Monday, April 7, 2025

Revolver (2024)


Former police woman gets out of prison after taing the rap for her fellow corrupt officers looking for the promised payday. The problem is no one wants anything to do with her and the guy who was supposed to pay her off committed suicide.  Pissed off and wanting to know what happened our heroine begins digging.

Despite the title, this isn't a gritty action movie. This is a slow building thriller with a lot going on. There are lots of characters and lots of details. You have to pay attention and let the film take you on its ride or else you are going to feel frustrated. Watching the film I occasionally felt lost. It was okay in the end but it took a bit have things connect.

How is it? It's not bad. It's a good film that is going to be best if you realize that the whole film is low key. Even the climax is low key when you think of revenge thrillers from Korea. I read thoughts on the film and I know some people think the ending doesn't work. It's said that the film stops more than ends and it a weird way that is kind of right. If the film had ended a couple of minutes sooner that wouldn't have been the case but the ending seems to imply something may happen.

I like it enough to recommend it, with the warning that you will have to pay attention.

CycleMahesh (2024) NDNF 2025

 


One of the most enjoyable films at  this year’s New Directors New Films is a film that is largely just one man  cycling across India.

CYCYCLEMAHESH is the true story of a man named Mahesh who decides to cycle home across India during the 2020 lock downs.  The film is simply Mahesh cycling and interacting with people and occasionally changing a flat tire.  It doesn’t sound like much but the truth is the story is compelling enough that when the ride too place Mahesh became a minor celebrity for a while.

There is something joyous about this film  nothing really happens and yet we get caught up in the ride and the stream of consciousness voice over. It’s a story where we don’t pat an eye as the person playing Mahesh changes.(The man himself shows up at the end).

I loved this film. I have no idea why, but for the entire 61 minutes I was lost in India and taken away from the daily grind.

One of the great films of NDNF and the great finds of 2024

Sunday, April 6, 2025

Fantaspoa starts this week


Some day I will get to Fantaspoa. And when I go I will go with my friend Anthony so we can go to the movies and then he can take me around Brazil and show me where he grew up.

And if Anthony won’t go, I will still go to Fantaspoa because it is one f the coolest film festivals in the world. Programming all sorts of goodies from around the world it is one of the few festivals that truly shows the scope of the universe of cinema. It doesn’t care about anything other than showing great films and as a result I have found some of the most wonderful films of the last few years there.

Long may they run.

Beginning Wednesday the festival is once more unleashing a wide spectrum of films on their audience and we are better for it. While I have seen a few films that they are screening (see below) I am looking toward seeing a few more.

Based on what I’ve seen before this is going to be a rocking year and I highly suggest that if you can go, you do so and see a lot of films.

While I am waiting access to some films, I would like to prepare you for the fest with a list of films I saw previously.

AJ GOES TO THE DOG PARK

BABY ASSASSINS NICE DAYS
CHAINSAWS ARE SINGING
EBONY AND IVORY
GHOST KILLER
INFINITE SUMMER
PARVULOS
SILENT PLANET
UNIVERSE 25

For tickets and more information go here

SUCH A PRETTY GIRL (2025) Minneapolis St. Paul International Film Festival


A mother has to decide who to protect her father or her child.

This is a simple and beautifully told tale that has a lovely kick in the end.

You will forgive me but I don’t want to say too much, the power of the film comes from a couple of quick turns and I don’t want to spoil it.  I will say that you need to see this film. It maybe one of the best you'll see all year.

Highly recommended

Saturday, April 5, 2025

Kyuka Before Summer's End (2024)NDNF 2025


A father sails with his two college age children to one of the Greek islands. Nominally it’s for a vacation, but he has other plans in mind, in particular to get the kids to meet the mother who ran out on them when they were babies.

Despite the fact that the set up sounding serious, this is a surprising up beat little film. First time director Kostis Charamountanis has mad a one of a kind film that moves along at a great clip and manages to work despite making several choices that would have sunk any other film.

While the film starts off conventional, the film shifts once we get to the island into something else. Using experimental or if not that unconventional techniques, fragmented narrative and a few other things, the film takes on a life of its own. The techniques are showy and in your face and in any other hands would have come off as annoying but here the tricks come off completely in line with the tone of the film. This is a warts and all family vacation where your family does weird things but you don’t care because you love them and the weirdness is them. Here the repeated shots or removed shots or whatever else is all part of the charm of the film.

That the film works is entirely due to the cast who aren’t so much acting as just living life. If I didn’t know any better I would swear everyone was related to everyone else. There is an ease and a joy to the interaction that makes you feel as though everyone has lived their lives together.

This film is a joy.

This is one of the best films at this year’s New Directors New Films and is highly recommended.

Little Miss Sociopath (2025)

 LITTLE MISS SOCIOPATH amused me. To be completely honest I had no plans of ever seeing the film, but a series of bad and pretentious art house films for some festivals took its toll and I had to reset my brain so I gave it a go.

The plot of the film has a put upon young woman getting more put upon when her dad dies leaving her to care for overbearing step mother. When the step mother dies she begins to tae care of other seniors with an eye toward larceny.  Its a series of dar choices that leads to comedic results.

That the film works is due entirely to the cast not over selling it (well other than the one character who taking drama lessons). Everyone plays it straight with the result things hit. We buy the odd twists and turns as more than a comedic contrivance.

While I wish the voice over  was a bit less low key, I still had a good time. Good enough that I will watch it again

Friday, April 4, 2025

No Experience Necessary (2024) Aspen Shorts


This is a lovely film about a woman with two left feet (literally) who decides to take dancing lessons.

This is a small gem of a film. It’s a lovely tale about finding yourself and going for it.

I smiled from start to finish .

Recommended

LISTEN TO THE VOICES (2025)NDNF 2025


Melrick visits his grandmother in French Guiana, He is from France, his mother having fled the violence that once engulfed the country and took the life of his uncle. As he falls in love with the country and learns to play the drums, he learns of the history of his family and the country.

Walkng a line between narrative and documentary director Maxime Jean-Baptiste blends both forms to create a fil that feels real and yet something else. Lucas, the young man who was killed in the film was a real person and his story informs the tale. Real footage of events is woven into the film. At the same time there are hypnotic sequences set in the jungle. This is modern cinema firing on all cylinders.

This is a wonderful film that, as with many New Directors New FIlms selections over the years, is not a big and flashy film that gives you a big emotional moment. Insead it is a film of quiet power that sneaks up on you and haunts you for days. Its a film that  produces emotions, and perhaps a few tears, not just when you see it the first time, but later when you are thinking about it. 

LISTEN TO THE VOICES haunted me.

Recommended

Thursday, April 3, 2025

LUNATIC: THE LUNA VACHON STORY (2025) world premiered at the Canadian Film Fest and is going to the Calgary Underground Film Fest and coming to a theater near you


This a portrait of Gertrude Elizabeth Vachon aka Luna Vachon, one of the great female professional wrestlers ever to come down the pike. The film is a warts and all look at Vachon from her childhood to her death. It’s a film that doesn’t shy away from telling the dark side of the sport and revealing the cost on mind and body the sport takes.

While the life and times of Vachon was covered in an episode of The Dark Side of the Ring, the truth is that there was way more material than a simple hour-long episode could reveal. Running almost two solid hours this film is an eye-opening look at not only the life of Vachon but the whole sport of professional wrestling. I say that as a guy who has been a fan of the sport for the last 50 plus years. There is a lot here, and I was about halfway into the film and I realized that I wanted to go back and start the film over to catch what I missed.

This is a super film. While the fact that Vachon was a wrestler may make people hesitate stepping in and seeing the film, the truth is there is much to consider outside of wrestling such as mental illness and the cost of addiction. This is not a wholly happy tale and its bittersweetness hangs in our mouths long after the credits have rolled.

If you like under the radar films LUNATIC: THE LUNA VACHON STORY is for you.

Recommended.

Lunatic plays Calgary Underground Film Fest next, April 24

LOST CHAPTERS (2024) NDNF 2025


Young woman returns from Spain to visit her father. Arriving home she finds he is searching for rare books that will help preserve Venezuelan history and that her grandmother's memory is fading. When she finds a postcard  stuck in a book, she sets off with her dad to find a previous unknown book.

If you have been going to New Directors New Films for any length of time you know that the festival frequently shows small films that, while good, are probably not going to get a huge release. It's not that that they are bad, rather that they are just so low key or atypical most distributors in the US wouldn't know what to do with them. Often, as in the case with LOST CHAPTERS, small also means short, in this case 67 minutes, which means most theaters won't play it. That means if you like small, atypical films, you are going to have to jump to NDNF in order to see it.

This is a low key film that isn't really about the plot. Told in longish static shots this is more about the relationships of the people and the ideas being discussed in their conversations. This is a film about family, about memory, about how we see the past and decide what to hold on to, and what we unexpectedly lose. It's a film where we follow some good people around for a while and see how they feel about the things in their lives. I know some people have compared it to a documentary  in its approach but that isn't quiet right, while some sequences feel that way, others are most decidedly written.

I like the film. Its a small gem of a film. It doesn't have bells and whistles, it just quietly entertains and makes you ponder life. That this film is probably going to disappear from view here in the US is a kind of a sad sign about the state of American cinamtic tastes. That said, if you want to see something good, mae an effort to go see LOST CHAPTERS before it disappears from  New Directors.

Wednesday, April 2, 2025

Yoko Kanno played New York City (finally) at Town Hall


This is not so much a review but a report of a fan getting to see one of his musical gods for the first time.

Yoko Kanno has finally played New York City. While Kanno had appeared at a 2023 concert celebrating the 25th anniversary of Cowboy Bebop to say than you,  this was the first time she was on stage and played her music. It was a moment that rocked the world as people from across not only America but the globe treked to 43rd street to bask in the glow of the great one..

The concert opened with Logan Richardson and his and taking the stage. They blew threw eightpieces, adding people as they went. Nary a word was spoken as the band effortlessly moved from song to song, pausing only momentarily  to allow the packed house to express their approval.

I was with my friend Nora, a regular at jazz clubs at in Manhattan and she was  slipping compliments in between songs comparing Richards and his band to many of the great musicians playing today.


Things changed when Richardson stood up and introduced Yoko Kanno explaining how the concert came together and how he was in awe of being given the opportunity to put a band together for Kanno. Kanno’s arrival on stage, in a bright red dress,  was met with thunderous applause and a standing ovation. Kanno  smiled and thanked the audience before introducing the entire jazz band (though not Little Kruta the strings ensemble) individually and saying something about each person. While she had worked with some of the people before, it wasn’t everyone and yet she knew who everyone was.

Kanno then introduced the next song Piano Black before she receded to the side of the stage to dance and conduct.  Until the post Tank sequence of songs Kanno was purely a dancing conductor. After that she played the played the piano on several songs.


The evening  was a magical experience. Somehow this was the first time that Kanno was performing in New York, a fact that left many people around me feeling shocked. One would have thought that she would have been invited to play sooner. Personally I was feeling bad that I had missed her until finding out I never did.

The choice of songs was quite good. Honestly I’m such a fan of Kanno’s that there are a lot of other songs I would have loved to have heard played live, but not being happy is quibbling. The mere ability to see Ms Kanno live and in person was enough.


What I loved about the performance was that the performance was not by the numbers. This was not a recreation of the recordings but a live performance. Almost every song had improvisations. Any live performances I had seen of Kanno and her band The Seatbelts seemed to be less jazzy. For example while I’ve seen and heard numerous versions of Tank played live, this was the first time where the band improved and really grooved on it. All the songs were not a note for note recreations but something living and breathing in the moment.  All of the material, including the  songs performed by both Steve Conte  and Scott Matthews, took the versions the fans know and love and made them something special, something bigger and better.


It was wickedly cool and left me and everyone else at Town Hall wanting more..

What I want Ms Kanno to return to New York and do more nights, not just with a jazz band, but a symphony orchestra that can really allow the full extent of her musical prowess.

It was a night that is destined to become legendary.


The Set List:
COSMOS Cowboy Bebop
Odd Ones Cowboy Bebop
Slipper Sleaze Cowboy Bebop
The Egg and You Cowboy Bebop
Cat Blues Cowboy Bebop
Clutch Cowboy Bebop
AUTUMN IN GANYMEDE Cowboy Bebop
CAR 24 Cowboy Bebop
PIANO BLACK Cowboy Bebop
Time to Know / Be waltz Cowboy Bebop
Is it real? Cowboy Bebop
lithium flower Ghost in the Shell: Stand Alone
Complex
Could You Bite the Hand? Wolf’s Rain
CALL ME CALL ME Cowboy Bebop
Waltz in High Socks Cowboy Bebop
High Heel Runaway Darker Than Black
Go Dark Darker Than Black
RUSH Cowboy Bebop
TANK! Cowboy Bebop
Gotta knock a little harder Cowboy Bebop
ENCORE:
Paradiso Wolf’s Rain
Green Bird + Piano Bar I Cowboy Bebop
All the photos are courtesy  of Anthony Mulchay and Town Hall

In the Hands of Fate (2025) is ​ on streaming right now on Fawesome


I saw IN THE HANDS OF FATE earlier this year but because of circumstances I could not do a full on review.  I told director Samuel Fronsman to let me know when the film was going to be released and I would put something up.

The official synopsis of the film reads as follows:

In the Hands of Fate centers around Donovan Harlow (Adam Joseph Turner), the reluctant hitman recommended by street hustler Vic Giovanni (Keith Migra) to work for drug kingpin Rocco Scaletti (Steven Scionti). Rocco hires Donovan to kill a thug who’s been doing business behind his back. However, things spiral out of control when Ashe Winters (Sofia Bianchi), a witness to the hit who Donovan let live, later steals money that Vic took from Rocco. To make things more complicated, she seeks the help of an old friend Charlotte Woolfe (Megan Reneau), who has since joined a cult headed by the egomaniacal Jeramiah Smith (Joseph Legion Slade). Now, Donovan must hunt down the junkie girl he previously spared in a chaotic tale, where everyone’s life is in the hands of fate.

This is a super little film and Fronsman and his crew are to be commended. As I told him when he sent me the film, keep sending me the films you make because I want to see what comes next and even after that.

Before you dismiss this film or the piece consider that I liked the film enough that three months after I saw the film I am taking the time that I could be writing a review to write up a pointer.  If that doesn’t speak volumes about what I think of the film, I don’t know what does.

Recommended

You can stream IN THE HANDS OF FATE for free on Fawesome: https://fawesome.tv/movies/10666537/in-the-hands-of-fate

DROWNING DRY (aka Seses aka Sisters) (2024) NDNF 2025


When I saw that Laurynas Bareiša's follow up to the excellent PILGRIMS was at New Directors New Films I got excited. I was even more intrigued when I realized that it also had been short listed as Lithuanian entry for the Oscars.

The film is very hard to discuss.  The film is about two sisters and their families who go to a remote cabin and something happens. What happens at that 36 minute mark is not immediantly clear and the film spends the next hour bouncing through time and replaying some events as we see what happened after in fragmented form. How you react to the film is determined by the pieces that are thrown our way. Because the trip is required to get a fair reaction I can't tell you more regarding details.

I will say that with this second cinematic foray Bareiša has taken a step toward being recognized as a crafter of fine human dramas. The characters are compelling, the situations feel real. There is a sense that for the most part this is happening right before us.

I will also say that I'm not so certain that the fragmentary telling of the tale really works. I say that because the fragmentation implies something greater than what we get. I wish the film had played out chronologically and that what happens happened without the broken narrative. The strength of the directors earlier film was the fact that it played out like life with no grand revelation promised nor given. Here the shift from straight forward to chronological muddies the water needlessly.

That isn't to say it breaks the film. It doesn't. It just makes what would have been a near great film into a solidly good one and that is enought to recommend it when it plays New Directors New Films.

Tuesday, April 1, 2025

PÁRVULOS: CHILDREN OF THE APOCALYPSE (2024)


I want to just say "Don't read any reviews-Just buy a ticket and go see PARVULOS". I say that because the film changes and changes and changes and while you will know where a bit of this is going- you won't know it all and it will punch you in your face like a boxing glove filled with cement.

The plot, or as much as I am going to say, concerns three brothers after a plague has ravaged the world. Lots of people are dead and the brothers are living in the wilderness trying very hard not to have any contact with anyone.

That's all I will say about the plot....

...about everything else I will say that director Isaac Ezban's film is a wicked little gem. It's a film that is very much about family. It is a family drama disguised as a horror film. The horror stuff is merely the window dressing for a film about the love of three brothers. It's a film that soars because Ezban stays focused on the characters and lets us watch how they are forced to fight for each other as things happen. 

I know, I know many of you want to know how it is as a horror film. It's really good, but it's more a thriller than a straight on horror film. Yes, there are horror elements but as I said the film is more interested in other things.

Shot with a deliberate use of lens and muted color palate that beautifully put us in a time and place. It's a film where the images set the mood almost as much as the story. I wasn't sure about some of the way Izban used certain lens, but it grew on me, more so when I realized how off the images were making me feel- they were dragging me down the rabbit hole.

I'm sorry if this a bit rambling and disjointed but this is a film you need to see and not read about. The power of this film comes from taking the journey from first fframe to the last. It's a film where how the revelations are made affect how you feel. It's a film where you have to go with where it wants to take you because the film is not what you think it is. Nothing is as you suspect, and I don't want to give you any clues about what happens beyond what Ezban has allowed us to know.

Trust me on this, PARVULOS is a stunner... more to the point it's destined to be consider a classic.

Virgin of the Quarry Lake (2025) NDNF 2025


When another girl finds that the affections of the man, she is interested are being directed towards another she takes magical steps to try and stop the pair.

This moody and oppressive fantastical romance of sorts is going to send chills through your body. This is a creepy little film full of the dark side of humanity.

While there is much to love in the film, some may not be happy with the deliberate pacing. There are lots of times where we simply observe and other times where there aren’t conversations but speeches. This is very much an art house film.  If you are okay with that and get with the film’s vibe this film is going to leave you deeply bothered (I mean deeply bothered)

Recommended

Monday, March 31, 2025

Talking about THE FALLNG SKY with Co-Director Eryk Rocha and Shaman Davi Kopenawa

 


This interview is a long time in coming. The interview was done on a Sunday afternoon in November 2024 before the screening of FALLING SKY at Doc NYC.  The film was inspired by the book by activist Davi Kopenawa the film is a look at the Yanomami community in the Amazon as they prepare to celebrate the life of Davi’s father-in-law who had just passed away. The film blew me away with it’s you are there depiction of life in this small community.(my review is here.)

The interview was done in the waiting  area of the Village East Cinema in New York City. It was a 40 plus minute talk with the film’s co director Eryk Rocha and it’s subject Davi Kopenawa and it was translated by Juliana Sakae who was the film’s publicist. It was a very animated discussion of the film  and the genesis from Davi’s book becoming, over the course of some seven years, a feature documentary. It was one of the most satisfying interviews I was ever a part of. It was so intense that I intentionally held off doing the transcription of the interview for the recent release (The film opened in NYC at the beginning of the month and it opens this week in LA.)

What follows is a good portion of that talk. It is not the complete talk for two reasons, one technical and one not.  The technical issue was due to the fact that about half way into the talk the theater waiting area which had been empty and devoid of people when we started, filled with people going to and from screenings.  What was just our four voices became multiplied and some of the talk got lost in a wave of cross talk. I, nor the personwho did the original transcription, could bleed out all the voices and as a result we lost some of what was said. The non-technical issue was due to my having to edit out some material for one of two reasons, either the discussion was super specific to the film and would have made no sense to anyone who hasn’t seen the film, and the other reason was that it was essentially off topic.

I want to thank Eryk and Davi for taking the time to talk to me, and Juliana for doing the translating and putting this together. 



STEVE:How did you guys end up coming together to make the movie?

ERYK: We went for Davi and Bruce to say that we wanted to make the movie. They liked the idea, and from there we started to develop the script, the research, this dialogue with Davi, with the Hutukara Association, which is the producer of the movie. We started to talk, and that was the starting point.

We never had the intention of making an adaptation of the book, because it's an unadaptable book. The film is much more like an inspiration of the book, or a dialogue with some aspects of the book. It was the starting point. It took us seven years from the beginning of reading the book to the movie on the screen, when the movie premiered in May 2024.

STEVE:That was going to be one of my questions… Why did it take seven years?

ERYK: Because during those years that we talked a lot with Davi, and researched and wrote some versions of the script. During this time there was the imponderables, like the death of Davi's father-in-law. That was when Davi and his community, the Watoriki, organized the festival in honor of his father-in-law. Davi and the leaders of the Watoriki invited us to go to their house, and for us to make this film of this incredible festival. A festival that celebrates the life, the rituals of the Yanomami. It's the festival that structures the whole film.

The ritual is called Reahu. We structured the entire film around it.  Reahu is a ritual that honors great leaderships when they pass, but also it's a celebration of life at the same time.

So, during the party, we were simultaneously together with Davi, every day, talking to him, raising questions, and  in this conversation stories would come up  that, along with the party, permeate the film.

STEVE: I don't know how big a camera crew there was, but how was it, dealing with all these people coming into your village? I know it's a celebration of your father-in-law's life, but at the same time, having people there, trying to film a movie around that, I thin would be a bit hard.

DAVI: Well... We met among ourselves. I met the leaders first. They asked, what are they doing here? What are they going to do?

They're going to take pictures, and film. What are they bringing? So I went to explain to them. Our leadership authorized it. It's not like in the past, now we're being recognized.

They could come and film and they could also participate in the big party we were preparing. A big party to celebrate the birth of my father-in-law, who passed away. 

Everything was open for them. It was very important for us to show our dance, singing, joy, and the community, thanking the wealth of our forest, thanking the wealth of our land, as it was created.

STEVE: I’ve watched hundreds of documentaries, but this film touch me a lot because it feels like it really represents the people. There's no barrier,  usually there is an invisible barrier between filmmakers and indigenous people.

DAVI: That's good. Thank you. That's good because this film is really very demonstrative.

The Yanomami people are sacred, they never, they never thought that a person who takes a photo, a film, would think to show our images to people in cities. That's why we wanted to show our image to the people

It's not the people of the city, it's the people of the forest that have lived for many years, many, that have never been filmed to show. So it's the first time that we wanted to show to the people, to so we’d be recognized and respected.

ERYK : Can I add something to what Davi said?  Davi and the Yanomami who watched the film, felt represented. I think this is due to a relationship of trust built over time.

We talked a lot before, exchanged many ideas, brought Hutukara Yanomani Association to the project, also involved a group of filmmakers, communicators and Yanomami in the film team, people making cameras, sound, production. Davi, Gabriela and I exchanged many ideas with Davi in the sense of communication, to really create a trust, a respect. The film is the result of seven years of work.

I think that time is the co-author of all films. So I think that what he felt materializes a little this process too.

STEVE: Time is the co-author of the film?

ERYK: Yes, time is the co-author. I think its this process of time, of relationship, of exchange, of being a hybrid team. I think all this has to do with the trust that Davi and the Yanomami had with us.

Friendship. Because it's not just a film for us, it's a life relationship, it's a commitment, it's an alliance that is forever. It's not just a film. We are friends now, a friendship that exists, that is being built.

STEVE: You talk about time and it's an interesting thing. The film opens with seven or eight minutes of everybody just walking into the village. It's one of the best opening shots of a film I’ve ever seen. Honestly, I was a little hesitant the first time I saw the film. I felt it might be too long, but once I got into the film, and then upon seeing it again, I realized it's actually one of the most brilliant things you do because however long that first shot is, you go from I'm in a room in America, to I'm in the forest. And it's just like these people are coming to me and we're going to engage.

It's this thing where it's like “we're coming to you, we're going to engage with you” and then they do and you walk out of it and you feel wonderful. You've met all these friends that you never knew you had before.

It's this wonderful thing. 

ERYK: Curiously, it was the first shot we shot of the film which is the Yanomamis arriving from the hunt. They went hunting a few days ago.

They're coming from the hunt to prepare the party for the community. So it was the first shot we shot a few hours after we landed in iWatoriki and I think it's a shot it's a synthesis shot of the film. It's a sequence shot of nine minutes.

It's as if the whole film is in this shot. And what he noticed is exactly what we feel, that they come walking slowly, they sprout from the ground they come walking with the forest together and the shot ends with Davi's look his face, his look looking at the camera. I think that's the theme of this film, this meeting, this clash between worlds, this confrontation between two worlds.

It starts with a more discernible shot, let's say, more abstract, the beginning, and it ends with Davi's look very strong at the camera, looking at us, chasing us. And I think this shot has a very theatrical a theatricality, a ritual. It's like a stage, the forest has this theatrical stage character.

And it's the time, it's the question of time, of respecting and understanding this time.

STEVE:  I want to know how much, input Davi had in putting the film together. Also, I'm curious if the film is the film everything that he wanted. from the film as well?

DAVI: So, I wanted to show our magic, the magic of the community, the movement of the Reahu, the Reahu movement, of preparing, painting, taking food out of the pots, so, that's what I wanted. I wanted to do something historical,  show to other relatives, non-relatives, the people of the city, to get to know them. So, we say that our movement is no longer like this, like this, curled up.

 We're like this, surrounded by the city. The city is far away, but we're not surrounded.

We have Brazil, Venezuela, Colombia, so, what we want to do is show our different culture, our culture, our different language, to recognize, recognize, and protect our place, where it was filmed, and show to the people of the city that it was like this. In Watoriki, we're in our house.

Our house is the forest. Our house is the place. So, we're in Watoriki, in Brazil, and we're going to show our place where we live permanently.

I really wanted to show our image, the image of our community, the movement of Reahu since preparing the food, and then, you know, taking the food out of the earth.

I really wanted to show something historical, both for, they call in Brazil, relatives and non-relatives, it's like indigenous and non-indigenous people, and for the people of the city to know us, because our people are not isolated anymore, we are surrounded by cities, so we need to show our culture and our language in order to protect our own place. So, we are showing that to the people of the city, how he calls, and then we're showing our house, because we are Yanomami, we are Brazilians, and we're going to show where we are living, and he used the word permanently. 

ERYK: And then it was at the premiere of the Cannes Film Festival for us, the birth of the film, and it was present, it was truly very exciting. And now the film has just played, last week, at the Hutukara party, the 20th anniversary of the Hutukara Yanomami Association, there was an exhibition, and we are drawing now, we are planning a project for next year, to launch the circuit in several communities in Yanomami, in Huatorique, and in other communities as well, so that people can watch the film.

STEVE: That's the one thing I don't have a sense of from the film, is how big is Davi’s land?

DAVI: This film only focuses on one community, out of 350 communities inside the Yanomami land. It's a huge territory.

STEVE:That's how you get people to pay attention, is you show them one,  if you show one community, you're going to connect the people, instead of showing this huge community, because it makes it one-on-one, and that's what's wonderful about it.

ERYK: Yeah, that's it, it's a very... Although there are layers of information, of narrative, of information, which is important, but it's a film that bets much more on this experience of ours, on our relationship with this community, with Davi and the community, this immersion, this place where we've been for a while, and it reflects our experience we've had, this relationship of bringing, of how the energy of the party, the energy of the party of this people, of Yanomami, of this community, how this energy, this vitality, it roots the form and the language of the film.

I mean, we didn't arrive with a psychostatic, cinematographic project ready in our heads to execute, but we discovered the form, we had many intuitions, obviously, studies, intuitions, desires, inspirations, but we really discovered the form of the film from this daily relationship, this party, this intervibration with this community. From this, this energy was what inspired and rooted the form of the film..

STEVE:Just something that I wanted to say which isI think it's one of the reasons I love the film, is the film doesn't feel like a documentary. It feels like a narrative. And as a result, from my standpoint, for recommending it, I can tell people, see this movie, you're going somewhere, you're going to be told this great story about these great people.

Because I know some people don't like to watch a documentary. IThis is going to play like a drama. It plays out like you're watching Life in the Village, and it doesn't feel like I'm being told a documentary story. I'm being told a story. And I, which sounds kind of stupid, but the reality, but it's not.

It's sort of counterintuitive. It's being, people tend, a lot of people tend to connect to fiction, in some ways fictional characters, but with this, they're real people, but they feel like they're so well-rounded, I don't know how he did this, I don't know how he managed to get, everybody on screen feels like a fully formed character, which you don't get in documentaries. Somebody gets left out, and that's why it feels like a narrative.

It's that you're watching somebody who's, you're watching a movie where somebody wrote this out, and instead he's showing life, but it's being sketched out. Forgive me, I'm excited. I get excited about movies.

ERYK: Yeah, because the movie has a dramaturgy, it has a dramaturgical thought, and for the Yanomami there are no these catalogs between documentary and fiction that exist for us. The Yanomami the cosmology of the Yanomami, brings the dream as a fundamental question, from shamanism, from Yakuana, so this brings another perspective, right, which is not, so that's why the movie doesn't work with these categories, so, let's say, you can recognize this or that. As I said, we are very inspired by Davi's thoughts, by the fall of the sky.

THE FALLING SKY opens in LA on April 2 before opening in the rest of the country.

When Fall is Coming (2024) opens Friday at FIlm Forum


An older woman is kept separate from he grandson after an accidental incident with mushrooms. Becoming lost and untethered she drifts through life until she hires the son of a friend, just out of prison, to help her.

When you see this film leave your expectations at the door. What ever you think you know what the film is, it isn’t that. I’ve read several pieces on the film and while the details in them are correct none of them can fully explain what it is like to see this absolute gem of a film. In all seriousness this film is just a wonderful tale that is uniquely its own thing.

Actually what this film is is everything that American films are not. This film drifts in and out of story in ways that are never telegraphed or clearly worked out. It moves like life bringing together turns in unexpected ways.  People have interesting sides and secrets and none of them are big to do they just are.

Why do I love film festivals so much? Because I get to discover films like WHEN FALL… which broaden my ideas about what cinema  and storytelling are. Sure the film echoes a novel in construction but the truth is it does things that no novel could do. This is pure cinema in the most moving and human way.

I loved this film a great deal

Highly recommended

Sunday, March 30, 2025

New Directors New Films 2025 starts this week

 


New Directors New Films starts this week and cineastes in the NYC metro area are going crazy.

Filled with films from new and upcoming filmmakers the festival is a good place to see the work of people who may one day become the next big thing. The festival is also the place to see a lot of works that may not get a big release until the filmmaker makes a name for themselves. I’m not being snarky, but it’s true, a lot of films that play the fest either never get a regular US release or only get picked up after the director hits (I’m constantly reposting reviews of films from a couple of years before) so if you want to see a film- do not hesitate.

The films at NDNF tend to be more art house than mainstream. This is great is you want to see good films, but not if you are looking for the next big Hollywood thing because the festival doesn't really do Hollywood much.

Additionally because the films are all over the place in subject and in style it’s hard to say what the festival is any year in particular. The festival casts a wide net and is great for people who want their cinematic horizons widened. At the same time I can’t say it’s all good because every year the fest is hit or miss depending upon my persona reaction to the films.

This year my favorites of what I’ve seen are as follows. 

CycleMahesh is a recreation of a man biking home during the covid lockdown. Not much happens but it is an absolute delight.

Holy Electricity has two guys selling crosses and it's just great time with great people.

Kyuka Before Summer's End is an experimental first film about a boat trip that should not work but somehow delights on every level

Listen To The Voices is about a young man from France finding a home in the place his mother came from. It's lovely

Timestamp is a doc about kids going to school in Ukraine during the war. 

Virgin of the Quarry Lake is a deeply disturbing thriller about a fractured relationship.

As always if there is something that looks interesting go see it because you may not get a chance to see the film again. And because a lot of the screenings sell out I suggest you buy tickets for anything that interests you sooner than later.

For tickets and more information go here

Liz Whittemore on Psychotherapy: The Shallow Tale of a Writer Who Decided to Write about a Serial Killer (2024) theatrical release starting 4/2 and will be on digital VOD 4/11.


This piece originally ran at Liz's regular home REEL NEWS DAILY

A hapless writer gets pulled into a scheme involving his wife, his impending divorce, and a serial killer yearning to be the subject of his next book. Tolga Karaçelik‘s first English-language film, The Shallow Tale of a Writer Who Decided to Write about a Serial Killer, makes its debut for Tribeca 2024 audiences.

After Suzie asks Keane for a divorce, Kollmick poses as a marriage counselor to throw her off the scent of their agreement. Suzie becomes suspicious with the discovery of each book Kollmick suggests Keane study. Convinced she is the target of Keane’s strange new behavior, the three become entangled in a complicated plot for individual satisfaction.

Britt Lower plays Suzie, Keane’s fed-up wife. Suzie has a type A personality and a pristine appearance. Her fashionably buttoned-up look, whether donning silk pajamas or a salmon-colored suit, is perfection. Her morose delivery is flawless.

John Magaro nails the role of Keane. He swings from overly nonchalant to manic as the film progresses. A celebration of childish floundering, this performance is hysterical.

The SHALLOW TALE 2Steve Buscemi is a legend. In pretending to be Keane and Suzie’s marriage counselor, he brings his murder advice into the sessions, equally confusing and intriguing his faux clients. Buscemi’s calm and confident nature is captivating.

The cast’s chemistry is spectacular. Buscemi and Magaro have a fun banter, but the most surprising firecracker moments happen between him and Lower. The way they both lean into Suzie’s macabre aura is a hoot. Karaçelik’s dialogue is witty. The cinematography from Natalie Kingston is beautiful, utilizing noir lighting.

THE SHALLOW TALE is weird, but the good kind of weird. It’s simultaneously so strange and dark you find yourself smirking and scratching your head, needing to know where it goes next. The film boasts a knee-slapping climax akin to a high-stakes ping-pong match. THE SHALLOW TALE is a dark oddball comedy that celebrates leaning into our authentic selves and the essence of communication, no matter the fallout.

SLOPPY SUNDAY (2025)


Christoff LeBlanc absolutely blew me away with his short SLOPPY SUNDAY.  The film is the story of a young prostitute who is looking to get out from under her pimp rocked me.

Raw, violent and foul mouthed SLOPPY SUNDAY is a film that works as both a crime drama and a character study. LeBlanc isn’t moving pieces around a chessboard he is instead observing real people in real situations. While there is a tiny bit of short hand in some of the side characters, owing to the brevity of the film, the leads are spot on. Actually the whole cast is spot on and make this something special.

This film is a winner and an excellent introduction to a filmmaker who is going to rock the world when he gets to do a feature.

Highly recommended