ANORA (2024)

October 31, 2024

Greetings again from the darkness. Watching ANORA and EMILIA PEREZ in the same week mere days after complaining out loud that it hasn’t been a great year for movies could inspire me to complain about everything in hopes that the rewards are similar. Since I’ve already reviewed the latter, let’s get to Sean Baker’s outlandish and innovative film. We can’t use the word ‘strange’ or ‘offbeat’ to describe this one, since Baker excels at presenting those on the fringes of society. Proof is provided via his superb previous films RED ROCKET (2021), THE FLORIDA PROJECT (2017), TANGERINE (2015), and STARLET (2012).

Mikey Madison (“Better Things”, ONCE UPON A TIME … IN HOLLYWOOD) crushes the role of Ani (short for Anora), a sex worker and exotic dancer pushing hard to make ends meet. It appears her ship has come in when Ivan (Mark Eidelshtein) pops into the club, takes a liking to Ani, and throws money around like he’s the spoiled son of a Russian Oligarch, which he is. Paying big bucks to have her be his American girlfriend for a week means Ani attends a raucous party and gets to frolic with Ivan in his ultra-modern seaside mansion. A spur-of-the-moment trip to Las Vegas means lots of partying and an equally spur-of-the-moment decision by Ani and Ivan to get married.

As you might imagine, this Cinderella story leaves Ani with a tarnished slipper. When Ivan’s parents find out about his disgracing the family by marrying an American sex worker, they send their local Armenian fixer Toros (Karren Karagulien, TANGERINE) to get the marriage annulled and repair the damage. Toros works with his brother Garnick (Vache Tovmasyan) and local hired help Igor (Yura Borisov) to start the process. What ensues breaks many laws, but also shifts the film’s tone as Ani fights (literally) the inevitable and puts up a valiant effort to save her marriage and new life of love and luxury. The brilliance here is with Igor and his perceptiveness to Ani’s feelings. Not only does this add complexity and emotion to the ongoings, but it also has an impact on the gut-punch ending.

This is innovative storytelling that refuses to shy away from the tough stuff or the easy stuff. We see Ani interacting with her co-workers and clientele at the club and it all seems as realistic as we’d expect. Ivan’s shenanigans as the rich kid out for a good time are certainly believable, as is Ani’s refusal to release her grip on her fantasy lottery win. Not enough can be said about Mikey Madison’s performance. Her dancing, her profanity, her acceptance of love, and her battling til the end are the heart of the film and the heart of a survivor. Mark Eidelshtein captures extreme privilege, and it’s a pleasure to see Mickey O’Hagan (TANGERINE, STARLET) back on screen – if only in a limited role as a Nevada clerk. We are so fortunate that filmmaker Sean Baker continues to enrich our moviegoing with his projects of hope, humor, and sadness.

The film opens in select theaters on November 1, 2024

WATCH THE TRAILER

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Posted by David Ferguson

MAPPLETHORPE (2018)

February 28, 2019

 Greetings again from the darkness. Writer-director Ondi Timoner goes head on (so to speak) with the story of Robert Mapplethorpe, the immensely talented and endlessly controversial photographer whose work in the 70’s and 80’s was often considered scandalous, if not pornographic. Ms. Timoner and star Matt Smith (PRIDE AND PREJUDICE AND ZOMBIES) are unflinching in this look at the artist, his personal life, and his work … although I personally flinched a few times.

The opening scene is quite unusual as Mapplethorpe is shown alone in his small dorm room, attired in full Pratt Institute uniform, just prior to dropping out. We next see his NYC meet with Patti Smith (Marianne Rendon), and watch the two oddball youngsters connect. Their relationship develops as Robert shifts from drawing to photography, stating, “I’m an artist. I would have been a painter, but the camera was invented”. The couple wriggles their way into the Chelsea Hotel and soon Mapplethorpe is focused on male nudes not just as artistic models, but also as personal pleasure. His interests send Patti Smith packing … and understandably so.

Mapplethorpe’s career takes off when Sam Wagstaff (John Benjamin Hickey) becomes his benefactor and lover. Sam’s connections in the art world lead to gallery shows and work that Robert might never have attained. The film never shies away from Mapplethorpe’s daddy issues, his promiscuity, his drug use, or his intolerance of those who didn’t “get” his work. His fascination with male genitalia in both art and personal life is on full display, as many of his actual photographs are shown throughout.

Once diagnosed with HIV/AIDS, his sexual irresponsibility probably should have been emphasized, but other than that, filmmaker Timoner never tries to sugar coat the man. He seemed to crave attention, yet so many wanted love from him – Patti Smith, Sam Wagstaff, his father (Mark Moses, “Mad Men”), and his brother (who worked with him), all tried to establish that bond, but things just never quite clicked.

Other fine supporting work is provided by Hari Nef, Mickey O’Hagan (TANGERINE), Brian Stokes Mitchell, and Brandon Sklenar. Mapplethorpe’s story would likely be best handled via documentary, but Mr. Smith’s performance is worthy of attention. The film does a nice job of relaying the two sides to Mapplethorpe’s work – the provocative and the portraits. He took some iconic photos of celebrities including the cover of Patti Smith’s debut album “Horses”.

Ms. Smith’s 2010 memoir “Just Kids” paints a more complete picture of their relationship, and it’s interesting to note that although he died in 1989, Mapplethorpe’s work continues to generate emotional responses. In fact, his work inspired a national debate about whether the government should fund the arts. Ms. Timoner’s film has been well received at LGBTQ festivals, and the Robert Mapplethorpe Foundation is devoted to protecting and promoting his work, while raising millions of dollars for AIDS research. His legacy is much more than some black and white photographs of nude models.

watch the trailer:

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Posted by David Ferguson

OAK CLIFF FILM FESTIVAL 2015 recap

June 19, 2015

OCFF15 And they said it wouldn’t last. OK, I don’t think anyone actually said that about The Oak Cliff Film Festival, and we are quite thrilled to report that this fourth year may be the best yet.

One of the (many) things that make this festival unique is the new “theme” each year brings. The 2015 OCFF celebrated the “No Wave Movement” of the late 1970’s/early 1980’s … the perfect tie-in to today’s independent filmmakers who find a way to create their films in spite of Hollywood’s “Blockbusters rule” philosophy. Short films, digital handheld cameras, and now even iPhones are acceptable formats and valuable tools for realizing a filmmaker’s vision.

It’s probably more accurate to describe this as a Film and Party Festival, as the organizers take as much pride in their party-throwing acumen as they do in their film programming … and for good reason. The festival featured no fewer than 8 parties and events – everything from a live performance by The Sonics to a group bike ride through the city.  Panels and workshops were held for filmmakers and those who hope to be, and an actual film was produced during the weekend. These events turn the festival into a participatory event for those who wish to fully engage.

As for movie watching, I caught 8 features and a couple blocks of shorts. The festival’s programming featured 9 narrative features, 4 feature length documentaries, 4 repertory films (homage to the theme), and 36 short films (student, narrative, documentary). Unfortunately, my schedule forced me to miss the festival closing film, but I can report that my favorite narrative film of the festival was Tangerine, a film director Sean Baker shot entirely on iPhones on the streets of Hollywood and Los Angeles.  My favorite documentary was Made in Japan, the story of Tomi Fujiyama (the first female Japanese Country and Western musician to perform on The Grand Ole Opry).  A couple of actresses stood out: Mickey O’Hagan (Tangerine) and Helen Rogers (Body), and I look forward to following as their careers develop.

One last point of difference for this festival must be mentioned. The number and diversity of venues is quite something to behold. At least 9 Oak Cliff venues play a significant role in the festival. The key screening locations include the historic Texas Theatre, The Bishop Arts Center, and the Kessler Theater (normally a music venue), and each bring their own unique viewing experience. Additionally, it’s the smaller venues that really add the local flavor to the festival proceedings.

The festival is highly recommended for lovers of independent film and the creative process, while the large number and highly diverse group of event sponsors exemplify the widespread support and interest in this terrific cultural event. Year 4 is a wrap … can’t wait to see what these folks come up with for next year’s Oak Cliff Film Festival.

http://thetexastheatre.com/

http://oakclifffilmfestival.com/

 

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Posted by David Ferguson

TANGERINE (2015)

June 13, 2015

tangerine Greetings again from the darkness. It’s hard to imagine a better choice for opening night of the 4th annual Oak Cliff Film Festival. After all, this year’s theme is the “No Wave Movement” of the late 1970’s, and writer/director Sean Baker’s most recent film (and a Sundance favorite) is the perfect complement.  Co-written with Chris Bergoch and filmed entirely on iPhone 5s’ (with cinematic apps), this gritty, no-frills film spotlights real problems of real people on a real day … on the real streets of Hollywood and Los Angeles.

Personally, I haven’t seen many (ok, any) films that focus on two transgender prostitutes (both, persons of color).  However, the exciting thing is that the story pays little attention to the vocation of Sin-Dee and Alexandra, and is more a story of friendship, heartbreak, and the sub-cultures that make up a particular community of the L.A. area.  This is not the glitzy/celebrity side of Hollywood, but rather the underbelly of a melting pot city where the paths of transgender streetwalkers and Armenian cab drivers intersect.

Sin-Dee (Kiki Kitana Rodriguez) and Alexandra (Mya Taylor) are opposite personality types, but clearly good friends as they chat while splitting a donut in the opening scene. We quickly learn that Sin-Dee is fresh out of jail after serving 28 days, and she doesn’t react well to Alexandra’s news that their pimp (and Sin-Dee’s boyfriend) Chester (James Ransone) has been cheating with a “natural” woman (played by a very talented Mickey O’Hagan) while she was incarcerated. A woman scorned provides the energy of the film as Sin-Dee tracks down this mysterious girl whose name starts with a “D”. It also provides new meaning for dragging someone all over town (kudos to Ms O’Hagan for the physicality and bruises).

The sassy banter is filled with brutal put-downs and smart-ass comebacks, as the three actresses play off each other as if loaded with short-fused fireworks. The story with taxi driver Razmik (Karren Karagulian) shows a family man drawn like a magnet to the world of Sin-Dee and Alexandra … he even finds a reason to skip out on Christmas Eve dinner with his family. His mother-in-law Ashken (Alla Tumanian) is most suspicious of his activities, and that leads to the frenetic and hilarious confrontation at Donut Time.

Many individual scenes are funny, while others are tension-filled. There is even a scene in Razmik’s cab featuring veteran actor Clu Gulager (“The Virginian”), and Armenian celebrity Arsen Grigoryan plays another taxi driver. The acting throughout is strong and humanistic, and the iPhone photography is shocking in its depth and range … we would never suspect the “equipment” being used. This approach allowed for the organic feel of the street – think of Banksy making a movie … clandestine with no sets (or permits). Baker’s style is reminiscent of John Waters and John Cassavetes, and that’s quite a compliment.  The film also features the pitch perfect description of Los Angeles: “a beautifully wrapped lie”.

watch the RED BAND trailer (contains inappropriate language):

 

 

 

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Posted by David Ferguson