Mamacruz (2022) Sundance 2023

Kiti Manver gives a performance for the ages as a 70 year old grandmother who rediscovers life thanks to a chance encounter with porn. The encounter reawakens parts of her life that had fallen dormant and she charges out to find the life she should be living.

This film begins and ends with Manver. Giving a performance where she literally lets it all hang out, she gives us a portrait of life that rarely seen. I'm not talking about the nudity, I'm talking about the openness and emotional rawness of real people.  She isn't giving us a character crafted in a script but a living breathing emotionally charged one. Watching her go through her paces I felt connections to my own life. I saw the lives of many women I know reflecting back at me.

This isn't a typical Hollywood great performance, nor is this a Michael Caine "it's all in the eyes" performance but something greater. This is a performance where Manver acts with ever part of her body. She is not the woman you saw in any of her previous films, but something else. As I said at the top it is a performance for the ages.

And it simply adds so much to writer director Patricia Ortega's film, which is wonderful on it's own terms. Yes I've been waxing poetic about Manver but she couldn't have been this good if Ortega didn't give her a character and situations to inhabit. Ortega keeps it all real and never goes for a laugh or a tear, but keeps everything close to how it would be so the laughs and tears come naturally.  Its a perfectly modulated film that stops being a film and simply becomes life.

What a glorious film.

I can't recommend it enough.

Master (2022) SXSW 2022

Three African American women have unpleasant experiences at a predominately white college.

I don't know what I think of this film. Its one part social commentary and, occasionally, a horror film. Its a film that sets up the story of a ghost who haunts a certain college dorm room who takes a victim every year at a certain time. The film also seeks to address the racism, overt and "unconscious", that one finds in academia. 

The main problem is that the film doesn't blend the genres. I mean it doesn't really blend them at all. Some scenes are supernatural tinged,  but in those minutes there is no social commentary. In the social commentary moments there is no hint of the supernatural. The result is there never is any tension because the film never gets traction. Every time it begins to build to something it shifts gears...nay flips a switch.  The result of it is a lack of engagement.

The other problem is that the film can be incredibly low key, especially in-regard with the supernatural. The result is that when we reach the ending, the revelations are more like, "wait what?" instead of "oh my god". I should have been shattered instead of waiting to see if that was all there was.

While I know some people who liked this film, it really didn't work for me.

We Need To Talk About Cosby (2022) Sundance 2022

Damning portrait of Bill Cosby, and to a lesser degree, the society that allowed him to fester for decades in Hollywood before finally be revealed as a serial rapist is tough sledding. This four hour film kicks up all sorts of issues, not the least of which being the fact even as Cosby was doing terrible things to women, he was doing a lot of good by promoting education and pushing for civil rights.

This film was one of the films that I had on my short list of films for this years Sundance, however the extreme length and the fact that is was running on Showtime mere days after premiering at the festival had me shifting my viewing plans. Thankfully Showtime made the film available for streaming on demand to those who have the service so I didn’t have to wait four weeks to get to the end.

The film is structured chronologically as a bio of Cosby.  The film is done in such a way that the early part of the film is full of all the good things he was doing, with the stories from the women he raped interspersed where they happened. As the film goes on things slowly get darker, turning completely dark when he gave a speech complaining about poor blacks and fragmented the black community.

This film is a kick in the chest. As a life long Cosby fan, the film makes it hard to watch and listen to his comedy. The decades of good is severely injured by the absolute evil he committed. It makes it hard to be neutral during the film's final minutes where the separation of art and the artist is discussed, largely because Cosby insisted on being everyone's moral compass. How can you separate even the innocent bits with the blackness? Its not always possible. (For those curious what my thoughts are, I wrote a very long piece in 2018 on the very subject which can be found here)

 While I do like the film and I am still pondering all of the issues it is kicking up, I do not think the film is perfect. In all honesty the film probably could be trimmed by an hour with out losing anything. If you need an example consider that there is a digression into the Playboy clubs of the 1960's. I know that it's there to show the sexist attitude of the era, however it could be removed and the film would not lose anything. There are a couple of other little bits that could go as well.

Quibbles aside, this is sure to get your mind going and is recommended.

Liz Whittemore on Dual (2022) Sundance 2022

After receiving a terminal diagnosis, Sarah commissions a clone of herself to ease the loss for her friends and family. When she makes a miraculous recovery, her attempt to have her clone decommissioned fails, and leads to a court-mandated duel to the death.

The minute I realized the deadpan nature of most of the cast’s delivery, I exclaimed, “Oh shit, this has to be by Riley Stearns!” In 2019, I saw The Art Of Self-Defense, and the stylized nature of the dialogue has stuck with me ever since. Festivals can be a blur. I usually enjoy going into a screening blind. Either that or I can’t remember a damn thing by the time I’ve consumed 20+ films. Lucky for me, DUAL was my final watch. It was on my dance card immediately because of Gillan and Paul. I’m a big fan of Doctor Who and Westworld, and this plot sounded like a combo of the two worlds. I wasn’t necessarily wrong from a storyline and humor perspective.

There’s a blunt absurdity to it everything in this film. The indifferent nature of this emotionally complex scenario makes it cringe-worthy in the best way possible. There is no filter on anyone. Aaron Paul is Trent, Sarah’s Death Dual coach. He’s so zen and focused you cannot help but smirk every time he speaks. Could I watch him dance every day of the week? You’re damn right. Would I hire his character to teach me to disassociate violence and be a badass? Every time. Karen Gillan plays both original and clone Sarah. They are two distinct but equally fascinating characters. As original Sarah, her dispassionate personality is jarring. Once her training begins, Gillan’s past roles come in handy. As her clone, she gets to play Sarah with a bit more uppity finesse. Besides her tone, Gillan’s physicality made me laugh out loud. The 110% commitment by these actors makes DUAL so damn entertaining. Beyond the sci-fi aspect, it’s the emotional depth and darkness that hits me harder a day after watching. Riley Stearns, you wily bastard. You got me again.

To read more of Liz WHittemore's writing go to her regular home at Reel News Daily

Liz Whittemore on THE CATHEDRAL (2022) Sundance 2022

An only child’s account of an American family’s rise and fall over two decades. 

Fascinatingly stylized look at the memories that compromise our childhood, The Cathedral is a unique entry in the Sundance 2022 NEXT section. Writer-Director Ricky D’Ambrose uses static camera work to capture angles a child might see, either themselves or from physical photographs from an album. Interspersed with news clips and commercials from the 80s, 90s, and early 2000s, the sets, and costumes nail the eras. The Cathedral is narrated by an unknown female voice, recalling the family history in a frank, rather emotionless manner. There are jarring moments due to the lack of sensitivity. They speak volumes and, they make you squirm. There’s something about a multigenerational household that can ruffle feathers. The awkward exchanges from grandmother to grandson, the one-sided conversations from volatile phone calls, and those infamous family gatherings are all things we can relate to from our childhoods.

Performances run the gambit between harsh, exuberant, uneventful, and that is what makes them so realistic. Our memories are but a collection of random references. The anxiety we carry as adults may stem from events such as divorce and/ or prolonged exposure to familial toxic masculinity. At least for many in my generation. The Cathedral shows us D’Ambrose’s ability to captivate an audience in the most unexpected ways. I’m eager to see what comes next.

To read more of Liz's writing head over to her regulsr home Reel News Daily

Liz Whittemore on LEONOR WILL NEVER DIE (2022) Sundance 2022

Fiction and reality blur when Leonor, a retired filmmaker, falls into a coma after a television lands on her head, compelling her to become the action hero of her unfinished screenplay.

As a writer, this script is essentially a dream, pun intended. Leading lady, Sheila Francisco is an absolute joy to watch and her energetic narration/script reading is a blast. In her coma, she is living inside her story. The recreations of 80s action films are astounding from the perfectly hokey score to the fight sequences. The visual jumps from these, to real-life, to memories, keeps you on your toes. The semiautobiographical nature of Leonor’s writing makes for a haunting present circumstance. The nonchalance in which her son and ex-husband converse with their lost loved one is bizarre. But that’s only half of the wackiness that ensues. Leonor is weird meta fun. You cannot help but adore the heart behind it.

To read more of Liz's writing go over to Reel News Daily

NAVALNY (2022) Sundance 2022

 

My final film for Sundance was  NAVALNY about the Russian opposition leader whom Putin had poisoned with a nerve toxin that if administered correctly shuts off all of your nerves, killing you in a way that looks like a natural death because it dissipates quickly from the body.  The film is an examination of the poisoning by various places including the excellent Bellingcat coupled with a look at Navalny’s career.

Coming into the film after several days of my friends talking it up, I was initially rather disappointed. The early part of the film was kind of dull and run of the mill. The film wasn’t doing anything bad, rather it was hitting a;; the typical points of a story like this. It wasn’t until the poisoning happened that the film clicked and we were off to the races as the story of trying to find a smoking gun link to Putin  gave a serious shot of adrenaline into the proceedings. Suddenly there was not only a mystery to be solved but also there was real danger to the proceedings because other than a stupid person can see clearly how evil Putin is.

I really liked this film a great deal. It’s a compelling story with a connection to current events (the Russian threatened invasion of Ukraine).  You really get a sense of how bad Putin is for his country and the world.

If I have any reservations is that watching the film it doesn’t always give us a entirely clear eyed picture of Navalny. The filmmakers clealry love him, and theree is no denying he’s at least a seeming better choice than Putin, but there are still questions about his past (links to ultranationalists) and he is a bit too smooth for me to entirely take the word of one film.

Reservations aside the film is highly recommended, if for no other reason than it’s a hell of a story.

Sundance Capsule Review Round Up: FRAMING AGNES, WATCHER, LUCY AND DESI, BRAINWASHED SEX-CAMERA-POWER, MEET ME IN THE BATHROOM and AM I OKAY

FRAMING AGNES
This is an exploration of Agnes a trandgender woman from the 1960s, who participated in gender studies. Its a mix of fact and fiction aiming to put Agnes and what she means to the trans community and the world into context and current .  And I'm going to leave things there. Not because the film is bad, rather because the film doesn't speak to me. I know I am not its intended audience and as such there is nothing for me to say except, its very good.

WATCHER
A woman moves to Romania with her husband. She feels she's being watched. There is is a serial killer running through the city. Are they related? Doesn't anyone have curtains? Okay thriller never generates much suspense because we have been here before and it feels very staged. Yes the final couple of minutes have a couple of "oh crap" turns but its too little too late. 

LUCY AND DESI
A love letter to Lucille Ball and Desi Arnez that charts the course of their lives. Full of clips and stories it will delight fans. And the ending will kick the hell out of fan and non-fan alike. I'm leaving it there because people with more love for the duo will have better things to say than I ever could.

BRAINWASHED SEX-CAMERA-POWER
This look at the objectivication of women in cinema is an illustrated lecture by the film's director Nina Menkes based upon her book Sex and Power: The Visual Language of Cinema. I am not going to say more than I saw it and if the subject interests you please see it. I'm leaving it there because my issues with the film will no doubt be misconstrude as issues with the subject matter and I am not going to get into any battles.

AM I OKAY
The relationship of two women is upset when one of the friends confesses that she likes women.This sets off repurcussions that play out in all their  lives. This sweet comedy is enjoyable for what  it is which is an over written comedy that never feels real.  I enjoyed the hell out of it but ten minutes out I kinf of had it slip from my mind, hence this capsule

MEET ME IN

MEET ME IN THE BATHROOM
Awesome beyond the words I have in the  middle of a festival look at the music scene in NYC  around 2000. Its a stunner. See it (and read Liz Whittemore's review here)

A House Made of Splinters (2022) Sundance 2022

This is the story of a home for children that houses children as a decision is being made about their destination. Some kids have been dumped by their parents who won’t or can’t take care of them. Others have been dropped their by the police or other officials where they will sit until a court makes a determination about where to send them. Will they go back to their parents. a relative or foster home, or will they be shunted into an orphanage and become wards of the state.

The film focuses on the lives of three of the children as well as the social workers who runs the place. As the kids come and go the social workers remain as fixture and a guiding force helping the kids get along, and  change their behavior. Because we like everyone on screen we fall into the film and we hope for the best for all the kids and their care takers.

What makes the film so powerful is the fact that the filmmakers seem to have been given the run of the place. That’s probably not the case but it seems like it since we see the kids be kids in ways that most other films not show us.

I really liked this film a great deal. To me it was one the better films at Sundance. It’s a film that is good enough that I am looking forward to seeing it again when I am away from the festival crush and I can simply see it and take it in on it’s own wonderful terms.

Recommended.

Midwives (2022) Sundance 2022

MIDWIVES is one of the great films at Sundance. 

The film is the story of two midwives, one Buddhist and one Muslim, in Myanmar who work together to give their community health care and deliver babies despite the fact that the Myanmar government is trying to ethnically cleanse the country of Muslims. 

It’s a deeply moving film full of humanity that makes it clear that there is no real difference between people other than the lebels we stupidly put upon ourselves. This is a film that will make you run a spectrum emotions as you see how the acts of good people can make a difference even as bad people commit crimes. I was moved.

Highly recommended this film deserves more and better words than I can manage- though if these words can get you to see it it will have been enough.

PIGGY (2022) Sundance 2022

Laura Galán will probably be come an interntional star after people see PIGGY because she give the role everything and then some. Truthfully if Oscar noticed films like this she would be a front runner, but the Academy never does, so her Oscar will not doubt come for some other, lesser performance.

I probably should say this but PIGGY made me laugh (probably for the wrong reasons). This tale of Sara, a heavy girl who ends up tied to the crimes of a serial killer, struck me as exceedingly funny. The reason for my chuckling was that everything was so over done. For me it played like an uncomfortable comedy where lots of bad things happened and lot of blood flowed. 

While I admire Laura Galán's work, I have to wonder if writer Carlotta Pereda likes the character. She abuses the shit out of Sara and has her running around in such away that she always seems to be on the verge of being completely naked both physically and emotionally. It never struck as believeable because she is always pushed to the brink and never given a respite, even for a second. What's worse the ending, which I guess is supposed to be cathartic just didn't make sense.

Then again much of this film doesn't make sense, with so much of the film seemed aimed to provoke a reaction either in the audience or the characters, with the result that some of the turns had me scratching my head-beginning with why in the hell the killer would leave a body underwater where everyone goes swiming- I mean it was clearly going to be discovered ASAP.

Yes,the film provkes a reaction, but I don't know if it does more than that. The plot doesn't make much sense and as a portrait of bullying it's so over the top and so incredibly cruel to its own character, that on it's own terms the film ends up being something that shouldn't be preaching.

Worth a look for Laura Galán's performance, I'm not too sure of the rest.

32 Sounds (2022) Sundance 2022

Sam Green and JD Samson take us on an exploration of why sound is so important to us, using 32 sounds to illustrate their points.

When you see 32 SOUNDS wear headphones. I can’t imagine a sound system, short of a very high end one, that will give you the real special sense headphones does. I say this as someone who watched the theatrical/home version twice and I found the headphones made the film so much better.

I don’t know what to say about this film other than see it.  I’m not saying that as ploy not to write it up but because the film is not really a film but an experience. It’s a journey you take that takes you from point A to Z with a hell of a lot of stops in between. The joy and wonder of the film is taking the trip, watching how the sounds and the stories around them build on each other. It’s a cinematic companion to the work of the theater group Complicite which use sounds and image to tell you a story that takes things to another level.

I had a blast watching it smiling and laughing as I went-which confused the people around me  since they couldn’t understand why I was verbalizing when they couldn’t hear anything.

This film is a stunner and it’s a hell of a lot of fun

See it.

I should also point out that there are two versions of this film- a theatrical/ home version of the film  and one that will tour with live sound. A version of the live version was done on line. I missed the Sundance show, but having seen live performances by Green I’m looking forward to seeing the film in person

Additionally there is a live performance on line on January 27 at 130pm Eastern time. Check the website for details

I'm still processing DESCENDANT (2022) Sundance 2022

This is the story of the search  for the slave ship Clotilda. It was the last know ship to transport slaves to America. It was sailed into Mobile Alabama and up the river where it was offloaded and then burned.  The Africatown residents in Mobile, Alabama, are the descendants of the slaves on the ship and have fought to keep their tale alive.

This is going to be brief, because several days after seeing DESCENDANT I am still trying to parse it all out. I say tht because this is a really dense film. Containing more information than four or five other docs this is a film that covers the story of the Clotilda, the surivors, Zora Neal Hurston (she wrote about the story), the racism that that kept the story hidden, life in Africatown, the search for the ship, the discovery, the feelings of the descendants of all the people involved, the notion of reperations, plus the battle for the families to control the story. Any one of those threads could have been a film itself but its all here. More importantly its presented well enough that we havea great deal to chew on. 

I absolutely loved this film. It feels more like a really good book than your typical documentary.

Highly recommended DESCENDANT is a must.

Liz Whittemore of Reel News Daily raves about Brian and Charles (2022) Sundance 2022

 

Liz Whittemore was the one that clued me in on the wonderful BRIAN AND CHARLES. Its a great film and because you shouldn't just take my word on I'm reunning Liz's Reel News Daily review here

Brian is an eccentric inventor of creative, if not completely useless, things. After accidentally inventing a robot, he experiences the gambit emotions, the likes of which both he and the audience are not prepared for.

You have to wonder how much of the dialogue is improvised based upon David Earl‘s genius timing and rhythm. You will fall in love with this character. Earl creates a man that’s loveable, kind, and hilarious. You laugh out loud at moments that perhaps should not be funny. Ultimately, it’s Brian’s earnest care and wonder for Charles that hits you in the heart.

Chris Hayward as Charles is absolutely darling. As he is a newly created being, he possesses the whole of knowledge and yet has the social-emotional intelligence of a toddler. His unpredictable nature makes the chemistry with Earl pure magic.

The awkward juxtaposition of Charles’ massively disproportionate body with Brian makes for quite the visual gag at any given moment. Bravo to Earl and Hayward for this one-of-a-kind screenplay. The mockumentary structure adds an extra element of levity. If you’re not grinning from ear to ear, I suggest you get your head checked. There is no doubt in my mind that this will be one of the biggest hits out of Sundance 2022. Brian and Charles is bursting with charm.

To read more of Liz's reviews go to her home bade of Reel News Daily

Something in the Dirt (2022) Sundance 2022

Aaron Moorhead and Justin Benson return with a film where they are everything in front of and behind the camera. Its a wild psuedo documentary (of sorts) about two guys who try to get to the bottom of the weird things going on in on of their apartments. 

This may very well be Moorhead and Bensons best film. It's certanly as messy as their other films and in some ways it hold's together better than their other films. Its a film full of heady ideas, some brilliant and some crack pt. Its the sort of like hanging out late at night and talking with friends about all sorts of crazy stuff. I was  hooked because I really wanted to see where this was going and as a conspiracy/pranormal junkie from way back it as wickedly ccool how they wove all sorts of crazy things together into the story.

If thre is any real flaw it's that the running is about 120 minutes. Thats a lot of time to watch to guys talk about the mysteries of the universe and go in all sorts of weird directions, especially when most of the film is in one room. For what ever reason the film the film runs out of steam about three quarters of the way in.  Its not that the narrative collapses, it's just that there is so is so much here that we grow weary without a pause.

Exhustion aside I liked SOMETHING IN THE DIRT.

Aside note: In order to help fight piracy Sundance changed things up and made it so the film had to be watched a certain way on certain platforms. While I like the effort,  I hpe that next time Sundance works out the kinks since I know several people could not log in. I also had issues with the picture early on, and then I had the film lock up  toward the end. 

Liz Whittemore of Reel News Daily on two of Sundance's best shorts WASHA an LONG LINE OF LADIES

The always wonderful Liz Whittemore of Reel News Daily  Began her coverage of Sundance with reviews of a couple of great shorts. In order to get more eyes on the shorts I've stolen the reviews from Reel News and ruunning them here.

LONG LINE OF LADIES
A journey of tradition and self-discovery, Long Line of Ladies is a Sundance 2022 short film that allows us to peek behind the curtain of a once lost ceremony in the Karuk tribe.

The openness of the Karuk culture and the lack of toxic masculinity are so refreshing to witness. The entire community comes together to support each young lady as an individual. They are gentle and ceaselessly encouraging. The deep connection to traditions and nature is mirrored in the ceremony. After fasting, a young lady is blindfolded on a journey through the woods for 4 days, then emerges to perform a dance. The meaning and emotion behind it made my heart swell. It symbolizes her journey into womanhood so perfectly. This intimate portrait of cultural tradition will live with me for a long time. As a mother of a little girl that will soon be five, Long Line of Ladies inspires me to seek out a way to honor what has mostly been deemed an embarrassing or awkward transition. It makes me want to do better for the next generation.

WASHA
Circumstance drowning out his authenticity, Mohammad takes a risk at his construction job in the short film Warsha. Handheld and tight cinematography force the viewer into the vibrating chaos. But it’s the wide shots that astound in their scale and shared panic and awe. You will not see where this short is going.

Khansa plays Mohammad with a captivating vulnerability. Warsha introduces the entire world to Khansa, a multi-disciplinary artist redefining masculinity in the Middle East. I had chills watching his transformation. What brilliant casting. Writer-director Dania Bdeir has given Sundance audiences a short film that defies gender stereotypes. Its celebratory nature will leave you breathless.

To read more of Liz's writing go to Reel News Daily

Girl Picture (2022) Sundance 2022

Girl Picture is a good film. Its also not something I fully connected to. Forgive me I’m a old fart of a guy and sometimes I see a film and realize that this film wasn’t made for me.

Taking place over three Fridays the film concerns two female friends. One of them is looking just to get laid and is chasing various guys, while the other falls into a relationship with a figure skater. As one chases feeling good the other chases her heart’s desire.

Well-made and well-acted GIRL PICTURE is a portrait of the lives of the young ladies at the fore front. It’s a film that beautifully portrays the long for love and experience that we all feel. In all honesty there is a white hot heat coming off the screen that most other films never manages to generate. I was held captive by the emotion.

And yet I never fully committed. Perhaps I’m too far removed from the lives of these young ladies to connect to them or perhaps it was something else, outside of the emotion of the romance I remained outside of the film.

That said there is enough here to make GIRL PICTURE worth a shot, especially if you are a young lady close to the ages of these young women.

Liz Whittemore of Reel News Daily on Maika (2022) Sundance 2022

Once more Liz Whittemore of Reel News Daily returns to talk up the family film MAIKA

A grieving boy comes face to face with an alien girl trying to find her way home. Their adventures will bring unadulterated joy to Sundance 2022 audiences. Maika‘s cinematography is eye-popping. The production team dressed the sets and the actors in ways that hypnotized me. It’s the perfect eye candy for kids and parents alike.

Our three youngest leads, Phu Trong, Diep Anh Chu, and Tin Tin are darling. These kids are out of this world fantastic. Their relationships are the purest and most honest I’ve seen in ages. You’ll double over in fits of giggles at Hung and Maika’s first interaction, while unexpected sidekick Beo takes the comedy to the next level. 

Maika has a familiar arc with all the finesse of E.T. and the charming goofiness of Little Rascals. Maika stands out with the emotional pull of grief and unconditional love. Add in some family-friendly subplot hijinks, all wrapped in a hilarious and sweet package, and you’ve got yourself a hit. With a whimsical score, every aspect of this film is enchanting. I laughed and cried a lot. Dub this in every language because its messaging is undeniably universal. It is a magnificent addition to Sundance 2022. Maika’s future is written in the stars.

For more of Liz's reviews head over Reel News Daily

THE COW WHO SANG A SONG INTO THE FUTURE (2022) Sundance 2022

A mother takes her kids back to the dairy far she grew up on after her father claims he saw her dead mother outside a cellphone shop. Her mother had died years before so she thinks something is wrong. The truth is that the mother has crawled out of a river walked toward home. 

This is a magical realism infused film nominally about man's destruction of the planet. The village by the farm is up in arms because the pulp plant is killing the fish in the river the town depends upon. There are also some ther strange things afoot such as the animls seeming to sing.

This rambling film never generates much interest because things take a bit too long to get going. I sat their wondering when things would come together but by the time they did I was largely disinterested.  I kept wishing that everything in the film was pushed aside and we simply focused entirely on the main character's trans daughter quest for acceptance. 

This was a miss for me.

Nanny (2022) Sundance 2022

Aisha is a young mother from Senegal. She is working a a nanny for a couple in Manhattan as she puts enough money together to bring her son over. As time get close for his arrival strange things begin happening.

I know it was labeled as a horror film by the Sundance people but the truth is the film is not really that. Yes it may have scray moments and fantastical elements, but the truth is this is just a really good drama.

For what it's worth I was all in on NANNY for probably the first three quarters of the film. It was a beautifully acted (Anna Diop is incredible) acted drama that refused to be overt. Hell, the film film goes out of the way to subvert expectations and be what it is, which is a the story of a woman trying to navigate her life and the life of the people she works for.  I went all in because I cared about everyone on screen.

The problem is there is a point where the film get a bit messy. The weird stuff begins to pile up and there are a couple of turns that don't fully make sense.It feels that the script is moving things along faster than it should. (And apologies I can not explain because it would require a detailed plot discussion which I don't want to do because it will give too much away). I took a step back. I didn't disengage but I was a bit less invested.

I am happy to report that the film pulls it together in the end with an ending that is right. I mean I got to the final fade out and as like "ah yes that works nicely." It was good enough that I leaned back into the film.

Ultimately NANNY is a winner. If you can go in know it's not a big tim horror film but a small jewel of a drama with a supernatural flavoring you will be delighted.