An only child’s account of an American family’s rise and fall over two decades.
Fascinatingly stylized look at the memories that compromise our childhood, The Cathedral is a unique entry in the Sundance 2022 NEXT section. Writer-Director Ricky D’Ambrose uses static camera work to capture angles a child might see, either themselves or from physical photographs from an album. Interspersed with news clips and commercials from the 80s, 90s, and early 2000s, the sets, and costumes nail the eras. The Cathedral is narrated by an unknown female voice, recalling the family history in a frank, rather emotionless manner. There are jarring moments due to the lack of sensitivity. They speak volumes and, they make you squirm. There’s something about a multigenerational household that can ruffle feathers. The awkward exchanges from grandmother to grandson, the one-sided conversations from volatile phone calls, and those infamous family gatherings are all things we can relate to from our childhoods.
Performances run the gambit between harsh, exuberant, uneventful, and that is what makes them so realistic. Our memories are but a collection of random references. The anxiety we carry as adults may stem from events such as divorce and/ or prolonged exposure to familial toxic masculinity. At least for many in my generation. The Cathedral shows us D’Ambrose’s ability to captivate an audience in the most unexpected ways. I’m eager to see what comes next.
Cast: Brian d’Arcy James, Monica Barbaro, Mark Zeisler, Geraldine Singer, William Bednar-Carter.
North American Premiere. Fiction.
After discovering case files from a 1950s gender clinic, a cast of trans actors turn a talk show inside out to confront the legacy of a young trans woman forced to choose between honesty and access.
If you think trans history is something new, Sundance 2022 documentary Framing Agnes is about to blow your mind. Director Chase Joynt, sociologist Kristen Schilt, historian Jules Gill-Peterson, and trans actors Zachary Drucker, Angelica Ross, Silas Howard, Jen Richards, and Max Wolf Valerio all play dual roles. The doc is structured in reenactments of the 2017 discovered files from Dr. Harold Garfinkel’s UCLA gender health study in the 1950s. Christine Jorgensen‘s glamourized story plays as a backdrop for the media. In many ways, trans women find it difficult to avoid. Through the UCLA transcripts, we learn about the varied physical and emotional difficulties they endure daily. The interviews are presented in a 50s era talkshow format, spotlighting the sensationalized platforms of the past all the way to the Katie Couric interview with Carmen Carrera and Laverne Cox. This experimental mesh of styles would also present well in a live stage format. It’s an important film that further enlightens us of the plight of the trans community. Framing Agnes melds past and present in a beautiful way. While it’s a personal film for the cast and crew, it will also hit home for a wide range of viewers.
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