AN ARMY OF WOMEN
In SXSW 2024 doc AN ARMY OF WOMEN, a group of rape survivors in Austin, Texas, fight relentlessly for accountability.
In the film, a first-of-its-kind lawsuit filed years ago has gone ignored. Calling out the inaction of police, the acting Attorney General, and the city of Austin for their blatant inaction when it comes to prosecuting sexual assault. AN ARMY OF WOMEN is a microcosm of patriarchal rot.
“Our society doesn’t take rape seriously.” This statement from one of the lawyers on the case perfectly sums up the failures of our current justice system. Data does not lie. With only 10% of rape survivors reporting their assaults, only 1% go to trial, and of that 1%, only 0.07% result in a conviction. Good luck trying to get accurate numbers of reported rapes, even in a deep dive on Google.
Our Plaintiffs, some unnamed, read portions of their police reports. The similarities in systematic failures are disturbing and infuriating. One particular plaintiff gives the audience a poignant look into the emotional gaslighting of survivors. She still questions whether or not her case deserves to be attached to the lawsuit. “Do you give up? Or do you double down?”
AN ARMY OF WOMEN is inadvertently an ad for democracy. In the 2020 election cycle, the plaintiffs got behind a new Attorney General candidate and advocate, Jose Garza. He won, creating a path for the case to restructure and refile. But as the case progresses, age and experience have vastly different effects on each plaintiff. It unlocks a new level of ferocity for justice for all.
Julie Lunde Lillesæter pushes back the curtain of a broken justice system. The realities displayed in this film are the reasons women collectively want to scream into the ether. SXSW 2024 audiences will learn how close to home this case was. AN ARMY OF WOMEN inspires equal parts fury and hope.
Directed and Produced by Julie Lunde Lillesæter
Produced by Natalya Sarch, Arne Dahr
Co-Produced by Jessica Wolfson, Maria Willer, Bernhard von Hülsen
Executive Produced by Julia Dahr
A group of women in Austin, Texas, join forces to legally challenge the system that allowed their rapists to walk free. “An Army of Women” is the landmark story of women fighting to hold law enforcement accountable, with resounding relevance worldwide.
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Dr. Franklin Caul has created a simulated consciousness with the dead. The DOJ wants it, but Caul has ulterior motives. The tech uses data from the deceased to have conversations or seek answers. In the mix is a swirl of overlapping thoughts and confusion that get under your skin. You cannot help but listen to them, and they are chilling. Caul observes that when suicide is the cause of death, the deterioration of self slows.
What might sound crazy is that this tech already exists. Customers can pay several different companies worldwide to build an AI version of their past loved ones. A recent Sundance documentary, 
Thomas Walton‘s CAMP PLEASANT LAKE centers around a horror camp created based on a 20-year-old legend of a missing child and the brutal murder of her family on their way to the very same camp.
Christopher Sky is the former vile camper turned Camp of Terror counselor, Mike. He is a sufficient asshole and you will revel in his inevitable demise. Jonathan Lipnicki is hands down the best part of CAMP PLEASANT LAKE. His unfettered commitment to the role is genuinely awesome.
It is evident the film is made by genre fans. Practical fx are bloody good, even if the pace and dialogue drag. The kills get better as the plot rolls along. I did wish the variety of attendees had been more eclectic. At $10k each, I was looking for fewer numbers and more development of these characters because the possibilities were endless.
Nancy Travis is a lovely addition as Ed’s mother. Her down-to-earth attitude solidifies generational Kentuckian views. Travis has fantastic chemistry with each cast member. You might think she was their real-life relative. Skywalker Hughes and Emily Mitchell, as the Schmitt siblings, are darling. Each provides precisely what the other needs in each scene, giving the audience (especially parents) a genuine emotional stronghold. Alan Ritchson gives Ed a prideful authenticity. Ed is kind and quiet but mired in grief. Ritchson creates a safe space to express the nuances of loss and masculinity.
Hilary Swank gives Sharon a spitfire vibe. She’s smart, organized, and motivated to make a positive mark on one family’s life. Initially going through the motions as a high-functioning alcoholic, this hairstylist-turned-advocate does her best to save the life of a little girl and her family drowning in debt and personal loss. Swank delivers on Sharon’s renewed sense of purpose. A backstory brimming with unresolved trauma speaks volumes. Swank navigates the underlying complexity like the pro. Franky, she is a tornado of energy that makes ORDINARY ANGELS a sweet and inspiring watch. 
ORDINARY ANGELS have genuine
Christofascism and government-sponsored militia, paramilitary gear and all, provide immediate rage and fear. The J6 patches are a brilliant touch. Ron goes undercover to rescue his wife, reunite his family, and get to the safe house for extraction. HISTORY OF EVIL shifts from a governmental apocalypse to a haunted house story about 20 minutes in. It’s a clever device. The script has honest echoes of Amityville Horror with Ron’s slow indoctrination into White Nationalism through hauntings and hallucinations. Bo Mirhosseni has created an incredibly disturbing arc. 
Rhonda Johnsson Dents plays T, a modern-day Harriot Tubman for The Resistance. Her character adds weight to the film, and Dents gives a breathtaking performance. I’d love to see a spinoff where she leads. Paul Wesley captured the world’s attention in the CW series The Vampire Diaries. As Ron, Wesley transforms from an undead teen heartthrob to a protective father. He is charming and funny until the plot spoils him from the inside out. It is a fascinating turn. 
The documentary is by turns uplifting and shattering. Most powerfully, it is a stark reminder of the human costs of ongoing Russo-Ukrainian war. Unbelievably, this week will mark 2 years since Russia’s invasion and escalation of the conflict. While the war may not be at the forefront of the public conscious in 2024 to the same degree as it once was, it remains a constant for the staff and families at Veselka. This is not an overseas battle for them – these are their loved ones and families fighting and dying while the world moves on to the next crisis.
Chika Ikogwe gives Sergeant Nia Bransona a brilliant coolheadedness. She brings a nice rhythm as Crowe’s number two. Simply put, Ikoqwe makes the film better. Milo Ventimiglia plays Sugar. Serving as Master Sergeant and Delta Force team leader, his measured badass attitude feels incredibly authentic. He is a tremendous addition to the cast.
Handheld camera work gives the film a solid, immersive feel. Slow motion dynamics and augmented sound editing make your palms sweat. The pyrotechnician team displays every bit of explosive goodness.
Forty minutes in, LAND OF BAD switches lanes. The intensity ramps up as Reaper and Branson navigate Kinney to safety. Eubank and co-writer David Frigerio deliver a heart-pounding story of loyalty, determination, and trust. The screenplay’s evolution is applause-worthy. After a fifteen-minute setup, the plot shifts multiple times, never allowing the audience to be complacent. It is impressive for a genre that might get stale and cliche. I may have yelled, “Oh, Shit!” at the screen. No. I most certainly did. LAND OF BAD is undeniably entertaining and deserves a watch on a large screen with the highest-quality sound system.
The film takes place in a single location where The Interviewer records her podcast. The secluded and expansive modern mid-century estate allows her to wander, but most of the action happens at a desk or in front of the wall of windows that contain her discoveries. Our journalist creates an episode of her first phone calls. Editing the calls at her will, the audience questions her culpability. This small moment puts your morality compasses in a tailspin. It is a slick move from writer Lucy Campbell. Podcasts are my nightly ritual, cleaning motivation, and my travel companion. Since SERIAL, the industry has exploded. In MONOLITH, the story goes viral. People begin contacting her directly with their stories, always warning her to stop.
At some point, the danger reaches the front door of our journalist’s secluded location when she receives a package related to the mysterious story. The darkness attached to the object feels slightly Faustian and not of this planet. No one remembers how they received their object, but each reaches a point in questioning where they feel compelled to hang up out of fear.
Is this a case of mass hysteria? In many ways, the plot mirrors today’s conspiracy groups like QAnon. Our leading lady goes down the rabbit hole, and the audience follows. MONOLITH boasts a jaw-dropping final ten minutes. This is one hell of a sci-fi thriller. It is a must-see.
On-the-ground video from January 6th, up close and personal from cell phones, retraumatizes the viewer. The new footage is mind-boggling and will undoubtedly fill you with rage and disgust. The film features sociologists, authors, historians, lawyers, and pastors. We examine the Constitution and the precise articles requiring separation of church and state. We look at evolving statistics on social issues through the years. The interconnectedness of women’s rights, race, and power is undeniable. 
Violence as a means of “spiritual defense” comes directly from the pulpit over and over. The film effectively builds towards January 6th by wading through the madness swirling in the years prior. It is utterly bewildering and 100 percent terrifying. This coordinated effort to keep people in a cult is deliberate and well-funded. History repeats itself. Wait until you find out the architect of Evangelical sermons. 
GOD & COUNTRY keenly explores the long history and bastardization of Christianity through White Nationalism. It is a political movement about power. America is a ticking time bomb encouraged by social media, media, and billions of dollars. Stay vigilant and show up at the polls because democracy depends on it.
Cleverly choreographed camera work by Aurel Ganz makes us think the film is one long take. Just as impressive is the actual shot list. 28, to be exact. It is one hell of a visual feat. The flip side of these takes is the narrative feels draggy even at 110 minutes. The sci-fi element does not seem necessary to the plot. Ultimately, it goes nowhere. 
Performance is solid from our four main leads, each one bombarded by misogyny, judgment, and outright hateful behavior. LAST PARTY might be more successful as a series. There is much needed in character development, although the breadcrumbs are there. It feels more like a treatment for a larger project than a stand-alone piece.
Authentically hilarious, audiences get to know Nellie through a series of sexual romps, engagement parties, weddings, baby showers, and pregnancy panic stories. The inundation of opinions and horror stories sounds familiar to me. I got pregnant at 35 and 36, so, naturally, I was deemed a “geriatric.” The combination of rage and fear was no joke. Leah McKendrick nails the ups and downs of that stage of life. It’s an existential crisis that you only truly understand if you’ve experienced it firsthand.
Mort and Michelle’s dynamic feels incredibly forced. The dialogue is a bizarre mix of awkward bad jokes and deeply personal romantic words. It is a baffling mix. The story is a mess, and there are innumerable superfluous scenes. The pace is glacial. At an hour and fifty-six minutes, this could have been eighty minutes at the most. 
The most successful aspect of the film is Eric Roberts‘ soothing narration, but there are too many inconsistencies for the final twist to go down smoothly. This is one of those times where a flashback montage of all the clues would greatly benefit the film.
Timoner gets a completely unfiltered look inside the magic and mayhem in 7 years of behind-the-scenes footage. It’s a competition between the vibrant, often cocky, argumentative, drug-fueled, genuinely talented musician behavior of BJM versus the chill, business-minded, trustworthy, equally gifted Dandys. Each band pushes the other to greatness with contrasting tactics. Ondi’s handheld freestyle way of shooting is immersive and tangible. With the rapid-fire editing and narration from Joel Gion and Courtney Taylor, you’re entirely entertained. Huge personalities clash, eccentricities push people’s buttons, and childhood trauma rears its ugly head. 
Kate Lyn Sheil (
My love for Scott Haze knows no bounds. From his breakout performance in 
The ominous score by Tristan Bechet sometimes grates in a way that makes you subconsciously cringe. The continuous low din instills pure fear. Stay through the entire end credits for more eerie ear candy. THE SEEDING has echoes of The Hills Have Eyes horror and Midsommer folklore. All said it is an upsetting watch, and that’s what genre fans show up for.
George Basil plays Dave, the construction foreman, with a life-affirming kindness. One of his lines perfectly sums up the film’s heart, hitting you square in the chest, “We’re just friends walking each other home.” Hollowell is outstanding as Gloria. Her comic timing is the stuff of the gods, but she also delivers authentic depth. She is a star.
Kate Jean Hollowell is a multi-hyphenate director, comedian and musician, who honed her humor, storytelling and visual style by making her own music videos, showcased at SXSW in 2022 and 2023, as well as her short film Are They Smiling?, which premiered at the 2020 Portland Film Festival and won several awards. Taking on narrative, Kate has managed to find a unique voice that balances humor and heart through all her work. Finding ways to insert unexpected musical numbers in everything she does is a trademark all her own.
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