Tag Archives: Tribeca Film Festival

Tribeca Film Festival 2019 Review: ‘ONLY’ in an emotional gut punch worth waiting for.

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ONLY

Will (Leslie Odom, Jr.) and Eva (Freida Pinto) seem destined for a storybook life together, so pure and supportive is their mutual love. But their alone time is suddenly interrupted when Eva’s roommate, Carolyn (Tia Hendricks), bursts through the door and collapses as torrents of mysterious ash fall from the sky. During a chaotic trip to the hospital, Will learns what he needs to do, quickly covering Eva in a hazmat suit, then rushing home with her and hermetically sealing the doors and windows. Weeks become months become years and, after Eva makes a desperate move, the couple is forced to run for their lives.

Only is a mysterious, dreamy post-apocalyptic love story told elegantly and in non-sequential order by director Takashi Doscher. Tony Award-winner Odom, Jr. (Hamilton) and Pinto (Slumdog Millionaire) play the doomed couple whose fear that their secret will be revealed unveils the layers of pain and longing between them. As Will and Eva struggle to reach a beloved waterfall from their past, the couple attempts to survive in a new world where she is a commodity of unparalleled worth.

While watching Only, I was furiously taking notes because I wanted to remember every little nuance I was experiencing. From the opening scene, the imagery is haunting and a sense of doom and urgency sit in the pit of your stomach. The phenomenally edited film builds its intensity through non-linear storytelling. While it can be a challenge to follow at times, it is an effective way to make sure you are paying full attention. At every turn in the script, I was surprised. Its dark premise will take you down a rabbit hole of needing to find answers. Once the puzzle is solved and all the pieces are in place, your stomach will drop and your soul will weep. The captivating performances from Frieda Pinto and Leslie Odom, Jr. help Only stand apart from Tribeca’s other selections this year. Their chemistry is electrifying. With subtly suggested elements of Handmaids Tale weaved into the narrative, this post-apocalyptic tale has an eerie patriarchal theme that makes it all the more upsetting. Only is easily one of the best of the fest this year.

Remaining screenings:
2:45 PM – SAT 5/4
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Tribeca Film Festival 2019 Review: SHORTS: WTF

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SHORTS: WTF

These films were curated especially for late-night.

Playing in this program:
Twist

No choice but to walk home alone, Hannah (Helena Howard) sees an opportunity for a ride, but others see an opportunity in her.

With a well-built tension familiar to any young woman, Twist leaves much to the terrifying imagination, making it all the more frightening. Beautiful performances bring fear to life.

Whiteout

When a young couple (Sarah Tihany and David Call) encounters a strange old man (Patrick M. Walsh Jr.) wandering in a snowstorm, they must decide if he needs help, or if he has more sinister intentions.

A real “What would you do?” scenario set in the middle of the road on a snowy night. It begs the question, “Who’s the real monster?”

His Hands

Two men (Arron Blake and Philip Brisebois) of different ages meet for the strangest encounter of their lives.

While I’m not completely sure what was actually happening in this film, I know I was damn uncomfortable as a viewer. Performances are striking and I need to know more.

Momster

When notorious bank robber, the Momster (Amanda Plummer), catches her daughter Angel (Brianna Hildebrand) mid-gunfight, Angel thinks she’s being rescued… until she realizes she has to do the saving.

This short has a Robert Rodriguez/ QuentinTarantino Grindhouse feel with its quippy dialogue, vivid pops of color, and effective narration.

Hunting Season

Callie (Hannah Levien), a small town gas station attendant, has an unexpected encounter which will change the course of her life forever.

This short begins by utilizing the major trope of failing electricity to build up suspense. The sparse dialogue is meaningful enough to create an entire backstory and the perfect amount of dread, culminating in a magical ending no one will see coming.

11:50

In the pouring rain, a junkie (Jerry Chih-Wei Huang) takes the hotel key of a man that his car has accidentally killed. As he walks into the hotel and finds that room, he has to face a mysterious journey that will never have an end.

This cinematic little masterpiece is a proof of concept from heaven. Not only visually delicious but one hell of a reveal that will keep you wanting more.

Snaggletooth

An unusual girl (Jolie Ledford) needs to get her teeth fixed at midnight.

The 50’s era sets, costumes, and lighting lead up to a visual shock that is both scary and delightful.

FILM INFO
  • Section:
    Shorts Program
  • Year:
    2019
  • Length:
    75 minutes
  • Premiere:
    New York

Tribeca Film Festival 2019 Review: ‘Picture Character’ #therealemojimovie

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PICTURE CHARACTER

Spotlight Documentary, World Premiere – Directed by Martha Shane and Ian Cheney

As silly as you may think the topic, you can’t deny that emojis are everywhere. After all, a picture is worth a thousand words, right? The story of the creation/inception of emojis is interspersed with three stories of the quest to get new emojis added – hijab emoji, mate and menstruation (blood).

While following these stories, something is revealed that is is far more interesting. Remember when emojis weren’t the same on iOS vs Android? Then, miraculously, they became universal? Welcome to the Unicode Consortium. A non-profit organization that unifies character sets.

Suddenly, there are a lot of questions. The film gives enough information about Unicode without overwhelming the audience and changing the course of the story, but for me, it was such a large elephant in the room that I couldn’t stop wondering about it.

Whether you just send the occasional smiley face or you carry on conversations via emoji, you’ll enjoy seeing the behind the curtain.

List of universal emojis: https://unicode.org/emoji/charts/emoji-list.html

Tribeca Film Festival 2019 Review: ‘For They Know Not What They Do’ and this is the problem

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FOR THEY KNOW NOT WHAT THEY DO

Documentary Competition, World Premiere – Directed by Daniel Karslake

More maddening than enlighting, For They Know Not What They Do follows four families that facing challenges and did their best. It’s heartbreaking, frustrating and exactly what happens when people are not empathetic with each other.

I liked the structure with switching back and forth between each story, as it made the progression much more interesting. However, it felt at some points that the audience was somehow meant to forgive these people of their ignorance and lack of compassion.

There’s always value in hearing the stories of others, but I left the theater shaking my head rather than feeling like I learned something.

When the Supreme Court legalized marriage equality across the nation in 2015, many assumed that the fight for LGBTQ rights was won. But politicians and religious conservatives launched a state-by-state campaign to retract the human rights of America’s LGBTQ citizens under the guise of religious freedom. Introducing four American families caught in the crosshairs of scripture, sexuality, and identity, this documentary weaves together clips from the national news and the church pulpit, alongside family photos and intimate testimonies to show the undeniable connection between the personal and the political.

These individual experiences of rejection and validation, tragedy and triumph include Ryan Robertson, who was encouraged by his Christian family to attend conversion therapy; Sarah McBride, the transgender student body president who went on to work at the White House; Vico Báez Febo, whose Catholic grandmother locked him out of the house when a neighbor outed him; and Elliot Porcher, a young trans man who endured self-harm before his parents’ acceptance enabled him to come to terms with his gender. An emotionally impactful follow-up to the award-winning For The Bible Tells Me So, this powerful examination of the intersection of religion, sexual orientation, and gender identity offers much-needed healing, clarity, and understanding.

—Lucy Mukerjee

Tribeca Film Festival 2019 Review: ‘RECORDER: The Marion Stokes Project’ – how one woman gave us 33 years of recorded television history

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RECORDER: THE MARION STOKES PROJECT

Documentary Competition – World Premiere, Directed by Matt Wolf

In 1979 during the Iranian hostage crisis, Marion Stokes started recording the news on VHS tapes on different channels on different televisions. 24 hours a day. The recording didn’t stop for 33 years when she passed away on December 12, 2012, the day of the Sandy Hook tragedy.

The film is structured chronologically and I would have liked to have seen Marion Stokes’ story told in the juxtaposition of the process to digitize the over 70,000 VHS tapes. They used the closed captioning to index! How cool is that? I want to know more. Instead, the story unfolds in a traditional method of speaking with those closest to her and focusing on the woman behind this astounding asset to humanity. It’s good, but not nearly as compelling.

Even with its flaws, I thoroughly enjoyed the story and it’s sparked many interesting conversations.

There’s 1 more screening left and it’s also coming to other film festivals.

Tribeca Film Festival
World Premiere
April 25, 26, 27, May 4

HotDocs, Toronto
International Premiere
May 1, 2, 5

Montclair Film Festival
May 8, 12

Maryland Film Festival
May 9, 10

More Screenings Soon

Long before our current era of “fake news,” Marion Stokes was amassing an incredible archive in an effort to protect and tell the truth. Beginning with the Iranian Hostage Crisis in 1979 and ending in 2012 with the massacre at Sandy Hook, Stokes archived and preserved the television that others were not. She recorded an incredible 70,000 VHS tapes capturing wars, triumphs, catastrophes, and more. The archive reveals the past and how it shaped television and the present moment.

Matt Wolf goes deep inside this captured history of television, providing insight into Stokes as keeper of the archive, while also showing the world that she wanted humanity to see. Taking on the aura of a mystery, Recorder delves into the curious world of a Communist radical and genius recluse who dedicated her life to a seemingly crazy mission, which in the end, is a glorious gift to the world.

—Deborah Rudolph

 

 

Tribeca Film Festival 2019 Review: ‘Something Else’ is aptly named.

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SOMETHING ELSE

The Midnight section at this year’s Tribeca Film Festival gives us Something Else. A story about Hank, whose longtime girlfriend Abby abruptly leaves him, but with a lot of extra flair in the plot. The editing is spectacular. Crisp still camera images set against a bleakly lit Hank, make for a perfect early jump scare. Then you catch on that’s it’s a repeated theme. Abby equals brightness. No Abby equals darkness… and a monster at the front door. The music has a heavily Gen X quality. The daytime dialogue (once Abby is absent) feels reminiscent of early Kevin Smith, particularly from everyone around Hank. This gives teeth to the naturalistic performances from a small cast. Classic tropes weave into the darker scenes and then the film becomes something altogether different. Something Else is exactly that. It’s like two films in one. It’s a monster movie and a serious relationship drama which incidentally includes a 15-minute single camera take of dialogue. Something Else is aptly named and unexpected on all fronts.

SOMETHING ELSE

For small-town bar owner Hank (Jeremy Gardner), his 10-year relationship with Abby (Brea Grant) has been storybook-quality. Abby, however, wants more: marriage, to be exact, which Hank doesn’t seem ready to initiate anytime soon. As a result, she leaves him without so much as a note or any subsequent communication. Hank is crushed. Even worse, Abby’s departure seemingly triggers the arrival of an unseen monster that claws at Hank’s front door at night. As the nocturnal threat intensifies, Hank must figure out how to not only save his relationship but also himself.

Tribeca Film Festival 2019 Review: ‘Aamis’ serves up a shocking treat.

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AAMIS (RAVENING)

Food and romance seem to go hand in hand. Think about the traditional date. It usually revolves around dinner or coffee. Food is the ultimate form of aphrodisiac. Though, both food and love can spoil quickly. In Aamis, Tribeca’s only Indian feature film this year,  married doctor Niri meets Sumon, a Ph.D. student studying regional meat-eating traditions in India. As their relationship moves swiftly past friendship, the idea of experiencing “forbidden” meat cuisine progresses into an infatuation beyond imagination. Set in the colorful backdrop of North Eastern India, the natural scenery combined with the rich prepared dishes gives the film a gorgeous visual pop. The actual act of eating in scenes is very sensual. No surprise seeing as how the senses are sparked when tasting something delicious and when falling in love. Food and sense memories are created throughout our lives. I can still remember meals based on specific dates with my husband, spanning the 14 years we’ve been together. Not to mention we actually lived in Southern India for a year in the very early years of our relationship. Experiencing new flavors and adventures with someone you care deeply for is invigorating. All that being said, this film takes it to an entirely new level; an intimacy that will either intrigue or distress you. The performances from our two leads are fantastic. It’s a tricky dynamic to navigate given the circumstances but their chemistry is very grounded and reads completely natural. The age difference is another added bit of fire. Aamis, the first film for Tribeca to feature the Assamese language, is an outstanding representation of emerging Indian cinema outside the realm of your typical Bollywood fare. It is bold and dark. I may go as far as to call it a tasty, genre-bending surprise. The things we do for love.
Married Niri (Lima Das) shares a forbidden passion with Sumon (Arghadeep Baruah), who introduces her to a world of fresh, wild, meat-based delicacies. But as their unconsummated desire mounts, the two are pushed inexorably towards transgression and taboo. A daring, intense drama that veers into very dark territory, Aamis is Tribeca 2019’s only Indian film, and the festival’s first-ever Assamese language film.

Tribeca Film Festival 2019 Review: ‘The Gasoline Thieves’

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THE GASOLINE THIEVES

Poverty and puberty are a dangerous mix for young Lalo. Feeling overwhelming monetary pressure from family and ultimately to impress a girl at school, our young lead dives head first into the deadly game of gas siphoning for cash. Among the chaos of gas price protests and violence, Lalo has no idea the kind of shady dealings surround what he’s signed up for. This is a coming of age story set against extreme poverty and soaked in cartel-like chaos and vengeance. The handheld camera work is sheer perfection that heightens the intensity of Lalito’s plight. You can feel the pit of your stomach wrenching as the story progresses. Edgar Nito‘s direction is phenomenal, performances (especially Eduardo Banda) outstanding, and the film is amplified by its great soundtrack. The Gasoline Thieves does not pull any punches. It’s a solid piece of filmmaking and a captivating story.

THE GASOLINE THIEVES

Living with his mother and working as a farmhand in his hometown, fourteen-year-old Lalo (Eduardo Banda) sees buying a smartphone for his high-school crush the only surefire way into her heart. When his mother is forced to use his savings in order to pay for medical bills, Lalo decides to approach the local huachicoleros for help, who quickly enlist his aid in their business of illegally siphoning gas in order to take advantage of the country’s shortage and re-sell on the black market. As Lalo naively becomes more involved with the huachicoleros’ work, an uneasy air of violence begins to overtake the world around him, while investigators narrow their search for those responsible.

FILM INFO

 

Tribeca Film Festival 2019 Review: ‘Come To Daddy’ is everything you’d want an Ant Timpson film to be.

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COME TO DADDY

Elijah Wood plays an emotionally overwhelmed uber hipster attempting to reconnect with his estranged father. Summoned to a secluded home via a mysterious letter from his dad, he finds himself in an unexpected situation. Wood, as always, is vulnerable and funny. I’ll buy anything he’s selling. His body of work is so eclectic and wonderfully bizarre, what’s not to love? Now let’s talk about Ant Timpson‘s amazing directing. As a producer, The ABC’s Of Death is off the wall fun and don’t even get me started on the insanity that is The Greasy Strangler. Come To Daddy, Timpson’s directorial debut is a genre-bending funhouse. Tribeca’s Midnight section is the perfect slot for Timpson’s work and I do mean that as a compliment. This film takes a sharp turn at 30 minutes in, then hurtles from mysterious to funny, unsettling to WTF, and it is a delight. The camera work is top-notch. There is mayhem for days. Wonderfully timed plot treats fall into our laps like a busted piñata. I simply cannot express how damn fun this film is. You will not have any clue where this is going.

COME TO DADDY

Norval’s (Elijah Wood) life has been, to put it lightly, difficult. Currently living home with his mother, the troubled young man is coming off alcohol-related struggles. So when he receives an unexpected letter from his estranged father requesting a visit, Norval catches a bus up to his dad’s secluded and scenic waterfront home. Maybe reconnecting with his father will give Norval the emotional fulfillment he’s been lacking. Before long, though, he notices something off about his dad, an uneasy feeling triggered by inappropriate comments and a possible over-dependence on booze. Norval quickly realizes that his hope of father/son bonding is doomed. Instead of a family reunion, he finds himself in waking nightmare.
FILM INFO

8 movies from 2018 Tribeca Film Festival Available on Netflix, hulu, HBO or Showtime

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Just 1 year later, there are so many movies that are now available to stream from last year’s Tribeca Film Festival. There’s something for everyone in here whether it be the young women who dreamed up Frankenstein or a desperate man stopping at nothing to save his child.

All About Nina (2018)
Nina Geld’s passion and talent have made her a rising star in the comedy scene, but she’s an emotional mess offstage. When a new professional opportunity coincides with a romantic one, she is forced to reckon with the intersection of her life and her art
[Streaming: Netflix] [Rent or Buy]

Cargo (2018)
In the aftermath of a global pandemic, Andy (Martin Freeman) is focused on keeping his wife and their infant daughter alive as they travel across the Australian Outback. A terrible accident, however, forces him to set off on foot: A zombie bite has given Andy a mere 48 hours before he, too, is undead. Andy struggles to both find a refuge for his child and stave off the disease as the clock runs out on his humanity. On his journey, Andy crosses paths with an indigenous youngster, Thoomi (Simone Landers), who brings him into her Aboriginal community and offers a much-needed bit of hope: Her people may have a cure for the sickness.

Filmmakers Ben Howling and Yolanda Ramke defy genre fans’ zombie-based expectations with their co-directing debut. Cargo pulls no punches in its intensity, yet the duo’s thoughtful film offers a deep, emotional meditation on intimate issues, like a parent’s love, as well as larger themes, like environmental protection and cultural strife. Injecting fresh life into zombie cinema’s often cold bloodstream, Cargo is tailor-made for sophisticated horror fans.–Matt Barone

[Streaming: Netflix]
Review by: Melissa Hanson

Duck Butter (2018)
When Naima (Alia Shawkat) and Sergio (Laia Costa) meet at a club, they hit it off instantly, connecting over their disdain for the dishonesty they have experienced in their respective romantic relationships. High on their fast chemistry, the two women concoct a romantic experiment: They plan to spend the next 24 hours together, having sex on the hour. Above all, they commit to perfect honesty with each other, a theoretical remedy to the deceit they believe to be an element of modern relationships. But their relationship in a vacuum doesn’t go as planned, and soon the weight of their commitment begins to close in, threatening the ideals of the daylong experiment and their chances for a romantic future tomorrow.

The latest film from Miguel Arteta, the director behind Beatriz at Dinner and The Good Girl, Duck Butter is a blistering look at intimacy in a pressure cooker. Co-written by Shawkat and executive produced by the Duplass Brothers, the film offers a searing interrogation of modern romance, with all its dizzying highs and heartbreaking betrayals, all packed into an intense 24 hours.—Cara Cusumano

[Streaming: Netflix] [Rent or Buy]
TFF Award: Best Actress, Alia Shawkat

In a Relationship (2018)
Long-term couple Owen and Hallie are breaking up—or maybe not?—and just as their relationship reaches a turning point, Matt and Willa embark on a romance of their own. A funny and deeply felt chronicle of one summer in the lives of two couples in Los Angeles.
[Streaming: hulu, hoopla] [Rent or Buy]

Mapplethorpe (2018)
In the late 1960s, art-school dropout Robert Mapplethorpe moves into the Chelsea Hotel with dreams of stardom. He quickly becomes the enfant terrible of the photography world as the downtown counterculture of 1970s New York reaches its zenith.
[Streaming: HBO, kanopy] [Rent or Buy]
TFF Award: Narrative Second Place

Mary Shelley (2018)
Raised by her kindly bookseller father and tormented by a villainous stepmother, young Mary Wollstonecraft (Elle Fanning) longs for a life bigger than her sheltered upbringing. As she embarks on a whirlwind romance with the charismatic but mercurial poet Percy Bysshe Shelley (Douglas Booth), Mary’s dreams of a sophisticated life among the intellectual elite seem to be within her grasp at last—but this fantasy quickly dissipates when she realizes the harsh reality of her new husband’s moody and dissolute ways. That is, until one stormy night, when a friendly challenge among a rained-in cadre of Romantic writers leads her to invent one of the most iconic horror stories of all time, before she’s even 20 years old.

Saudi female filmmaker Haifaa al-Mansour (Wadjda) returns to Tribeca with this lush portrait of the author of one of Gothic literature’s most influential stories. Frankenstein, Mary Shelley’s enduring work, has remained a seminal story of creation and destruction, but al-Mansour’s film goes deeper, to depict the fraught tale of a teenage girl’s shattered romantic dreams that brought a monster to life. —Liza Domnitz

[Streaming: Showtime] [Rent or Buy]

O.G. (2018)
An inmate entering the final weeks of a twenty-plus-year sentence must navigate between old loyalties and a new protégé, while he also grapples with the looming uncertainty of his return to life outside bars.
[Streaming: HBO]
TFF Award: Best Actor, Jeffrey Wright

The Party’s Just Beginning (2018)
Lucy is a sharp-witted, foul-mouthed, heavy-drinking twenty-something who is still reeling from a recent loss. This surreal coming-of-age tale is a love letter to Gillan’s hometown in the Scottish Highlands.

It’s dark, it’s tragic. It’s fantastic.
[Streaming: hulu] [Rent or Buy]

12 Tribeca Film Festival movies already picked up

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The apollo

HBO has already snagged two documentaries: The Apollo (Opening Night), about the legendary Harlem theater, and At the Heart of Gold: Inside the USA Gymnastics Scandal, which is pretty much self-explanatory. Introducing younger audiences to the delightful Dr. Ruth Westheimer will be Ask Dr. Ruth acquired by hulu. At 90 years old, she’s still leaving her mark on the world. IFC Films will release Charlie Says from director, Mary Harron. I’m just glad they waited to make a movie until after his death. Same goes for the Ted Bundy story starring Zac Efron, Extremely Wicked, Shockingly Evil and Vile, which Netflix picked up at Sundance.

After premiering at the Berlin Film Festival, Goldie looks to be a promising tale of the pursuit of happiness. The latest Halston documentary seems to be less talking heads than Ultrasuede: In Search of Halston, which played at the 2011 Tribeca Film Festival. Dan Krauss won best documentary at the Tribeca Film Festival in 2013 for The Kill Team and has now made a narrative of the same with Nat Wolff and Alexander Skarsgård from A24.

In the documentary, Leftover Women, the story surrounds the effects of the gender imbalance of the “one child” policy in China. A24’s second release is the summertime drama, Low Tide. The documentary acquired by Sony Pictures Classics, Maiden, tells of an all-female crew in 1989 who competed in a prestigious yacht race. And last but not least, is The Quiet One from Sundance Selects, telling the story of Bill Wyman a founding member of The Rolling Stones that walked away from it all to be his own legend.

  1. The Apollo (HBO)
  2. Ask Dr Ruth (hulu)
  3. At the Heart of Gold: Inside the USA Gymnastics Scandal (HBO)
  4. Charlie Says (IFC Films)
  5. Extremely Wicked, Shockingly Evil and Vile (Netflix)
  6. Goldie (Vice Media, Fox)
  7. Halston (The Orchard, CNN Films)
  8. The Kill Team (A24)
  9. Leftover Women (MetFilm Sales)
  10. Low Tide (A24)
  11. Maiden (Sony Pictures Classics)
  12. The Quiet One (Sundance Selects)

Get your tickets early for the FREE Tribeca Drive-In Dinner and a Movie!

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Free and open to the public, the film screening series will take place between February 21-24 within Lower Manhattan’s magnificent Oculus 

For the third consecutive year, Westfield World Trade Center will roll out the red carpet for the Tribeca Drive-In: Dinner and a Movie film screening series, organized in partnership with the team behind the Tribeca Film Festival, and taking place from Thursday, February 21st to Sunday, February 24th – just in time for this year’s major awards season!

During the four-day series, visitors to Westfield World Trade Center’s magnificent Oculus in Lower Manhattan will be able to enjoy free movie screenings of past Oscar®-nominated and Oscar®-winning fan favorite films.

Come early for live music performances presented by Broadcast Music, Inc. (BMI); relax in custom-designed seating lounges; explore special fashion and accessories vitrines curated by local influencer and personal shopper Samantha Brown;  take advantage of one-of-a-kind, Hollywood-inspired photo ops; and partake of exclusive food and beverage service provided by some of Westfield World Trade Center’s tastiest restaurants and eateries, including: Epicerie Boulud,  Eataly NYC Downtown, Nunu Chocolates, and Sugarfina.

THE LINE UP

Thursday, February 21: As Good as it Gets

Doors open: 5:30pm / Film begins: 7pm

Friday, February 22: Field of Dreams

Doors open: 5:30pm / Film begins: 7pm

Saturday, February 23: Hugo

Doors open: 11am / Film begins 12pm

Saturday, February 23: E.T.

Doors open: 5:30pm / Film begins 7pm

Sunday, February 24: Finding Neverland

Doors open: 11am / Film begins 12pm

Review: ‘EGG’ one of our Top 5 from Tribeca 2018 (hatches) in theaters today.

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In provocateur Marianna Palka’s sharp and unflinching satire, two couples and a surrogate lay bare the complications, contradictions, heartbreak, and absurdities implicit in how we think about motherhood.

Mariana Palka’s follow-up to last year’s Bitch, is just as powerful in delving into “the phases of a woman’s life”, to use a phrase directly from EGG. With an incredibly theatrical feel, as if it could play in an Off-Broadway theater with a unit set, EGG confronts art, politics, and the patriarchal structure that surround the idea of having a baby. The entire ensemble cast is phenomenal, each playing their role in a game of vapid versus broken. The writing is good, honest, and brave. There are no filters on these characters making them completely loathsome and fantastic all at once.

Egg
Feature Narrative
Country: USA
Director: Marianna Palka
Writer: Risa Mickenberg
Starring: Gbenga Akinnagbe, David Alan Basche, Alysia Reiner, Anna Camp, Christina Hendricks

Review: ‘ADULT LIFE SKILLS’ finds humor in overwhelming darkness.

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ADULT LIFE SKILLS 

**Winner of 2016 Tribeca Film Festival’s Nora Ephron Prize**

Anna (Jodie Whittaker) is comfortable living in her mom’s garden shed making funny videos all day, but as she approaches 30, she starts feeling the pressure to move on and “grow up” without compromising her youthful spirit.

There is something whimsical about Adult Life Skills that takes hold of your heart. Jodie Whittaker plays Anna, a woman on the brink of turning thirty living in the backyard shed of her family’s home. Attempting to hold on tight to her childhood, she pushes back on growth as she is still reeling from the death of her twin brother. Reliving her relationship through the wonderfully absurd movies they created together for their website, Anna reluctantly takes a lonely neighbor boy (whose mother is dying of what we presume to be cancer) under her wing. Through his growing attachment, she learns to assess her emotional journey and come to terms with her reality. Whittaker is charming and honest. Each beat has depth and humor under the very real sadness. The surrounding ensemble of female family and friends pushes Adult Life Skills to the next level of indie darling. It’s a creative film version of depression. It delves into the mind of sadness with a visually interesting and fully uniquely fleshed out storyline The soundtrack is catchy and haunting as hell. On the whole, Adult Life Skills is simply lovely.

In Theaters and On Demand January 18, 2019 

Starring: Jodie Whittaker (“Doctor Who”) and Edward Hogg (“Harlots,” “Misfits”)

Written & Directed by: Rachel Tunnard

Fantasia International Film Festival review: ‘The Night Eats The World’ breathes new life into the zombie genre.

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The morning after a party, a young man wakes up to find Paris invaded by zombies.

The Night Eats The World is all about isolation. Sam is alone in his ex’s apartment, walls splattered with blood, and the other floors are not much better. Realizing the outside is even less safe, he begins to use his wits by gathering what he can find, little by little, staying organized but perhaps not sane. Actor Anders Danielsen Lie is in every single scene of the film. His performance is so engrossing that I almost missed his complete physical transformation along the way. He must remain as calm as possible, which is pretty difficult considering the circumstances. Director Dominique Rocher has given us quite the gem here. The Night Eats the World easily sets itself apart from the average zombie film. The film delves into the complexity of human intimacy. This is explored through a relationship with an undead individual trapped inside an elevator (played magnificently by Denis Lavant), an encounter with a fellow survivor, and a cat. An added element of interest that propels the plot is the fact that Sam is a musician. This becomes both an advantage and a misstep along the way. We’ve all watched The Walking Dead for years now but off the top of my head, I’m not sure I would be as methodic in my solitary survival as Sam. While we don’t get any information about the outbreak specifically, it never stopped me from enjoying the film, rooting for Sam to stay alive. Sometimes you don’t need it all spelled out for you, sometimes great storytelling is more than enough.

The Night Eats The World made is Canadian Premiere at this year’s Fantasia International Film festival. The 2018 fest came to a close last night, but we’ll keep you updated on the release dates. As for The Night Eats The World, you can catch it in theaters now and on VOD platforms like Amazon, Google Play, and YouTube.

Liz & Melissa’s Top 5 picks from the Tribeca Film Festival

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The Party’s Just Beginning
Feature Narrative
Country: Scotland
Director: Karen Gillan
Writer: Karen Gillan
Starring: Rachel Jackson, Jamie Quinn, Siobhan Redmond, Paul Higgins, Matthew Beard, Lee Pace, Karen Gillan
Lucy is a sharp-witted, foul-mouthed, heavy-drinking twenty-something who is still reeling from a recent loss. This surreal coming-of-age tale is a love letter to Gillan’s hometown in the Scottish Highlands.

I absolutely loved this film. It’s whip-smart, poignant, and funny as hell. An incredible departure for Karen Gillan on all fronts. I was blown away by the maturity of her writing. Not only does she tackle some seriously dark issues, but she does so with humor and some brilliant editing choices. The film explores personal responsibility, human connection, and escapism through music, flashbacks, and sharp wit. The Party’s Just Beginning is a triumph. – Liz Whittemore

Egg
Feature Narrative
Country: USA
Director: Marianna Palka
Writer: Risa Mickenberg
Starring: Gbenga Akinnagbe, David Alan Basche, Alysia Reiner, Anna Camp, Christina Hendricks
In provocateur Marianna Palka’s sharp and unflinching satire, two couples and a surrogate lay bare the complications, contradictions, heartbreak, and absurdities implicit in how we think about motherhood.

Mariana Palka’s follow-up to last year’s Bitch, is just as powerful in delving into “the phases of a woman’s life”, to use a phrase directly from EGG. With an incredibly theatrical feel, as if it could play in an Off-Broadway theater with a unit set, EGG confronts art, politics, and the patriarchal structure that surround the idea of having a baby. The entire ensemble cast is phenomenal, each playing their role in a game of vapid versus broken. The writing is good, honest, and brave. There are no filters on these characters making them completely loathsome and fantastic all at once. – Liz Whittemore

 

Mary Shelley
Feature Narrative
Country: Ireland, UK, Luxembourg, USA
Director: Haifaa Al Mansour
Writer: Emma Jensen
Starring: Maisie Williams, Tom Sturridge, Joanne Froggatt, Bel Powley, Douglas Booth, Elle Fanning
The story of Mary Wollstonecraft Godwin’s whirlwind romance with the tempestuous poet Percy Shelley, a romance that led to her creation of one of the most enduring works of gothic literature before the age of 20: Frankenstein.
In theaters: 05-25-2018, Distributed by: IFC

There was something refreshing about this young girl and her story. Told with no pity, and knowing she wrote the infamous Frankenstein, you’ll be amazed at how daring her choices were. I was on the edge of my seat, glued to the screen to see how it unfolded. – Melissa Hanson

 

Untogether
Feature Narrative
Country: USA
Director: Emma Forrest
Writer: Emma Forrest
Starring: Scott Caan, Jennifer Grey, Alice Eve, Billy Crystal, Ben Mendelsohn, Lola Kirke, Jemima Kirke, Jamie Dornan
Former writing prodigy Andrea tries not to fall for her one-night stand, while her sister Lisa throws herself into a newfound religious zeal (and the arms of her charismatic rabbi) to avoid the truth about her current relationship in this multi-character romantic drama.

This much talent can ruin a movie if the script isn’t good enough. Fortunately, this one is complex, full of emotion and depth. From the opening scene, you’ll know you’re not in for typical tropes. – Melissa Hanson

 

Lemonade (Luna de Miere)
Feature Narrative
Country: Romania, Canada, Germany, Sweden
Director: Ioana Uricaru
Writer: Tatiana Ionașcu, Ioana Uricaru
Starring: Ruxandra Maniu, Milan Hurduc, Dylan Scott Smith, Steve Bacic, Mălina Manovici
Mara hopes to move her son from Romania to the U.S. and obtain a green card. But bureaucratic processes give way to authoritarian nightmares in this simmering social drama about American immigration and the institutional corruption of power.

One of the very first films I saw at the fest and I still think about it. It’s not heartwarming but it is inspirational how this woman faces odds at every turn, yet she persists. – Melissa Hanson

Tribeca Film Festival Reviews: ‘Cargo’ & ‘The Night Eats The World’ breathe new life into the zombie genre.

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Cargo

Director: Ben Howling, Yolanda Ramke

Writer: Yolanda Ramke

Producers: Samantha Jennings, Kristina Ceyton, Russell Ackerman, John Schoenfelder, Mark Patterson

Cast: Martin Freeman, Anthony Hayes, Susie Porter

Stranded in rural Australia in the aftermath of a violent pandemic, an infected father desperately seeks a new home for his infant child, and a means to protect her from his own changing nature.

 

Cargo, starring Martin Freeman will undoubtedly rip your heart out if you are a parent. It’s a race against time form the very first scene. It contains an intriguing bit of cannon with respect to this particular zombie outbreak. I’m always curious how this will be addressed in the genre and in Cargo, it’s very different from what we’re used to seeing. This film has a wonderful pace. It is dark with a constant feeling of dread looming. Freeman plays a believably loving and caring father of his infant daughter. The action and terror are unrelenting. In the genre what more can you really ask for? The film will be coming to Netflix next Friday, May 18th!

The Night Eats The World

Directed by

Dominique Rocher

Writing Credits (in alphabetical order)

Pit Agarmen … (novel)
Jérémie Guez … (screenplay) (adaptation) (dialogue)
Guillaume Lemans … (screenplay) (adaptation) (dialogue)
Dominique Rocher … (screenplay) (adaptation) (dialogue)

The morning after a party, a young man wakes up to find Paris invaded by zombies.

The Night Eats The World is all about isolation. Sam is alone in his ex’s apartment, walls splattered with blood, and the other floors are not much better. Realizing the outside is even less safe, he begins to use his wits by gathering what he can find, little by little, staying organized but perhaps not sane. Actor Anders Danielsen Lie is in every single scene of the film. His performance is so engrossing that I almost missed his complete physical transformation along the way. He must remain as calm as possible, which is pretty difficult considering the circumstances. An interesting element to his character is that he is a musician. This becomes both an advantage and a misstep in the plot. We’ve all watched The Walking Dead for years now but off the top of my head, I’m not sure I would be as methodic in my solitary survival as Sam. While we don’t get any information about the outbreak specifically, it never stopped me from enjoying the film, rooting for Sam to stay alive. Sometimes you don’t need it all spelled out for you, sometimes great storytelling is more than enough. 

Tribeca Film Festival Review: ‘Here and Now’ is sensational.

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On the eve of a major performance at the iconic Birdland Jazz Club, Vivienne Carala (Sarah Jessica Parker) receives shocking news during a doctor’s visit that turns her world upside down. She struggles to deal with the devastation during rehearsals with her band and her manager (Common) and attempts to avoid her overbearing mother (Jacqueline Bisset). Finally, as she contemplates sharing the news with her ex and her teen daughter, Vivienne finds solace in the streets of New York City, where she reflects on her past and her future.

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Here and Now is the reason we still sit in a dark theater to experience a film. Sarah Jessica Parker is breathtaking and raw. The sound editing is stuff dreams are made of. It is noticeably heightened and for good reason. People’s cell conversations accost her while music fills the gaps in between. We track her in real time because time and sound and regret are the keys to this elegant film. Along with some stunning handheld camera work, there is simply not a hair out of place in this film’s storytelling. Here and Now explores the human connection between beauty and loss and life choices. You will be moved in ways you will never see coming. Check out the clip below for a slice of heaven that is Here and Now. *Formally titled Blue Night*

TRAILER:

 

Tribeca Film Festival Review: ‘Tully’ is the perfect movie to see this weekend.

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Diablo Cody, Jason Reitman, and Charlize Theron have managed to capture the very essence of what Motherhood feels like on a primal level. Wrapped in wit and honesty, Tully encapsulates the sheer exhaustion, frustration, elation, confusion, anger, pride, adoration and everything in between. It’s in the film’s specificity that creates a sense of, “Oh, my God, yes. Finally, someone gets it!” Spilled breastmilk, changing diapers, juggling schedules, sleep deprivation, the feeling of complete isolation. As a mother of a 1 and 2-year-old, while portions of the premiere audience laughed, I teared up and nodded because while it was indeed hilarious, it was also so true. I have experienced every single moment Theron’s character does in some form or fashion. We are living the same truth. Cody has a knack for turning the ordinary into extraordinary with her scripts. Theron is as real and charismatic as ever. The film is an opportunity for Mothers to feel seen and heard. It is an opportunity for their partners to peer behind the ever-cracking facades of messy buns, leggings, and maybe a little mascara and chapstick if you’re lucky. Mother’s Day is this weekend. Go see this film and call your Mom, Wife, or Sister, and say, “Thank you, now how can I help?”

 

 

Tribeca Film Festival: ‘The Miseducation of Cameron Post’ is still happening

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The Miseducation of Cameron Post
Feature Narrative
Country: USA
Director: Desiree Akhavan
Writer: Cecilia Frugiuele, Desiree Akhavan
Starring: Jennifer Ehle, John Gallagher Jr., Forrest Goodluck, Sasha lane, Chloë Grace Moretz
After Cameron is caught making out with another girl on prom night, her conservative guardians send her to gay conversion therapy. There, she forges an unlikely community with her fellow teens in this Sundance-winning coming of age story.
Official Selection of the 2018 Sundance Film Festival

Releasing August 10, 2018 from FilmRise

Melissa:

You might expect a combustible teenage tale of rebelling against a terrible situation, but instead, the story is nuanced and quietly chilling. Set not so long ago, the most disturbing thing is that it could be set today. This is not a bubbly teenage coming-of-age story.

Liz:

Melissa is right, the scenarios depicted in this film are absolutely still occurring in 2018. Being touted as  “gender confusion” in the film, I have no doubt this is damaging stuff to young people. It’s an important narrative to study in an everchanging inclusive environment. Chloë Grace Moretz as Cameron gives the audience a brave and honest performance. The writing and directing are fantastic. The film will both comfort and disturb audiences and the best ways possible. Through Cameron’s Miseducation, the world will learn.