOU WISH FOR is another strong role choice for Stahl. His ability to command each frame, often without dialogue, draws you into his world.

Tomnay gives the audience plenty of intrigue from beginning to end, slowly building tension, never quite letting up until the last frame. And boy, it’s a doozy. I cannot say much more. I don’t wish to spoil the film. Trust me when I say it’s a delicious entry into the dark comedic world. It is, as they say, Chef’s Kiss.


WHAT YOU WISH FOR is written and directed by Nicholas Tomnay. The film is produced by Nicholas Tomnay, Francesca Silvestri & Kevin Chinoy.


 

Fantastic Fest 2023 documentary review: ‘SPOOKTACULAR!’ tells the tale of the first horror theme park, and it’s scary good.

SPOOKTACULAR!

Executive produced by Tom Savini, Fantastic Fest 2023 doc SPOOKTACULAR! by filmmaker Quinn Monahan takes us back to a place I never knew existed. Now that it’s gone, I’m incredibly jealous. It’s time to tell the tale of Spooky World.

1991, in the middle of a Massachusetts cornfield, open every day in October, Dave Bertolino‘s Spooky World was a horror con and a theme park. It was the first dedicated haunted attraction, paving the way for every modern-day, big-name fright night across the country. Built on a dollar and a dream, Spooky World grew more popular and went through numerous iterations. As one of the first featured guests, Tom Savini’s direct influence on Spookyworld shifted from a homegrown haunted hayride to a proper frightening experience within a year, with Tom building his own branded Haunted House. The busier the park, the more elaborate and inventive Bertolino had to become.

The townspeople of Berlin had a fantastic relationship with Bertolino. Bringing jobs, money, and recognition to a sleepy farming town. But, not everyone was thrilled with the boundary-pushing additions, playing politics and making Bertilino’s job harder. That’s not to say that his antics and ideas came without skepticism from within.

The editing by Stefan Avalos and Bill Tartaglia is a wonder. The film uses archival footage, sit-down interviews, and home videos from the opening nights and beyond. David Bertolino’s inspiration came from Vincent Price and his showmanship, and Monahan, Avalos, and Tartaglia use numerous clips from his films as transition pieces. It’s delightful.

Growing up in northern Connecticut, I cannot believe I never ventured up the Spooky World as a self-proclaimed Halloween addict and horror fanatic. I’m thankful the park ever existed, and its humble and exciting existence spread like wildfire so that global genre fans could care and scare together.

 

Fantastic Fest 2023 review: ‘THE WAIT’ is a solid entry in the Western-horror subgenre.

THE WAIT (La Espera)

Eladio has been hired to watch over the hunting grounds of Don Francisco’s estate, somewhere in rural Spain. The estate is divided into ten hunting stands, spaced far enough apart to avoid incidents. After three years of service, Don Carlos — Don Francisco’s second in command — offers him a bribe to add an additional three stands to the property. Eladio initially hesitates, but his wife eventually convinces him to take the money. Eladio’s greed has unfortunate consequences that drag his entire family to perdition.

Opportunity, loyalty, guilt, and greed drive THE WAIT (La Espera) headlong into tragedy. F. Javier Gutierrez‘s 2023 Fantastic Fest film takes our protagonist on a torturous journey into madness. To save his flailing marriage, Eladio agrees to take cash under the table to break the rules. The consequences are deadly. When the drink takes over his existence, visions and strange occurrences send him on a wild goose chase for redemption and salvation.

Striking sun-baked cinematography juxtaposed with nightmare scenarios makes for a visually splendid treat for genre fans. The first third of the film lies firmly in the classic Western genre. The sudden flip into supernatural horror is jarring, but our leading man, Victor Clavijo, has you tied in knots on his emotional journey and the mystery at hand. One nightmarish torment scene boasts fantastic practical and Special FX makeup. The mystery grows steadily. The motive is a slow burn, though it does pay off. THE WAIT (La Espera) is a solid folk horror entry and an even more niche win for the Western horror subgenre.


 

The Wait (La Espera): 99 minutes / Spain

Spanish w/ English subtitles


 

Review: Daniel Montgomery’s soul-searching ‘THE JESSICA CABIN’ is a little bit horror and a whole lot of heart.

presents

Nicky and Preston book a weekend in a remote cabin. Preston is a self-absorbed, cheating brat who takes Nicky for granted. Jackson and Taylor are observant and trapped ghosts. Their hopes of bringing Nicky into the afterworld get messy when they trigger a breakup.

Jackson and Taylor have lengthy dialogues consisting of thoroughly engrossing memories. They make the best of their situation, recalling the silly moments, listing off their favorite things, and trying to get any guest to see them mired in loneliness. A third of the way in, we get flashbacks and backstories for our ghoul friends, and things get even more intriguing. We meet the cabin’s owner, the titular character, Jessica.

Riley Rose Critchlow gives a particularly entrancing performance. Their living vs. dead personalities are vastly different but equally grin-inducing. Critchlow captures a relatable sadness, leaving a lasting impression.

Writer-director Daniel Montgomery gives Jackson a quirky sweetness and the best intentions. His chemistry with both Critchlow and Chase Williamson, as Nicky, is effortless. Williamson has the difficult task of processing a ton of information very quickly. His natural presence and authentic spirit (no pun intended) are delightful.

The subtle creepiness is just enough to teeter on the edge, as the film is more drama than your typical horror. THE JESSICA CABIN is a spectacular entry into the LGBTQIA+ genre, perfectly melding comedy, culture, and complex storyline. The film looks at mental health in a stunningly nuanced way. It is crazy charming and superbly funny, pushing moral boundaries while asking existential questions. Seek it out.


Comedic Horror Movie Sets Digital Debut for THE JESSICA CABIN North American VOD Platforms and DVD on September 26, 2023


Written and directed by Daniel Montgomery, THE JESSICA CABIN was produced by Daniel Montgomery and Riley Rose Critchlow of Mary-Kate and Ashtray Productions, Brendan Haley of Lonely Spectre Productions, Chase Williamson, and Jenna Marie Johnson. The featured cast includes Daniel Montgomery (‘Jackson’), Riley Rose Critchlow (‘Taylor’), Chase Williamson (‘Nicky’), Will Tranfo (‘Preston’), Kylee Thurman (‘Jessica’) and Melinda DeKay (‘Mrs. Norris’). THE JESSICA CABIN is a co-production of Mary-Kate and Ashtray Productions and Lonely Spectre Productions in association with Simulated Sky and ReKon Productions.


 

Review: ‘A Haunting in Venice’ is a spooky shot in the arm for Branagh’s Poirot

A Haunting in Venice

It is rare for a film series to improve its footing 3 movies in. But that is precisely what Kenneth Branagh has accomplished with this year’s A Haunting in Venice, his 3rd directing / starring outing as Agatha Christie’s Hercule Poirot (after 2017’s Murder on the Orient Express and 2022’s Death on the Nile.) This is a focused and taut film that benefits immensely from both its gorgeous location and more supernatural tone compared to past films. While Agatha Christie obsessives may leave wishing for a more of a standard murder-plot adventure, many will find this a thrilling kick-off for the 2023 Halloween season.

The film directly follows 2022’s Death on the Nile and finds Detective Poirot enjoying retirement within the canals of Venice. His services are still in great demand (as evidenced by the constant line of hopeful clients) but he has lost his faith. When he is approached by his old friend and novelist Ariadne Oliver (Tina Fey, in a thinly veiled nod to author Agatha Christie), we know it can’t be long before the body count begins to climb.

As with the previous 2 films, the cast is stacked top to bottom. Despite the big-name actors, the characters outside Poirot are all thinly drawn. Kelly Reilly smolders as the grieving mother. Tina Fey gets a good laugh line or two as the Agatha Christie stand-in. Michelle Yeoh is the standout as the potential medium Joyce Reynolds, the only character that is really allowed to go toe to toe with Poirot (and even then, only briefly)

While the characters are thin, the atmosphere and cinematography of the film are incredibly lush – they are the real stars of the show. I would have bet you good money this film had a different cinematographer from the last two – the difference in style is night and day. But it is still Haris Zambarloukos at the helm, so all I can say is keep it up! Venice does a lot of the heavy lifting, of course, but there’s more to it than that. The first two films leveraged green-screen extensively, whereas Haunting is grounded and has a sense of place. The tone of the film is much more focused, and almost every scene contains rich imagery. I loved the way the suspense of the potential supernatural was implied in every scene – walls and windows of the palazzo creak and seem alive in a manner reminiscent of old Hollywood. No need for CGI thrills here. How great was the imagery? I could watch this movie with absolutely no dialogue and still enjoy myself immensely.

For many, the joy of a mystery film is in figuring out the solution before the detective. The case at the core of Haunting may not be complicated enough to satisfy all the sleuths in the theater, but the film is good enough they’ll certainly get another chance to see Poirot in action very soon. Here’s hoping the arthouse vibe of the series is here to stay!


The unsettling supernatural thriller based upon the novel “Hallowe’en Party” by Agatha Christie and directed by and starring Oscar® winner Kenneth Branagh as famed detective Hercule Poirot, will open in theaters nationwide on September 15, 2023.

“A Haunting in Venice” is set in eerie, post-World War II Venice on All Hallows’ Eve, “A Haunting in Venice” is a terrifying mystery featuring the return of the celebrated sleuth, Hercule Poirot. Now retired and living in self-imposed exile in the world’s most glamorous city, Poirot reluctantly attends a séance at a decaying, haunted palazzo. When one of the guests is murdered, the detective is thrust into a sinister world of shadows and secrets.

Reuniting the team of filmmakers behind 2017’s “Murder on the Orient Express” and 2022’s “Death on the Nile,” the film is directed by Kenneth Branagh with a screenplay by Oscar® nominee Michael Green (“Logan”) based upon Agatha Christie’s novel Hallowe’en Party. The producers are Kenneth Branagh, Judy Hofflund, Ridley Scott, and Simon Kinberg, with Louise Killin, James Prichard, and Mark Gordon serving as executive producers. A brilliant acting ensemble portrays a cast of unforgettable characters, including Kenneth Branagh, Kyle Allen (“Rosaline”), Camille Cottin (“Call My Agent”), Jamie Dornan (“Belfast”), Tina Fey (“30 Rock”), Jude Hill (“Belfast”), Ali Khan (“6 Underground”), Emma Laird (“Mayor of Kingstown”), Kelly Reilly (“Yellowstone”), Riccardo Scamarcio (“Caravaggio’s Shadow”), and recent Oscar winner Michelle Yeoh (“Everything Everywhere All at Once”).


 

Fantastic Fest 2023 review: Jamie Childs’ action-packed feature debut ‘JACKDAW’ makes you beg for a franchise

JACKDAW

A former motocross champion and army veteran is now caring for his younger brother. Broke, he agrees to do an open water pick up of a mysterious illegal package in the North Sea. A resulting double cross and his brother’s disappearance set him and his old bike on a violent nocturnal odyssey through England’s northern rust belt.


Nonstop action and chases from sea to land, dirt bike to horseback, JACKDAW begins with an intensity that only lets up for moments of character-building and levity. The cinematography is eye-catching. The neon and strobe-soaked lighting choices heighten the already heart-pounding action. Watching it feels akin to an immersive video game or graphic novel.

Leon Harrop is sensational during his little screen time as Jack’s brother, Simon. He is a real pro. As a Whovian, I was delighted to see Jenna Coleman as an absolute badass and Jack’s ex. With a more overtly sexy vibe than Coleman’s Clara days, I loved her almost downplayed performance, as it humanized what could have been a caricature. Joe Blakemore gives Silas a manic energy, just over the top enough to blow you away with his choices.

Thomas Turgoose is the perfect foil for Jackson-Cohen. Playing Craig, he earns lovable sidekick status with a classic jokester attitude. You immediately fall in love with him. Oliver Jackson-Cohen is an unstoppable force. He owns every frame with quiet intensity and effortlessly cool. He continues his leading man status as Jack. You cannot take your eyes off him.

The twists keep coming. Writer-director Jaime Childs implies a lot. The backstory must be juicy if this is how these characters interact with each other. JACKDAW is entertaining as hell, giving us enough meat on the bone to make audiences beg for a prequel and a sequel. More, more, more!



Director: Jamie Childs
Producers: Jamie Childs, Kate Glover, Callum Grant, Sébastien Raybaud
Starring: Oliver Jackson-Cohen, Rory McCann, Jenna Coleman, Vivienne Acheampong



JACKDAW
Fantastic Fest Screening Details

Friday, September 22nd from 5:20 PM to 6:57 PM at Alamo Drafthouse
(Alamo Drafthouse South Lamar, 1120 S Lamar Blvd)

Wednesday, September 27th from 5:00 PM to 6:37 PM at Alamo Drafthouse
(Alamo Drafthouse South Lamar, 1120 S Lamar Blvd)


 

Review: ‘REBEL’ is a frank and frightening look at the risks of radicalization.

REBEL the dazzling and audacious new film from Adil El Arbi and Bilall Fallah (Bad Boys for LifeBatgirl) tells the story of Kamal (Aboubakr Bensaihi), who resolves to change his life for the better, leaving Belgium to help war victims in Syria. But, having arrived, he is forced to join a militia and is left stranded in Raqqa. Back home, his younger brother Nassim (Amir El Arbi) quickly becomes easy prey for radical recruiters, who promise to reunite him with his brother. Their mother, Leila (Lubna Azabal), fights to protect the only thing she has left: her youngest son.


When I saw Bad Boys for Life in 2020, I would never in a thousand years have imagined the directors had a picture like Rebel in them. This is an ambitious, profound, and thoughtful film. Like Bad Boys, this is a film brimming with violence. But Rebel never uses violence to entertain, rather aiming to shock the audience or to underline or accentuate a point.


Rebel focuses on the Wasakis, a Belgian family with Moroccan roots. Kamal (Aboubakr Bensaihi) is the older brother, an idealistic drug dealer and rapper horrified by the atrocities he sees in the ongoing war in Syria. His younger brother Nassim is kind and impressionable. Devout matriarch Leila tries to watch over her boys. When Kamal travels to Syria as a volunteer, he believes he has found a non-violent way to make a difference. When he is captured by ISIS, he finds a different path forced upon him, one that will have also cause devastating effects back home.


Lubna Azabal gives a tortured performance as Leila. Her desperation to protect her family is visceral and raw. Bensaihi is phenomenal as Kamal. You believe the transformation he slowly goes through over the course of the film.


Kamal’s passion for rapping also provides one of the film’s most interesting elements – at times, the characters will break into musical interludes. Given the serious tone of the film, these moments could easily appear forced or interrupt the flow of the narrative. Luckily, Bensaihi’s talented flow and consistently gorgeous choreography keep this from occurring. The first such interlude, set in a Brussels’ restaurant, is particularly powerful.


Despite the balletic action and gorgeous cinematography, this is not an easy film to watch. But it provides important personalization for atrocities that the audience might otherwise write off due to stereotypes and misinformation. Atrocities that are still happening today.


Watch the Trailer!

In Theaters September 15, 2023


*Official Selection – 2022 Cannes Film Festival*



Directed by Adil El Arbi and Bilall Fallah (Bad Boys for LifeBatgirl)
Written by Adil El ArbiJan Van Dyck, Kevin Meul, and Bilall Fallah
Starring Aboubakr Bensaihi, Lubna Azabal, Amir El Arbi, Tara Abboud and Younes Bouab
Produced by Bert Hamelinch and Dimitri Verbeeck

RT: 135 minutes


 

Review: ‘ SOMETHING YOU SAID LAST NIGHT’ is a completely fresh take on trans storytelling.

A Film by Luis De Filippis


Ren, an aspiring writer and mid-twenty-something, accompanies her parents, Mona and Guido, and her younger sister, Siena, on a beach resort holiday in cottage country. As Ren navigates the resort, she struggles to cope with her parents’ loving yet overbearing nature, and tries to balance the yearning for independence with the comfort of being taken care of. The realities of being a stunted millennial and a trans woman coalesce in Ren not wanting to be perceived as a burden. Looming in the back of Ren’s mind is the secret of her recent dismissal from work, and that once the holiday is over, she will need to rely even more on her family’s support.


SOMETHING YOU SAID LAST NIGHT centers on sisters Ren and Siena and their parents on vacation. Emotional turmoil, family drama, and love make this an exceptional indie.

The cast is phenomenal. Focusing on our leading lady, Carmen Madonia, gives Renata an often aloof attitude, hiding a lost mindset. She’s soft-spoken, outwardly feeling othered by her sister’s personality. But little is said. Madonia’s face replaces any unneeded dialogue.

The family chemistry is deliciously authentic. Each fully fleshed-out member has their quirks and distinct personality traits. What makes this script particularly special is the approach to transgender storytelling. They let Ren exist, merely hinting at her identity for the first time 30 minutes in. It’s never directly addressed. The juxtaposition of a pair of aggressive little boys is genius. The sound editing is a character unto itself. What we hear in the background speaks volumes. At times, Ren is almost an ancillary character. It’s undeniably intriguing filmmaking. 

SOMETHING YOU SAID LAST NIGHT takes trans storytelling in a fresh direction. Representation matters. Moreover, seeing a loving dynamic in the life of a trans woman is essential.


Opening in NY / The Quad on September 22
and LA / The Culver Theater on September 29

SOMETHING YOU SAID LAST NIGHT is based on director Luis De Filippis’s short film, “For Nonna Anna”, which premiered at the 2017 Toronto International Film Festival and received the Special Jury Prize at the 2018 Sundance Film Festival. The film was awarded Outfest’s Grand Jury Award, TIFF’s Changemaker Award, and Rotterdam International Film Festival’s Youth Jury Award.

WRITTEN AND DIRECTED BY Luis De Filippis
PRODUCED BY Jessica Adams, Michael Graf, Harry Cherniak, Rhea Plangg, Michela Pini, Luis De Filippis
EXECUTIVE PRODUCED BY Julia Fox, Francesca Silvestri, Kevin Chinoy, Andrew Adams, Jennifer Konawal, Jeremy Smith, Omar Chalabi, Charlie Hidalgo
STARRING Carmen Madonia, Ramona Milano, Paige Evans, Joey Parro, Augustus Oicle, Mi’de Woon-A-Tai, Carmelo Nelson
CINEMATOGRAPHY BY Norm Li, csc
EDITED BY Noemi Preiswerk
MUSIC BY Ella Van Der Woude


 

TIFF 2023 review: Kei Chika-ura’s ‘GREAT ABSENCE’ will rip your heart out.

GREAT ABSENCE


Filmmaker Kei Chika-ura brings his sophomore feature, GREAT ABSENCE, to TIFF 2023. Gorgeously shot on 35mm, the story unfolds within flashbacks between estranged father and son and the present-day disappearance of his stepmother, Naomi.

As dementia sets in, Yohji’s arc proves devastating to witness. The story also unravels the piles of notes strewn about Yohji’s home. Takashi must piece together this collection of garbled messages, love letters, and diary entries.

Tatsuya Fuji plays Yohji with a stern but soft heart. His mental decline brings out agitated frustration and a wild confidence in his storytelling. Understanding his background makes it all the more impactful. As Takashi, Mirai Moriyama brings a weariness and a curiosity that captivates. He puts the audience in his shoes. As the father-son relationship becomes more apparent, the more impressive the work. The chemistry between the two is something of cinematic dreams. It is as if they each play dual roles that are quietly award-worthy.

Yutaka Yamazaki‘s cinematography is memorable. There is something special about letting the camera be static and allowing the performances to speak for themselves. The script surprises with every scene, which is quite a feat for a two-and-a-half-hour runtime. GREAT ABSENCE is a nuanced look at memory, perception, regret, and the endless complexities within relationships. This film will bring you to your knees.


TIFF 2023 capsule review: Aptly named neo-noir ‘LIMBO’ puts racism in the forefront.

LIMBO

Aided by car trouble, a detective looks into the 20-year-old disappearance of a local girl named Charlotte. Travis Hurley is a messy addict, but with nowhere to go, he delves deeper into the case, interviewing old witnesses and suspects. What he discovers will frustrate and ultimately shock no one.

Simon Baker gives Travis a gritty aura. He is simply fantastic. The stark black-and-white cinematography throws the brain into chaos. Knowing what the Australian landscape normally looks like, it is a striking choice. Serving as Writer, Director, Producer, DOP, Editor, Colorist, and Composer, filmmaker Ivan Sen depicts the ever-present racism faced by the indigenous population. LIMBO is a neo-noir crime drama that leaves you with a pit in your stomach.

Check out the trailer below:

TIFF 2023 review: ‘BYE BYE TIBERIAS’ honors four generations of strong women.

BYE BYE TIBERIAS

“Don’t open the gate to past sorrows,” was the response filmmaker Lina Soualem received when asking her mother, actress Hiam Abbass (Succession), about where she came from. In the TIFF 2023 documentary BYE BYE TIBERIAS, audiences journey into the past through the crumbling walls of healing trauma and treasured connections.

The film consists of informal sit-down interviews, extensive personal writings, archival footage, and plenty of home videos of the generations of strong women in the family. We discover the hurt from Hiam’s past, the emotional baggage of leaving behind the turmoil of Palestine, but also the treasured connections of the women who shaped her. Hiam’s letters and poems serve as both insight and narration. They are intensely affecting.

Lina takes Hiam to her childhood home in Tiberias. As we witness Hiam wade through the complexities of guilt and grief, the film exposes a universality I was not expecting. BYE BYE TIBERIAS captures the heartship of carving a path that defies the patriarchal structure. One often defined by social and political forces beyond our control.

Hiam and her family love one another with their whole hearts. They have no filters when speaking to each other, and their words of affirmation are something to aspire to. Lina Soualem captures all of this in an elegant edit. The film is beautifully intimate. It’s a loving commentary on memory, identity, and honoring your past.


Bye Bye Tiberias
Bye Bye Tibériade
Lina Soualem
NORTH AMERICAN PREMIERE
France, Belgium, Qatar, Palestine | 2023 | 82m | French, Arabic
 
 

TIFF 2023 review: Christian Sparkes’ ‘THE KING TIDE’ spins fear and fanaticism to create one hell of a small-town mystery.

THE KING TIDE

Ten years past the discovery of a baby on the shores of their small New England fishing island, residents have avoided sickness and death through the girl’s mysterious ability to heal those around her. Young Isla is essentially the town’s diety. With her mysterious power, she holds the balance of life and death in her presence. Because of this, the adults have sheltered the children, telling stories of mainlanders as evil outsiders. They know nothing of technology or books from off the shores, nothing of illness that Isla cannot cure. Following a traumatic experience, her talents come into question, launching the village into panic and chaos. With elements of The Village and The Green Mile, themes of isolation, paranoia, morality, and magic pull the viewer into a swirling mystery.

The cast is strong, particularly Alix West Lefler as Isla. She has a purity to her performance that is nothing short of mesmerizing. The overcast skies, neutral costumes, and lantern-lit sets keep us unsettled. The foreboding cello-heavy score makes you catch your breath. The tension builds into an uncontrollable monster. The film culminates in a shocking and award-worthy finale. THE KING TIDE is inarguably one of the best-written films of the year. It deserves a prequel and a sequel. It is a must-see.


Directed by 

Christian Sparkes

Writing Credits  

Kevin Coughlin … (story by)

Ryan Grassby … (story by)

Albert Shin

William Woods


 

TIFF 2023 review: Jen Markowitz’s doc ‘SUMMER QAMP’ is beautifully eye-opening and life-affirming.

SUMMER QAMP

Jen Markowitz‘s TIFF 2023 documentary SUMMER QAMP follows a group of kids attending a queer sleepaway camp in Canada. This celebration of individualism is essential viewing.

We witness walls breaking down through small pods of campers and mentors, campfire storytelling, and creative and traditional class selections. Former campers and artists in residence encourage each kid to take chances, but only as long as they are comfortable. There is no hidden agenda here. Camp Firefly exists to help these kids make it to adulthood. A brilliant and creative outlet for fear, anxiety, identity, and community connection, Camp Firefly is a safe space for queer youth to flourish. Camp is a place to heal, be accepted, and feel free. The world needs more of this. Just think of how many suicides we could prevent if we allowed everyone to be themselves, fully and unapologetically.

The overwhelming joy of hearing these kids laugh is infectious. SUMMER QAMP is an education, through and through. As a former theatre kid and current creative adult with two kids, I strive to understand how identity plays a part in overall confidence. I grew up with often crippling anxiety, a stranglehold of perfectionism, and feeling othered. It doesn’t feel good. My job is to protect my kids from the same overwhelming feelings of chaos any way I can.

SUMMER QAMP‘S brave kids allow the audience into their personal lives. They may not fully appreciate how fearless they are. Campers share their gender identity journey, the good, the bad, and the emotionally ugly. This film provides a conversation starter for understanding gender dysphoria from those experiencing it firsthand. It’s an aha of a film.

Leave your judgment at the door. Better yet, rid yourself of it altogether. The biggest takeaway from SUMMER QAMP? Just let kids be kids. They will figure it out in the end. And love should be unconditional.


WORLD PREMIERE – 2023 Toronto International Film Festival

About Director Jen Markowitz

Writer, director, and producer Jen Markowitz has worked in nearly every facet of Canadian television. Starting in scripted, moving to casting, and eventually landing in unscripted/non-fiction, they recently earned three Canadian Screen Awards for writing and producing Canada’s Drag Race, as well as a People’s Choice Award nomination and an Imagen award for producing Shine True, Vice/Fuse TV’s limited series about non-binary youth. Throughout their career, Jen has built a reputation on prioritizing authenticity in their storytelling and pursuing narratives with a balance of tenacity and tenderness. Identifying as queer non-binary, Jen brings their passion for celebrating, protecting, and properly portraying queer and trans communities into their work with deep respect and relentless devotion.

Mins 80 | Language English | Year 2023 | Country Canada

TIFF Website

Instagram: @summerqamp


 

Coming to cinemas this week, ‘LIFT’ is an education and a celebration.

LIFT

LIFT poster

                           Over a decade in the making, this inspiring and unforgettable documentary follows children impacted by homelessness as they discover the magic of self-expression through dance. Guided by mentor Steven, whose journey leads back to his childhood shelter, their path within a remarkable ballet program becomes a celebration of joy and triumph in the face of adversity.

Director David Petersen takes audiences on a journey that spans ten years. In his documentary LIFT, he tells the world about the brilliant and titular program in New York City that revolves around the art of dance. “New York Theatre Ballet’s LIFT Community Service Program provides scholarships for talented at-risk and underserved children at the School of NYTB, as well as programs that champion dance for the greater good.” Housing-insecure youth have the opportunity to break free from the circumstances they cannot control. Steven Melendez once lived in a shelter. As a professional dancer and former student of the program, he returns to introduce ballet to other housing-insecure children. The discipline and structure that comes along with ballet transcend the stage. It is vital for kids in school or home environments that would otherwise make them victims of socioeconomic circumstances. The purpose of LIFT is to provide a safe place for them to learn and grow. It is a beautiful safety net, but they have to be willing to commit. These kids have so many obstacles in their paths, and Steven does everything he can to push past his own trauma to better the lives of kids just like him.The documentary follows a small group of kids that Steven nurtured over ten years of ballet. Tough love is necessary as these kids get into trouble. Steven does not have time to mince words. It is the honesty they need to survive and a place to put all their unbridled emotions. The culmination of the film arrives with one special performance. Steven creates a new piece of choreography based on his experiences and those of his handpicked students, and my god, it is a revelatory dance. This choreography is therapy. This choreography is healing. This choreography is lifesaving. Steven knows it, and as the credits roll on LIFT, audiences will know it, too.

In Select Theatres on September 15, 2023
And Available to Buy or Rent on Digital September 22nd

*Best Documentary Audience Award 2nd Place – 2022 Tribeca Festival*
* Best Documentary Winner – 2022 San Francisco Dance Film Festival*
*Top Prize Children’s Resilience in Film Award – Shine Global Awards*
*Best Documentary Audience Award 2nd Place – 2023 Seattle International Film Festival*
*Best of Fest Winner – 2023 Palm Springs International Film Festival*
*2022 Hamptons International Film Festival*

Release Date: In Select Theatres on September 15, 2023, and On Digital & On Demand on September 22, 2023
Directed By: David Petersen
Featuring: Steven Melendez (Principal Artist and Artistic Director of NYTB), Diana Byer (Founder and former Artistic Director of NYTB), Victor Abreu (LIFT Dance Student, Member of New York City Ballet’s corps de ballet), Yolannsie Cardona (LIFT Dance Student), Sharia Blockwood (LIFT Dance Student)Produced By: Mary Recine, David Petersen
Executive Produced By:  Jody Allen, Ruth Johnston, Rocky Collins, Jannat Gargi, Sam Pollard, Alex Kurtzman, Jenny Lumet, Bruce Evans, Lisa Kleiner-Chanoff, Bonni Cohen, Megan Gelstein
Executive Produced By and Principal Advisor: Misty Copeland
Distributed By: Paramount Global Content Distribution
Genre: Documentary
Rating: PG-13 for brief strong language

Social Media: @ParamountMovies #LIFTDoc

LIFT Community Service Program provides scholarships for talented at-risk and underserved children at the School of NYTB, as well as programs that champion dance for the greater good. LIFT includes a year-round Study Program for children at risk and homeless. 


TIFF 2023 review: ‘IRENA’S VOW’ is harrowing, engrossing, and timely film.

IRENA’S VOW

Based on the true story of Polish nurse Irena Gut Opdyke, director Louise Archambault brings TIFF 2023 audiences IRENA’S VOW, a harrowing tale of a young woman’s relentless bravery during WW2.

Feeling an overwhelming need to protect a group of Jewish workers during the Nazi regime, Irena hatches a plan to hide them in plain sight. Under the watchful eye of a vile general and the comings and goings of those who would have them all killed on a whim, one woman saves the lives of strangers, making way for change. Opdyke’s meticulously choreographed schedule of maneuvering workers and her wards is breathtaking. Her sacrifices will bowl you over. Sophie Nélisse breathes life into Irena. She is equal parts heroic and vulnerable. I didn’t even recognize her from her brilliant work on Yellowjackets. She transforms into Irena with an elegance that is perfection.

The costumes and sets place you back in time, making you feel claustrophobic within the walls of a mansion. Bravo to the production design team. The storytelling is authentic, brutal, heartrending, and inspiring. IRENA’S VOW displays how quickly evil permeates a culture, how goodness can overcome those forces, and the importance of standing up for what’s right in the world. Timely and crucial in the face of ignorance and hate, IRENA’S VOW is a triumph in this year’s lineup.


Monday, September 11
Scotiabank Theatre Torontolocation_on

Review: Jacqueline Castel’s ‘MY ANIMAL’ is the small-town sapphic monster movie we all needed.

MY ANIMAL

Heather, an outcast teenage goalie, falls for newcomer Jonny, an alluring but tormented figure skater. As their relationship deepens, Heather’s growing desires clash with her darkest secret, forcing her to control the animal within.

Jacqueline Castel gives us an incredibly nuanced and modern twist on the classic monster movie.  Heather is already a loner, with small-town gossip labeling her damaged goods based on her mother’s alcoholism. The film opens with a fantastic backstory of that scenario. One of the most intriguing aspects of the family dynamic has to be the calm acceptance of the curse but the loathsome attitude towards Heather’s sexuality. This clever dichotomy deepens our emotional investment in her happiness. MY ANIMAL transfixes with an almost slow-burn feel and the lack of gore. 

Stephen McHattie, a genre legend, plays Heather’s dedicated father, Henry. He is genuinely caring, encouraging, and a brilliant addition to this film. It’s a lovely turn. Amandla Stenberg plays Jonny with a fiery energy. She has an effortlessly commanding presence. Bobbi Salvör Menuez gives Heather award-worthy vulnerability. They bring fearless intention from beginning to end. Their chemistry with Stenberg is organic, keeping the audience emotionally invested.

Augustus Muller‘s synth-heavy score serves a dual purpose in establishing the period and eliciting an ominous horror vibe. The constant presence of red gel lighting and the handheld camerawork are hypnotizing. The film has one of the most erotic and masterfully crafted love scenes. Bravo to intimacy coordinator Mimi Côté. MY ANIMAL is a slick metaphor for the isolation and ostracization of small-town LGBTQIA+ individuals. Horror elements aside, being different might feel like a curse some days. MY ANIMAL shows the power of owning one’s individuality.


MY ANIMAL is in select Theaters on September 8, 2023 and on Digital September 15, 2023.


DIRECTED BY: Jacqueline Castel
WRITTEN BY: Jae Matthews
PRODUCED BY: Andrew Bronfman, Michael Solomon
CAST: Bobbi Salvör Menuez, Amandla Stenberg, Heidi von Palleske, Cory Lipman, Charlie & Harrison Halpenny, Joe Apollonio, Scott Thompson, Dean McDermott and Stephen McHattie

SYNOPSIS: Bobbi Salvör Menuez (Euphoria) and Amandla Stenberg (Bodies Bodies Bodies) ignite in this genre-bending supernatural love story. Tormented by a hidden family curse, Heather is forced to live a secluded life on the outskirts of a small town. When she falls for the rebellious Jonny, their connection threatens to unravel Heather’s suppressed desires, tempting her to unleash the animal within.


RUN TIME: 103 minutes
RATING: R for language throughout, sexual content, nudity, some drug use and violence
GENRE: Horror, Romance
DISTRIBUTOR: Paramount Global Content Distribution


 

Review: Aitch Alberto’s TIFF 2022 hit ‘Aristotle and Dante Discover the Secrets of the Universe’ comes to theatres this Friday!

presents

Aristotle and Dante Discover the Secrets of the Universe

Two boys that could not seem more different at first glance bond over the summer of 1987. Dante is a self-assured and artistic extrovert. He’s the type of friend you’d only dream would come into your children’s lives. His father is a writer. He knows more about art history than any adult. More introverted, Aristotle struggles with his family dynamic and feels different. Longing to find his place in the world, anger, confusion, and fear hold him back. The friendship they form changes the trajectory of their futures. Aristotle and Dante Discover the Secrets of the Universe is a coming-of-age tale beautifully adapted for the big screen and brimming with emotional complexity.

I was shocked to discover that Max Pelayo and Reese Gonzales are first-time leads. They are two of the most natural talents I’ve ever seen onscreen. Their chemistry feels wholly organic. Each brings a raw vulnerability that’s touching and visceral. No doubt their experiences send you back to your awkward teenage years. Their unrestrained frankness is palpable. Pelayo and Gonzales are undeniable stars. 

Isabella Summers‘ score perfectly captures the sweltering summer days of our youth with its plucked guitar strings and piano. Music supervisor Adam Bennati brings all the greatest hits from the 80s, made even more poignant by the radio DJ chatting in between. 

The script’s structure is in three distinct acts. The first has Dante and Ari become friends. The second finds Ari and Dante writing letters to one another as Dante and his family have moved to Chicago for the year. We follow Ari’s social and emotional adjustments during this time as he comes to terms with his feelings. We also hear Pelayo and Gonzales’ voiceover acting as they read each letter. It’s a moving choice. Act three sees the return of Dante and the repercussions of living your authentic self.  

Director Aitch Alberto‘s ability to capture the truth in these experiences makes me want to run out and read the source material from Benjamin Alire SáenzLin-Manual Miranda, inspired by Alberto’s screenplay after narrating the audiobook, felt compelled to hop on board as a producer. His stamp of approval carries a lot of legitimate weight. 

Aristotle and Dante Discover the Secrets of the Universe is an exquisitely important film. Representation matters so much. To see yourself onscreen, to feel like you’re not alone. There is a massive audience for this story. Queer adults who grew up in the 80s will be inextricably affected by this film. Today’s youth needs more stories like this.


The film premiered at the 2022 Toronto International Film Festival to rave and is currently 100% on Rotten Tomatoes.

It will be released in theaters September 8 by Blue Fox Entertainment. Aitch Alberto has most recently been featured on Variety’s 10 Directors To Watch for 2022 as well as Indiewire’s 22 Rising Female Filmmakers to watch in 2022.

She has also been included on The Black List’s inaugural Latinx List, the Tracking Board’s Hit List and Young & Hungry List, and NALIP’s list of “Latinx Directors You Should Know”


 

Ooh, la, la! Nicola Rose’s charming indie ‘GOODBYE, PETRUSHKA’ has potential for days.

GOODBYE, PETRUSHKA

Awkward, puppet-loving Claire takes a leap of faith and moves to Paris to pursue her dreams and change the life of a French figure skater. Yup. You read that correctly. GOODBYE, PETRUSHKA exemplifies indie filmmaking with its uniqueness while simultaneously grounding itself in solid fairytale elements. Fall in love with Claire and her authentic and innocent outlook on life.

Joëlle Haddad-Champeyroux plays innumerable ancillary characters. It is a fantastic running joke. Thomas Vieljeux gives Thibaut a melancholy and wounded self-esteem that suits the narrative. It also places Claire in an unexpected hero role.

Casey Landman is Gen Z perfection as Claire’s best friend, Julia. She settles into her privilege and fashionista vibe like a pro. Landman is a spectacular foil for Claire. She is the delightful and necessary comic relief that counters the overall arc.

Lizzie Kehoe is hilarious as Claire. She’s the quirky yet emotionally stunted girl who is genuinely charming. Her giddy exuberance is infectious. Kehoe gives it her all as we wade through an increasingly complex coming-of-age story.

The script never takes itself too seriously and lives in its unapologetic campiness. The dialogue is quippy and laugh-out-loud funny. Each character is memorable. The animated sequences are adorable. I would have loved to see it integrated from the beginning. They enhance the genuine sweetness in the story.

The film’s only fault is perhaps its length. It could use a trim on some of the lingering shots. On the other hand, the story would benefit from being fleshed out and turned into a miniseries. I think the characters earn backstories and an even deeper emotional investment. GOODBYE, PETRUSHKA would make an accessible YA series. Writer-director Nicola Rose covers a lot of ground in an hour and forty minutes. Hidden beneath a classic meets modern fairytale structure lies political commentary, gender dynamics, emotional manipulation, and celebrated individuality. GOODBYE, PETRUSHKA has solid development potential. Rose has a voice, and there is an undoubtedly hungry audience for what she’s serving.


https://youtu.be/nK3iC4cMBJQ?si=Xd2B-HWRl_5xhdkq

Indie feature GOODBYE, PETRUSHKA, world-premiered at Dances with Films in LA and is now streaming on Amazon, Tubi, and other platforms