FOUNTAIN OF YOUTH (2025)

May 22, 2025

Greetings again from the darkness. A filmmaker takes a risk by opening a movie with a frenetic and extended chase scene. This approach tends to announce that the action is more important than the story or characters … a message most filmmakers prefer not to convey. With his track record including SNATCH (2000) and LOCK, STOCK, AND TWO SMOKING BARRELS (1998), I tend to give the benefit of doubt to every new Guy Ritchie-directed project. Most offer some heft and creativity, yet the disappointments are often amplified due to expectations. Working from a screenplay by James Vanderbilt, this one strives to be a blend of NATIONAL TREASURE and Indiana Jones, with Thor and Loki banter.

The opening chase scene here sets the stage for what this movie is … one long chase. It seems everyone is always chasing what Luke Purdue (John Krasinski, A QUIET PLACE, 2018) is after – whether that’s a particular Rembrandt painting or the mythical Fountain of Youth associated with explorer Ponce de Leon (though the legend dates back centuries more). For most of the movie, Luke and his team are being chased by an Asian gangster, a committed mercenary, and an agent from Interpol. Rather than the traditional meet-cute, we get a reconciliation of estranged siblings. Luke’s sister Charlotte (Oscar winner Natalie Portman, BLACK SWAN, 2010) is a museum curator and both were trained by their since-deceased archaeologist father.

Luke is the adventurous one in the mold of Indiana Jones, whereas Charlotte tries her best to live a safe life with her musical prodigy son – despite the in-process split with her husband. Many of the scenes are based on the contrast (and corresponding similarities) of this brother-sister duo. Esme (Eiza Gonzalez, BABY DRIVER, 2017) is the mysterious woman hot on Luke’s trail, while Inspector Abbas (Arian Moayed, “Succession”) is the Interpol agent who’s been tracking the art thefts for a long time. Luke’s crew includes Deb (Carmen Ejogo, SELMA, 2014) and Murphy (Laz Alonso, “The Boys”), and the quest is funded by billionaire Owen Carver (Domhnall Gleeson, General Hux in the Star Wars universe), who claims to be seeking the healing powers of the Fountain of Youth due to his terminal cancer.

There is an interesting early sequence that finds Luke and Charlotte scrounging for a lost painting aboard the sunken Lusitania. What makes this interesting is that Alfred G Vanderbilt did actually die in 1915 when the ship went down, and the screenplay for this film is written by his great grandson, James Vanderbilt. Unfortunately, it’s that screenplay that is a constant drag on the film. The dialogue is too often cringy while trying desperately to be clever and funny. Krasinski and Portman seem to realize this and overact while attempting to salvage some scenes. For mindless entertainment, there is certainly a place for adventure films with settings as breathtaking as the Austrian National Library and the Pyramids of Giza, yet it’s a shame that a more thoughtful and intelligent story wasn’t delivered.

The film will premiere globally on Apple TV+ on Friday, May 23, 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

THE LAST RODEO (2025)

May 22, 2025

Greetings again from the darkness. Jon Avnet long ago established himself as a Director of such films as FRIED GREEN TOMATOES (1991) and RIGHTEOUS KILL (2008), and also as a Producer of films including RISKY BUSINESS (1983) and BLACK SWAN (2010). Beyond that, a significant portion of his career has been spent on television series, including two excellent ones in “Boomtown” and “Justified.” In his latest film, the writer-director reunites two of the fine actors he worked with in those series, Neal McDonough and Mykelti Williamson. Avnet co-wrote the script with McDonough and Derek Presley.

Joe Wainwright (a ripped McDonough) is a legendary bull rider whose career ended when an injury required surgery on his neck and spine. Now, the three-time champion is many years past his rodeo days and lives a quiet existence on the ranch that he slowly sells off piece by piece to make ends meet. His wife Rose passed away and is buried on the ranch, and Joe longs for a closer relationship with his daughter Sally (Sarah Jones, CHEMICAL HEARTS, 2020) and her son Cody (Graham Harvey, “The Night Agent”). Sally is a protective mom who doesn’t appreciate Grandpa encouraging him to rodeo. Instead, she prefers her boy play baseball, where during a game, Cody gets plunked in the head.

Cody’s trip to the doctor reveals a brain tumor similar to the one that took Rose’s life. Sally and Joe are stunned when they learn the cost of the surgery that could save Cody. Of course, we know where this is headed. Far-too-old and broken-down Grandpa wants to head back to the rodeo to earn the necessary funds and save his grandson’s life. To do this, he calls a long-estranged friend, Charlie Williams (Mykelti Williamson), to help him. In addition to being Army buddies, Joe and Charlie were both bull riders … well until Charlie’s injury forced him to transition to bull fighter (in the dirt) in support of Joe.

The first half of the story serves as background for all the characters so that we understand why Joe is doing this, why Charlie is helping, and why we should be rooting for their success. We do get a brief training montage, and Charlie recites bible verses to Joe, who has lost his faith. He wonders why God would first take his wife, and now put his innocent grandson in peril. It should also be noted that Charlie thinks the idea of Joe riding again is a bit crazy, and poetically accuses him of having his “mind riding south”.

The road trip to Tulsa for the PRB Legends Championship finds Joe being disrespected by the younger riders, including current champion, Billy Hamilton (real life bull rider Daylon Ray Swearingen). The rodeo is run by Joe’s old buddy Jimmy Mack (Christopher McDonald, HAPPY GILMORE, 1996), and it seems odd that we meet no other ‘legends’. Despite a few hiccups (some quite painful), Joe gets his ride.

This film uses the rodeo, but the core theme here isn’t so much redemption (as it is with most sports movies), but rather love of family and reconnecting with one’s faith. Values-based distribution company Angel Studios produced the film, and the message (with a light touch) rings clear … be a good person. It’s rated PG and there’s a cameo from Lee Ann Womack and song by Lynyrd Skynyrd.

Opens nationwide in theaters on May 23, 2025

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Posted by David Ferguson

PEE-WEE AS HIMSELF (2025, doc)

May 22, 2025

Greetings again from the darkness. Even the title is a form a trickery. First of all, there was no Pee-wee Herman other than the character portrayed by Paul Reubens. Secondly, much of what this documentary presents is not from Pee-wee, but rather from Paul Reubens ‘himself’. And it goes directly to the point – the public adored Pee-wee Herman, while Paul Reubens was a bit more complicated. Documentarian Matt Wolf (SPACESHIP EARTH, 2020; the excellent RECORDER: THE MARION STOKES PROJECT, 2019) presents a two-part documentary for HBO that strives to clarify the line between man and character.

Paul Reubens died of cancer in 2023. Prior to that, he sat for 40 hours of recorded interviews with Matt Wolf, offering perspective on his career, his background, his motivation, and his self. While we see Reubens speaking directly to the camera quite a bit, Wolf utilizes a treasure trove of clips and photographs, as well as other interviews to paint the full picture of how the man and character came to be so closely associated.

PART ONE details Reubens’ influence from children’s television shows like “Captain Kangaroo”, “Howdy Doody”, “Kukla, Fran and Ollie”, and “The Little Rascals”. It’s because of these programs that from an early age, he wanted to be an actor … and was convinced Lucy and Desi were his real parents. Art School (with classmates David Hasselhoff and Katie Segal) drew him to performance art, and also led to his first serious romantic relationship with Guy. Reubens eventually decided to focus on his career, and described himself as out and then back in (the closet), since he was able to “pass” (as heterosexual). We see clips of him performing on “The Gong Show” and with The Groundlings, including Phil Hartman and Laraine Newman … which is where he laid the foundation for the Pee-wee character. Clips from “The Dating Game” proved Pee-wee had appeal.

The commitment to the Pee-wee Herman character was a career choice, and it’s fascinating to learn that actress Shelley Duvall recommended Tim Burton to direct PEE-WEE’S BIG ADVENTURE (1985). The story behind the bicycle is a gem, and the film jump-started the career of both Burton and Pee-wee … errr … Reubens. Reubens admits to his ambition and willingly hiding behind the Pee-wee alter ego.

PART TWO focuses on the iconic stardom of Pee-wee Herman in the 1980’s. Building on the popularity of the first film, “Pee-wee’s Playhouse” was developed as a 1986 children’s TV show, in the vein of those that so influenced a young Reubens. There was even a Pee-wee doll that became a best-selling gift. Reubens explained that beyond entertainment, his goal with the show was to make inclusion the “norm”. He wanted a place where all kids felt they belonged. Laurence Fishburne admits he didn’t “get” Pee-wee, but needed the work and gladly took the job as Cowboy Curtis. BIG TOP PEE-WEE (1988) followed, and may have been the last enjoyable moment for Pee-wee/Reubens to bask in the spotlight.

After years of living an extremely private life, his 1991 arrest for indecent exposure at an adult theatre instantly changed his life. ‘Playhouse’ re-runs stopped immediately, as did sales of the doll. Paul Reubens’ mug shot became a meme … early 90’s style. Unfortunately, this wasn’t his last public scandal, yet remarkably, Reubens was able to create a second half of his career as a character actor and voice actor – with only a few additional roles in the Pee-wee Herman suit.

The documentary includes clips of his parents and an interview with his sister, as well as input from directors Tim Burton and Judd Apatow. Reubens explains the inner turmoil of having his creation, Pee-wee Herman, be awarded a star on the Hollywood Walk of Fame, while Reubens himself has not. Towards the end of the film, Wolf plays the self-recorded audio that Reubens recorded the day before he died. Although he discusses his desire to bring joy to the masses, we can’t help but question the failed friendships along the way. And though Paul Reubens may very well have been a creative genius, we must finally ask, “I know you are but what am I?”

Premiering on HBO on Friday 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

DEAF PRESIDENT NOW! (2025, doc)

May 15, 2025

Greetings again from the darkness. It was 1988, and when this group of students proclaimed, “We will be heard!”, it took on additional importance. The anger of these students represented 124 years of repression. Student protestors were from Gallaudet University in Washington, D.C. It’s the only university for deaf students, and its history dates back to the time of Abraham Lincoln.

Oscar winner Davis Guggenheim (AN INCONVENIENT TRUTH, 2006) collaborates with deaf actor-turned-filmmaker Nyle DiMarco to bring us the story of how the commitment to cause led the students, the University, and the nation towards real change. Although the film covers just one week, it effectively uses input and recollections from five key players. In other words, we get the ‘then’ (via archival footage) and the ‘now’ (modern day interviews).

Jerry was clearly the emotional leader … the guy who fired up the crowd through his passion. His passion shows even today as his memories come flooding back. Greg was the Student Body President, and his more reserved personality likely made him a more acceptable spokesperson. Bridgetta, a former high school cheerleader, used her energy to generate the rhythm of the crowd, while Tim did not hold back in addressing Ms. Spillman, the Chairman of the Board of Trustees … she doesn’t even bother to learn American Sign Language (ASL). Her clueless and obstinate approach to defending the board’s decision to bypass two qualified deaf candidates in order to name yet another hearing person as University President comes across as absurd and even a bit cruel.

The structure of the film is exceptional, blending the past with the present. Surprisingly, enough archival footage exists (even 37 years later) that we get a real feel for the commitment of the students and the manner in which the protests were carried out. It’s especially telling to hear the four demands made by the students: name a deaf President, resignation from the Board by Spillman, transitioning half the Board to half deaf members, and no reprisals for the students. All quite reasonable. With Spillman having stated something along the lines of ‘Deaf people are not ready to function in a hearing world”, we are provided a blunt testimony to her beliefs and possibly, the general sense of society at that time.

I King Jordan, a school professor, is interviewed and explains his unusual trek during the week … one that ended with his becoming President of the University (a position he held for many years). The film provides us with clips of Greg’s key appearance on “Nightline” with Ted Koppel, and a heartbreaking story about “broken ears”. Two years after this event, Congress passed the Americans with Disability Act – a stunningly short number of years ago. An odd segment is included with a quick overview of Alexander Graham Bell’s desire to “fix the deaf”, but we realize it’s not the deaf that need fixing. The film leaves us feeling a great deal of respect for these leaders, and might leave you chanting, “Deaf Power!”

The film will premiere globally on Apple TV+ on Friday, May 16, 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

HENRY JOHNSON (2025)

May 9, 2025

Greetings again from the darkness. Show or tell … films tend to lean one direction or the other. Visuals are obviously the key to the popularity of superhero movies and comic book adaptations, while on the other end of the spectrum we have ‘Mamet-speak.’ David Mamet is a Pulitzer Prize winning writer who has been nominated for Oscars, Tonys, and Emmys. Best known for his rapidly-paced labyrinthian dialogue, Mamet is known for both his stage and screen projects.

His 1976 play “Sexual Perversion in Chicago” was adapted into the film, ABOUT LAST NIGHT (1996), while possibly his best known stage-to-screen adaptation was GLENGARRY GLEN ROSS (1992), which was directed by the recently deceased James Foley). Other well-known Mamet screenplays include THE POSTMAN ALWAYS RINGS TWICE (1981), THE VERDICT (1982), THE UNTOUCHABLES (1987), WAG THE DOG (1997) and HANNIBAL (2001). Mamet has also directed some of his own screenplays: HOMICIDE (1991), THE SPANISH PRISONER (1997), and STATE AND MAIN (2000). I also must mention one of my favorites, his underappreciated 1987 film, HOUSE OF GAMES.

Since it’s been about 17 years since he last directed a feature film, it seemed fitting to post a bit of a David Mamet history lesson. For this one (he again adapted from one of his plays), he directs a small cast working with an enormous script of dialogue. There are basically four sequences, the middle two combine for Act II. A mesmerizing 23-minute opening sequence finds Mr Barnes (Chris Bauer, “True Blood”) in a rapid-fire debate with his employee, the titular Henry (Evan Jonigkeit, wearing what I believe to be Mamet’s eyeglasses). The conversation is two-sided as the men discuss the finer points of the law, among other things – including a decision Henry made regarding an old friend. As the scene ends, we viewers and Henry get a big surprise from Barnes.

The next two sequences find Henry taking in the philosophy and life lessons from his cell mate Gene (Shia LaBeouf). This follows Barnes’ comment from earlier when he reminded that one of the signs of a psychopath is immense charm. Henry is clearly taken in by all Gene has to offer – both in their cell and in the prison library, as they analyze the role of fear and other crucial lessons that master manipulator Gene is inclined to share. The final sequence is a tense standoff with an armed Henry holding prison guard Jerry (Dominic Hoffman, Mamet’s REDBELT, 2008). Again, we find someone offering advice and counseling to Henry, who seems mostly capable of being taken advantage of and making poor decisions. Henry tells him, “Do what you want – people generally do.” And I do hope Mamet lovers will check this one out and bask in the Mamet-speak that we are too rarely treated.

Available VOD beginning May 9, 2025

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Posted by David Ferguson

SHARP CORNER (2025)

May 9, 2025

Greetings again from the darkness. Purchasing a home is often called ‘The American Dream.’ For Josh and Rachel, it’s even more special when their son, 6-year-old Max, refers to their new place as “a mansion”. Sometimes (especially in movies) dreams turn into nightmares, and that’s exactly what happens in this film from writer-director Jason Buxton (his first feature since his debut BLACKBIRD, 2012). Adapted from the short story by Russell Wangersky, this film is billed as a psychological thriller – which it is, yet it’s also an enigmatic character study.

Ben Foster (HELL OR HIGH WATER, 2018) plays Josh. Only this isn’t the Ben Foster we’ve come to expect. His usual high-intensity and simmering danger-on-edge is replaced by a mild-mannered man who is even a bit meek whether dealing with his wife or the new manager he once trained at work. Cobie Smulders (Maria Hill in the Marvel Universe) plays his wife Rachel, and their first night in the new house leads to one of the worst cases of coitus-interruptus in history. A car tire comes flying through the living room window just after the loud crash of a car hitting the tree in their front yard. The horrific wreck leaves a young man dead, and the family stunned.

As you might have guessed from the film’s title, their new home is located on a dangerous curve. The only warning sign for drivers is mostly blocked by overgrown vegetation. Josh’s reaction to the wreck amplifies his struggles at work, while also creating tension with Rachel. He wants to talk about it, and she wants to ignore it. A second wreck has Josh trying to comfort the driver. The wreck convinces Rachel it’s time to move, while it simultaneously convinces Josh he could have saved the man’s life. Clandestine CPR lessons follow, while family therapy exposes all we need to know.

Rather than a curve, Josh and Rachel come to a fork in the road … and take different paths. While Josh becomes obsessed with waiting for the next wreck so he can save a life. Rachel simply wants to protect herself and her son, and avoid the obsessed Josh. He’s a man who desperately wants to be a savior to strangers, when the best thing he could be is a father/husband. Foster’s performance is unlike anything we have seen from him, and it can’t help but make us feel uneasy. Director Buxton gives us an early sneak peek at the curve, but mostly we are confused as to why a speed bump or protective/reflective barrier hasn’t been installed. Sometimes a movie leaves us feeling like it should have been more interesting, more entertaining, … more something … than it was. Foster keeps us watching, yet the whole thing feels a bit hollow.

Opens in select theaters and VOD on May 9, 2025

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Posted by David Ferguson

ADA: MY MOTHER THE ARCHITECT (2025, doc)

May 9, 2025

Greetings again from the darkness. Fourteen years spent teaching advanced degree architectural students at Columbia led to her being denied tenure, so Ada Karmi-Melamede did what any self-respecting and incredibly talented architect would do … she quit the job and bet on herself. It’s a bet that has resulted in numerous high-profile projects in her homeland, Israel.

Ada’s story would likely remain an untold secret if not for her daughter, Yael Melamede. Yael directs the film, but more importantly, masterfully directs her mother Ada into opening up about her life and career. It’s not an easy path for either woman, as Ada left her family to pursue her own career and passion for architecture, a step much more common for fathers than mothers.

To quell any doubts as to whether this is just a family member attempting to create publicity, or whether Ada’s work is deserving of such a tribute, one need only view some of her most famous projects: the Supreme Court of Israel, the Ben Gurion Airport, and the Open University of Israel. And beyond that are her contributions to New York: a master plan for Con Edison and a housing competition on Roosevelt Island. Should you need more, we see accolades from famed architects Frank Gehry, Keith Frampton, and Mose Sofdie. Despite her lack of widespread acclaim, Ada Karmi-Melamede is truly one of the most accomplished architects in the world.

Adding intrigue, this documentary is not just about a talented architect. There is also the personal element which finds a grown woman striving to find connection with her mother … a mother who admittedly didn’t possess typical motherly attributes. One is a woman who longs to know more, while the other is a woman who tends to balk at saying much about herself, her life, or her reasons. Seeing the defensiveness fade away is quite something, and a tribute to daughter Yael for encouraging the connection. We learn much about her childhood, the family, the influences, and the life each had without the other.

Ada is most comfortable talking about her profession. Her pencil versus computer segment strikes a chord, and when she reacts to a tour guide’s description of her work, the moment is priceless. We begin to understand her passion when she discusses the Parthenon, and the shots of her own projects leave no doubt as to her influence. Ada’s feelings on current Israeli politics are crystal clear, and the segment on “Time” provides a life lesson for everyone.

Opens in NYC on May 9, 2025, and in LA on May 15, 2025

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Posted by David Ferguson

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