Slamdance Film Festival (2022) review: ‘IMPERFECT’ razzles dazzles ’em.

IMPERFECT

A professional company of actors with disabilities defies expectations by taking center stage in Chicago the musical.


I was a musical theatre major at a conservatory program in Manhattan twenty years ago. As a performer and director, I understand what it takes to make a musical come to fruition. The amount of work ethic required to succeed is unfathomable for anyone outside the industry. I cannot imagine the added uphill battle of mounting a show where every cast member has a disability. IMPERFECT showed me that it’s not only possible but positively triumphant.

The film takes us from pre-production to auditions, all different kinds of rehearsals, and leads us into opening night. You fall in love with each cast and crew member instantly. Their vulnerability hits you in the heart.

The film breaks away from rehearsals to focus on each individual’s personal life. These moments successfully solidify our emotional investment in the cast. We get to know who these actors are and why they choose the theatre. Everyone is unique. Sometimes we forget that disability comes in all forms. Their spotlights shine with eloquence and honesty. They raise awareness, shatter stereotypes, and remind us to choose kindness.

Chicago possesses a poignant song for this particular community. It’s called “Mr. Cellophane.” It’s a song performed by Amos. He is Roxie’s adoring pushover of a husband, where he sings about feeling invisible. As the number ends, he proceeds to apologize. I have a feeling this hit home for much of the cast.

I could have watched an entire film on the audition process alone. Frankly, I would watch a series of “imperfect” shows. It is a brilliant treatment for years of unique entertainment. Phamaly Theatre Company might have cornered an untapped market for the masses. Televising the process could have these performers reach a massive audience beyond “Chicago.” Pushing that grandiose idea aside, as a stand-alone doc, you’ll fall head over heels in love with this company. Directors Brian Malone and Regan Linton (who plays double duty as “Chicago’s” director) have given audiences everywhere a heartfelt gift in IMPERFECT. We learn much in an hour and fifteen minutes.

IMPERFECT bleeds authenticity. The fearless nature of baring one’s soul on stage takes on new meaning in IMPERFECT. Was I weeping with overwhelming pride and pure unadulterated joy as opening night finally came to life? Yup. The cast and crew made magic for that audience, the one at home, and themselves. You’ll give them a standing ovation because “they had it coming, all along.”


IMPERFECT will be screening in competition, in the Documentary Features section at the 2022 Virtual Slamdance Film Festival. To purchase a festival pass, please visit https://slamdance.com/2022-passes/

RT: 77 Minutes | Not Yet Rated

Genre: Documentary

Website: www.imperfectfilm.com


Slamdance Film Festival Review: ‘A Great Lamp’ shines bright.

SYNOPSIS

Set in a small riverside town in North Carolina, two sad vandals and an unemployed loner long await for a fabled rocket launch.

A Great Lamp isn’t about what you think it’s about. Although, I’m not sure what I really thought it was about until the final 30 minutes. This film is like no other. Shot in black and white, at intrusive angles, with rudimentary line animation scattered over narratives, it’s whacky and wonderful and slightly reminiscent of MTV’s Liquid Television. Three men, each unique and yet totally suited to be friends await a mysterious rocket launch. But, as I said, that’s not really what the film is about. Underneath the twisty dialogue that may or may not be completely ad-libbed, there is a dark sadness. Each man has lost a parental figure, whether literally or emotionally. Dealing with depression and emptiness among surrounding quirkiness is just another aspect that makes A Great Lamp so intriguing. It is perfect for festival goers and cinephiles alike seeking something off the beaten path.

Showings – select to order tickets:
Fri, Jan 25th, 3:00 PM @ Ballroom
  • Runtime:
    77 minutes
  • Language:
    English
  • Country:
    USA
  • Premiere:
    World Premiere
  • Director:
    Saad Qureshi
  • Screenwriter:
    Saad Qureshi, Donald R. Monroe, Max Wilde, Spencer Bang, Steven Maier
  • Producer:
    Saad Qureshi, Donald R. Monroe, Alison Donohue
  • Cast:
    Max Wilde, Spencer Bang, Steven Maier, Julian Semilian, Laura Ingram Semilian, Netta Green, Connie Stewart, Smokey, Spaz
  • Cinematographer:
    Donald R. Monroe
  • Editor:
    Max Wilde

Review: ‘DRIFTWOOD’ is anything but hollow.

You might think that a film without a single word of dialogue would be difficult or tedious to watch. You’d be completely wrong in the case of festival favorite, Driftwood. After a young woman washes up on shore, an older man “rescues” her and brings her to his home to recoup. But all is not what it seems from the very beginning. The relationship between the two is unsettling at every turn. Is the woman an amnesiac? Performances from all three cast members are equally intriguing. Each wanting for something completely different. Again… all without dialogue! The viewer’s insinuations make this story a unique emotional journey. Writer/director Paul Taylor has done something so new and strange, easily running the gambit of humorous to patriarchal grotesque, Driftwood will leave you scratching your head and wanting to watch again and again. The impact is undoubtedly endless.Check out the film’s chilling trailer below…
DRIFTWOOD is now available on ITUNES

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Paul Taylor’s DRIFTWOOD was the 2016 Slamdance Jury Prize winner for Best Narrative Film