BUTTER (2022)

February 24, 2022

Greetings again from the darkness. Being a high school kid has always been challenging, and today’s added pressures of social media makes being an outlier almost unbearable at times. Writer-director Paul A Kaufman (in his feature film directing debut) has adapted the 2012 novel by Erin Jade Lange into a film that tackles several emotional hurdles, some of which are downright devastating.

Marshall (an excellent Alex Kirsting) is a morbidly obese high school student. He plays a mean jazz saxophone, yet yearns to be heard, seen, and accepted as a person, rather than as a target for the bullies who call him “Butter”. He weighs in at 423 pounds at the dietician’s office, and he’s catfishing Anna (McKaley Miller), his secret crush at school. Online, he’s posing as JP, a soccer star at a private school, and Anna confides secrets so that he can provide sage advice. At home, his mother (Mira Sorvino) enables him with her ‘food art’, while his dad (Brian Van Holt) barely acknowledges the presence of his fat son.

There are no heroes in this story, and despite being partially described as a comedy, this is in fact a dark commentary on how people behave. Butter is so fed up (unintended pun) and desperate to be seen, he devises a plan to go out with a bang. He creates a website and announces online that he will literally eat himself to death. Yep, suicide by smorgasbord at midnight on New Year’s Eve via live webcast. The reaction of his fellow students catches him off guard. Butter becomes popular overnight. People talk to him … while at the same time placing bets and serving up menu suggestions for the final feast.

Butter also provides the narration to his own story, and along the way we meet his doctors played by Ravi Patel and Annabeth Gish, and a supportive teacher played by Mykelti Williamson who encourages Butter to expand his musical talents. We note how attitudes change once communication and interactions replace withdrawal and ignoring. Some of the heavy topics handled here include bullying, suicide, depression, eating disorders, low self-esteem, a lack of empathy and compassion, and body-shaming. It’s interesting to watch as the classmates and Butter get to know each other, how Anna shows there is more to her than a pretty face, and how Butter’s parents seem oblivious to their son’s internalized feelings. The film does get a little preachy near the end, but for the most part, it’s a pretty effective look at what it’s like being an outcast.

In theaters February 25, 2022

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Posted by David Ferguson

CREATION STORIES (2022)

February 24, 2022

Greetings again from the darkness. As a kid in Glasgow, Alan McGee’s dream was the same as many others: he wanted to make it big in the music business. A TV appearance by The Sex Pistols lit the proverbial fire, and Alan became obsessed. However, as he states in the film, “I didn’t have any talent, which limited my opportunities.” What he did possess was ambition and commitment. The last few years have produced an abundance of music biopics, yet this one isn’t based on a great singer, songwriter, or guitar player. Instead, director Nick Moran and co-writers Dean Cavanagh and Irvine Welsh have adapted Alan McGee’s autobiography, “The Creation Records Story: Riots, Raves and Running a Label.”

The film begins with the tagline, “most of this happened”, and of course, we understand that when rock ‘n roll is involved, stories get twisted and personalities are exaggerated. Leo Flanagan and Ewen Bremner star as the younger and older Alan McGee, respectively. Flanagan gets the backstory which sets the conflict with McGee’s father, while Bremner, as you have likely guessed, gets the flamboyant and wild events of the later years.

There is a zaniness to the film in that, at times, it has frantic pacing, quick cuts, and psychedelic effects. Suki Waterhouse plays a journalist interviewing McGee on his success, and this provides a touch of structure to a story that otherwise bounces between timelines and business developments so haphazardly that we can’t possibly keep up. McGee and Creation Records were key players in the surge of independent and alternative music in the late 1980’s and early 1990’s. The label featured such bands as Primal Scream, The Jesus and Mary Chain, and of course, Oasis.

Bremner is high-octane as the fast-talking McGee, and we believe that he believes he’s running “the coolest record label on the planet.” We are along for the ride in his never-ending quest to find the next band that is “going to be bigger than U2.” He’s a maverick who succumbs to the lifestyle by over-indulging in drugs, and having no obvious business savvy in maintaining what he builds. The Oasis story is particularly well told, and features Jason Flemyng at the King Tut gig. Other supporting work is provided by an unusually high-strung Jason Isaacs, Paul Kaye, and Steven Berkoff in the film’s oddest role. He plays a McGee hallucination of famed occultist and writer Aleister Crowley.

Danny Boyle is an Executive Producer on the film and director Nick Moran has spent much of his career acting, including a role in LOCK, STOCK AND TWO SMOKING BARRELS (1998). This combination (as well as a few connected actors) is likely a key to the early Guy Ritchie vibes we sometimes experience. Set Decorator Clare Keyte deserves a shoutout for exceptional work in various time periods and settings. Kudos to Bremner for his all-in approach, but the film works best as one that offers some nostalgia and historical value of a time when the music culture shifted in the UK.

The film will stream on AMC+ and be available On Demand and digital on February 25, 2022

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Posted by David Ferguson

THE LAST DUEL (2021)

February 24, 2022

Greetings again from the darkness. This review comes a bit late in regards to last year’s release date, but one of the most fun things about the film was the veteran director’s response to it being one of the biggest box office ‘bombs’ of 2021. Ridley Scott’s blamed those of a certain age group, as he criticized millennials for being too attached to their cell phones to recognize an interesting, informative, and entertaining movie. Octogenarian Scott knows a bit about big budget films after directing such films as ALIEN (1979), BLADE RUNNER (1982), GLADIATOR (2000), PROMETHEUS (2012), and THE MARTIAN (2015), however we get the feeling that his reaction stemmed from ego, and overlooked the fact that older movie goers had not returned to the theater due to the ongoing pandemic.

Based on true events and Eric Jager’s 2004 bestseller, “The Last Duel: A True Story of Trail by Combat in Medieval France”, the script was co-written by Nicole Holofcener, Matt Damon, and Ben Affleck (the latter two being Oscar winners for their GOOD WILL HUNTING script in 1997). Damon and Affleck were initially set to co-star here, but scheduling conflicts forced to Affleck to take a lesser role, allowing for the addition of Adam Driver. The film opens in 1386 as Damon’s Jean de Carrouges and Driver’s Jacques Le Gris prepare for the titular jousting duel. We then flashback to a battle scene during the Hundred Year War featuring the two fighting alongside each other for France.

Utilizing a RASHOMON-inspired story structure, the film is divided into three “The Truth According to …” chapters: Jean de Carrouges, Jacques Le Gris, and Lady Marguerite. A sly use of chapter titles informs us which of these is considered the real truth, but this is 14th century history, so there’s always some doubt. And doubt plays a key role in the crucial conflict at the film’s core. Carrouges and Le Gris have a friendship initially, however where Carrouges is hard and withdrawn, Le Gris is more politically savvy – building a relationship with Pierre (Affleck), powerful cousin to King Charles VI. The friendship dissolves into a rivalry that culminates with Carrouges’s wife Marguerite (Jodie Comer) accusing Le Gris of rape. We see the three versions of this occurrence, leaving little doubt.

What stands out through most of the story is just how little power or standing women had during this time. It was a man’s world and women were treated as property, much the same as a plat of land. But the most ludicrous commentary on the times is the hearing that results in the King authorizing the Duel that will determine a verdict. If Le Gris kills Carrouges, then it is determined that Marguerite was lying and she will be burned to death. If Carrouges kills Le Gris, then his old friend will be considered guilty of rape. Either way is supposedly “God’s will”.

Harriet Walter is perfectly creepy as Jean de Carrouges’ mother, as is Alex Lawther as “The Mad” King Charles VI (age 15 at the time of the duel). I found Damon and Affleck to be distractions in their roles, but Ms. Comer was outstanding – believable in all aspects of the character. Ridley Scott delivered a realistic look to the film, and the brutality and visceral violence are true standouts, especially in the duel. Having the three perspectives worked well, and drove home the point of how delusional men were/are. Surprisingly, there is an undercurrent of contemporary attitude here, and for the most part, Mr. Scott was correct … it’s an entertaining film, even if it wasn’t technically the “last” duel.

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Posted by David Ferguson

TED K (2022)

February 17, 2022

Greetings again from the darkness. It’s been more than 25 years since The Unabomber was arrested. The composite sketch of Theodore John Kaczynski wearing sunglasses and a hoodie became an iconic image on its own, and he was the target of the longest and most expensive manhunt in the history of the FBI. There have already been two crime series focused on Kaczynski. Netflix aired “Unabomber: In His Own Words” (2020) and Discovery had “Manhunt: Unabomber” (2017). Do we need to know more about this monster whose bombs killed 3 people and injured 22 others over a 17-year period? Well, writer-director Tony Stone and co-writers Gaddy Davis and John Rosenthal believe so.

A prologue with text details most of what we already know – Kaczynski was a Harvard educated math genius who dropped out of society and moved to the Rocky Mountains in Montana. Following that, the opening sequence sets the stage as we see Kaczynski hiding in the forest eyeing a family zipping around on snow mobiles. This is all accompanied by Blanck Mass music that falls into the category I call ‘doom-droning’. It’s ominous music so blatant that no one could possibly think anything good is about to happen. And of course, nothing good does happen.

Sharlto Copley (DISTRICT 9, 2009) stars as Kaczynski, and if there is a complaint to be made against this movie, it’s that Copley’s performance is so strong that we begin to see this monster as a human being. Living 25 years in a ten by twelve-foot backwoods cabin he built with his brother, Kaczynski doesn’t make the case for nature vs nurture, but rather nature vs tech intrusions. He seems mostly fine in his isolation until disturbed by the seasonal snow mobiles, four-wheelers, jet noise, or ongoing lumber harvesting. Of course, he was never really fine. He was a sexually frustrated misogynist who became a dysfunctional and delusional and dangerous man. In a voiceover, he states, “I act merely for my desire for revenge.”

Much of the film is pulled directly from the 25,000 pages of coded journals found in the cabin. The deluded thoughts of a man who considered modern technology to be evil and used a hit list to identify the targets for his homemade bombs … bombs that often injured unintended victims. Copley plays him as a wide-eyed guy with the expected undercurrent of intelligence masked by one so unhinged he personally delivers his complaint letter to the customer service desk of the phone company – over a few dimes and quarters lost over time.

The film was shot on location on the Montana land owned by Kaczynski. The cabin has been expertly recreated and cinematographer Nathan Corbin does a terrific job in catching the beauty of nature, as well as the elements that so bothered Kaczynski. Frequently wearing sunglasses and riding his bicycle into town to visit the library, we also see him listening to classical music on the radio – and begging his mother and brother (the one who tipped off the FBI) for money (to finance his bombing trips). The film is well written, professionally directed, expertly photographed, and well performed. However, I can’t shake the uneasiness over whether we really want to see one of our most unconscionable monsters humanized to this degree.

In theaters and On Demand beginning February 18, 2022

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Posted by David Ferguson

CATCH THE FAIR ONE (2022)

February 10, 2022

Greetings again from the darkness. One tragic event can certainly derail a person’s life. It’s happened in plenty of other movies, often resulting in an engaging story of redemption. There is also nothing new about a friend or family member out to save a loved one who is in peril. Director Josef Kubata Wladyka co-wrote this script with the film’s star, Kali Reis, and though it covers some familiar territory from those two premises, it’s done so in a way that feels fresh and different and important.

Ms. Reis is an accomplished boxer, having held the title in two weight classes. Her heritage is part Native and part Cape Verdean, and she brings a personal perspective into the story of her character. Kaylee Uppeshau (Ms. Reis) slogs through days waiting tables at a greasy spoon, and sleeps at night in a women’s shelter, with a razor blade tucked in her cheek for protection. She was previously known in the ring as “KO”, but for the past two years her goal in life is to track down her younger sister Weeta (Mainaku Borrerro), who was abducted while walking home from Kaylee’s gym. The girls’ mother (played by Kimberly Guerrero, whom “Seinfeld” fans will remember as Winona) has moved on by running group therapy sessions for others who are grieving. She also makes it clear that Weeta was the favored daughter.

Kaylee gets a lead on her sister, and soon finds herself drawn into the world of sex-trafficking. It’s a dangerous situation as she goes up against local scumbags Bobby (Daniel Henshell) and his father Willie (Kevin Dunn), the white men who have a market for native girls. But Kaylee is not the typical victim. She has an intensity to match her body tattoos and multiple piercings (cheeks, nose, tongue, ears, naval), and the physical training to hold her own.

It’s her acting debut, and Ms. Reis excels as Kaylee in this thriller. She creates an engrossing character who is tough, yet relatable. Ms. Reis is intense, naturalistic, and believable. It’s quite a first-time performance, and she keeps us engaged all the way through. We are never really sure if Kaylee is after justice or closure, or whether she truly holds out hope that Weeta is still alive. The subject of Indigenous women and girls being abducted is also the focus of Martin Scorsese’s upcoming film KILLERS OF THE FLOWER MOON, based on the superb book by David Grann. Whereas that film will look at history, filmmaker Wladyka and Reis make it personal and deliver a literal and figurative gut-punch.

In theaters and VOD beginning February 11, 2022

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Posted by David Ferguson

THE PACT (2022)

February 10, 2022

Greetings again from the darkness. It’s a bit embarrassing to admit, but prior to this movie, I was unfamiliar with Birthe Neumann. Most of her 50-year career has been spent in Denmark projects (film, TV, stage), but her screen presence here is such that I feel compelled to seek out some of her early work in order to catch up on what now feels like a gap in my movie watching. Ms. Neumann stars as writer Karen Blixen (pen name Isak Dinesen), who published her 1937 memoir, “Out of Africa”. The adapted book became a Best Picture Oscar winner starring Meryl Streep and Robert Redford. A couple of years later (1987) the film adapted from Blixen’s story “Babette’s Feast” won the Oscar for Best Foreign Language film.

Director Bille August (PELLE THE CONQUEROR, 1987) and screenwriter Christian Torpe bring Thorkild Bjornvid’s memoir to the screen. You might ask why then the opening paragraph was not about Mr. Bjornvid, a noted Danish writer and poet. The answer is derived from the fact that while the process of writing doesn’t translate well to the big screen, complicated relationships definitely do … and the bond between Blixen and Bjornvid (played here by Simon Benebjerg) was about as complicated and convoluted as one can get. Ms. Blixen was somewhat of an isolated literary icon when she first met the 30ish Bjornvid in 1948. What followed can only be described as a Faustian deal where she promised to make him a great writer if he followed her every direction to a “T”. She says to him, “Have faith and I will protect you.” The stipulations included moving into her compound and being apart from his wife Grete (Nanna Skarrup Voss) and child for long stretches.

Of course, we all dream of having someone bankroll our hobby so that we may leisurely pursue our passions. This was more than that. Blixen was living with the long-term effects of her syphilis and the loss of her friend/lover/companion (detailed in her memoir). Her bitterness filled her with contempt for anything other than the sole pursuit of artistic passions, and Ms. Neumann’s performance is so authentic we are taken aback at times (just like Bjornvid). We know the price to pay for such a deal is sure to be high. Soon enough, Bjornvid becomes infatuated with Benedicte Jensen (Asta Kamma August, the daughter of the director), the wife of Neumann’s friend Knud (Anders Heinrichsen) and the temptation is too strong.

The situation and the film raise many questions. Should one follow their gift, regardless of the cost to others? Is selling the soul a fair price for reaching greatness? Is risk and pain and sacrifice necessary to reach one’s artistic peak? It’s painful to watch the young poet surrender to his elderly patron, but it’s fascinating to see how Karen Blixen spurs the writer to improvement. How far would you go to achieve your dreams?

Opening in NYC on February 11, 2022 and expanding on February 18, 2022

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Posted by David Ferguson

I’M YOUR MAN (2021, Germany)

February 9, 2022

Greetings again from the darkness. The thing about humans is that we are always looking towards the future to see how we can make things easier, better, or more exciting. This is often with an eye towards more fuel-efficient cars, smaller and more powerful computers, and more effective medical treatments. Writer-director Maria Schrader and co-writer Jan Schomburg have adapted the short story from Emma Braslavsky and turn the lens to relationships and love. Is it possible to advance inter-personal relations to the point of perfection? Would that even be desirable or preferable to the messiness that’s gone on since the beginning of time?

It’s actually the film’s premise that impresses most. Maren Eggert stars as Alma, an Anthropologist who has dedicated years of her life to leading a team documenting the earliest human use of poetry. Alma is a serious and determined woman, and one who bears the scars of a recent breakup. She’s drawn into an extraordinary experiment that blends high-tech with sociology. Advanced robots have been developed to become the “perfect” mate, and are programmed specifically for one person. Alma has agreed to the three-week trial, and her robot is Tom (played well by Dan Stevens, BEAUTY AND THE BEAST, 2017).

Their initial interactions are quite awkward as Alma is skeptical and Tom is programmed to constantly and quickly learn and evolve based on Alma’s reactions. Despite Alma’s hope for companionship and recognition of her own biological clock, she seems to catch herself anytime she begins to feel a bit of joy. She never imagined that her pursuit of happiness would be dependent on advanced robotics. To monitor the progress, the program’s director, played by Sandra Huller (TONI ERDMANN, 2016) periodically checks in. And yes, she holds her own secrets.

This is a clever film that delves a bit deeper into human emotions than we originally anticipate. It also contains quite a bit of humor – the initial dance club introductions are pretty funny, as is Tom’s facial expression each time he’s tweaking his algorithms. We do learn flirting is “difficult to program”, although in today’s society, that’s a treacherous path anyway. Of course, Alma slowly comes around to the idea of an artificial relationship – one that by definition can never be real. The film is not at the level of EX MACHINA (2014), although it’s less about technological advances and more about self-realization. Ms. Schrader’s film is plenty entertaining to watch and one that slyly points out many flaws of us human beings, while delivering an unexpected ending.

Available for streaming on multiple platforms

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Posted by David Ferguson

DEATH ON THE NILE (2022)

February 8, 2022

Greetings again from the darkness. For us Agatha Christie fans, a certain amount of trepidation exists every time a new movie or TV version of her work hits. Stress level was reduced a bit this time since director-actor Kenneth Branagh and screenwriter Michael Green are back following their collaboration on Christie’s MURDER ON THE ORIENT EXPRESS (2017). Although the star power this time isn’t quite at the level of ‘Orient’, it seems Mr. Branagh has grown quite fond and confident of his own Hercule Poirot, the Belgian super-sleuth.

Director Branagh takes an unusual approach with a black and white Prologue from 1914 as a young Poirot shows flashes of his intellect as a soldier in WWI. The real purpose of this segment is to show Poirot was once a young man in love, and then a wounded soldier in love, and then a broken-hearted wounded man who would go on to become the world’s greatest detective. The prologue also provides backstory on the infamous mustache that is so much a part of Poirot.

We then flash forward to a 1937 London speakeasy where a fastidious Poirot fusses over dessert while watching the formation of a shaky love triangle unfold on the dance floor as Salome Otterbourne (Sophie Okonedo, with singing vocals from Sister Rosetta Tharpe) belts out her bluesy tunes on stage. Initially it’s Jacqueline de Bellefort (relative newcomer Emma Mackey) in the throes of lustful dance moves with her fiancé Simon Doyle (Armie Hammer in the last gasp of a once skyrocketing career). Things change quickly when Jacqui’s former schoolmate, Linnete Ridgeway (Gal Gadot), makes her show-stopping appearance in a glittery metallic gown. Flash forward again, this time 6 weeks, and its Linnete and Simon tying the knot at the picturesque Cataract Hotel in Aswan on the River Nile. See, Linnete is an heiress to her less-than-scrupulous father’s fortune, and Simon had no trouble trading up. Jacqui, on the other hand, doesn’t take it so well.

Of course the fun part of Agatha Christie’s murder mysteries involves getting to know the players and watching as the clues reveal themselves, and then how Poirot handles the big reveal. This film’s only real weakness is the character development of everyone not named Hercule Poirot. We only skim the surface of Euphemia Buoc (Annette Bening) as Buoc’s (a returning Tom Bateman) disapproving mother, Dr. Windlesham (an unusually reserved Russell Brand), Linnete’s chambermaid Louise (Rose Leslie), Linette’s Godmother and her “nurse” (Jennifer Saunders and Dawn French, respectively), family attorney Andrew (Ali Fazal), and Salome’s niece and manager, Rosalie (Letitia Wright), the proverbial sharpest knife in the drawer.

So what do we get? Well, first and foremost, a fully formed Poirot. Branagh seems to have embraced the character and the mustache, having a blast with his scenes. We also get stunning work from cinematographer Harris Zambarloukos, as he films the beautiful people, the beautiful wardrobes, and such sites as the Pyramids of Giza, the Sphinx, Ramses statues of Abu Simbel, and the excellent set piece known as the Karnak luxury steamer. There are some metaphorical effects inserted that periodically startle us, and seem unnecessary, but then over-the-top moments are not unusual in film presentations of Christie’s writing. She passed away in 1976, and now there are almost 200 film and TV projects associated with her work.

Love and betrayal are key elements here, and for fans of the original book and the 1978 film version, comparisons are unavoidable. Ms. Mackey’s jilted lover stalker is a marked improvement over Mia Farrow’s character, while Salome and Rosalie and terrific additions. Ms. Saunders and Ms. French follow in the footsteps of cinematic heavyweights Bette Davis and Maggie Smith, and your choice of Branagh or Peter Ustinov as Poirot is one left up to you. It’s tough to beat ‘whodunnit escapism’, though it’s a personal choice on which of Christie’s stories serve up the best puzzle pieces on the big screen.

Opens in theaters on February 11, 2022

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Posted by David Ferguson

HANNAH HA HA (2022)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. We open on Hannah and her dad relaxing by the fire pit one evening. It’s their happy place … or is it contentment? Is there a difference? This first feature film from co-writers and co-directors Joshua Pikovsky and Jordan Tetewsky, is also the first film for most of the cast, including Hannah Lee Thompson in the titular role. Ms. Thompson is a musician by profession, and she proves to be a natural in front of the camera.

Hannah is nearing her 26th birthday and still lives with her dad (Avram Tetewsky, the co-director’s real father) in a small town outside of Boston. She spends her days working the family farm, walking the neighbor’s dog, giving guitar lessons to kids, and any other odd job that might pop up or be beneficial to the community. Hannah is overweight and gay, but seems fine with her life until her corporate-type older brother Paul (Roger Mancusi) begins urging her to get a “real job” with a career path and health benefits. This leads to an awkward job interview in the city and a further blow to Hannah’s self-esteem.

Paul means well with his counseling, but is overbearing and condescending in his approach, leading Hannah to a mostly silent response. This is a textbook case of one person encouraging another to be what you think they should be, rather than what they want to be. Hannah settles on a kitchen job at a local “gourmet” fast food establishment. She’s a very hard worker and takes in the often harsh life lessons that most of us learn along the way. There is a particularly poignant scene where Hannah, while on a smoke break, quietly observes others living their life. It’s a prime example of how turning points need not be accompanied by fireworks and booming music.

The interesting contrast here is between Hannah’s relationship with brother Paul, and her relationship with her aging father, who offers his insight: “it’s good to be thinking about the future”. His statement can be interpreted multiple ways, and it’s quite likely Paul and Hannah view it differently. Hannah and her dad live a life which they are comfortable with. Is it mundane? Yes. Is it boring? Not to them. “Twilight Zone” marathons, ice cream cones, fresh tomatoes, and beer around the fire … that’s enough for them. Ms. Thompson’s restrained performance draws us in, and allows us to contemplate the importance of contentment. Worthy of its Slamdance Grand Jury Award, it’s a nice film festival entry and a debut of note from the filmmakers and Ms. Thompson.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

KILLING THE EUNUCH KHAN (2022)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. It’s best not to take the film or its synopsis at face value. This bears no resemblance to a conventional film and the synopsis would have you thinking this is a traditional crime thriller. Iranian writer-director Abed Abest makes no effort to formulate an easy-to-follow story, and instead gives us a glimpse at war atrocities – here based during the Iran-Iraq War. Though it’s not a straightforward story to follow, the film is visually stunning and reminiscent (at times) of Jodorowsky and Kubrick.

A teenage girl and her young sister are collecting items in the yard of their large, sparsely decorated home. As they go back inside to display the reflective items, simultaneously a bombing mission is carried out. Due to storm, things don’t go according to plan. Filmmaker Abest delivers an artistic aftermath of the bombing, and we see the girls’ father return home to the tragic scene. What follows is a surreal, dreamlike depiction of the grieving father’s visions. Time, people, and events are blurred, and the visuals take over the emotional aspect.

Outside of one interrogation scene, there is very little dialogue … but plenty of walking. Much of what we see is left to our interpretation, and the imagery provided by cinematographer Hamid Khozoule Abyane is nothing short of stellar. The camera often seems to float above those we are following and red/blood flows throughout the city. Viewers who try to make sense of every scene or assemble the pieces will surely be frustrated, but the best approach is to take in the visuals and process in your own time.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

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