SXSW 2022 short film review: ‘NOT EVEN FOR A MOMENT DO THINGS STAND STILL’ is a film that will imprint on your soul.

NOT EVEN FOR A MOMENT DO THINGS STAND STILL

Art as catharsis happens when we have no words. It is one of the innumerable reasons we create. In September 2021, artist Suzanne Brennan Firstenuerg made something that would stun the country. She planted a white flag on the National Mall for each person who had died of Covid-19 in America. The reaction was nothing short of awe-inspiring.

You can see the momentary panic on the faces of friends, family, and frontline workers wondering where to place their small white flag in an eventual sea of over 700,000. We hear the intimate audio, prayers, sobs, and send-offs that no person dreams of giving in this way. Beyond that, the sound design is simple, the wind blowing gently against each tribute. The result is like the sound of the ocean. The title serves as a triple entendre, echoing the relentless tragedy of the ever-evolving virus, the flapping of the flags, and the words of the Japanese Death Poem by Seiju.

Not even for a moment
do things stand still; witness
color in the trees.

Even though we’re watching on a screen, the vastness of the piece is never lost. The visual impact is visceral. Somehow, this representation is almost a better reference to those who still deny the virus existed in the first place. While those minds may never change, those living in reality can feel the massive impact of this monument. NOT EVEN FOR A MOMENT DO THINGS STAND STILL is 15 minutes of collective grief. It is one of the most powerful short films I’ve ever had the privilege to experience. And it is precisely that, an experience.


Director/Writer:                      Jamie Meltzer
Producers:                              Annie Marr, Jamie Meltzer, Suzanne Brennan Firstenberg
Editors:                                   Jamie Meltzer, Annie Marr
Cinematographers:                Mario Furloni, Melissa Langer
Sound Design:                       Dave Cerf
TRT:                                        15 min
Country:                                 USA


 

SXSW 2022 review: ‘THE PRANK’ has Rita Moreno and revenge.

THE PRANK

The Prank sxsw 2022

We all had that teacher in high school that we loathed, either because they were a terrible teacher or just plain evil. In The Prank, two students sick of an AP Physics teacher terrorizing the school come up with a scheme to frame her for murder. Can Ben and Tanner shift the power dynamic? More importantly, how will Mrs. Wheeler react?

Ben is your typical overachiever, while his best friend Tanner is a slacker. Funny thing, neither is what they appear to be. Tanner is a hacker genius. When the infamous teacher from our nightmares, Mrs. Wheeler, discovers someone has cheated on her Physics midterm, she threatens to fail everyone. Fed up with the power she holds, Ben and Tanner make a plan to take her down. A handful of ridiculous memes and embarrassingly fake “evidence” spirals out of control. But that’s just the beginning of The Prank.

Connor Kalopsis plays Ben with visceral anxiety in his attempt at a scholarship. His quiet confidence is a solid foil for co-star Ramona Young. I would be remiss to mention Meredith Salinger as his Mom. She’s quick-witted and down-to-earth and would have loved to see more of her. She’s a charmer.

Ramona Young as Tanner is a spitfire. With excitable energy, she bounces off of Kalopsis without ever getting campy. Their chemistry is akin to any series regulars on The Disney Channel or Nickelodeon. Kate Flannery plays the lunch lady with a sass that deserves a standing ovation. The scenes between her and Young, while short, are undeniably memorable.

Rita Moreno brings this Goosebumps-friendly film to life with her iconic character-building abilities. Her comic timing is legendary. Her presence onscreen and onstage is massive. She nails every beat of Mrs. Wheeler. Playing against Kalopsis and Young, her ability to outwit her scene partners is unmatched. Moreno captures the familiar sternness that made us shake in our boots when we were younger. Her acid-tongued delivery of screenwriters Becca Flinn-White & Zak White’s dialogue is chef’s kiss. You’ll love to hate her.

The Prank leans into the classic rumor mill, updating it through social media. Without spoiling the film, the fallout that makes this film special. It was a surprising selection for SXSW22 but in a good way. The Prank is the most fun teen-centric comedy at this year’s festival. Stick around for the credits.


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SXSW 2022 review: ‘DEADSTREAM’ is a horror-comedy fan’s dream.

DEADSTREAM

After a public controversy left him disgraced and demonetized, a washed up internet personality tries to win back his followers by livestreaming himself spending one night alone in an abandoned haunted house. When he accidentally pisses off a vengeful spirit, his big comeback event becomes a real-time fight for his life (and social relevance) as he faces off with the sinister spirit of the house and her own powerful following.


Joseph Winter plays Shawn, a delightful douchebag. Or, as we regularly refer to this type of personality, a YouTube star. He promises his audience he’ll spend the night in an infamously haunted location. As the evening unfolds, Shawn’s backstory slowly comes to light. Is this stunt an act of redemption or a money grab? Whichever it is, we win with Deadstream.

Shawn interacts with the livestream comments ranging from rude to fangirl, skeptical to genuinely helpful. Some of those comments come with videos making the narrative feel immersive for the audience. The Host was a huge indie hit in 2020. The plot occurs over a Zoom seance, where the audience is also a participant on that call. Dreadstream benefits from this similar format because it will feel like you’re part of the action. It’s only the second film I would recommend watching on a laptop.

The cinematography is a collection of Go Pro and infrared cameras, giving Deadstream a first-person gamer experience. While Shawn performs promised acts of silliness, he also tells the history of each room and its associated ghost. The majority of the set is lit from Shawn’s headlamp, enhancing the scares. I constantly anticipated a jump scare. But, it’s the brilliantly written buildup of tension that kept me on the edge of my seat. 

Joseph Winter abandons every ounce of his dignity in Shawn. He’s fearless in his slapstick and could not care less how absurd he looks. The way he screams is comedy gold. Winter nails that manic energy and the over-the-top vocal nuance of any YouTube star or influencer. I cannot imagine anyone but Winters doing Shawn justice. 

Deadstream is an ode to horror fans. It is a film Sam Raimi would be proud of. As for us genre nerds, don’t act like you didn’t watch Paranormal State, Ghost Hunters, or Ghost Adventures whenever Evil Dead wasn’t available to rent, again. Deadstream takes all the elements of those staples and melds them together with modern-day social media and cancel culture. If you’re not laughing out loud, check your pulse. Writing and directing team Vanessa Winter & Joseph Winter let SXSW22 audiences in on the joke. Deadstream gets me to hit “Like & Subscribe.” These filmmakers just earned a new fan. 


To learn more about SXSW22 click here!


SXSW 2022 review: ‘THE CELLAR’ begins with great source material.

THE CELLAR

Filmed on location in Roscommon, Ireland, The Cellar tells the story of Keira Woods (Elisha Cuthbert), whose daughter mysteriously vanishes in the cellar of their new house in the country. Keira soon discovers there is an ancient and powerful entity controlling their home that she will have to face or risk losing her family’s souls forever.


Shudder original The Cellar made its debut at SXSW 2022 in the Midnighter’s section. Elisha Cuthbert helms this haunted house film alongside Eion Macken. As a husband and wife team working on a new Gen X influencer platform, their strangely inexpensive Irish mansion comes with more than some old furniture. With Mom and Dad busy pitching their ideas, kids Ellie and Steven are home alone when the power goes out. As Ellie descends the creepy stairs of the pitch-black basement in search of the fuse, she mysteriously disappears while on the phone with Kiera. 

Writer-director Brendan Muldowney made a short film in 2004 titled The Ten Steps (which you can find online.) The short film is horror perfection. The Cellar is a feature expanded from that story. The Ten Steps captured all the fear in 10 minutes. The Cellar takes a lot of cliches that genre fans will love, and frankly work well, and becomes an overlong and dimly lit film. As a mom, I felt Cuthbert’s sense of urgency was missing. These parents are the least panicked Mother and Father I’ve ever seen. Where are the missing posters? No tears of distress? 

As Kiera investigates the house’s history, we are introduced to everything from Jewish mysticism to quantum physics. I wasn’t expecting math to be a thing, yet here we are. I thought the record player that coaxed the family members into all sorts of trouble was clever. But, not so much the characters googling Latin quotations. It’s a lot. There are fleeting moments of greatness, such as an ancient abacus moving on its own, air blowing from underneath the cellar door as if a creature were heavily breathing. The classic scares worked best for me. The final 20 minutes is where the real action occurs, a clear nod to The Beyond. This is what I was waiting for, and it is genuinely satisfying. The visual change-up was an honest “Hell, Yes” moment, no pun intended. The Cellar is ultimately a film Shudder audiences will dig. So, simply sit back, don’t overthink it, and enjoy the devilish chaos.

 

*Perhaps ignore the fact that it will remind a few of you of Krampus.


Official Selection, SXSW 2022. If you miss its Shudder release, you can catch The Cellar in theaters on April 15 from RLJ Films.


To learn more about SXSW 22 click here!


SXSW 2022 short film review: Is ‘RADICAL HONESTY’ merely an expression or a way of life?

Radical Honesty

At the tail end of a great date, Jack and Rachel bond over a shared interest in deconstructing traditional relationship structures. When Jack reveals the reality of his “radical” open relationship, things take a turn for the absurd in this short film about the co-option of the language of liberation for means of manipulation and control.


At 41, I cannot imagine navigating a new relationship at this precise moment in time. I remember when Match.com first became a thing and how weird I thought it sounded. Then I recall attending four weddings in the years that followed, each couple had met through Match. RADICAL HONESTY, a 7-minute short film, tackles the complexities that Gen Z and Millenials face day-to-day. Performances are natural and the opening camerawork is fun. It is no surprise that the idea of radical honesty is something we experience more and more now. With the push of social media platforms, everyone is encouraged to share an opinion. Yes, this leads to awareness, self-discovery, and connections across the globe, if we’re talking upsides, only. My Xennial self also understands this to be a potential trap. C’est la vie.

I am excited to see this short get an expansion into series form (which is currently in the works). I anticipate having further investment into the world of Jack and Rachel, and whomever they intend to take along on their “journey of truth.” It’s bound to be a hot mess, in the best way possible. Radical Honesty is a great pairing with Hannah Marks‘ film Mark, Mary, and Some Other People. Modern dating is complicated by a lot more than just email and actually showing up these days. Director Bianca Poletti, and actress and screenwriter Allison Goldfarb nail this idea.


Check out the teaser trailer for the film’s aesthetic.

To learn more about how you can watch Radical Honesty and SXSW22 in general, click here!


Director: Bianca Poletti

Screenwriter: Allison Goldfarb

Principal Cast: Allison Goldfarb, John Hein, Melanie Alexa Buenrostro

Executive Producers: Jacki Calleiro, Mindy Goldberg, Bianca Poletti

Producer: Shayna Gianelli

Cinematographer: Corey C. Waters

Editor: Nina Sacharow

Production By: Epoch Films, Disco Pants Inc

SXSW 2022 review: Winner of Best Cinematography ‘A VANISHING FOG’ is spellbinding journey of whimsy and warning.

A VANISHING FOG

Facing the imminent return of an unnamed social and ecological violence, F – played by the emblematic and commanding newcomer Sebastián Pii in his debut cinematic role—yearns to overcome his human limitations and plan his escape, knowing all too well that his departure will come with a heartrending goodbye to the only world he has ever known.


It should be no surprise that A Vanishing Fog won the SXSW22 film festival award for Best Cinematography. This film not only speaks to the race against the climate crisis, but The Vanishing Fog also specifically tackles the helpless human aspect. The film follows a young man named F. He appears to be the last protector of an enormous and lush hidden landscape. As capitalist outsiders seek to buy his home, F’s internal struggle between escape and loyalty is palpable. Caring for his ailing father, attempting to communicate with any possible remaining ally by yelling out into the abyss, F understands the end is nigh, whatever that form may take. 

First-time cinematographer Gio Park shot A Vanishing Fog in the mysterious and formidable Páramo of Sumapaz—the largest swath of alpine moorland in the world. It is the first feature film to be shot in this location. You won’t believe such a place exists. It is so incredible that it looks to have been created on a soundstage or green screen. It will take your breath away. 

A Vanishing Fog is a film that deserves enormous screens. Imagine sitting in a room surrounded by IMAX-sized walls. The film begs this experience. I could easily see this becoming a staple at any museum. Lead actor Sebastián Pii leaves every ounce of himself in this role. He’s charming, innocent, desperate, endearing, and determined. You are right alongside his emotional journey. Visual grandeur aside, Pii captures your heart with his wonder and physical fearlessness. A Vanishing Fog is unlike anything you’ve experienced before. It’s a must-see.

 


A VANISHING FOG (Entre la niebla). Colombia/Czech Republic/Norway, 2021, 76 min. In English and Sunapakún with English subtitles. Director / Writer: Augusto Sandino; Producer: Augusto Sandino; Executive Producer: Alejandro Santo Domingo, Munir Falah and Nubia Stella Cubillos; Cinematography: Gio Park; Editor: Augusto Sandino; Production Designer: Constanza Romero; Sound Designer: Emil Nygård Olsen; Music: Emil Nygård Olsen; Principal Cast: Sebastián Pii, Mario de Jesús Viana, Christian Ballesteros; Worldwide Sales: Pluto Film.

About the director:

Augusto Sandino is one of the outstanding names in Colombian contemporary cinema. Winner of over 30 international accolades and the National Cinema Award 2000-2005 given by the Ministry of Culture of Colombia for his short Aniversario. His feature debut Gentle Breath (Suave el aliento) won the Special Jury prize and the FIPRESCI award at Tallinn Black Nights Film Festival in 2016. Founding Director of the Auteur cinema symposium manifesto with Carlos Reygadas, Lisandro Alonso and Amat Escalante in 2014, Sandino has also been the producer of his films plus the works La forma del presente (The Shape of Now) at DOK Leipzig Next Masters 2018; La torre (The Tower) at IFFR Bright Future 2018; and Karen llora en un bus (Karen Cries on the Bus) at Berlinale Forum 2011. A Vanishing Fog (Entre la niebla) is his second feature film.


SXSW.com


SXSW 2022: ‘HYPOCHONDRIAC’ is a disturbing journey towards self-actualization.

HYPOCHONDRIAC

A young potter’s life devolves into chaos as he loses function of his body while being haunted by the physical manifestation of his childhood trauma.


Will has created a facade of mental wellness. As the past comes back to haunt him, can he keep himself together? Hypochondriac tells the story of a man unraveling and coming to terms with what hides inside. 

Marlene Forte as Mom is a thing of manic beauty. If you want to talk about personality? Forte has it in spades. Zach Villa is a star. His wildly nuanced, fully fleshed-out performance as Will leaps off the screen. He will not be ignored.

The camera work is an entire entity. Editing wise, reflection, double vision, echoing of dialogue all build as the story progresses. These devices slowly place us into the mindset of Will, forcing us to question reality. There are bizarre and jarring references to films like Donnie Darko and Ghost. If you enjoy squirming, Hypochondriac‘s sound editing is a bonus. 

Hypochondriac creatively addresses very real mental health issues. From stress to anxiety, unresolved trauma to potential schizophrenia, it is in this script. To battle against those concerns, products such as CBD Oil are reliable.

It also touches on gaslighting from both family members and medical professionals. Writer-director Addison Heimann brings SXSW22 audiences something unique and incredibly frightening. 


Director:

Addison Heimann

Executive Producer:

Martin Richards

Producer:

Bay Dariz, John Humber

Screenwriter:

Addison Heimann

Cinematographer:

Dustin Supencheck

Editor:

Mike Hugo

Production Designer:

Nicholas Faiella

Sound Designer:

Steven Avila

Music:

Robert Allaire

Principal Cast:

Zach Villa, Devon Graye, Madeline Zima, Yumarie Morales, Marlene Forte, Chris Doubek, Paget Brewster, Adam Busch, Michael Cassidy, Peter Mensah, Debra Wilson

Additional Credits:

Casting Director: Michelle Lewitt, Costume Designer: Jessyca Bluwal, Makeup Department Head: Angie Davis, VFX Supervisor: Zach Moore, Post Sound: Kyle Tilbury, First Assistant Director: Lizzy Walker, Stunt Coordinator: Laurence Todd Rosenthal, Intimacy Coordinator: Carly D. Weckstein


 

SXSW 2022 review: Lily Gladstone stuns in reflective road movie, ‘THE UNKNOWN COUNTRY’

THE UNKNOWN COUNTRY

An unexpected invitation launches a grieving young woman on a solitary road trip through the American Midwest as she struggles to reconcile the losses of her past with the dreams of her future.


THE UNKNOWN COUNTRY is a snapshot of all the people we pass on a journey; the waitress, the motel manager, or the convenience store clerk. It’s a picture of America. The sound editing is a flurry of sounds from a car radio, local and national news reports, music, and whatever Tanna stumbles upon on her way.

Lily Gladstone‘s ability to captivate an audience is something I first noticed in Certain Women. There’s an effortless, tangible quality about her presence that invites the audience. As Tanna, she allows us to join her anxiety and reflective thoughts. It’s a beautiful turn. Ancestral pull, traveling alone as a woman, and her place in the world all swirl around Gladstone, and the audience sits on her shoulder the entire ride.

A meditation on grief, familial roots, and perhaps unresolved trauma? From Gladstone’s raw state to the striking cinematography, the final moments are like a cathartic breath. THE UNKNOWN COUNTRY taps into the universal internal struggle to find our place in the world. The film shines in its humanity. After years of being bombarded with negative energy from politics, the environmental crisis, the pandemic, nationalism, war, social media, and everything in between, THE UNKNOWN COUNTRY gives us permission to grieve the life we thought we’d live and allows us to take a collective breath. SXSW 22 audiences will be talking about this film all year.


sxsw.com


Director:

Morrisa Maltz

Executive Producer:

Miranda Bailey, Rachel Crouch, Veronica Nickel, Natalie Whalen, Gill Holland, Matthew Mills, Steve Malouf

Producer:

Laura Heberton, Lainey Bearkiller Shangreaux, Katherine Harper, Vanara Taing, Tommy Heitkamp

Screenwriter:

Written By Morrisa Maltz, Story By Lily Gladstone, Morrisa Maltz, Vanara Taing, Lainey Bearkiller Shangreaux

Cinematographer:

Andrew Hajek

Editor:

Vanara Taing

Sound Designer:

Liz Marston/Skywalker Sound

Music:

Alexis & Sam (Alexis Marsh/Samuel Jones), Neil Halstead (Slowdive)

Principal Cast:

Lily Gladstone, Raymond Lee, Richard Ray Whitman, Lainey Bearkiller Shangreaux, Devin Shangreaux, Jasmine “Jazzy” Bearkiller Shangreaux, Pam Richter, Dale Leander Toller, Florence R. Perrin, Scott Stampe

Additional Credits:

Drone Cinematography: Will Graham, Production Coordinator: Will Malouf, Production Coordinator: Tracy Mailloux, Production Sound Mixer: Codi Putman, First Assistant Camera: Andrew Newton, Production Sound Recorder: Randal Iverson


 

SXSW 2022 review from Unseen Films: ‘This Much I Know To Be True’

This Much I Know To Be True

THIS MUCH I KNOW TO BE TRUE is Nick Cave & Warren Ellis performing songs from the albums Ghosteen and Carnage. It’s a performance film shot over five days before they took it on tour.

If I told you this film is a religious experience, you would think I was daft, unless you’ve ever seen Cave in concert. I’ve seen him twice and this film is kind of like that. It’s the point at which music transports one to another place without the need for drugs. The visual tricks are simply the space, lighting changes, camera moves, and the performers. Yes, there are a few interstitials where they discuss what they are doing, but they are merely points to collect ourselves. In all seriousness moments in this film moved me to tears-the beauty of the sound and image took me to somewhere beautiful. The reason was somewhere beyond words.
What stays with me is the soundscape. This is a film I know I will watch hundreds of times in the time I have left simply so I can have the music swimming around inside me. This is a space occupied by very few films, the closest is the Sigur Ros documentary HEIMA which creates a sonic space that is pure magic.
I apologize but this film lives in a place beyond words. I can’t explain it I can only feel it. And I feel it deeply in the bottom of my soul.
You must see this film with as good a sound system as possible. (I am cursing myself for not putting on headphones.)
One of the best films at SXSW and 2022 as well.


For more of Steve’s thoughts on SXSW22, check out Unseen Films!


SXSW 2022 review from Unseen Films: ‘The Blind Man Who Did Not Want to See The Titanic’ (2021)

The Blind Man Who Did Not Want to See The Titanic

One of the great finds at SXSW, this is the story of Jaakko a  blind movie fan who has a long-distance relationship with a disabled woman he has never met in person. Because he is also in a wheelchair Jaakko’s mobility is limited so they have been unable to work out meetings. When circumstances take a turn Jaakko decides he has to make the trek to his lady love.

Beautiful romance turns thriller as we worry how this is all going to go. Things are made tenser thanks to director Teemu Nikki shooting the film to simulate blindness. Anything outside of our focus is blurry we can’t really see around Jaakko. It’s a genuine claustrophobia that heightens everything.

What makes this film work are the people. Everyone is wonderful. Actually, Petri Poikolainen as Jaakko is magnificent. This is an Oscar-worthy performance. It’s stunning. Poikolainen is so good that I want to see him in more films,  he’s so good that he makes it clear that we need to hire more people with disabilities. (Poikolainen is blind and has MS)

Highly recommended. This is one of the great finds of the festival


To read more of Steve’s coverage of SXSW22, head to Unseen Films!


SXSW 2022 review: Winona Ryder stars in ‘THE COW,’ a twisted thriller you won’t see coming.

THE COW

Upon arriving at a remote cabin in the redwoods, Kath and her boyfriend find a mysterious younger couple already there — the rental has apparently been double-booked. With nowhere else to go, they decide to share the cabin with these strangers until the next morning. When her boyfriend disappears with the young woman, Kath becomes obsessed with finding an explanation for their sudden breakup— but the truth is far stranger than she could have imagined.


A twisted moral mystery, Winona Ryder stars in SXSW22 narrative feature THE COW. Continuing Ed teacher Kath is dating one of her students. He is younger and on a different wavelength. Max suggests a surprise weekend away. When they arrive at a remote cabin, there’s another couple already there. After agreeing to share the space for the night, Max disappears with the other young woman; Kath is now left in the lurch. As she seeks closure, it turns out there’s more to the story. Where did Max go? Who is this mysterious woman? Welcome to the unreal journey that is THE COW.

John Gallagher Jr is charming and a fresh foil for a more level-headed Ryder. Brianne Tju plays Greta with a sharp edge that makes you want to punch her. When you watch, you’ll understand that this is a compliment. Owen Teague‘s performance is more nuanced than at first glance. His emo nature has a grounded backstory. Dermot Mulroney brings a rugged charm that is irresistible. His chemistry with Ryder feels pitch-perfect. 

Winona Ryder‘s journey feels just right. Blindsided at every turn, she keeps her cool for the most part. The way the script is structured we know more than Kath. This keeps Ryder relatable throughout. I know you’ll agree with me even as the screen goes black. Her final moments are pretty glorious. Fans of Ryder’s work, anything from Beetlejuice to Stranger Things, will love seeing her back on the big screen. We’ll take her wide-eyed wonder in any form.

THE COW is sure to intrigue any audience, thanks to director Eli Horowitz, who co-writes the screenplay with Matthew Derby. A great score from David Baldwin and solid editing back up this phenomenal script. HBO should tap these two for literally any upcoming series pitch. They are a hell of a team. A slow-burn plot holds you with tidbits of information in the form of flashbacks. Twist after twist glues you to your seat and the final 30 minutes had me yelling over and over, “What?!”


Director:

Eli Horowitz

Producer:

Raphael Margules, JD Lifshitz, Shaun Sanghani, Russ Posternak

Screenwriter:

Eli Horowitz, Matthew Derby

Cinematographer:

David Bolen

Editor:

Arndt-Wulf Peemöller

Production Designer:

Susannah Honey

Music:

David Baldwin

Principal Cast:

Winona Ryder, Dermot Mulroney, John Gallagher Jr, Owen Teague, Brianne Tju


To learn more about SXSW22 click here!


SXSW 2022 review: A father-son catfishing story in ‘I LOVE MY DAD’ is one of this year’s funniest films.

I LOVE MY DAD

A story of attempted redemption gets complicated in this wildly personal and deliriously funny film. Chuck was not a great father. After his son Franklin gets released from a mental health facility, Chuck is determined to reconnect. Although he has the purest intentions, the way he goes about it could not be more wrong. Chuck decides to catfish him. Sounds like a foolproof plan, perhaps in some other universe. SXSW22 narrative feature I LOVE MY DAD will have you cackling and cringing from beginning to end.

Rachel Dratch provides further levity with her overt sexual intensity as Chucks’s girlfriend. Dratch and Oswalt have an outstanding dynamic. Claudia Sulewski is a spitfire. The way she can bounce off Morosini is magic. Put her in everything. Patton Oswalt as Chuck is a pure joy to watch. Each panged look on his face as he receives messages not meant for his eyes is visceral. He is charming as hell, and you can’t help but root for him. Writer-director and star James Morosini‘s personal story lands between heart-warming and cringeworthy, and every minute is wonderful. He is mesmerizing. Wearing his heart on his sleeve is one thing, but his willingness to embrace the slapstick comedy is on another level.

The script is super unique. Comedy aside, I LOVE MY DAD melds a story of mental health, self-worth, and connection. Including a particular track from The Cure has more weight than I first realized. The transitions when Becca/Patton begins to chat with Franklin (and vice versa) come out of left field, and they are gloriously creative. You will not be able to contain yourself. Either way you look at it, Morosini is pretty brave for putting this stuff out there. If this doesn’t get Hollywood’s attention, I’ll be shocked. As we bounce from sweet to outlandish, I LOVE MY DAD is one of the best films to come out of SXSW22.


Director:

James Morosini

Executive Producer:

Lauren Hantz, John Hantz, Jeremy Garelick, Dave Rath, David Bernon, Will Phelps, Paul Bernon

Producer:

Bill Stertz, Patton Oswalt, Sean O’Grady, Dane Eckerle, Phil Keefe, Daniel Brandt, Sam Slater

Screenwriter:

James Morosini

Cinematographer:

Steven Capitano Calitri

Editor:

Josh Crockett

Production Designer:

Bret August Tanzer

Principal Cast:

Patton Oswalt, James Morosini, Claudia Sulewski, Rachel Dratch, Ricky Velez, Lil Rel Howery, Amy Landecker

Additional Credits:

Line Producer: Billy Mulligan, Visual Effects: Patrick Longstreth, Casting: Eyde Belasco, Associate Producer: Jeffrey Penman


To learn more about SXSW22 click here!


SXSW 2022 review: Teen angst and aliens in the Arctic tundra, ‘SLASH/BACK’ is a culturally cool coming-of-age film from director Nyla Innuksuk.

SLASH/BACK


We can all attest to being bored as teenagers. Even the Arctic tundra might seem uncool when you’re a certain age. SXSW22 feature film Slash/Back follows a group of Inuit girls who’ve had enough of being disregarded. Something is quite wrong in their town. When the adults won’t listen, they take matters into their own hands. Gather your pride, the girls from Pang are about to kick some ass.

The original music by The Halluci Nation and vocal performances by Tanya Tagaq are electrifying. It vibrates off the screen. During the opening credits, I stood up and danced in my kitchen because it was so infectious. The special FX makeup and CGI are startling. But it is the performances from this fresh young cast that pulls you into the narrative. These kids are stars. The emotional upheaval is all too familiar as they struggle with hormones, racism, and, in this instance, aliens. While most of us don’t have the alien experience in our back pocket, we can all agree that pre-teen to teenage years was complicated. The dialogue from writers Nyla Innuksuk (who also directs) and Ryan Cavan almost feels improvised. They have nailed the jargon of youth. The cinematography is breathtaking. Even if the characters aren’t impressed with the landscape, the audience unmistakably experiences the natural grandeur of Pangnirtung.

Pay close attention to the very intentional opening and closing credits as they change from Inuktitut to English. It’s a subtle but powerful statement. Slash/Back is a quirky coming-of-age tale with horror as a catalyst. With elements of The Thing and the energy of Stranger Things, the genre audience will adore this film.



Slash/Back at Online Screening
Mar 14, 9:00am CDT – Mar 16, 9:00am CDT
9:00am10:26am
Availability: United States
Slash/Back at Violet Crown Cinema 1
Mar 14, 2022
3:45pm5:11pm
Slash/Back at Violet Crown Cinema 3
Mar 14, 2022
4:15pm5:41pm
Slash/Back at Stateside Theatre
Mar 17, 2022
6:15pm7:41pm


Director:

Nyla Innuksuk

Executive Producer:

Hussain Amarshi, Neil Mathieson

Producer:

Dan Bekerman, Christopher Yurkovich, Alex Ordanis, Nyla Innuksuk, Stacey Aglok McDonald, Alethea Arnaquq-Baril, Ethan Lazar

Screenwriter:

Nyla Innuksuk, Ryan Cavan

Cinematographer:

Guy Godfree

Editor:

Simone Smith, Todd E. Miller

Production Designer:

Zosia Mackenzie

Sound Designer:

John Loranger

Music:

The Halluci Nation and Michael Brook

Principal Cast:

Tasiana Shirley, Alexis Wolfe, Chelsea Prusky, Frankie Vincent-Wolfe, Nalajoss Ellsworth


 

SXSW 2022 review: ‘SOFT & QUIET’ and infuriating and terrifying and brilliant.

SOFT & QUIET

Playing out in real time, SOFT & QUIET is a runaway train that follows a single afternoon in the life of Emily, an elementary school teacher. Emily organizes the inaugural club mixer of like-minded women, and she indoctrinates them into her sisterhood. When they all decide to move the meeting to Emily’s house, they stop at the local store to pick up refreshments, where an altercation breaks out between two sisters and the club that spirals into a volatile chain of events.


Having a film run in real-time is already bold. In Soft & Quiet, that is the tip of the iceberg. Essentially, a group of Karens sharing their super racist views embrace each other at their first official group meeting. The dialogue takes every offensive, cliché, and horrifying thing spewed over the internet, heard on cell phone footage, and in national rallies, especially since Obama was running for office. Government suspicion, recruiting, homeschooling, The Constitution, traditional family, you name it, the subject appears in this script. It’s like reading through the comments section on Facebook or 8chan. It’s terrifying. 

Handheld camerawork immerses the viewer inside the film, moving from speaker to speaker, moving with the action. The amount of rehearsal this must have required is mind-boggling. The subtle digs are clever. Leslie’s jacket reads “Lieben Zu Hassen” which translates from German to English as “Love To Hate.” I have to hand it to this cast. It is the nonchalance that kills you. To say vitriolic things and act in such a vile manner, you have to trust your director and your fellow cast members. The hidden humor of these women traveling in a minivan is unmissable.

As you awkwardly cringe at the horror of it all, your level of anticipation simmers wildly. It’s so uncomfortable your palms will sweat. The film is sliced right down the middle. The first half respects the title, and the second half goes off the rails. As the terror increases, your heart will be in your throat. Soft & Quiet is a powder keg. It is pure rage-fueled, technically coordinated, chaos. This film deserves a hard and loud standing ovation for writer-director Beth de Araújo. This is a thrilling masterpiece. 


Director:

Beth de Araújo

Executive Producer:

Robina Riccitiello

Producer:

Josh Peters, Saba Zerehi, Joshua Beirne-Golden, Beth de Araújo

Screenwriter:

Beth de Araújo

Cinematographer:

Greta Zozula

Editor:

Lindsay Armstrong

Production Designer:

Tom Castronovo

Sound Designer:

William Tabanou

Music:

Miles Ross

Principal Cast:

Stefanie Estes, Olivia Luccardi, Eleanore Pienta, Dana Millican, Melissa Paulo, Jon Beavers, Cissy Ly

Additional Credits:

Jon Cooper: First Assistant Camera, Matt Hadley: Gaffer, Elodie Ichter: Colorist, Bridget Bruce: Costume Designer, Jillian Johns: Costume Designer, Music Supervisor: Ella Sahlman


To learn more about SXSW22 click here!


SXSW 2022 review: ‘WHAT WE LEAVE BEHIND’ is filmmaker Iliana Sosa’s intimate portrait of her grandfather.

WHAT WE LEAVE BEHIND

What We Leave Behind is not only Iliana Sosa‘s documentary feature debut but also a loving ode to her grandfather. SXSW22 audiences follow an intimate portrait of the family patriarch in his final years. Tirelessly loyal to his family, Julián Moreno endured monthly 17-hour bus rides from his home in Primo de Verdad to El Paso. He did everything in his power to show his loved ones how much they meant to him. Sosa documents her grandfather’s trips into town, his morning routine, and the construction of a new family home from the ground up. She takes what might seem mundane and creates personal magic. Her sporadic voiceovers add an unexpected but soul effecting layer to the narrative. Alongside this device, she captures the life-breath of Mexico and its everyday hum. It is fair to say that I was weeping at the end. Along her journey to know her grandfather, Sosa invites us to be another member of her family.



To learn more about SXSW22 click here!


 

SXSW 2022 review: Living your best life is triggering in ‘SISSY.’

SISSY

Synopsis: Cecilia and Emma were tween-age BFFs who were going to grow old together and never let anything come between them until Alex arrived on the scene. Twelve years later, Cecilia is a successful social media influencer living the dream of an independent, modern millennial woman… until she runs into Emma for the first time in over a decade. Emma invites Cecilia away on her bachelorette weekend at a remote cabin in the mountains, where Alex proceeds to make Cecilia’s weekend a living hell. #triggered


Catty, protective, territorial; girls can be the worst. Mean girls made my life a living hell for years. Everyone I know has a story involving them. SXSW22 Midnighters world premiere SISSY addresses them head-on. 

Slow clap for the editing in SISSY. It is clever and engaging from the beginning. The tension in the script is a deliberate build, sort of like ascending a rollercoaster, knowing that that first drop is coming and will be one many. But there are moments of silliness that cut through the anticipation. Overall a slick structure that never lets up. Trust me when I say you will not see where this leads. The practical FX are so tight I exclaimed, “Oh, F*ck,” at one point. There is no better an endorsement than that. 

The chemistry between Aisha Dee and Hannah Barlow (who co-writes and directs with Kane Senes) is magic. You believe they were best friends when they were twelve. Fast forward 15 years or so, and things look very different in their relationship. But, best friends never really lose their groove. That is until someone comes between them. Aisha Dee is our true leading lady, and she friggin kills it. SISSY obliterates your moral compass. 

SISSY tackles unresolved childhood trauma most darkly. Combined with the influencer angle is pure genius. SXSW22 audiences are going to love this. You root for all the wrong things, and therein lies the brilliance.


SISSY – Midnighters (**World Premiere**)
Writers/Directors: Hannah Barlow, Kane Senes
Cast: Aisha Dee, Hannah Barlow, Emily De Margheriti, Daniel Monks, Yerin Ha, Lucy Barrett


To find out more about SXSW22 click here!


SXSW 2022 review: ‘PIRATES’ is a feelgood throwback filled with relatable shenanigans.

PIRATES

New Year’s Eve 1999. Cappo (ELLIOT EDUSAH), Two Tonne (JORDAN PETERS), and Kid (REDA ELAZOUAR) drive through London in their tiny Peugeot 205, pumping a live garage set from the stereo and arguing about their Avirex jackets and Naf Naf imports. As the eighteen-year-olds step into adulthood, they know their lives and friendships are on the brink of change. Determined to end the century on a bang they drive from place to place in a desperate search for tickets for the best millennium party EVER. In their efforts to end up somewhere, they end up closer together.


Let me begin my review of SXSW22 narrative spotlight feature PIRATES by stating that I was the same age as Kid, Cappo, and Two Tonne on the eve of Y2K. I can vividly remember that night and the pure excitement and energy exerted on that day was something I wish I could bottle now. What PIRATES gets right is just that. The feeling of invincibility and the idea that anything is possible. That and the sheer audacity of youth. 

Kid, played by Reda Elazouar, is pure unadulterated comic relief. He believes what he’s saying, lending the audience to smirk at every turn. I have a feeling we’ll be seeing a lot more of him in the future. 

Elliot Edusah is Cappo, the kid that wants more out of life than repeating high school shenanigans. He’s the down-to-earth friend with loyalty as his best quality. Edusah is an easy watch. His boy-next-door good looks and sincere attitude compel you to root for him.

Jordan Peters plays Two Tonne with underlying low self-esteem that he covers with over-the-top bravado. This intriguing dichotomy gives Peters the chance to play the entire emotional gambit as well as the comedy aspect. 

Ancillary cast members nail every beat. You remember scenes that only run for a few minutes because of the pure shenanigans the boys attempt to pull. The chemistry among the entire cast makes PIRATES a breezy and nostalgic watch. For an American audience, the film would benefit from closed captions. Heavy with slang and fast-paced quips, I know I missed a good deal of the definitively funny dialogue. A Google joke right off the bat? It got me. Kid carries around a Tamagochi, and it’s a solid running joke. From the costumes to the sets, audiences from that generation (myself included) will connect with PIRATES right away.


Section: Narrative Spotlight
Sales: Gunpowder & Sky
Run Time: 80 min
Country: United Kingdom
Language: English
Writer/Director: Reggie Yates
Cast: Elliot Edusah, Jordan Peters, Reda Elazouar, Kassius Nelson, Youssef Kerkour, Rebekkah Murrell, Shiloh Coke, Tosin Cole, Aaron Shosanya
Executive Producers: Rose Garnett, Farhana Bhula, Jim Reeve
Producers: Kate Norrish, Polly Leys
Cinematographer: Rachel Clark
Editor: Ash White


For more information on SXSW 2022 click here!


SXSW 2021 reviews: ‘The Lost Sons’ & ‘United States Vs. Reality Winner’ are two mind blowing docs from this year’s virtual fest.

THE LOST SONS

1960s Chicago, a baby is kidnapped from a hospital. Fifteen months later, a toddler is abandoned. Could he be the same baby? In a tale of breathtaking twists and turns, two mysteries begin to unravel and dark family secrets are revealed.

When my son was born in 2016, I remember the extreme level of security on the floor we were staying on. We all had bracelets on with his name, while he also had an electronic ankle bracelet which would beep if he were taken past a certain threshold. The idea of some stranger coming in and taking my child terrified me. I hoped to God that I never heard that alarm go off while we stayed in the hospital. Reenactments, newspaper clips, photographs, archival footage, home video, and sit-down interviews with witnesses all make up the massively intriguing and mystery-laden doc. Who is Paul Fronczak? This is a loaded question. The Lost Sons attempts to answer this question and so many others. The editing is mesmerizing. You don’t have a moment to catch your breath as this story unfolds. The twists and turns will shock you. They are relentless. I found myself shouting at the television more often than usual in one true crime sitting. It unravels like a James Patterson novel. If you are a homegrown detective, The Lost Sons at SXSW21 will be a true highlight for you.


UNITED STATES Vs. REALITY WINNER

A state of secrets and a ruthless hunt for whistleblowers – this is the story of 25-year-old NSA contractor Reality Winner.

Reality Leigh Winner saw something that she thought the entire country should know. She decided the public had a right to evidence the government was keeping secret. For this act, she was severely punished. The line between right and wrong can be blurry, but in this instance, it feels clear as day that Reality Winner was right. The film follows Reality’s mother, Billie J. Winner-Davis, as she tracks the public and the court’s response to Reality’s case. We learn about the kind of person Reality is through diary entries and jailhouse phone calls. She’s funny, talented, with a sharp wit. With the full understanding that most documentaries have an agenda, I cannot imagine someone walking away from the film without a ferocious sense of injustice. Including never-before-heard audio from Reality’s FBI  initial interview, sitdowns with her attorneys, family members, and fellow whistleblower Edward Snowden, you will finally learn what was in the document in question. Understanding the content is key to grasping the fact that Michael Flynn was pardoned and Reality Winner was given the harshest sentence in history for any whistleblower. I cannot stress this enough. I am thankful that United States Vs. Reality Winner is being shown to audiences when Joe Biden is now President. I join in the urgent call for justice. #FreeRealityWinner

SXSW 2021 reviews: ‘Nuevo Rico’ & ‘The Thing That Ate The Birds’

Nuevo Rico

A brother and sister stumble upon a celestial secret that propels them into Reggaetón stardom, but at what price?

This mixed media animation is a literal bright spot in the shorts program. It’s a little Adult Swim, a dash of video game, part music video, all drenched in neon-colored deliciousness. Twins Barbie and Vico find out about the trappings of fame and dismissing their culture the hard way. In 16 minutes it manages to touch on socio-economics, politics, and identity, just to name a few relevant issues. Writer-director Kristian Mercado uses voice-over, songs, and dialogue to communicate this unique short.  Angélica Agélviz‘s character designs are striking. I could easily watch an expanded series about these characters. There’s enough content to warrant more in-depth episodes. Plus, you won’t be able to get enough of the distinctive look of Nuevo Rico. It’s just plain cool.”


The Thing That Ate The Birds

Set on the North Yorkshire Moors, the film follows Abel, the Head Gamekeeper as he discovers the thing that is eating his grouse. His blunt and violent response brings the menace back home shattering his already crumbling relationship with his wife.

The short has its SXSW premiere from Gunpowder & Sky’s horror brand, ALTER – The Thing That Ate The Birds by writer and director duo Sophie Mair (Ella, And the Baby Screamed) and Dan Gitsham (Ella, And the Baby Screamed). If this is meant to be a treatment for a feature, I want to see that feature. The score is classic Hitchcock strings. The cinematography is gorgeous and that last shot is pure Ari Aster, unapologetic horror. It’s one hell of an introduction to those who are unfamiliar with Mair and Gitsham. Someone, please give them a huge budget and the freedom to scare the crap out of us in a longer form.

ABOUT ALTER

ALTER is a horror brand for novel and grounded stories exploring the human condition through warped perspectives.

Giving voice to emerging, diverse, and established filmmakers, ALTER’s owned and operated channel is distributed across YouTube and Facebook, with more than 15M monthly uniques,  where three short films or series are released each week. In addition to curating and distributing award-winning content, ALTER develops unique stories with some of the most innovative minds in the genre through its ALTER Studio projects – which are not bound to a particular platform or format.

In October, ALTER, along with Executive Producer Sam Raimi (Evil DeadSpider-Man), premiered Part 2 of the horror series “50 States of Fright”, starring Rachel Brosnahan (“The Marvelous Mrs. Maisel”), Travis Fimmel (“Vikings”, Warcraft: The Beginning) and Christina Ricci (“Monster,” “Z: The Beginning of Everything”). In 2019, the BAFTA-nominated horror short, The Blue Door starring (Gemma Whelan – Game of ThronesThe End of the F***ing World) premiered on ALTER, and earlier this year it was also announced that “Moreau”, a sci-fi TV series that puts a modern spin on the classic novel, “The Island of Dr. Moreau” by H.G. Wells has gone into development and will be written by Zack Stentz (X-Men: First Class, Thor, Rim Of The World). In addition, the psychological thriller “Horror Accidental”, based on the Japanese TV drama series, ‘Horror Accidental 1&2’, will be brought to life by writer and director Evan Daugherty (‘Divergent,’ ‘Tomb Raider’).

Additional releases include the brand’s first unscripted podcast series, “ALTER Weekly”, which gives its audience a deep dive into the past, present, and future of the horror genre; short film La Noria, directed by Carlos Beana, that won best-animated film at The Webby Awards; CAM, winner of Best Screenplay at 2018’s Fantasia Festival and was acquired by Netflix; the official 2018 Sundance Film Festival selection, Summer of 84, the thriller directed by RKSS (Turbo Kid); and the  SXSW selection, Villains, starring Bill Skarsgard (It) and Maika Monroe (It Follows).

ABOUT GUNPOWDER & SKY

Gunpowder & Sky is an independent studio that creates and distributes feature films, series, short-form content, podcasts, and channels, bridging digital and traditional entertainment.

Since its inception in 2016, Gunpowder & Sky has released more than 30 feature films and series, more than 750 short films in theatres, on TVOD, and leading platforms such as HBO, Netflix, MTV, Hulu, Sky, Showtime, Spotify, Amazon, YouTube, Quibi, Audible and Discovery.

Notable films and series include 69: The Saga Of Danny Hernandez, Her Smell, Everybody’s Everything, Prospect, Sea Fever, The Little Hours, Cam, Hearts Beat Loud, Lords of Chaos, Tragedy Girls, Betting on Zero, Summer of 84, Villains, Survive, 50 States of Fright and Drawn & Recorded.

With a collective audience of more than 65M monthly unique viewers, Gunpowder & Sky also owns and operates content brands that include DUST, the number one free sci-fi channel; ALTER, a leading horror brand, and CUT, an unscripted & comedy brand that is home to the successful formats “Truth or Drink” and “Fear Pong”. DUST, ALTER, and CUT are distributed on all major streaming platforms including Apple, Amazon, Comcast, Facebook, Peacock, Roku, Samsung, Sinclair, Sling, Vizio, Xumo, and YouTube.

Gunpowder & Sky also recently launched its premium audio studio, and in less than one year has established a leading position in music and sci-fi, claiming #1 fiction podcast on Apple and the #1 podcast on Audible.

With offices in Los Angeles and New York, Gunpowder & Sky was founded by Van Toffler and Floris Bauer, in partnership with The Chernin Group and AT&T.

SXSW 2021 reviews: ‘Stuffed’, ‘Don’t Peek’, ‘The Moogai’ are all chilling and unique shorts.

STUFFED

A musical film about a taxidermist who dreams of stuffing a human and a man she meets online so afraid of ageing he volunteers to be her specimen. An unexpected romantic spark between them complicates their plans.

Honestly, you had me at the categories “Musical, Horror”. This is the perfect short for genre fans who are clamoring to get back into theatres of all kinds. The score is wonderfully quirky. It will strike a chord with Sondheim fans. It’s is very Sweeney Todd inspired in sound and darkness. Written by Joss Holden-Rea and Theo Rhys, directed by Rhys, and music and lyrics by Holden-Rea, these two make one hell of a creative team. (I’m begging for a feature-length version of this story) Actors Anthony Young and Alison Fitzjohn have gorgeous voices. Their ability to connect with one another and the audience is a thing of beauty. The cinematography is carefully curated. The practical FX are outstanding. STUFFED is a unique experience you do not want to miss out on. This is the magic that audiences of SXSW salivate over.


DON’T PEAK

A young woman discovers a frightening video game character intent on crossing into the real world.

It’s rare that I jump and feel the need to cover my eyes these days while watching horror. I’ve consumed so much I can usually predict what’s eventually going to happen. In this hair-raising short, a game of Animal Crossing becomes a nightmare when an invited entity crosses from gameplay to real life. I found my heart in my throat. To be that successful in terrifying me in under 7 minutes, I say, “Bravo, writer-director Julian Terry. You got me.”


THE MOOGAI

An Aboriginal psychological horror, THE MOOGAI is the story of a family terrorized by a child-stealing spirit.

Whether a literal interpretation of an actual demon or not, so many theories swirled in my mind as I sweat through my t-shirt watching this short film. This feels like an intense form of gaslighting. Or maybe it’s a product of sleep deprivation. Perhaps it’s Postpartum? The terror is seen and unseen and in this short, the performances take you to the darkest parts of your mind. As a parent, it’s beyond unsettling.