Where The Devil Roams (2023) opens Friday and hits VOD November 7

The Adams Family are back with another home run. Most importantly they have not only hit it out of the park they did so in a completely new way. God bless them and their ability to give us something new every time out of the box. I think that this means that they are officially among the best filmmakers (full stop no qualifiers) working today. As for genre directors I'll say top somewhere in the top three simply because I'll let you slot them. 

This time out the Adams don't give us any quarter from frame one. Beginning with a legless man shuffling out on stage to read a poem about the devil we are completely ill at ease. The film then shifts to depression era America where a troop of performers travel the country performing terrible acts on themselves and the unfortunate people they run across. This is a true nightmare made real and it doesn't end until the end credits roll/

How good is this film - I was so disturbed I wanted to stop watching it. This is a world that I quite simply wanted no part of. I never left, but lord knows I wanted to run away.

This is a true horror film. This is a film, like all the Adams' films, where there are no real jump scares, no trappings of typical modern horror with thundering scores, bright colors and the like. This is a film where mood and quiet acts are devastatingly everything. People will talk about things and then when we see something after that make our insides knot up.  For example, the long poem that begins the film sets the tone and the mood for everything that follows. You are put on notice as each line of the poem is referenced, and you realize where things are going (straight to hell).  Each terrible act feeds into the next. It's a film that wants to do more than just scare you but wants to get under your skin and walk around a while.

To be honest my desire is to sit down and discuss everything that happens, but I'm not going to do that. Most of you reading this piece haven't seen the film yet and as such it will not be fair to you to spoil what happens. I would like to point out a couple of technical turns that help things along- first is the world of the film is forever overcast. I don't think we ever see the sun or the blue sky and as such it's a dark world.  Add to that the color of the world, like the lives of the people on screen dies as the film goes on. The film begins with a black and white segment and by the end it kind of returns there but darker, with what color there is slowly bleeds away and the film becomes a dark place whose images resemble a dark dream you have when you're twisted in bed sheets and suffocating on your pillow.

The film gets worse the more you think about it. I say that because not only do you start to piece things together, but you start to see how the film is playing thematically. This film is a dark mediation on what we do to succeed, the nature of love and family. I don't have a lot to say on this just yet since I'm still recovering from bleakness of the film and I'm trying to find myself a little daylight away from the dark head space.

I don't know what to say beyond that other than this film is a masterpiece on every level. It is one of the very best films (full stop, no qualifier) of the year.

Highly recommended.

SPINNING MAN (2021)

 A man alone in a bomb shelter after the bomb drops broadcasts a radio show to anyone who will listen and talks to anyone who radios back.

Much too short film is killer show reel for Travis Mitchell. On screen for the entire film, he gives what should be a star making performance as a man trapped alone after the end of the world. Mitchell is scary good in the “if Oscar looked at shorts, he’d win one” sort of good.

I loved everything about it, and I have to put writer director Jordan Rosenblum on my list of people to follow list. I would love to see what he would do with a feature…

Which brings me to the thought that I’d love to see a longer version of this film. There is so much more that can be done with this and as it goes the film begins to introduce things that bleed off the screen.  This could be a stunning  feature- especially with Mitchell and Rosenblum continuing on.

Recommended.

Go On Be Brave (2023) plays Village East November 2

 A portrait of Andrea Lytle Peet who was diagnosed with ALS. Given a 2 to 5 year life expectancy she decided to do one more triathlon and call it a life. And then while she waited to die she decided that instead of waiting she would participate in 50 marathons one in each state.

Portrait of a woman who decided to live rather than die.  Following Andrea as she makes a run for 50, we watch as she makes friends raises money and struggles to make it up that big hill. It's a glorious tale about what can happen if we all decide to go out there instead of waiting for the darkness to come get us.

I loved this film. Sure I could quibble about a few things in the film, but few films in the last few years reduced me to a blubbering mess repeatedly. Andrea may have problems but she is also very clearly and very loudly not going down without a fight. It's a joyous trip we all need to take because we all need to see that life is what we make of it.

One of thegreat discoveries of 2023, it is very recommended 

BOLT FROM THE BLUE (2023) Austin Film Festival

Reporter goes to Alaska to see the work of a scientist who says that they can contain lightning and turn it into an energy source.

This is a small scale gem. This is a good film with good people that entertains us from start to finish.

To be honest I don’t have a great deal to say about BOLT FROM THE BLUE other than it entertained me. Beautifully made and expertly acted the film takes a well worn tale and shines it up just enough that we don’t mind hearing it again.  That’s not a knock, it’s just the truth, this is another version of the outside comes in on the verge of a creator’s great discovery and watches it happens. Hell it even has the trope of the work was started by the scientists late parents.

Yea you’ll be way ahead of everyone on screen, but you really won’t care because the cast is so good.

To be honest I had no desire to see the film but in a moment of weakness I said what the heck and took it on. I’m glad I did because I got to see a nicely entertaining film that was the perfect palette cleanse for the heavy festival films I’ve been watching.

Recommended

HOME IS A HOTEL (2023) Austin Film Festival

 

In an age where no one can afford to rent and people are ending up on the street HOME IS A HOTEL is an eye opening film. It’s a film that shows us what it’s like to have your whole world reduced to a single room.

I’m kind of afraid that this excellent film may not find its audience. A low key and matter of fact accounting of several people living in San Francisco’s hotels, this is  film that should be getting a big push and lots of notice. However since the film never results to histrionics and simply lets the various people talk and show us their lives this film may seem unexciting, at least looking in from the outside. I say that since when  I started I wasn’t certain what I was going to think, it was rather calm. On the other side of the film,  by the time the end credits rolled and we are told that no one earning minimum wage can afford housing I was rocked. It was something I knew, however this film made it real and explained what that all means.

What it means is having your world reduced to four walls and having “your table double as a bed” and other things that are just wrong. People need more than four walls.

I’m sorry for the brevity but this film moved me and I don’t have the words.

Just see this – it will move you

Home Is a Hotel will premiere in Austin at the Austin Film Festival on October 29, 2023 and will also be featured in the San Diego Asian Film Festival on November 8, 2023 and premiering in Los Angeles on November 19, 2023 at the NewFilmmakers Los Angeles DocuSlate

The Problem With People (2023) Austin Film Festival

 Put upon Colm Meaney’s father says he’s dying. His dying wish is to heal the family from some long ago rift that split the family. Seeking to fulfil his dad’s dying wish he makes contact with Paul Reiser, his long lost cousin, who is now a rich builder in NYC who is dealing with a heart attack, a divorce and his daughter’s adopting a baby. Deciding to take up Meaney’s invitation he flies to Ireland where the two men butt heads…before realizing they are similar after all.

Despite going largely as you would expect THE PROBLEM WITH PEOPLE is a delight. It’s good time with good people- particularly Reiser and Meaney. They make a hell of a pair and even before the end they seem like two old friends. Actually the best part of the film is that Meaney gets to play one of his very rare leads. Sure Reiser is on screen with him but Meaney is literally the first and last face we see in the film and it’s an absolute joy.

I’m not going to lie and say this is the best film you’ll see this year, but I will say it’s one of the most entertaining.

Currently playing at the Austin Film Festival THE PROBLEM WITH PEOPLE is worth your time

DON’T TELL LARRY (2023) Austin Film Festival

Dark office farcical comedy about two friends scheming to get ahead at their company who say something to the off center Larry and suddenly find themselves sliding down a dark path as events spiral away from them and Larry gets more sinister.

I was not planning on covering this film because I was too swamped with an upcoming festival, but the right person leaned in and whispered into my ear that this was going to be the perfect palette cleanse for all of the documentaries that I was watching. I didn’t think they were right and I didn’t think I would be able to make time, but both things somehow happened.

While I like a good comedy I can be mixed in farce. When Farce is done right it brings belly laughs, when it’s done wrong the over the top nature can make the jokes cringey. Fortunately with LARRY the filmmakers get the tone exactly right and as a result the laughs keep rolling through the whole film. What impressed me was that even as the tension goes up because the stakes become dire  the film remains very funny. We are laughing as we are sitting on the edge of our seat because it’s just so funny.

I went from not wanting to see this film, to telling a bunch of my friends who cover films that they want to include the film in their upcoming coverage.

In an age when comedies can be crap shoot DON’T TELL LARRY is a winner.

Worth a look at the Austin Film Festival this weekend or wherever you can see it.

AFTER (2023)

 

Thomas Angeletti directs from a script by co-star Timothy J Cox a story of grief following the death of a police officer in the line of duty. The film is a moment in time as a grieving father and daughter ponder whether it’s better to let justice take its course or whether to get retribution.

The story here is the performances. Cox and Beth Metcalf bleed all over the screen as a father daughter mourning their loved one. It’s a supercharged pairing that makes this a film that grabs you by the throat and holds your attention.  I can only imagine how this played on the set as the raw emotions bled all over the floor. Its messy exchange, just like real life, which is why we are held spell bound by two performers operating at the top of their game.

Recommended.

Another Body (2023) at Globe Docs 2023 and in theaters in LA and NYC

Taylor Klein is sent a link to a porn video from a friend. She thinks its someone pretending to be her friend- but she quickly realizes that it is her friend and they have bad news- someone has created porn videos with her face in them. She is the victim of deep fakes, computer generated images and sounds that  are being used in various places, such as porn and politics to nefarious ends.

One part mystery as to who was behind the deep fake and one part social exploration of the use of deep fakes  ANOTHER BODY is largely going to keep you glued to the screen. You are going to want to know how things like this is happening as well as well as who was responsible for  doing this to Taylor...and other women.

I'm not certain how much to say about this film narratively. There is a reason having to do with its construction which is kind of like the layers of an onion with revelations as you go. I don't want to spoil the surprises.

On other levels this film is a killer. The fact that someone can make false versions of ourselves and out them out there is frightening. People blindly believe anything they find on line, hence much of the pain and misery we see cropping up as people blindly believe what they see. The film will open your eyes to what is being done...and in the case of our lawmakers, not done since there are not many laws to prevent this from happening or punishing anyone who uses deep fakes. It's frightening. I was shocked at how little can be done. 

You really have to see this film which is playing on the Globe Docs Streaming Platform and in theaters in NYC and LA.

THE STONES AND BRIAN JONES (2023) plays Globe Docs tonight then A Special ONE NIGHT ONLY Event, November 7 and EVERYWHERE On November 17

Nick Broomfield takes a look at the life Brian Jones and his role in the Rolling Stones. It’s a bittersweet and sad tale of a lost soul who helped changed the world through the music he helped create.

This is a good if conventional look at the man and his music. Telling the story in the words of the various people who knew him, including recording  from Mick and an interview with Bill Wyman, the film paints a portrait of a young man who loved the blues to the exclusion of all else. He was going to play music come hell or high water and as a result he was able to help create classic recordings that are still crowd favorites over a half century later. Not shying away from the dark side the film reveals how  Jones’ early battles with his disapproving parents gave him a cruel side. It was side that was said to be intensified by girlfriend Anita Pallenberg who pushed him to do unkind things.  It was something by his alcoholism and drug use.

Since most people are not aware of Jones’ role in the early days of the Stones, this film wonderfully sets the record straight. We see that the group was more than just Mick and Keith.  There are some great stories here, say Paul McCartney talking about how Jones showed up to a recording session with a sax when thought he'd bring his guitar. It shocked everyone when Jones rocked it with the sax.

What I’m less enamored of is the conventional telling of the story. Basically a birth to death telling of Jones’ life the film  takes a while to full click. A third to half of the film over before I truly connected. It’s not a bad, but as a fan of Broomfield I was hoping for something a tad more exciting in construction.

However that’s a quibble and anyone interested in the Stones of the history of popular music should make an effort to see this

Who Killed Jill Dando (2023)

Jill Dando was, according to the series WHO KILLED JILL DANDO a woman second in the hearts of UK  TV watchers only to Princess Diana. She was a woman every one loved. As a result when she was found shot outside her home in 1999 the country was rocked.

Speculation as to who the killer was rampant. Who could do such a thing? She was such a sweet person, who could have done it and wise. Following up on every lead the police eventually arrested a suspect but there were problems with the case and despite his being convicted at one trial, he was acquitted at a second and as a result the case is still open.

Following the story from the murder onward this Netflix series dives into the material with wild abandon. It tells us everything we need to know about the case, or as much as it can since the resolution as to who done it, isn’t there. Why that is explored in the film.

I liked this  series a great deal. I liked it enough that I actually watched it in one go. I’m not quite certain why it needs to be multi-parts nor as long as it is  since a couple of times some of the film seems to be vamping to fill time.

Actually the vamping is not really the problem, the problem with the film for me  is that in looking back it should have done more explaining how the murder probably is tired to either the war in Balkans  or to organized crime.  I say this because the possibilities keep getting mentioned but aren’t really given details. I’m still not clear as to why anyone in the Balkans would want her dead other than she was speaking out. Since it is alleged at one point that it was supposed to be sending a message the question becomes to whom? Yes there are clues, but they really aren’t connected up.  The notion of it being a mob hit makes more sense but we don’t really know why. I say this because the film ends with one of the talking heads saying it was a mob hit but he can’t say why since to do so would reveal who and get him killed. It’s an odd way to end things. Since it really isn’t satisfying. I know life isn’t neat but after an almost three hour trip we should have something a bit more concrete

Don’t get me wrong, I like the film, I just wanted more details

Worth a look

Boudica Queen Of War (2023) opens tomorrow

Olga Kurylenko  stars as the legendary Queen of the Iceni tribe in England who came really damn close to pushing the Romans from England. When her husband died he left half his kingdom to his daughters and half to the Romans. The Romans instead seized it all, raped Boudicia’s daughters, and pissed off the wrong woman. She then raised an army and lead it against the Legions killing close to 100,000 Romans.

While the film is being advertised as a grand action film, the truth is this film is more talk than action. While the film has some sporadic moments of action, this film is for the large part what happened before the violence happened.  There is nothing wrong with that except that the film has Queen of War in the title and we only get to war in the final third. As a result the film’s pacing seems off since if this long period of political turns it suddenly feels like a sprint to the end when the revolt comes.  There is nothing wrong with the two parts, rather  it feels like slow build up to a fast resolution.

That said the action when it comes is ugly and brutal. The deaths, as they would be in real life, are gory and blood soaked. People die screaming as limbs fly and intestines fall out. This is the ugly side of war that we’ve never really seen before.

While I love the two parts of the film I only like the film as a whole.  That said the two parts are killer and worth a look if you want some nasty sword battles.

Waikiki (2021) opens Friday

 Dark, almost film noirish film about a dancer living in a van who runs over a homeless guy and has her life turned upside down.

Heady examination of life in Hawaii, the clash of cultures, history and life itself, WAIKIKI is a dark ride to the subconscious. This is one of those films that grabs you and drags you along a dark and unpleasant road and forces you to consider much of what you know.  

I really liked this film a great deal. The point where I realized just how good the film was in it' use of "happy" dancers dancing for tourists which is counterpointed with the miserable life f the dancers themselves. Where the notion of culture being mined for money has been used in a couple of other recent Hawaii set films and TV shows, this was the first time where it felt right and on target. I say this because the notion is kind of an easy point to make and the other films used it lazily, however WAKIKI actually builds off of the notion to say more. It is also the only one that uses it while remaining wholly focused on Hawaiians.

While not for everyone, WAKIKI is a kick for those who are willing to go with and work with its view of the world. 

NOBODY IS CRAZY (2019) is on VOD

 

This is the story of Rafa, a young man with OCD and few friends who meets and becomes intrigued by Nobody, a young man who always wears a black mask and who claims to be a time traveler. Through his interactions with the time traveler, Rafa begins to open up and connect with the world.

This is a low key comedy that at first doesn’t seem like it’s going to do anything special. It seems for a brief time to be a typical drama, and then it slowly turns, the characters begin to grow on us and we end up faling in love with the characters on the screen and want to see where this charming tale is going to take us.

After finishing the small gem NOBODY IS CRAZY I went looking to see what other people thought. I was certain that this small little confection must have a fan base of some sort. Oddly I could only find one review of the film. I am not pointing this out to cast aspersions on the film, but rather the crappy state of film writing. With so many people writing or trying to write on film, very few of us are wading into the  pools and looking to find hidden gems like NOBODY IS CRAZY. Every one wants to cover the new Scorsese or new Nolan, but no one wants to talk about the films  that are made by great filmmakers like Federico J. Arioni. I know part of the problem is that sites want the bigger films because they theoretically get the clicks on opening weekend. The truth though is that after the initial rush people will be looking for other things to watch, they are going to want to know that there are good films out there like NOBODY IS CRAZY that they can see and that they are going to like. For Unseen Films the big films are not what people are looking for, the pieces that attract attention are the smaller films like NOBODY IS CRAZY in part because people know we are going to highlight great off the beaten track films, but also because we are going to be one of the sites where they actually might find word on a gem like this.

NOBODY IS CRAZY is a delight, it’s exactly the sort of film that Unseen Films was set up to highlight, a small gem that isn’t big and splashy, but something warm and fuzzy.

Recently released to the various streaming services in the US NOBODY IS CRAZY is worth a look.

Thunder (2023)

Elizabeth is called home from a convent. Sent away four years earlier when she was 12, by her father hoping that giving her to god would keep the family safe from tragedy. Unfortunately, Innocente, Elizabeth’s older sister died in a way no one wants to talk about what ever happened (there is an unnamed shame involved). As Elizabeth begins to help her family with life on the farm she searches with questions about her sister and with her own coming of age.

Religious mediation on life and belief THUNDER is a heady art film that feels like a cousin to some of the musings of Terrence Malick. It’s a look at someone trying to find their way in a repressed and oppressive society. Women are supposed to do as they are told and stay in their lane. Those that stray face dire consequences, including ending up wandering the landscape after their death, something Elizabeth’s sister is said to have been fated to do.

I liked THUNDER more than I loved it. It looks great, and it has some great moments, but it is a bit too dower and a bit too meditative for my tastes. Even in an age where religious thought is shaping society this view of the world is not something I could connect to emotionally. For me this was too much of head and not enough of the heart for my tastes. I never disliked it, I just kept wishing that I was emotionally connected to the film.

If you want a heady meditation on life or need something to fill the void until the next Malick comes out, then give THUNDER a shot.

The Burial (2023)

Tommy Lee Jones plays a funeral home owner who is fleeced by a mega corporation specializing in funerary services. On the verge of bankruptcy he files suit against the company. He then hires an attorney played by Jamie Foxx, who is an expert winning over the jury.

Super true life comedy drama should have been given a push and longer theatrical run by Amazon. The exact sort of crowd pleaser that pulls in the audiences would have had a nice return. I say that it's odd that Amazon didn't put more behind it since the film is getting screenings for awards consideration. Why give a push to a film you barely released.

As it stands this is a really good film. I sat and really watched it in one go on Prime, which is something I don't usually do. Normally I will do other things while watching, but I was so happy with the film I decided to take a night off and just watch the film.

Blessed with a solid script and a killer cast THE BURIAL does everything right. We fall into the film because the cast beckons us to come, sit down and stay awhile. The script  is near perfect, and outside of us knowing where this is going to end, keeps us guessing how it's going to get there.

This film is a joy and recommended. 

ID EST (2023)

ID EST is a film I really like and I am really annoyed with.  I love this small compact moment in time science fiction tale, but this is a film that needs to be expanded because within its brief running time plot bleeds off the screen and all over the floor; I want to know more.

The plot has a group of prospectors having a rough landing on a planet. As they sort out where they are they are attacked...

Spinning off on the idea that there are different types of leaches the film raises a number of questions about our relationship to the earth and each other. While the narrative focuses on one moment in time there are references through fleeting flashbacks to a larger story. What happened before and just who is everyone? We don't know, though the film is intriguing enough that we want to.

And the brevity and not having answers is the films one flaw. As much as I like what is here this needs to be expanded. As I said above the plot and characters bleed off the screen so much, we need to get answers to the myriad of questions it raises.

One to track down, but be prepared to want more.

How is That For a Monday (2023) opens Friday 10/27

Sripal Sama's multi-character drama is a hell of a good ride. It's the sort of film that on the face of it looks like it's one thing and reveals itself in the end to be something wonderfully different.

...MONDAY is nominally a caper/ crime film. I say nominally because the film is set up by a bunch of bumbling thieves breaking into a house and things not being as expected. Their target is gone as they try to complete their mission we, and they run across various people who figure into things, including Shyam Kumar who is the focus of the action and who is having a really bad day. While the criminal activities of the gang set everything in motion the real point of the film is not crime but human interaction on the best level.

One of the things that I really love about the film is that Sama doesn't follow the expected Hollywood path. Not only does the plot not bend as we expect it to, but he doesn't give us a typical Hollywood lead. Kaushik Ghantasala as Shyam is an Indian programmer trying to find his way in life and America is fantastic. He gives a fantastic performance that hopefully will get him bigger roles. He is wonderfully not all American but still tied to the land of his birth. This allows Sama to open us up to the world, not just Hollywood idea of it. He uses Shyam as a main character to give us  new rhythms to experience as the film moves along in its own course and time, forcing us to fully engage since we are listening to the beats of a new voice in film. 

I should say I'm not going to be saying much more about the film because this is a film thing that is very much the journey. This is about the hows and whys the characters crisscross so if I am to discuss how certain people meet up it will take some of the fun of you trying to sort out how everything ties together. Additionally I want you to take the journey of the characters  not knowing where their beats and rests are going to be.

I will add that the film scores many points with it ultimately being about the characters. This isn't a "caper film" where the characters all are out to get the Mcguffin, rather this is about the characters and how they are reacting to the things that are happening/crashing in their lives. Yes less about the robbers, and more about everyone else. This is a film where everyone is arcing not being one note.

If I am to quibble with the film it is with the opening scene. Introducing us to characters who will show up later in the film, it doesn't grab us in the right way. The billionaire who is at it's center is not someone we want to know. As a result its cliffhanger ending is not something we care to see resolved. The film should have started with the one after the opening credits which grabs us and pulls us instantly into the film. The early morning delivery, is funny and it's the point where we lean into the film and decide to take the ride (and you will want to take this ride)

This is a gem of a film that you will need to search out. Sripal Sama has made a wonderful little film that surprises at every turn. I can't wait to see what he does next.

Holy Frit (2021) opens in NY on October 27th & in LA on November 10th

This is the story of the largest stain glass window in the world. It is supposed to be 40 by 100 feet. It was to be for the United Methodist Church of the Resurrection. Tim Carey, an artist living in California won the bid however Tim wasn't sure how to complete the project and had to find someone to help. But that's not the whole story...

A wild and crazy tale full f great characters and unexpected turns. HOLY FRIT is a joy. I walked into the film with zero idea what the film was, I simply said yes to someone offering the film, and when it arrived I put it one without looking to see what it was about.

I had a blast watching this. Yes the story of the making of the window is fascinating but the film is also full of great people you'd want to hang out with. I also like that there is more going on than just the making of the window. The unexpected addition of a lawsuit spiced things up that you never are uite sure where this is going to go. 

While I could quibble about the film's two hour run time, it actually isn't that far off the mark  since the film is so loaded with good stuff that a little bit of excess is perfectly fine.

HOLY FRIT is a really good film and a good time

Recommended.

Reid Ramsey on Kill Your Lover (2023) Brooklyn Horror Film Festival 2023

Dakota is determined to break up with her controlling boyfriend Axel. Sure, he was great when they met, the sex was great, he had money, he accepted her as she was. But as their relationship progressed, he showed more of his true personality, slowed down and tried to control her lifestyle, and judged the person she is and was. So, with the encouragement from her friend and former roommate, Rose, Dakota really wants to break up with Axel. There’s only one problem: Axel has a mysterious infection that’s poisoning his veins, giving him super strength and burning everything that his skin touches. 

Keir Stewart and Alix Austin, the directing duo and real-life couple at the helm of Kill Your Lover, set out to make a single-location thriller for their first feature that was all about a couple growing apart. They succeeded, and then some. 

The performances of Dakota (Paige Gilmor) and Axel (Shane Quigley Murphy) are excellent and enough to carry the movie without a large supporting cast. They succinctly show the progression of a relationship from that hot and heavy honeymoon phase to the boredom and frustration that could come later. They do so believably and we are left understanding their relationship but rooting for Dakota’s swift exit.

At a breezy 77 minutes, the tight horror film made for a perfect opening night at the Brooklyn Horror Film Festival, offering everything from relationship drama to stomach-turning gore. Outside of the baseline thrills, though, it was refreshing to see a horror movie as interested in form as Kill Your Lover. Many modern horror films care so deeply about showing you something horrific or disgusting, they put little thought into how they show something horrific and disgusting. Stewart and Austin crafted a thoughtful film that cares as much about the style of the flashback love-scenes as it does about bones breaking and blood dripping. 

While I really hope that Kill Your Lover eventually finds a solid streaming audience, it’s a movie that plays best in a theater — especially one jaw-dropping scene that takes place in a bathroom. The packed house at opening night laughed and cheered and seemed to love pretty much every second of it. 

Razing Liberty Square (2023) opens Friday 10/27

The problem the poor, the minorities and the disenfranchised have had over the years is that even when they have been shunted to certain areas over the years, the rich and powerful will eventually come and try to take their land and their homes. In many cases the rich want to add to their territory (See RACIST TREES) and just want the poor out of their way. In the case of Miami Florida, they know the sea levels are rising and they want the high ground for themselves.

RAISING LIBERTY SQUARE is the story of global warming and how the high ground near Miami Beach has suddenly become valuable because at some point it will be the beach. This means everyone who has ocean front property now will have to move. The film follows how plans to up grade the the Liberty Square area which are supposed to be a boon for everyone turned into a boondoggle and nightmare for the people being displaced.

This film is going to make you shake your head and get angry. This is a film that clearly shows you should never trust rich people when there is something at stake that they actually want. Following the lives of residents and people involved with the plans it becomes clear that many people have an agenda beyond the good of the community. 

While it's a story we've kind of heard before the fact that rich people and cities are going to be coming for people's land because it's not going to be underwater is  something new. This film is a dire warning about what the future is going to hold for millions of people across the globe.

Recommended

HUNDREDS OF INDEPENDENT FILMMAKERS SUFFER FINANCIAL FALLOUT IN DISTRIBUTOR ACQUISITION

 I just got this press release: 

Los Angeles, CA (October 23, 2023) – Over 100 independent filmmakers are grappling with the insolvency of film distributor Passion River. Earlier this year, the company announced that it had lost the ability to meet its obligations and sold the majority of its assets to BayView Entertainment. The filmmakers allege bad faith as Passion River President Allen Chou deliberately withheld payments to producers last year, all while continuing to onboard new films and license its existing library just weeks before announcing the sale in January of 2023.

According to BayView Vice President of Acquisitions Peter Castro, BayView only acquired the “assets but not the liabilities” of Passion River and the filmmakers have no way of collecting money owed to them. Given the volume of Passion River’s catalog, the filmmakers estimate the total amount withheld to be in the hundreds of thousands.
 
“We played straight with Allen Chou. Allen Chou didn’t play straight with us,” said producer John Wehrheim (The Edge of Paradise). “We lost a lot of money doing business with him, but more than the money—what a waste of time! Allen didn’t even have the courtesy to let me know he was pulling up stakes, folding his tent, and disappearing over the horizon. I got the news over the coconut wireless.”

While filmmakers report Passion River failed to meet their mandated reporting requirements for years, the distributor began fully withholding account statements and payments beginning in the Fall of 2022.

Yet throughout 2022, Passion River continued to sign new filmmakers, set release dates for these films as late as December, and pitch films to platforms.
 
“Passion River is not the first, or last, film company to go out of business. But the lack of transparency, failed reporting and missed payments simultaneous to continued recoupment off filmmakers’ backs is egregiously unethical,” says Emmy- and Peabody-winning and Oscar-nominated producer Amy Hobby (The Last Laugh).
 
On January 31st, 2023 some, but not all, of the filmmakers received their first notice of a transition from Josh Levin, former Head of Sales & Acquisitions at Passion River and now Vice President of Sales at BayView. In a mass email, he informed the filmmakers that “...Passion River lost the ability to meet its obligations and has sold the majority of its assets to Bay View Entertainment, LLC. BayView is a venerable, much larger distributor with an outstanding 20+ year reputation in film distribution.”
 
On March 14, 2023, select filmmakers were put in touch with Peter Castro, Vice President of BayView. Mr. Castro informed the filmmakers that BayView had acquired the “assets, but not the liabilities” of Passion River, and therefore were not responsible for any outstanding payments owed by Passion River. They asked filmmakers to sign new distribution contracts, with terms that did not match previous Passion River agreements. Mr. Castro informed the majority of the filmmakers that BayView was unable to retrieve any money that Passion River owed them prior to Q4 2022, meaning that Passion River would retain the entirety of the sales, retaining hundreds of thousands in revenue from hundreds of films.
 
“Right now, our film is on cable TV, Paramount+, and other streamers worldwide—and we still have yet to see over 70% of those sales owed to us,” said director Alex Liu (A Sexplanation). “Being an independent filmmaker is hard enough—yet entrusting our life's work to someone who didn't have the decency to tell us about their intent to sell the business as we were spending thousands on marketing out of our own pockets—it's a harrowing testament to the sheer insensitivity this industry harbors towards the artists who make it all possible.”
 
Other filmmakers say they were left completely in the dark—never having been contacted by BayView or Passion River regarding the transition.
 
“If Allen Chou had notified us we would at least have had some idea of where things were at—instead we were left to seek out and navigate the truth of this situation on our own,” said producer Megan Dirksen (Selfless).
 
Communication from Passion River quickly dwindled to nonexistent. Chou ignored multiple requests to audit Passion River’s financials due to missed payments, violating his contracts with filmmakers.
 
“Communication dropped off as the years went on,” said filmmaker Jacob Bricca (Finding Tatanka). “Finally, after repeated attempts to get a reply, I got a statement in January 2023 that I was owed over $1400. I have yet to receive the money, and their offices have gone dark. All voice mailboxes are full, emails go unreturned, and posts to social media sites go unanswered. I sent a certified letter to their New Jersey address alleging breach of contract and demanding payment and have not received a reply. I have never seen a penny from Passion River.”

For months, the only communication from Chou about the sale was a press release, in which he stated: “It’s exciting to watch BayView persist in our goal of supporting talented filmmakers and releasing impactful films for communities.” Passion River’s website remained active, along with their social media profiles. Films no longer signed with Passion River also remained on the site. Mr. Chou remains the owner and publisher of Video Librarian. 
 
Without communication from Mr. Chou or the team at Passion River, most filmmakers could not move their films to new distributors, as they required written confirmation that Passion River no longer retained any rights. Numerous emails and calls went unanswered.
 
Eventually, 33 filmmakers wrote a joint letter to Chou requesting confirmation that the rights to their films had reverted back to them. It was only after this group effort that Chou sent a letter confirming this—over 12 weeks after the acquisition—keeping them from making any future sales.
 
“This has been a horrible experience where we as filmmakers have been disrespected and disregarded by all involved,” said director Kim Laureen (Selfless).
 
A majority of the films in Passion River’s catalog are independent social issue documentaries, whose low budget, self-financed productions were made with passion to connect audiences with stories not covered in mainstream film and television.
 
“The implosion of Passion River should be a warning sign to all independent filmmakers of the fragile and broken state of our industry, and the imperative to build new distribution models, with layers of transparency and accountability to ensure this never happens to any filmmaker or project again,” said filmmaker Lance Kramer (City of Trees).

“We face far too many obstacles as it is in this business. To then be so blatantly taken advantage of by people who claim they ‘empower filmmakers’ and hold teaching positions at major universities is an indictment of the predatory nature of this industry. The one silver lining in this situation has been getting to know passionate, talented filmmakers who have an orientation towards justice and a knack for activism.” said director Pat Murphy (Psychedelia).
 
 ADDITIONAL FILMMAKER QUOTES

Director Kim Laureen (Selfless): “I signed with Passion River in 2020. Since day one I have had to chase reports and payments and have received neither since mid-2022. I was never notified of Passion River closing or BayView taking over until I reached out on the internet to find an article and then connected with other filmmakers who were also in the dark. This has been a horrible experience where we as filmmakers have been disrespected and disregarded by all involved.”
 
Director Jacob Bricca (Finding Tatanka): “I first signed with Passion River in early 2017 following the release of my feature documentary Finding Tatanka. They were responsive at first, informing me of sales they had made and giving me regular statements showing that I was slowly paying off the charges associated with creating the DVD and distributing the film. This communication dropped off as the years went on. I finally contacted them again in mid 2022. These inquiries went unanswered. Finally, after repeated attempts to get a reply, I got a statement in January 2023 that I was owed over $1400. I have yet to receive the money, and their offices have gone dark. All voice mailboxes are full, emails go unreturned, and posts to social media sites go unanswered. I sent a certified letter to their New Jersey address alleging breach of contract and demanding payment and have not received a reply. I have never seen a penny from Passion River.”
 
Director John Wehrheim (The Edge of Paradise): “We played straight with Allen Chou. Allen Chou didn’t play straight with us.  We signed The Edge of Paradise with Passion River in 2019. Payments were always late. We had to hound them. Eventually, Allen stopped paying. We lost a lot of money doing business with him, but more than the money—what a waste of time!  Allen didn’t even have the courtesy to let me know he was pulling up stakes, folding his tent, and disappearing over the horizon. I got the news over the coconut wireless.”
 
Director Pat Murphy (Psychedelia): “I spent 10 years making my documentary, and overcame all sorts of odds to do so. I trusted Passion River with my baby. When a streaming platform approached me directly about licensing my film, I brought Passion River into the conversation in a good faith effort to honor our partnership. They returned the favor by withholding my payment during this shady deal with Bay View. We face far too many obstacles as it is in this business. To then be blatantly taken advantage of by people who claim they ‘empower filmmakers’ and hold teaching positions at major universities is an indictment of the predatory nature of this industry. The one silver lining in this situation has been getting to know passionate, talented filmmakers who have an orientation towards justice and a knack for activism.”
 
Producer Amy Hobby (The Last Laugh) and Co-Founder Distribution Advocates: 
This story points to ongoing systemic failures and inequities in distribution of independent content. As a Co-Founder of Distribution Advocates, I was excited to see filmmakers building community and fighting for their rights in the face of this grossly unethical situation.
 
Producer Lance Kramer (City of Trees) and co-founder of Meridian Hill Pictures:
“The implosion of Passion River should be a warning sign to all independent filmmakers of the fragile and broken state of our industry, and the imperative to build new distribution models, with layers of transparency and accountability to ensure this never happens to any filmmaker or project again.”

Liz Whittemore of Reel News Daily on Bad Press which opens in LA on 10/27 and NYC on 12/1.

 

Imagine a scenario, if you will, where the federal government controlled the entirety of the media. Ask North Korea and China’s citizens how well that works for them. Native American tribes are sovereign nations. They do not have freedom of the press. In the Sundance 2023 documentary from Rebecca Landsberry-Baker and Joe Peeler, BAD PRESS exposes the crushing actions of tribe leaders to remain in power. MVSKOKE MEDIA journalists are under attack while the Chief manipulates the Muscogee community with misinformation. Who will protect the truth?

Bad Press describes the hierarchy of tribal media. Money and politics rule, making a constitutional Free Press amendment vital to every nation. The film follows the journey to change, from new candidates for a new chief to election fraud allegations, and boy does it mirror national shenanigans. MVSKOKE MEDIA journalist Angel Ellis and her colleagues report everything in real-time, fighting against fear, false claims, threats, and connected politicians who wish to silence them.

The biggest question becomes, “What do you have to hide?” BAD PRESS is the perfect Sundance 2023 companion to watch with Fantastic Machine. It’s a heart-pounding, sweaty palm viewing experience. The emotional gravity of this story is shocking. BAD PRESS is a microcosm of tribal oppression and global journalistic reality. Those in the film are brave as hell for speaking out. National news, take note. Transparency is key.

FOr more from Liz check out her regular home Reel News Daily

Nightcap 10/22/23: Globe Docs starts this week, random thoughts and random notes of the 2023 NYFF

Before I get to some  unvarnished notes that I made in my note book while covering this year’s New York Film Festival a couple of quick notes.

First up Globe Docs starts this week.  The Boston Globe Documentary festival is killer. It’s small but it has a lot of great films slotted.  I’m supposed to be covering the festival so expect some coverage of the films.

I’ve already covered PIGEON TUNNEL which is starting in select markets as well. If you are a fan of John LeCarre, it’s a must. Another must is BREAKING THE NEWS about the start up of a news service where the reporters are primarily women and members of the LGBTQ community.  Reviews can be found by clicking on the links in the titles.

I have seen THE STONES AND BRIAN JONES. If you are a fan of the Stones or the music of the late 60’s it’s a must see. A review will run later in the week.

The festival is running both in person and virtual so go to the website and get tickets.

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Just a reminder more coverage of the Brooklyn Horror Festival is coming. Reid Ramsey was going back and forth to Brooklyn so he hasn’t had any time to write up all of the films yet.

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New correspondent Wendy Feinberg will be dropping some thoughts on the Hamptons Film Festival. Wendy is great people and getting her is coup. I'll have more when her first pieces go up.

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I’ve started to  work on DOC NYC.  We will have multiple people covering the festival so get ready to be overwhelmed with coverage.

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Now some very honest stray notes taken during this years NYFF:

Lots of newbies this year. Standing outside Alice Tully there were a lot of people asking where they had to go and how they could get tickets. It's a good sign that people were interested, though a lot of people wanted to walk up and buy tickets and they were disappointed at the sellouts.

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Sitting in the West Side Diner after THE BOY AND THE HERON when a big table of people arrived excited about going to the festival. Looking more toward the artier films they discussed the art house fare.

I was amused - though I smiled to myself as they excitedly discussed the new Hong Sang-soo film that was shot out of focus. They found the idea so brilliant, they couldn't understand why it hadn't been done before. I didn't have the heart to tell them it had been done, even recently by Sang-soo.

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Saddened that during the intro for JANET PLANET Dennis Lim said out loud the part they always kept silent, namely that they were not really interested in new  filmmakers but were going toward big names and returning filmmakers. 

It's a sad admission since it means that unless you can go elsewhere and get festival buzz there is no point in submitting to NYFF. It also explains why we've gotten 18 Hong Sang-soo films in 19 years and why so many other filmmakers return year after year.

I've discussed my suspicions before but I never expected them to be confirmed.

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The problem with just following directors is that you begin to assume that their films are good and mean something even if they don't.

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Related to that, too many films this year did not belong at the festival. I'm not talking "bad" films, I could make a case for a couple of the films I didn't like being there, but I'm talking about  films like JANET PLANET and FERRARI which weren't that good or ground breaking and only had a director's name attached.

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There were lots of rumors going around about why certain films were at the fest and others were not. For example much of the speculation (all unconfirmed) was focused in Netflix pumping cash into the festival and thus keeping the new Scorsese (KILLERS OF THE FLOWER MOON) out and only playing a premiere at David Geffen Hall days before the festival. It's also why there were fewer Amazon films at the fest. 

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There was a lot of talk during the MAESTRO press screening that it wasn't quite as packed as we expected because a lot of tickets were given to members of the press to fill out the undersold audience at the the expensive gala screening the night before.

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Because it was done in several films at the fest I found that I hate handheld camera work that seems to be POV but isn't

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I was left pondering outside of the Q&As why are we paying so much money to see the films at the festival when if we wait a week or two many of the films will be in theaters or streaming. I'm guilty of doing it too and I don't have a clear answer.

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Frequently during the festival I had the sense that this is going to end up being an in between year with big changes coming next year. I have no idea why, there was no indication or speculation, it just felt like a transition year.

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It was weird this year with so many people looking to go to the "BIG" films and willing to wait on blocks long standby lines when the odds are they would not get in. POOR THINGS, THE BOY AND THE HERON, ZONE OF INTEREST, THERE IS NO EVIL all had impossibly long standby lines

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I was not happy with the guy vaping weed at THE BOY AND THE HERON. 

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I was amused at several press screening watching young male writers trying to make time with beautiful non-American women in order to score their phone numbers

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The Devil on Trial (2023) on Netflix

This is the true story of the tale of the trial of Arne Cheyenne which was told in THE CONJURING 3, but this time by the people who lived it. The film is the story of an alleged possession that resulted in murder. At trial the defense attempted to use the defense of demonic possession but the court was not going to allow it.

This is not a film that is going to back up the tale told in the  Hollywood film, this is something else. This is the story of a deeply troubled and fragmented family coming to terms with a series of events that left it shattered, though not because any demonic possession was involved. I say this because while the film charts the course of a possession for the first half of the film, the film flips and revelations come to light that are in its way most troubling. For those who love the Conjuring films the most shocking is going to be that Ed and Lorraine Warren were money grubbing frauds (we hear audio recordings of discussions of money deals for books). I wasn't shocked at the revelations other than this is the first time I've seen a a major outlet dare to say the Warrrens were frauds. Most places hold them in high (financial) rehard since their sensational stories bring viewers.  However anyone who knows the real story of the Amityville Horror scam, and how that was cooked up as a money grab, knows they are just after the money.

I liked THE DEVIL ON TRIAL.  I liked it's rare attempt at not buying the bullshit in the popular version of the story and being willing to look behind the curtain. That's a rare thing these days since TV seems to sell the crap (look at the Ghosthunters, Bigfoot shows)because of ratings.

Worth a look.

Adipurush(2023)

ADIPRUSH was supposed to play Tribeca but was pulled for supposedly because they were afraid of it being bootlegged before it was released. It's an odd thing because I've never ever seen any cameras at Tribeca except during the Q&A.(And since it was supposed to play in 3D any image would have been unwatchable).  There was also a story saying that the reason it was pulled so everyone could see it. 

When the film actually opened in theaters the talk on my Twitter feed was it was pulled because the film wasn't good and they wanted to get it into theaters before word leaked out. Twitter was also aflame with people condemning the film the film for changing history and the story it is telling. Some people were saying the film was sacrilegious in what it did. 

Not being at all familiar with the story I can not speak to what the film's accuracy in telling it's story, however I can speak to how the film hit a guy who just wandered in off the street and watched it on Netflix and that is this is a pretty wild action adventure. It moves like the wind, probably a little too fast, but at the same time it just goes.

You will forgive me if I don't go into details. I wasn't taking notes I was just being carried along by the motion and the images. I had a grand time. I had such a good time that I wish I had seen it in a theater and 3D.

Is this the best film in the world? No but it is a lot of fun. It's a three hour rollercoaster.

Recommended

Invisible Nation (2023)Middleburg Film Festival 2023, IDFA 2023,Hamptons 2023

INVISIBLE NATION is a vital must see film. The film is a look at the thorny situation the island nation of Taiwan is in.  Stuck in the unenviable position of being one of the great commercial powers of the world, it is in a quasi-nation status officially because no one wants to piss off Mainland China. As Chinese begin to make moves to try and take the island back, this film will explain what is going on.  Focusing on the tenure of Tsai Ing-wen, the first female president of Taiwan, the film explains how she came to power and how she has to walk a tightrope

While the world is currently focused on the Middle East a lot of people are forgetting that the Taiwan/China  situation is threatening to cause a conflict on the other side of the globe. I say this because there simply isn't enough reporting of China's belligerent moves, just as they don't report what is going on in Hong Kong. People don't realize that China may very well invade and try to take the country back. Sadly because everyone wants to stay on the good side of the Communist government. This film explains why this is a bad thing.

I'm kind of at a loss for words. This film simply filled me with so much information and anger that I don't know what to say. The information is a look at the whole  history of the country and how it is slowly being made the red headed stepchild. The anger is from the realization that perhaps Taiwan maybe doomed because too many people, including those in the various governments across the globe, are unaware of what is at stake. This film explains what is at stake.

The only thing I can say is just go see this film. Its a calm and reasoned film about a very dangerous situation that could end up very badly.  You need to see this so that you know what is happening because it is going to effect what happens to you.

Highly recommended

INVISIBLE NATION screened earlier today at the Middleburg Film Festival. It screens next at IDFA on November 14,15,16 and 18

Reid Ramsey on BREATHING IN (2023) Brooklyn Horror 2023

 

Breathing In, the new horror film from director Jaco Bouwer, would provide ample unease within a vacuum, but given the historical context in which it is set — Bouwer adapted the script from the South African play of the same name by Reza De Wet — the film takes on a substantially more provocative and harrowing meaning. In the midst of the Anglo-Boer War in turn-of-the-century South Africa, a wounded soldier and general find refuge in the dimly-lit home of a woman and her daughter. As the events play out, the young man Brand (Sven Ruygrok) is increasingly unsettled by what he witnesses, namely the sickly nature of the young daughter (Jamie-Lee Money), the actions of her mother (Michele Burgers), and the simple fact that dawn does not seem to be approaching.

The historical context of the film is all conveyed during opening title cards that inform the remainder of the single-location thriller. The first modern concentration camps were employed by the British during this war, preying on and killing thousands of South Africans. The film, therefore, primarily focuses on the nature of imprisonment and cruelties executed for the benefit of others. I don’t want to dive deeper into the plot at risk of spoiling, but suffice it to say that if nothing else, the film is absolutely worth seeing for the stunning final act.

Alongside that final section of the film, it features excellent performances, especially from Ruygrok and Burgers, and was simply the best looking movie of the Brooklyn Horror Film Festival. The minimal lighting design employed what looked to be mainly diegetic lantern light which cast rich yellows, oranges, and reds on the sets and performers faces. Breathing In seemed to be lit with the care and specificity of the stage play from which it originated. Cinematographer Jorrie van der Walt captures the scenes with a soft photographic style that seems loving and mysterious at first, only to reveal something far more sinister. 

While there is plenty to appreciate with Breathing In, it does occasionally fall victim to some familiar art-horror trappings. Due to the single location and focus on the performers, the story and filmmaking can seem somewhat inert throughout the first two acts. Those that stick it out, though, will be richly rewarded. And just as it is for Brand, it’s hard to look away.

Brief takes on potential Oscar contending shorts CLOSING DYNASTY, THE MOISTURE, INTERRUPTION, ALL INCLUSIVE, AN AVOCADO PIT, PIVOT & YELLOW

Closing Dynasty

YELLOW|
In Afghanistan a young woman goes to a store to buy her first full body veil.

This is a lovely and moving film that needs to be expanded into a feature. This is one of the great short films that gives us as sense of a whole world and bigger story just outside the frame.

Search this film out.

PIVOT
A young girl who wants to play basketball gets upset when it seems that her birthday will spell the end of her days on the court.

A good look at how we see gender roles.

HEADSPACE
Young man with Downs Syndrome needs to get a job to be able to replace his broken headphones.

Lovely film that needs to be expanded. I would love to spend more time with these wonderful characters.  Go track this down.

AN AVOCADO PIT
Cis man meets trans woman and a charming movie happens.

This story of the meeting of two people is an absolute charmer. The story of an unexpected encounter made me smile. It is an absolute joy. I would love a feature similar to this where life just happens.

One of the best films I’ve seen recently

ALL INCLUSIVE
A father’s unconventional job threatens to upset a family vacation

This is a good small scale drama about a family struggling to get by.

INTERRUPTION
Good and deeply moving of a young woman in Morocco  who is planning on having an abortion in the United States. When Roe v Wade is overturned her plan gets side tracked.

Deeply moving tale of a woman and her need to control her own body and her own desiny. By moving the tale out of the US the film is certain to open some eyes since it forces you to really think about the story we are being told.

Highly recommended

THE MOISTURE
Feature film like tale of a teacher with a messy life has trouble with a student who makes him go outside his typical way of teaching.

Small scale epic is a film I wish I had seen on a big screen. More compelling than many recent feature films THE MOISTURE  is a film that grabs you and gets under your skin. It’s a stunning piece of filmmaking that makes me want to see what director Turan Haste does next.

CLOSING DYNASTY
A seven year old hustles to make money over the course of a day.

Solid portrait of poverty in NYC

NYFF 2023 Pictures Part 5- ORLANDO

 One last round of Photos

And it was at this point my camera crapped out and every photo taken after this was bad

The Devil In Miss Jones has been restored and is hitting the festival circuit

With so much in the way of adult cinema available today most people are not going back and watching the films from the 70’s and 80’s. Everyone is simply looking for the clip of what excites them and then moving on. It's all about an act or a body type. It’s sad in away because there are a couple generations of people who don’t realize that for a brief moment the world of adult cinema was literally changing movies. That’s not hyperbole but the truth. For a brief instant, before home video changed how people consumed porn, the films that were playing in theaters were actually changing what was being made elsewhere and by some accounts had Hollywood trying to figure out how to get a piece of the lucrative market. Of course, outside Caligula or the fleeting art film the two worlds never ended up meshing. But the possibility was there.

The reason that there was a possibility was that films like THE DEVIL IN MISS JONES and DEEP THROAT were dealing with adult matters in an adult manner. It wasn’t just the sex it was that the films were doing things that we weren’t seeing in Hollywood movies. Chief among them was the notion that women that could enjoy sex. Hollywood never dealt with fulfillment with anyone, especially women so to see it in say DEEP THROAT which had it in an unconventional way, people responded. They also responded to DEVIL IN MISS JONES which had Miss Jones going to hell after committing suicide, experiencing all the pleasures she never did in life and the finding out that her hell was no going to be never to experience the joy again no matter how hard she tried. That’s heady stuff…and unexpected In any sort of film.

It also helped that filmmakers like Gerard Damiano, Henry Paris, The Dark Brothers, Bill Osco and Stephen Sayadian, were genuine filmmakers. They had artistic aspirations and wanted to make as good a film as possible. They made interesting plots and not just a collection of scenes.

People responded and the films made millions- much of it never reported.

Of course VCRs came and while many of the films were earlier sellers people stopped caring about plot and simply scanned to the sex.  The movies stopped being films and were just vignettes.  Sure the films looked better but it was just glorified moments.

That isn’t to say that there aren’t good films being made today, there really are (PIRATES anyone?), but it’s still a matter of the releases being scenes and clips.

Which brings me back to THE DEVIL IN MISS JONES which has just been lovingly restored and which is going around the festival circuit with the director’s children in attendance. They are bringing the spotlight back to a film that was in it’s day a game changer.

To be honest the film isn’t bad. Yes the film is still about the action but at the same time it has things going on that are unexpected. Yes it’s dated in some ways but the film still packs a punch. You don’t expect films like this to end on a down beat note. (Ending badly or dealing with rough subjects was not something alien to films from the period.)

Should you see it? Absolutely. There is a reason the film capture the imagination that it is still referenced today despite being shunted to a back alley.  You’ll get the chance  because after the film plays the festival circuit it looks to be having a release in 2024 with the other game changer DEEP THROAT which was so well known that even as a kid I knew about it (even if I didn’t know what it meant)

The film will screen as part of their “LET'S TALK ABOUT THIS MOVIE” series. The Damiano’s will present the film live, then be joined by special guests for a discussion to be moderated by Mr. Hammill. The Secret Movie Club is located at 1917 Bay St, 2 Floor Los Angeles, CA 90021 For Tickets, visit: https://devilinmissjonessmc.eventbrite.com

 The film will then travel to Germany for its European premiere at Porn Film Festival Berlin October 20th – 29th, 2023. “The Devil in Miss Jones” then returns to New York City for its East Coast premiere which will be held on Halloween night at The Cutting Room 44 E 32nd St. New York, NY 10016. It is slated to embark on a World Tour in the Spring of 2024. A possible double bill with "Deep Throat” (as it had shown in some US theaters continuously for years), is also in the works for 2024.