WENT UP THE HILL (2025)

August 15, 2025

Greetings again from the darkness. In the Mother Goose nursery rhyme, Jack and Jill not only went up the hill together, they also tumbled down. This latest from writer-director Samuel Van Grinsven and co-writer Jory Anast spin a Jack and Jill yarn that’s not nearly as cutesy, yet does involve some emotional tumbling … and one creepy spirit.

Horror film aficionados are accustomed to possession-themed stories, where someone from beyond takes over the body of one still living. The twist here … and it’s a good one … is that the spirit of Elizabeth actually (and regularly) switches between not one, but two characters who are both important to her. Elizabeth was a renowned artist who opted for a way out, leaving behind her two great loves – her wife Jill (Vicky Krieps, PHANTOM THREAD, 2017) and their stunning mountain lake home (the Southern Alps of New Zealand).

On the day of the funeral, Jack (Dacre Montgomery, very good in the upcoming WHAT WE HIDE, 2025) shows up, claiming Jill invited him by phone. It’s clear Jill has no idea who he is, or that Jack is Elizabeth’s only child – one given up many years ago for reasons that aren’t clear until much later. Elizabeth’s sister, Helen (a terrific Sarah Peirse) has kept the family secret all this time.  Jill invites Jack to stay at the house, despite Helen making it obvious his presence is not appreciated.

Speaking of presence … we never see Elizabeth, but we know she’s there (and there). Jill sleeps next to the coffin, and every time she and Jack fall asleep, Elizabeth’s spirit does her thing. Mood and atmosphere are key here, and everyone (including Jack, Jill, and us viewers) is confused as to what the spirit of Elizabeth is trying to accomplish. Does the spirit want Jack and Jill to have the relationship that mom and son never did? Or is the spirit focused on having her beloved wife, and possibly the long lost son as well, join her in her new locale? The goal isn’t always clear, but it is always a bit creepy … which is good for the movie.

Cinematographer Tyson Perkins likely had a blast working with the combination of skilled actors, a stunning modern house, and the geographic terrain which could be both beautiful and treacherous – although the number of ‘eyeball shots’ were a bit eerie. A not so minor complaint is in regard to the low-level dialogue, which was exceptionally difficult to hear at times. Still, the acting here is superb, as is the piano-based score from composer Hanan Townshend (TO THE WONDER, 2012), and kudos to a horror movie that’s neither slasher, sequel, nor re-tread.

Opening in theaters on August 15, 2025

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Posted by David Ferguson

BONJOUR TRISTESSE (2025)

June 13, 2025

Greetings again from the darkness. Beauty. It permeates every scene in Durga Chew-Bose’s (TINY FURNITURE, 2010) adaptation of the 1954 Francois Sagan novel. The novel was previously adapted for the screen in 1958 by legendary filmmaker Otto Preminger, and this new version assumes a different tone while maintaining the essence of the novel. It should be noted that Sagan was only eighteen years old when her novel was published, adding pertinence to the character of Cecile.

A stunning villa by the stunning rocky cliffs and deep blue water houses the stunning trio of Raymond (Claes Bang, THE NORTHMAN, 2022), his girlftriend Elsa (Nailia Harzound, “Gone for Good”), and his daughter Cecile (a mesmerizing Lily McInerny). Stunning describes most everything here, so repetitive use is allowed. Raymond’s wife and Cecile’s mother, Sophie, died a dozen years ago, and the teenager (18) and her dad have a close relationship. For a while, we find ourselves asking, “who is the third wheel?”. Is it Cecile? Is it Elsa? Could it even be Raymond? Well, while Raymond and the gorgeous and philosophical Elsa make a beautiful couple, Cecile frolics with Cyril (Aliocha Schneider), a charming local boy who makes the perfect summer plaything.

Only nothing is perfect in this world where beauty abounds. Soon, Sophie’s long ago best friend, fashion designer Anne (Chloe Sevigny) shows up. Her invitation from Raymond exposes the bond he had with Elsa for what it was, while also disturbing Cecile. Things are quite awkward for a while as Anne’s low-key manner can best be described as passive-aggressive, even as she and Raymond grow closer. The simmering conflict between the women is fascinating to watch as it unfolds … sans any of the overly-dramatic histrionics we’ve become accustomed to in American relationship movies. These women are sly and clever as they quietly scheme.

Working closely with writer-director Durga Chew-Bose are cinematographer Maximilian Pittner, Costume Designer Miyako Bellizzi, and composer Lesley Barber in capturing the awe-inspiring by-the-sea with a south of France summer look and feel. Early on, Elsa states, “Everything is about listening”, which proves true for the characters, but it’s highly recommended that viewers also keep their eyes open!

On digital nationwide beginning June 13, 2025

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Posted by David Ferguson

TATAMI (2025)

June 13, 2025

Greetings again from the darkness. Given the turmoil around the globe, being the first film co-directed by an Iranian filmmaker and an Israeli filmmaker makes this one even more impressive … both on screen and behind it. The co-directors are Zar Amir Ebrahimi (who also stars) and Guy Nattiv (who also co-wrote the screenplay with Elham Erfani). Nattiv previously won an Oscar for his superb short film SKIN (2018).

Arienne Mandi (“The Night Agent”) delivers a powerhouse performance as Leila Hosseini. Leila is a competing for Iran in the WJA World Judo Championships. Her husband Nader (Ash Goldei) and their young son are cheering her on back home, along with a house full of friends and family. We first see Leila as she hops on the bike to drop .3 kg in 20 minutes in order to make her fighting class weight of 60 kg. After cruising through the first couple of rounds, Leila discloses to her coach Maryam (co-director Zar Amir Ebrahimi) that she has “a great feeling today.”

It doesn’t take long for her great feeling to turn sour. The Islamic Republic calls Maryam and orders Leila to fake an injury and withdraw to avoid the possibility of losing to an Israeli competitor in the finals. When Leila refuses, the threats to her family become real and danger awaits for anyone associated with Leila or Maryam. As any dedicated athlete can attest, the pursuit of excellence has nothing to do with politics … until it does. The story is inspired by a true story, and we see the extreme actions from all parties. It’s filled with tension and anyone who values freedom will be aghast.

Filmed in Georgia (the country, not the U.S. state), the writing and acting are top notch, even for those of us (yours truly) who know little of judo competitions. Tatami is the mat used for the competitions, and Leila certainly had multiple battles going on simultaneously. We feel her pain, both physical and emotional. Flashbacks are used sparingly to provide background, and it’s obvious why this film has been so frequently recognized and awarded on the festival circuit. The lesson, which never seems to be learned, is that political conflicts, even long-standing ones, can benefit so much from the humanity shown by individuals.

TATAMI opens nationwide on June 13, 2025

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Posted by David Ferguson

AUTUMN (2025, A Minha Casinha, Portugal)

May 31, 2025

Greetings again from the darkness. Empty Nest Syndrome is one thing I’ve never really understood. As parents, for eighteen years we work diligently to raise independent, morally strong and confident individuals who can contribute to society and stand on their own. When that time comes, it should be a celebration, not an episode of sadness and depression. For so many parents, it’s the latter. This first feature film from writer-director Antonio Sequeira takes on this topic by showing not just the changing family dynamics, but also the changes for the individuals.

The story begins as Tomas (Salvador Gil) is packing for university and his family celebrates his 18th birthday. His mom, Susana (Elsa Valentim) tries to sneak treats into his suitcase and prays for him, while the goodbyes at the train station shows just how saddened she is to be losing her first born to a London school. Tomas’ younger sister Belinha (Beatriz Frazao, a TV star in Portugal) and his father Otavio (Miguel Frazao, Beatriz’s real life father) are also there for the send off.

Filmmaker Sequeira breaks the story into the four seasons, and we witness the changes of each family member throughout this time, marked by Tomas’ seasonal trips back home. Initially, Tomas can’t wait to shake the dust off the rural life in Portugal for a new start in the big city. Belinha is tired of feeling slighted by her parents compared to the favored son. Otavio works hard on the family vineyard and with the livestock, quietly taking grief from his wife. His response to being bothered by kids growing up … “If they’re happy, I’m happy.” Susana sulks as she wonders where her own life went as she analyzes her dedication to family.

The generational differences are apparent, both in the kids deciding to study in other parts of the world, and in dad’s string of inappropriate jokes (no matter how many times they call him out). Tomas’ first girlfriend (Krupa Narci Givane) visits and Belinha makes a decision on her future … this leaves Susana and Otavio facing the reality of the many years ahead being comprised of just the two of them. Can they have their own life and re-ignite the marital spark?

Autumn brings the answers and resolution – one likely similar in theme to what many parents go through when their kids leave the nest … whether the missing bongos are found or not. The train station is a recurring locale and it’s quite telling to note the differences each time. Although it’s based in rural (and incredibly picturesque Portugal), the film from Sequeira will likely be relatable and insightful for most parents.

Available on digital platforms beginning June 2, 2025

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Posted by David Ferguson

JANE AUSTEN WRECKED MY LIFE (2025)

May 22, 2025

Greetings again from the darkness. Although I don’t tend to seek out the majority of romantic comedies released each year, this film’s title and backstory were enough to pique some interest. Writer-director Laura Piani was inspired to write this story during her time working (and reading) at Shakespeare and Company, a favorite haunt of writers and readers (and me) while in Paris.

Agathe (an excellent Camille Rutherford, ANATOMY OF A FALL, 2023) is a woefully unattached book seller who engages in humorous and sometimes pointed banter with Felix (Pablo Pauly), her co-worker at Shakespeare and Company. In Jane Austen terms, Agathe sees herself as an old maid, and Felix as a philandering scoundrel. She accuses him of being a master of “breadcrumbing” … her word for leading on a string of women whilst never committing. Still, as you can imagine, there is an obvious attraction between the two friends.

Felix secretly submits the first few chapters of Agathe’s novel, and to her shock, she is selected to attend a writer’s retreat at The Jane Austen Residency. It’s important to note that Agathe has no confidence as a writer and fears she will be exposed as a fraud. Felix drives her to the ferry and the two exchange their first kiss, igniting joy and excitement within Agathe. Picking her up on the other side is Oliver (Charlie Anson, DEATH ON THE NILE, 2022), who claims to be the great-great-great nephew (I forget how many ‘greats’) of Jane Austen. Agathe and Oliver have immediate personality clashes, including over the writing talent of Ms. Austen. Of course, every fan of rom-coms will recognize this as a mandatory step towards romance.

After the miserable and extended trip with Oliver, Agathe is greeted warmly by the hosts, Oliver’s parents, Beth (Liz Crowther) and Todd (Alan Fairbairn), the latter suffering from undiagnosed dementia – resulting in a few comical situations. Noting that Agathe was first inspired to begin her novel after spotting the image of a naked man in the bottom of her sake cup (the ladies version) at a restaurant, it seems only fitting that she accidently exposes her own full flesh to Oliver in a moment of absolute embarrassment.

As expected, Agathe battles a complete writing block during her stay, and it’s only at the throwback Ball where the contrast between Felix and Oliver takes center stage. Agathe and fun-loving Felix take a laugh-filled spin around the dance floor, but it’s the steamy and intense effort of Agathe and stuffy Literature Professor Oliver that keys her into what we viewers already know … thanks to the film’s best scene in a collectibles store where an awkward and enchanting exchange of personal disclosures occurs between Agathe and Oliver.

Filmmaker Piani includes a poem reading by renowned documentarian Frederick Wiseman near the end, and the film’s music adds to the artistic touches throughout. At the film’s opening, there is an incredible version of “Cry to Me” sung by Marie Modiano as Agathe dances through the shelving aisles, and beautiful piano music and a score by Peter Von Poehl add to the overall tone and feel of the story. The film contains many familiar Jane Austen tropes (although the style is more Mike Leigh than Merchant/Ivory); however, it’s a bit surprising that a few more nods to Austen’s work aren’t included. The message that Agathe learns, and the one best conveyed by the film, is that true love cannot be found until one first finds their true self.

Opens in theaters on May 23, 2025

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Posted by David Ferguson

SISTER MIDNIGHT (2025, India)

May 21, 2025

Greetings again from the darkness. London-based Indian artist Karan Kandhari chooses a misfit couple’s arranged marriage as the basis for his debut feature film. As writer and director, Kahdhari delivers a psychological comedy that goes a bit dark at times, yet the abundance of creativity and a terrific lead performance keep us anxious to see what happens next.

Uma (Radhika Apte) and Gopat (Ashok Pathak) are obvious misfits as spouses as evidenced by their first night as husband and wife. Uma is eager to consummate the marriage, but Gopat either has no interest or is so intimidated by his assertive and forward-acting bride that he prefers to ignore her – other than asking her, “Why can’t you just be normal?” With no sexual activity, and the inability to cook or clean, Uma becomes bored and frustrated, resulting in her proclaiming sarcastically, “I’m a domestic Goddess”. This leads her to take ‘wife’ lessons from her neighbor Sheetal (Chhaya Kadam). It’s here where we learn that husbands will eat any dinner if enough chili and salt is added, and more insightfully, “men are dim.”

Ms. Apte brings a physicality (as well as deadpan mastery) to her terrific performance and her wide eyes convey much of her thoughts, especially as her transformation takes place. She admits, “This is just how God painted my face”, yet as time rolls on, she’s clearly not well physically or emotionally. This causes Gopat to step up, while also allowing filmmaker Kandhari to infuse some stop-motion animation as the level of bizarreness jumps. Cinematography from Sverre Sordal and film editing by Napoleon Stratogiannakis perfectly enhance the oddity, as does the choice of music … including songs by The Stooges, Buddy Holly, Marty Robbins, Howlin’ Wolf, and even The Band’s “The Weight”.

Between the stifling heat and the less-than-elegant accommodations, it’s doubtful Mumbai’s Tourism Bureau appreciates the setting, but for movie lovers, there is significant entertainment value with this one as it exposes the misery of being trapped. Just be careful with that cookie tin.

Opens in NYC May 16, LA May 23, nationwide May 30, 2025

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Posted by David Ferguson

PLAYING GOD (2025, short film)

May 15, 2025

Greetings again from the darkness. As one who watches twenty-plus movies every month, it’s a bit of thrill when one offers something out of the ordinary – a unique viewing experience. Such is the case with this short film from writer-director Matteo Burani and co-writer Gianmarco Valentino. Of course, we’ve all seen stop-motion animation and claymation films … just last year, WALLACE AND GROMIT: VENGEANCE SO FOWL was outstanding. But Burani’s film from Studio Croma is something altogether different (and likely influenced by the great David Cronenberg).

We open in a dimly lit space showcasing some bizarre looking creatures – each apparently deformed, yet somehow similar. A human figure enters the room and begins working a hunk of red clay into a form. Soon, we discover that he’s attempting to create life. According to the project book he’s maintaining, this is attempt number 875. A moment of possible connection gives a flash of hope that this turn could be a success.

The human face remains mostly in the shadows and instead of dialogue, it’s Pier Danio Forni’s haunting music that guides us through. Italy and France are listed as countries of origin for the distinctive film, and Arianna Gheller is credited as the film’s animator … work that deserves to be lauded. A brief nine-minute run time is all it takes to deliver messages about striving for perfection, dealing with rejection, and the burden of failure. It’s a memorable film that sticks the landing.

Will premiere at 2025 Tribeca Film Festival

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Posted by David Ferguson

THE SURFER (2025)

May 1, 2025

Greetings again from the darkness. There are a few actors who regularly take on roles that leave us hoping they are nothing like those characters in real life. Willem Dafoe comes to mind, but the president of that club would be Nicolas Cage. Over the last 18 years or so, no actor has more often regaled us with emotional and mental unraveling on screen. Keep in mind it’s been thirty years since he won his Oscar for LEAVING LAS VEGAS.

This time, it’s the second feature film from Lorcan Finnegan (VIVARIUM, 2018) that finds Cage’s titular character on a downward spiral. The script comes from Thomas Martin, and opens with a father (Cage) driving along the Australian coastline, preaching surfer philosophy to his son (Finn Little, THOSE WHO WISH ME DEAD, 2021), who’s a bit miffed that he got dragged from school to hear the lecture. It turns out dad wants to spend the day surfing with his son so he can show him the house he’s purchasing. It’s the cliffside family home once owned by his grandfather.

It all sounds lovely until two things happen. The real estate deal is in jeopardy because Cage has been outbid, requiring him to raise an extra hundred grand fast. More dramatically, when the father and son hike down to the beach carrying their surfboards, they are accosted by locals who live by the mantra, “Don’t live here. Don’t surf here.”. Cage explains that he used to live there, is buying a house there, and just wants to surf with his son. The group of ‘Bay Boys’ threatens to get physical, sending father and son back up the hill.

These bullies have created a ‘localized’ culture at Luna Bay through inspiration served up by their cult-like leader, Scotty “Scally” Callahan (Julian McMahon, “Nip/Tuck”), a former classmate of Cage’s character. Now most reasonable folks would just pack up and leave, but this is a man on the edge. His divorce is pending, his relationship with his son is shaky, his boss is pressuring him to finish a project, and his dream real estate deal is crumbling. Cage is a frazzled middle-aged man, and we are about to witness things get much worse for him.

The patented Nic Cage downward spiral involves a local homeless man (Nicolas Cassim), a public restroom, a kiosk, and frequent run-ins with the ‘gang’ of local surfers. Even the local cop (Justin Rozniak) tries to encourage Cage to give it up and head out. However, the inner demons of a man who has worked hard for a specific goal that is now within grasp – or maybe just out of reach – begin to take over. This may seem like the beginning of a breakdown for Cage’s character, but the truth is that it began long before.

Is this psychological, psychotic, or psychedelic? We are never quite sure, especially as the sun beats down on Cage and he has flashes of childhood trauma … a precursor to where this is all headed. Are these nightmares or hallucinations? It plays out kind of slowly, but we do enjoy the stylish approach of director Finnegan and cinematographer Radek Ladczuk (THE BABADOOK, 2014), whose visuals juggle the blistering glare of the sun, sweat and stains on Cage, and the stunningly beautiful blue ocean. Additionally, it’s Australia, so you know there will be a snake, as well as other critters like bugs, birds, a rat, a porcupine, and dogs. As Cage’s material status possessions are stripped away (phone, watch, car, clothes), it is all accompanied by composer Francois Tetaz’s music that can be described as hypnotic or ethereal. There is an ending that many might take issue with, but after so many times thinking “Just leave, dude”, I was willing to take whatever happened. How long until a theater runs an entire festival of Nic Cage Midnight Movies?

Opens in theaters on May 2, 2025

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Posted by David Ferguson

THE KING OF KINGS (2025, animated)

April 10, 2025

Greetings again from the darkness. We don’t typically look to South Korea for animated children’s stories recounting the history of Christianity, yet this first film from Angel Studio delivers just that … well specifically, the story of Jesus for Easter. Seong-ho Jang has made a name as a Visual Effects expert, and with this directorial debut, he tells the Jesus story in a way that should keep most kids engaged. The screenplay was written by director Jang, Rob Edwards, Jamie Thomason, and Hoseok Sung.

We open with the great Charles Dickens on stage reciting his “A Christmas Carol” to an audience. Backstage, Dickens’ three kids are a bit rambunctious and interrupt the show to the point that tests the patience of Charles. Young Walter, obsessed with tales of King Arthur, is especially troublesome. Upon arriving back home, Charles promises Walter a story with even more adventure and excitement, although the boy is a bit disenchanted that there will be no dragons.

Charles, with an assist from wife Catherine, proceeds to tell the story of Jesus … despite Walter’s initial rebuff of “a baby story”. We watch as the story plays out (often with Walter in the scene), although the movie does periodically bounce back to the study where Charles is weaving the tale and Walter is (mostly) mesmerized. Most of the familiar segments of the story of Jesus are included: the manger, plagues, parting of the Red Sea, John the Baptist, Satan tempting Jesus, feeding the masses. We meet the twelve apostles, and see miracles performed, the story of Lazarus, the Last Supper, Peter’s three denials, Judas’ betrayal, and of course, the crucifixion and the resurrection.

The voice cast is outstanding. Kenneth Branagh is Charles Dickens, while Uma Thurman is his wife Catherine. Roman Griffin Davis voices Walter, the kid whose shenanigans are the reason behind the story. Others include Oscar Isaac as Jesus, Mark Hamill as King Herod, Pierce Brosnan as Pontius Pilate, Ben Kingsley as Calaphus, and Forest Whitaker as Peter. The film is visually appealing and told in a way that kids should easily follow (through the eyes of Walter) … and some will be surprised at the similarities to King Arthur and the Knights of the Round Table.

Opening in theaters on April 11, 2025

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Posted by David Ferguson

SLAMDANCE FILM FESTIVAL 2025 – short films

February 28, 2025

SLAMDANCE FILM FESTIVAL 2025 – Short Films

Below are recaps of some of the short films I watched at this year’s Slamdance Film Festival.

FISHMONGER (25:30)

No rules apply to film festival shorts and writer-director Neil Ferron and co-writer Alexandra Dennis-Renner succeed in pushing the envelope with their surreal spin on Catholic mythology. Accurately billed as a supernatural dark comedy, the film plops us right into the middle of a crisis taking place on a remote Irish island. Christie O’Mallaghan’s mother is in the throes of a self-inflicted disease that finds her near death, and with sores that spew puss on him whenever he gets near.

Local beliefs are that if a mother passes, leaving an unmarried son, her soul is to burn for eternity. Christie loves his mother (having been dependent upon her in the cringiest of ways), and now, to save her soul, faces the choice between suicide and marrying the only unwed woman on the island, Penny O’Brien (played by Penny O’Brien). Since the two have never spoken, the latter seems unlikely. Father Heaney (Mark Bramhall) offers a possible solution. Christie, a hapless fisherman, is to paddle out to the cove, offer up specific gifts to the sea creature, and request his wish be granted to marry Penny.

The sequences here include a duet right out of a stage musical; tentacle sex with Sinead the sea creature, the likes of which caused me to look away; and a developing love story yielding yet more cringing (from me). Dominic Burgess plays Christie, Donnla Hughes is Sinead, and Mari Weiss is the suffering mother. It’s a bonkers premise that will surely draw comparisons to Robert Eggers’ excellent THE LIGHTHOUSE (2019). And though we admire Christie’s apparent willingness to do whatever is necessary to save his mom, the ending is sure to stun.

ONE REHEARSES, THE OTHER DOESN’T  (15:00)

As part of the “Experimental” category, this short from writer-director Jessica Hankey was co-written by playwright Victor Kaufold and the film’s subject, Marjorie Annapav. Ms. Annapav plays herself in the film as she engages with Gerrie (Ann Randolph), a performance teacher, so that Marjorie’s life can become a stage presentation.

Admittedly (and purposefully), this one is a bit tricky for viewers to follow. It’s more like a slideshow of the process, with the insight coming from the verbal exchanges between the women, at least more so than in the physical performances. There is a sequence regarding a once heavily-used Rolodex that provides some context, yet mostly this requires focused attention from viewers to grasp the specifics of Marjorie’s life, including her marriage to surrealist and pop artist, William Copley.

GURGLING  (13:06)

A conversation with a girlfriend leads to confession that a previous boyfriend broke up with her since she “lacked imagination”, a break-up that led to the friend taking advantage of the situation. Writer-director Christine Margaret Wu seems to really understand the young housewife who spends her days caring for her elderly in-laws while her husband works.

That same husband is constantly ‘too tired’ to show her any affection, so when she notices a voyeur spying on her while she showers, something ignites within her. She so longs to be desired and appreciated as her husband builds a “safe and stable life”. The film is from Taiwan and expertly captures the woman’s pent-up emotions.

THE SPHINX  16:22

Well, surely this one has a premise you’ve never seen before, even though I won’t spoil it for you. Writer-director Jesse Padveen takes us on a first date. The couple is awkwardly conversing in a restaurant booth. As the young man spins the tale of how he became a locksmith, the woman struggles to maintain some level of interest – or at least tries to appear that she’s listening.

Suddenly something jarring occurs sending the man off to ‘fix’ the issue. He’s embarrassed but she’s now surprisingly intrigued. The two head off to her friend’s party where he’s encouraged to perform his special party trick. This leads to humiliation for the man, and we follow him first to his mom’s place, and ultimately to his dad’s … where one of our questions is answered and we also learn of his dad’s specific (and understandable) fetish. This one is for those anxious to see a creative short.

TWO OF HEARTS 5:56

Although it’s slotted in the “Narrative Shorts” category, this quirky little film from writer-director Mashie Alam includes very little of anything we would traditionally label as narrative, at least conventionally speaking. With an opening credit that gives off soap opera vibes, we are soon engulfed in an oddball (limited) verbal competition between brother and sister.

“It’s always been the two of us” leads into each of siblings battling the other with the same comeback, “It should be you.” It’s not until the end when we are clued in to what they are debating, but it’s clear they are building up to a big decision … one they must come to agreement on. Equally surprising is how this sharp looking film concludes with Nilsson’s “Everybody’s Talking”. Given how things are these days, it’s a relief to see any debate end with benevolence.

DEATH DRIVE  5:55

The woman shoves a handgun into the glove compartment of a classic Ford Mustang. Is she headed out to kill? To be killed? To see where the night takes her?  We are never really sure of much other than she loves to give that car the gas. A dashboard camera and the squealing tires keep us a bit disoriented, but then so do the images of the mostly elderly folks illuminated by the car’s headlights.

The only clue we have is the idling black sedan that may or may not be death, and may or may not be after the woman this evening. Writer-director Eli-Bella Wood also plays the woman who is driving, and the artsy slow-motion effects and the nighttime setting combine with the lack of dialogue to make this a film that revs in your mind … even after the man on the horse tips his Stetson.

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Posted by David Ferguson

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