Maddie McDougall’s Top Ten Films of 2019

2019 was perhaps the first year where I was very cognizant of recent releases and the films that were most likely going to be up for the big awards; The Oscars, the Globes, etc. I have always been a huge proprietor of watching these award shows every year, but now I have actually seen enough of them to feel as if I can truly understand the struggles that go into narrowing down such competitive categories. 2019 proved to be a fantastic year for me to begin my journey into the world of film as it was filled to the brim with top of the line films and performances to populate the lineup for the 2020 award season. My full list of 2019 films ranked can be found here. Without further ado, in honor of the upcoming 92nd Academy Awards ceremony, here is my list of the top 10 films of 2019. Enjoy.

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Luccas Pryor’s Top Ten Films of 2019

As the final year in a decade notable for simultaneously expanding indie distribution through A24, introducing the great streaming wars between Netflix, Amazon and more, as well as suffocating general audiences with an onslaught of sequels, reboots, and of course Marvel films, 2019 was an exceptional year in cinema. It was a complex and ultimately satisfying year, pushing towards more ethnic representation and gender diversity than ever before. It also, at its best (and hopefully represented in the list below), bridged the gap and subsequently solved the cinema and amusement park ride debate, proving a film can be both. 2019 expressed intimate emotions and ideas spread elegantly across an entertaining canvas, featuring four little women, three gangster icons, 2 sparring New York/LA socialites, and of course, one angry jew. In other words, it had it all. As all active years go, this could have easily been a detailed list of 20 films or more, but a top 10 dilutes the best of the year into a truly diverse and memorable collection. Honorable mentions (in no particular order): Transit, Pain and Glory, Little Women, High Flying Bird, Ash is the Purest White, Her Smell, Toy Story 4, The Farewell, and Marriage Story. See my full 2019 ranked list here.

10. A Hidden Life (Terrence Malick, 2019)

“…the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.” -George Eliot

He’s back! After decades with work as prolific as a world war, Terrence Malick has seemed to lose a step in recent years, diving headfirst into expressionistic dance art pieces with no narrative focus. However, Malick’s A Hidden Life is a grandiose return to form, combining a wrenching tale of martyrdom in the Second World War with his usual trademarks, including sensitive diegetic sound design and lush imagery. Among my Mount Rushmore of favorite directors, Malick stands apart at the top, and it more of a reflection of his quality as a director than of the year itself that the weakest film I have seen from him is a top 10 film of the year. It moves swiftly from Sirk melodrama to haunting wartime thriller, wide shots of the Swiss fields juxtaposed with lonely close-ups of men in chains. It is long, exhausting, and even frustrating, yet in the end, it is one of the most pivotal films of the year by an artist who rarely makes anything but. Malick’s penchant for lengthy montages with straightforward Oscar-bait may seem curious, but here it is swoon-worthy.

You can read PJ Knapke’s full review of A Hidden Life here.

9. Dragged Across Concrete (S. Craig Zahler, 2019)

“In this world, every man wants to become a lion.”

Usually, I am a reasonably even-keeled reviewer. If a film has universal raves, I like it! If a movie has poor reviews, I dislike it! Pretty simple, right? Dragged Across Concrete opened with a modicum of mixed-to positive review, most of which were concerned with the film’s tumultuous right-wing politics. Zahler, a known Republican, famous for his gritty dialogue and pulpy grind-house films, continues to elevate his prose and low-art style. The first time, I found this to be a highly watchable hang-out masterpiece, with expansive plotting and original characters, the type of slow-burn that in the ’70s would be on a double bill only to later become a cult classic. On a second watch, I found this to be rife with melancholy, Zahler writing his heros not as indestructible right-wing soldiers, yet rather filled with pity and regret. In the end, the two protagonists perish in a fire-fight with the soulful antagonist, revealing himself to be the protagonist all along. Dragged Across Concrete is brave filmmaking filled with the type of grand storytelling that can only happen on a shoe-string budget.

8. Portrait of a Lady on Fire (Céline Sciamma, 2019)

“In solitude, I felt the liberty you spoke of. But I also felt your absence.”

The power of film can come from anticipating a new film from an acclaimed director, but equally to discover a brand new filmmaker and instantly fall in love. Céline Sciamma, known for Indies such as Girlhood and Tomboy, curates her masterpiece, a slow burn of picturesque desire and lust. I’ve always been interested in a raw portrait about the start of a relationship, one not befallen with cliches and didactic writing. In Portrait of Lady on Fire, Sciamma writes her characters with such specificity that you believe you are watching two real people fall in love over time, culminating in one of the most romantic and heartbreaking films of the year.

You can read Armon Mahdavi’s full review of Portrait of a Lady on Fire here.

7. The Souvenir (Joanna Hogg, 2019)

“You would be a terrible landlord. I am a terrible landlord.”

I could easily cut and paste my review for Portrait of a Lady on Fire, and my impressions would largely remain the same. The only distinction is that while both are romantic two-handers with a specific combination between character and setting, The Souvenir is more about the natural destruction of a relationship while also building a foundation to form an elegant and woeful coming-of-age picture. It is the combination of these two elements that ultimately make this among the best of the year. As the protagonist Julie, played by Tilda Swinton’s daughter, moves from the pleasure and pains of growing up, her significant other Anthony, played by a scene-stealing Tom Burke, portrays an ethereal presence on screen and off. When he is on screen, its a relationship filled with frustration and off-kilter love. When he is off, it is a relationship filled with emptiness and a tragic, inevitable decline into the difficulties of young love and finding your own identity. The Souvenir is a dry British masterwork.

6. High Life (Claire Denis, 2019)

“Shall we? Yes.”

The film that was my number one for the majority of the year, High Life was my introduction to the unique and distinct work of French filmmaker Claire Denis. What I got was unlike any other film I saw this year: a horror movie set upon a prison space ship about the decline of the moral individual on a global scale, synthesizing euro artistic influences with a study on humanity’s cyclical self-destruction. Denis specially chooses her inmates as portraits of the world, from obsessive women to violent men. Even the protagonist Monte, of whom Denis flirts with the moral background frequently throughout the film, is revealed to be guilty of the crime he committed. Denis emphasizes sex, violence, but above all else, rebirth – a fitting image a film filled with dread and despair. And yet, that’s precisely what makes High Life so special. I’ll always remember the tender moments between Andre 3000’s Tcherny in the garden or even the film’s final image – a father and a daughter caressing each other as they wait for oblivion, synthesizing time and space into a final image so powerful that it somehow makes all the craziness worth it.

5. Parasite (Bong Joon-Ho, 2019)

“Dad, today I made a plan – a fundamental plan. I’m going to earn money, a lot of it. University, a career, marriage, those are all fine, but first I’ll earn money. When I have money, I’ll buy the house. On the day we move in, Mom and I will be in the yard. Because the sunshine is so nice there. All you’ll need to do is walk up the stairs. Take care until then. So long.”

Probably the film of the year. As I said in the introduction, I believe the best films of the year bridge the gap between high art and high entertainment, and no other movie perfectly represents that than Parasite. It moves between genres with ease, unfolding upon a first watch one of the scariest and timeliest films of the year, whether as a heist film or domestic comedy or even a horror extravaganza with class warfare and rife symbolism sprinkled in. It’s the type of film that is so meticulous and slick with perfectionism that it might even be considered off-putting. Yet Bong’s filmmaking worked on me, his love of movies clearly present whether through Hitchcock’s plotting or even Spielberg’s earnest storytelling, all in service of telling a timely picture filled with comfort, humor, and blood. And just like the many films on this list, the ending is a knockout, with a sequence so shocking, tender, and hopeful that it left me bowled over by the time I left the theater.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

4. Once Upon a Time in Hollywood (Quentin Tarantino, 2019)

“Don’t cry in front of the Mexicans.”

One of two major late-career films in my top 5 the year, Once Upon a Time in Hollywood is a borderline triumph from one of cinema’s most famous auteurs over the past 30 years. As we end the decade, it is only fitting that Tarantino finally makes a nostalgic passion-project about his childhood, filled with melancholy reverence and loud applause. The ending fight may be classic Quentin, but what comes 2 hours before is a patient, rewarding picture about the decline of old Hollywood and a person’s role left to play in it. It is his most borderline avant-garde film, with lengthy sequences trimmed in most studio films. Pitt’s nighttime drive to Deep Purple’s Hush remains one of the most splendid moments of the year, a nighttime driving scene that fully envelops the audience in the world of the late ’60s, showing off the year’s best production design. Later in the film, Tarantino films an extended take of two best friends watching an episode of FBI, voiceover playing in full as the whole scene plays out uncut, recreating an entire episode opening. But what comes near the end of the film is one of the best pieces of cinema I have ever seen, a short yet powerful sequence in which famous LA restaurants and establishments open for business, neon lights beaming across downtown LA’s hazy purple skies. It is such a distinct, soulful piece of nostalgiac cinema. I will never forget it. As Al Pacino says early on in the film, “What a picture.”

You can read Jim Saunders’ full review of Once Upon a Time in Hollywood here and listen to UW Film Club’s podcast on Once Upon a Time in Hollywood here.

3. Uncut Gems (Josh and Benny Safdie, 2019)

“This is how I win.”

It’s rare for your most anticipated film of the year to meet expectations, let alone exceed them, and yet Uncut Gems delivers. More than that, after Good Time, the Safdie Brothers follow up their 2017 hit with an expansive character actor opera and the best performance of the year standing right in the middle. Sandler, in his second noticeable dramatic role in his career, is nothing short of outstanding. Rather than lose his typical comedic timing, Sandler uses it to extrapolate pathos for a seedy gambler who continually chases the next big hit. It’s in irrational character only made likable by Sandler’s god-tier performance. However, what makes Uncut Gems so extraordinary isn’t the central character but the detail in which the Safdie brothers and Ronald Bronstein write the supporting characters. Each tells a specific mini subplot in Ratner’s hectic and tragic life, whether it’s through Julia Fox’s earnest mistress or Eric Bogosian’s uneasy debtor. The whole film is a thrilling escalation of bad choices, broken bets and failed amends. It is all both gratifying and heartbreaking, resulting in one of the best 3rd acts of the modern millennium – a 2012 playoff Celtics game. Once the climax hits and Uncut Gems closes the thematic loop on its version of a modern-day Shakespearean tragedy, I realized this movie was made just for me.

You can read Ryan Circelli’s full review of Uncut Gems here.

2. The Irishman (Martin Scorsese, 2019)

“It’s what it is.”

Similar to Tarantino’s masterpiece, The Irishman is a distant late-career film, deconstructing the famous works of the greatest American filmmaker of all time. It is, of course, a riot of gangster entertainment, yet like any great piece of self-reflexive cinema, also somber, culminating in a desolate funeral tale of regret and aging. The three famous actors that set the stage have never been better, yet it is Pesci’s quiet work that stands out. After a career filled with testy little men with short tempers, here he plays his scariest character, directly affecting the morals of the men that surround him without ever lifting a finger. And of course, the declining morals of the three aging men is what Scorsese chooses to focus on. However, rather than their actions, he focuses on the aftermath, whether through DeNiro’s heartbreaking phone call with Hoffa’s wife or Peggy Sheeran’s wordless look of disdain towards her father’s hidden actions. But it is in the film’s final shot that ultimately relays all of Scorsese’s 3 and half hour epic intentions into a quick dagger of the heart – an image of a man staring at the door, waiting for someone to enter, and no one coming. The Irishman isn’t just one of the years best. It’s one of Scorsese’s best, full stop.

You can read Ryan Circelli’s full review of The Irishman here.

1. Ad Astra (James Gray, 2019)

“We’re all we’ve got.”

Ad Astra is the closest I’ve come to see a true masterpiece all year. It is a film that is more flawed than all of the previous four movies combined with all the subtext of a Stephen King novel, and yet rather acting as on the nose, Ad Astra IS the nose. Brad Pitt delivers one of his most essential performances in a career full of them, finally going full circle into an austere character actor. Hoyte Van Hoytema lenses the prettiest film of the year, shooting a stark contrast between the beauty of space and the desolate interiors that befall it. But above all else, in a decade that is known for the rampant destruction of integrity by the Hollywood studio system, James Gray directs a 90 million dollar art house film that channels Malick and Tarkovsky more than it does Feige. It’s filled with the best damn set pieces this year hands down, a Mad-Max lunar set piece, and a zero-gravity knife fight included. The emotional undercurrents and blatant earnestness gut me straight to the heart. On a night in which America is most likely going to war with Iran, General Roy’s earnest one-liner to his father is my line of the year. “We’re all we’ve got.” The infernal rage of hereditary toxic masculinity burns bright, but Ad Astra is ultimately about the absence of God in a universe without a moral compass. Without God, space is nothing but silence. And in a world filled with silence, someone has to speak up.

You can read PJ Knapke’s full review of Ad Astra here.

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Joe Lollo’s Top Ten Films of 2019

2019 was, without a doubt, an awesome year for film, and one of the best ways to close out a decade. There were a lot of great ones that came out this year, and the challenge of narrowing my top 20-something down to 10 was a big one. I’ve seen so many good things this year, and it was extremely difficult to choose just 10 films that I loved.

My method for this list was simple – go on my Letterboxd ranked list – take out all the memes that graced the top (sorry, Full Force, Loqueesha, and Sextuplets – you’ll get the recognition you deserve sometime soon), and then think of which of these I would definitely suggest to people. That’s the mindset I had when writing this list.

Before I get started, I have a few honorable mentions. These movies are all amazing, yet they didn’t really make the cut: Joker, The Farewell, Avengers: Endgame, Little Women, Her Smell, Portrait of a Lady on Fire, and Uncut Gems. All of those movies are awesome, yet as it stands, here are my 10 favorite movies of the year. Let’s get started!

10. Honey Boy (Alma Har’el, 2019)

Alma Har’el’s narrative directorial debut is not for the faint of heart, due to its hard R rating and outrageous nature. However, it is loud, emotional, and honest, which is something to admire in its own sense. Shia LaBeouf’s semi-biographical script and top-tier writing alone are admirable enough, thanks to his openness and vulnerability, but everything else featured in the film just seems to lift it up into more greatness. It left me in pieces, more than any other film I’ve seen has. Yet it managed to break my spirit in such an uplifting and creative way. Shia LaBeouf, Lucas Hedges, and Noah Jupe all give amazing performances that not only feel realistic but also hit me way too hard. I realized that I, at least once, have felt like all of them. I’ve struggled with finding my identity during most of my life, I’ve been depressed, I had thoughts of self-harm that I never acted on, and I’ve gone to therapy session after therapy session to try to make it better. Yet it’s these qualities that really make us genuine human beings, something that this film really captures the essence of in its runtime. With the emotional scars that Honey Boy left in me, I now think of Shia LaBeouf as so much more than the “Just Do It!” guy.

You can read Maddie McDougall’s full review of Honey Boy here.

9. Long Shot (Jonathan Levine, 2019)

Replacing that downer with a much more positive film, Long Shot is one of the best feel-good films of the year. I can’t remember a time in this movie when I wasn’t genuinely and consistently laughing. Everything – the dialogue, the humor, the political satire, is hilarious and adds up to being a great comedy film. What motivated me to put it on this list is that, despite all that, it’s so much more than the simple “dorky guy gets hot girl way out of his league” comedy that it seems to be at first. It gets up close and personal with concepts of political ethics, identity formation, and media bias, all with the framework of our contemporary political climate. The cast is terrific in their performances, the soundtrack is solid, and the romance between Seth Rogen and Charlize Theron is believable, unlike most rom-coms. Funny and full of heart, it’s definitely the kind of movie to watch if you just want to have a good time.

8. Rocketman (Dexter Fletcher, 2019)

Being a(n amateur) musician myself, I’m always one for music biopics. Love and Mercy, the Beach Boys biopic, is one of my favorite movies of all time, and I genuinely enjoyed Bohemian Rhapsody more than a lot of people. Rocketman, however, holds up more to the former than the latter. It manages to combine the typical sense of a biopic with fantasy dreamscape sequences and big song and dance numbers that make me feel like I’m watching Mamma Mia and make me appreciate Elton John’s music much more than I have before. As a queer person, I am also proud of how the movie made history as the FIRST big studio movie to have a LGBT sex scene, between its two lead actors. Speaking of them, Taron Egerton’s overall performance as Elton John is amazing, because he really embraces Elton’s unique energy and voice, and Jamie Bell has a great co-lead performance as his songwriting companion Bernie Taupin. Overall, this movie is a great capture of Elton John’s high and low pints in life, filled with great music and great moments.

7. Knives Out (Rian Johnson, 2019)

I’ve always wondered what Rian Johnson was gonna put out next after The Last Jedi, his 2017 entry to the Star Wars franchise. What’s for sure is that I also didn’t expect something as great as this. Knives Out is truly special, because it plays on the “whodunit” trope without being too predictable. The story is compelling, characters are well-written, and the ensemble cast is amazing – especially Ana De Armas, Daniel Craig, and Michael Shannon – and the whole movie just clicks, which is pretty rare. What I really liked about this film, however, was the story. It is wonderfully detailed, filled with twists that always kept me guessing and on the edge of my seat, and is peppered with some of the best writing and cinematography as well. It’s immensely more enjoyable than it initially seems to be, and something I will definitely try to watch again soon.

You can read Rohan Patel’s full review of Knives Out here.

6. The Lighthouse (Robert Eggers, 2019)

While A24 is certainly a mixed bag when it comes to film quality, The Lighthouse is certainly something special. It’s clear to me that everyone working on this film put in so much passion and effort into their craft that it’s all overwhelmingly good. It’s enjoyable in a different way than a lot of these movies on this list are, because it is simply so specific and so beautiful in the way it looks that it really lives a sort of impression on you. It’s philosophical, Lovecraftian, and just a joy to watch. With awards season being in full steam at the moment, I believe Willem Dafoe and Robert Pattinson are both extremely deserving of any award they can find. As soon as The Lighthouse’s credits rolled and I was getting up from my seat, I thought to myself “this is going to become an instant classic.” And by the looks of it, I seem to be right.

You can read PJ Knapke’s full review of The Lighthouse here.

5. Midsommar (Ari Aster, 2019)

Ari Aster did it again in 2019, by creating another visually appealing horror film that really captures feelings of self-inflicted terror. While Hereditary, Aster’s previous film, elicits scares from the creeping darkness like most horror films, Midsommar is unique because of the way it brings scares into common, perpetual daylight, where gore constantly begs to be exposed. It surpasses its predecessor in this way, by being such a unique interpretation of Swedish pagan practices yet making it so that you don’t need to have any knowledge to follow along. I think the best part of the film comes from its psychedelic and colorful visuals, because of how Aster is breaking the mainstream horror theme by using bright and gaudy colors. Another thing of note that pleasantly surprised me were the performances, particularly those of Florence Pugh, Will Poulter, and William Jackson Harper. I can see this film as their breakout performances, and the 2020s giving them even better roles. Midsommar is not for the faint of heart, but it certainly doesn’t disappoint.

You can read Cynthia Li’s full review of Midsommar here and listen to UW Film Club’s podcast on Midsommar here.

4. Jojo Rabbit (Taika Waititi, 2019)

Seeing how Taika Waititi is one of my favorite directors of all time, it seemed obvious that I was going to enjoy Jojo Rabbit. And I did. In fact, I enjoyed it even more than I thought I was going to. I loved this movie and everything about it, in fact. The set design, music, and editing are fantastic work, the story is a nuanced and detailed emotional roller coaster, and the ensemble cast is again great. Taika Waititi’s Hitler, however, is the real star. There are moments where you can tell that Waititi put a lot of research into his role. He looks and sounds just like Hitler, yet he’s goofy and charismatic like The Office’s Michael Scott – basically playing the best example of a “good Hitler” from a child’s imagination. Another thing of note is the tone shirt from comedic to dramatic within the halfway point – while you can clearly see it coming, it doesn’t feel out of place and actually seems to work with the film’s advantage. And just like Honey Boy, the end message of living life to the fullest and showing that we love life is one of the best messages in any movie.

You can read Ajay Rawat’s full review of Jojo Rabbit here and listen to UW Film Club’s podcast on Jojo Rabbit here.

3. Booksmart (Olivia Wilde, 2019)

Olivia Wilde’s directorial debut was, until I saw the top two films, my #1 on this list. It’s very rare when a director makes their mark so strongly in their debut film, but Wilde definitely did so. It’s the kind of film that really stays with you even after it’s over, and it’s made so masterfully that you can’t not appreciate it even a little bit. The film is devoted to flaunting excellent writing and editing, yet the comedy is also so tight that it sticks to the story while still guaranteeing laughs. On a personal level, it’s extremely relatable to me as it’s a snapshot of modern youth culture, effortlessly capturing the trends and passions of today’s teenagers, yet it’s extremely original and emotional in the way it does so. Much like 2018’s Eighth Grade, it may be agonizing to watch because of how it reminds you of the good old days, but it’s definitely worth the watch.

You can read Megan Bernovich’s full review of Booksmart here and listen to UW Film Club’s podcast on Booksmart here.

2. Parasite (Bong Joon-Ho, 2019)

When I reviewed this movie on the site, I felt like I didn’t do it enough justice, because while I knew it was great, I didn’t really appreciate it until I was able to think more about it. I now believe that Bong Joon-ho is a genius, especially when he’s working with a movie like this. The characters, the story, and the metaphors are so simple to follow, yet so well-done and complex in how they operate together. Bong knows exactly what he wants to say and how he wants to say it, and it’s truly an inter-genre film in the way it combines aspects from thrillers and dark comedies. It’s equal amounts funny as it is endearing as it is socially conscious, and all of that is necessary for the things it is trying to achieve. It’s definitely an improvement from Okja.

You can read my full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

1. Marriage Story (Noah Baumbach, 2019)

Without any hyperbole, exaggeration, overstatement, or any other similar words, I have to say that Marriage Story is my favorite movie of the year. I’d say it’s a near perfect movie – everything really clicks together, yet everything is also amazing individually. Starring Adam Driver and Scarlett Johansson, this is one of the best examples of movies going out of their way to creatively tell a unique story while still looking beautiful anyway. Noah Baumbach is extremely creative, and this movie feels really immersive due to his knack for making films fast-paced and witty, yet also extremely realistic. I specifically associate with Adam Driver’s Charlie because I cried way too many times in this movie. It was extremely hard to watch at times, yet I still loved it either way. Honestly, though, Marriage Story seems to be a way to remind me of why I love movies so much in the first place – they can be so immersive and fantastic, yet at the same time so realistic and human in the way they tell stories and instill important values into you. Even if I knew it was amazing as soon as I watched it, I actually believe it’s one of the best movies of this decade. We waited so long, went through so many ups and downs, and lived through so many awful cliché movies, just to get something good and original at the end of the decade. And that movie is Marriage Story.

You can read Maddie McDougall’s full review of Marriage Story here.

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Madelyn Land’s Top Ten Films of 2019

Where the first half of 2019 was dominated by blockbusters, the second half of 2019 showcased deep, complex, intriguing filmmaking. With so much more attention being paid to women and people of color directing films, we’re seeing an expanding perspective on the world. Additionally, some of the best films of this year were international films, from established auteurs like Bong Joon-ho and Céline Sciamma to newcomers like Mati Diop. Some honorable mentions include Anima and I am Easy to Find, two short films that complemented their respective musician’s albums beautifully. On top of that, I said goodbye to a franchise that defined my childhood with Toy Story 4. While you can check out my full 2019 ranked list on my Letterboxd, here are my top ten films of 2019.

10. Honey Boy (Alma Har’el, 2019)

Honey Boy is an emotional, delicate, and impressive film about Shia LaBeouf’s childhood, a film with incredibly real performances from Noah Jupe and Shia LeBeouf. There are moments where I thought I was watching LeBeouf himself from Lucas Hedges’ performance. An incredible score, incredibly imaginative moments of cinematography, and strong direction from Alma Har’el. You can feel LeBeouf’s pain in his screenplay, and it’s impressive how this effort comes off ego-free. This film works so well, from our first introduction to Otis (Lucas Hedges) literally being pushed and pulled around by stunts on a movie set, to Otis’ (Noah Jupe) charm as a young actor. It’s so clear by the end of the film that Otis’ father didn’t only give him pain, but allowed Otis to accept himself.

You can read Maddie McDougall’s full review of Honey Boy here.

9. The Irishman (Martin Scorsese, 2019)

Martin Scorsese made headlines this year for his critique of the Marvel series, a series which “does not constitute real filmmaking” according to the famed director. It’s disappointing that this is why Scorsese made so many headlines in 2019, and not for his incredible work with The Irishman, a fun and extremely sad film that feels like a conclusion to so much of the previous work in the Scorsese canon. It builds and builds by expanding complex character interactions to the point where the film itself almost feels out of breath by the end. It’s an extremely sad movie, one about aging and legacy, but a fantastic end to an incredible director’s career. However, I hope it isn’t the end, as Martin Scorsese just has too much genius to share. If you can sit for 3 hours to watch Avengers: Endgame, you can watch 3 ½ hours of a director cementing his legacy of a 30+ year career.

You can read Ryan Circelli’s full review of The Irishman here.

8. The Last Black Man in San Francisco (Joe Talbot, 2019)

If you’re going to take anything from this list, please take this: watch the first five minutes of The Last Black Man in San Francisco. It feels cinematic without feeling cheesy or gimmicky; it’s truly expansive filmmaking. The Last Black Man in San Francisco is a story of mourning and hope; it is a film that feels real. It’s so important that the actor who portrays this film’s protagonist, Jimmie Fails of the same namesake, co-wrote this script. This is really Fails’ story, a story that is as powerful as the films’ main theme: “San Francisco (Be Sure to Wear Flowers in Your Hair).” The colors sing in this film, the score supports the story, and the characters are full of energy and life. This story is a love letter and an intervention to San Francisco itself. As Fails says: “You don’t get to hate San Francisco. You don’t get to hate it unless you love it.”

7. Us (Jordan Peele, 2019)

One of the strongest genres of the past few years has to be horror. It’s a completely overlooked genre, one that is ignored by the glitz and glamour of awards season. Despite Us’ thematic maturity, emotional resonance, and effective cinematography, it will most likely be ignored come awards season. Lupita Nyong’o stuns as Red/Adelaide and proves why she is one of our generations’ greatest acting gifts. Jordan Peele’s stories are complex and relevant, and Us lives up to his masterpiece Get Out. Us keeps you thinking after it ends, and that is a sign of great filmmaking.

You can read Jim Saunders’ full review of Us here.

6. Marriage Story (Noah Baumbach, 2019)

This is a balanced film evenly divided between the two perspectives. Noah Baumbach is really at his prime with this film, as it feels so real. It’s no surprise that this comes from his own experience. Marriage Story starts strong and ends strong. Powerhouse performances dominate this film. A particular fighting scene between Nicole (Scarlett Johansson) and Charlie (Adam Driver) has really been the most talked about scene in this film. Adam Driver’s performance is so strong because of how real it feels, not how loud he can dramatically yell or punch a wall. Adam Driver feels like a dad out of his element just trying to protect his relationship with his kid, which is why it’s one of the best performances of the year. All of the films I’ve mentioned in this list have very strong scores, but this film has one of the best of the year. Randy Newman knows how to craft a score that makes the audience feel this sense of love.

You can read Maddie McDougall’s full review of Marriage Story here.

5. Jojo Rabbit (Taika Waititi, 2019)

This is a film I had been waiting for about two years, from the director, Taika Waititi, who I love. Taika Waititi is known for mixing tragedy and comedy in an expert fashion, a thread one can see from his earliest work Boy. This film is Waititi at his best, someone who truly knows how to tell an entertaining story. The twist hits you emotionally, as Waititi slowly crafts an engaging story. Jojo Rabbit is an extremely relevant perspective in our current world, a child’s, and is now one of the best films about World War II.

You can read Ajay Rawat’s full review of Jojo Rabbit here and listen to UW Film Club’s podcast on Jojo Rabbit here.

4. Booksmart (Olivia Wilde, 2019)

A truly funny film, this relatable story felt like it was made for me. Being a more recent high school graduate, those feelings of senior year are still fresh in my mind. Feeling like I was intensely obsessed with studying, and that I pushed myself while missing out on the more fun parts of life, this film is the definition of relatable, which is a compliment to Olivia Wilde, the director. This is a fantastic subject to parody as a comedy. All the jokes landed, the characters were memorable, and the soundtrack was fantastic. Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) make this movie shine, and their intense love for each other will make you cry.

You can read Megan Bernovich’s full review of Booksmart here and listen to UW Film Club’s podcast on Booksmart here.

3. Rocketman (Dexter Fletcher, 2019)

This is my favorite film of the year. Personally, 2019 for me was the year of Rocketman. I saw this film in theaters four times, and met the lead, Taron Egerton, at a convention. While it would not be honest to place this as my number one just out of pure emotional resonance, I think how films make us feel are still an incredibly important part of filmmaking and critical analysis. I think it’s often overlooked as it’s not seen as an objective mode of analysis, but what’s the point of art if not to make us feel something? I felt something watching this film. A sense of joy from the music, bright colors, and sparkle in Elton’s eye as he learns to accept himself. This is miles better than another recent biopic about a 70’s rockstar, Bohemian Rhapsody. Specifically, for the care it takes in showing Elton’s sexuality, and the struggles he endured because of it. This film deserves more praise than it’s gotten, stuck in the dust after an early year May release. It’s a wonderfully musical, fantastically performed, impeccably styled, and a thoroughly emotional piece of filmmaking. And yes, I cried while watching this in the theater– twice.

2. Little Women (Greta Gerwig, 2019)

I am personally very biased when it comes to Greta Gerwig’s work. Lady Bird is my favorite movie, Little Women (1994) is very nostalgic for me, and both of the mentioned films remind me of my mother. But, despite my bias, no one can deny that no other filmmaker is creating like Greta Gerwig. Greta Gerwig’s work can only be described as warm and comforting. Gerwig is a complex storyteller and has a beautiful way of presenting images, but something magical happens when she gets behind a camera and tells this story of four sisters who love each other more than anything. You don’t need me to tell you that the performances are amazing, but Saoirse Ronan as Jo and Florence Pugh as Amy are stand-outs. Everyone is perfectly casted. This remake is justified in Gerwig’s reinterpretation of Louisa May Alcott’s plot and honors the original storytelling in such a caring way. Greta Gerwig corrects a past injustice in this film, and she does it beautifully.

You can read Stephanie Chuang’s full review of Little Women here.

1. Parasite (Bong Joon-Ho, 2019)

An international sensation from the already acclaimed director Bong Joon-ho, Parasite was the best film of 2019. Not only was it the best film of 2019, but this film also described the state of the world in 2019, and arguably the 2010s, through a class satire articulating the anxieties many of us feel. A haunting score, a delicately crafted plot, and incredible performances (specifically from Kang-Ho Song), this film legendary. Bong Joon-ho jokingly described the Oscars as a local film festival, and if Parasite is not at least acknowledged come awards season, his tongue in cheek comment will be even more validated. No one is capturing our present moment like Bong Joon-ho, and Parasite is his best film yet.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

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‘The Art of Self-Defense’ Interview with Director Riley Stearns

Way back in March, we saw the world premiere of The Art of Self-Defense at SXSW. The film centers on Casey (Jesse Eisenberg) who is determined to muscle up by joining a karate dojo after becoming the victim of a brutal mugging that leaves him shaken and traumatized. At the time, we praised it for its dark and humorous take on toxic masculinity, and how it’s a film that’ll “make you think twice before you caveman that beer in front of your friends.”

Fast forward two months and the film made another appearance at the Seattle International Film Festival, and along with it came writer-director Riley Stearns. During the festival, we had the opportunity to speak with the director and discuss where the idea came from, the process of scripting such a tact-sharp comedy, and whether or not he himself knows karate.

Below you’ll find a written transcript of the interview as well as the audio recording of our discussion with Stearns. The interview has been edited for clarity and readability.

G: One of the themes in The Art of Self-Defense deals with toxic masculinity and the absurdity of it all. Where did the idea come from and what set you in motion?

R: The initial feeling is one I think a lot of men have and one they aren’t willing to admit having and that is they don’t feel like they’re enough of a man. I didn’t feel like I was as masculine as other guys presented themselves as, and I didn’t know that I related to men in the same way that I was supposed to. I kinda wanted to explore what that meant.

That was also how i got into jujitsu without even realizing it. I started out as, “Oh I want to learn how to defend myself, and I’m super into watching MMA fights, but this jujitsu element seems really cool.”

The deep-seated thing in my head was that I don’t understand who I am. It came from a real place of wanting to deconstruct what it means to be a man, and tackle it in a super literal way. And if you present these things as literal as possible, then it can be easy to see how absurd it is.

G: The scenarios are very spot on. You talked about how literal it is at times. For example, not being able to learn French because it’s a feminine language. It’s like a hyperrealistic form of our own reality that’s not so far removed from experiences in normal conversation.

R: Yah, people have over the years said that sort of thing, and that’s why it’s so dumb. This is something we’ve heard before, but we’re gonna say it even more in the film — it’s gonna be louder. There’s a scene where — and I don’t think I realized it as I was writing it — when Alessandro [Nivola — Sensei in the film] is explaining masculinity versus femininity to Casey, he says the word masculine four or five times in the scene. It’s just hammering it home. It’s being super overt and that’s where the humor lies for me . . . being as on the nose as possible in some scenes.

In other scenes, you can be more subtle. People are very black and white about how they present their thoughts and feelings. Imogen’s [Poots — Anna in the film] character is the one who can present the gray area. Sensei is super on the nose. Jesse is just like a sponge that soaks up everything he is learning. Imogen gets to play devil’s advocate and fill the role of the audience. I liked exploring all those thoughts in a comedic way.

G: One other question I had was how early on did Jesse Eisenberg sign on to the project because he fits that role very well.

R: It’s so weird to think about it now, but at one point his name was brought up, and I said, “No he’s not right for it.” The initial idea was that Casey was supposed to be in his forties so it would be even more ridicules and sad that a middle-aged guy wasn’t feeling like a man. And when he signs up for something like karate, I thought of how ridiculous that would look — like jumping, kicking and punching along side teenagers in the class. I was really set on that age for a while, so when Jesse’s name was first brought up, I thought, “He’s not the right age,” but as we went down that path, we began to realize a lot of guys around that age didn’t feel like they could do the role.

I had one actor tell me in an email something along the lines of he didn’t want to play a weak character. That kind of struck me, and made me realize why I wanted to make a movie like this. Like, why is Casey considered weak? He’s just trying to figure out who he is, so why is that weak? He’s actively trying to better himself and figure out who he is for himself instead of letting expectations define him.

When Jesse’s name was brought up later on, it kind of just clicked. The fact that he got the script as well as he did, it was a no brainer, but at the same time, that also meant once he said ‘yes’ his schedule was very finite with regards to how much we could shoot with him. He was coming off a project and had another one starting at the end of the year after Self-Defense. He said he wanted to make it in late June or early July 2017, so the second he said that, we started prepping in Kentucky. I think we were in Kentucky in August 11th until September 11th.

So from the beginning of July to September 11th, that’s the amount of time we had with Jesse from him saying, “Ok, I want to do it. Figure it out,” and actually shooting. It was a 25 day shoot. It was fast and by the seed of your pants sort of thing, but we did it. It’s still insane to think that we were able to put everything together in the way that we did.

G: The film works in a lot of dark, dry pan humor. Do you have any personal inspirations that worked their way in there?

R: I don’t necessarily feel like I’m inspired by films while I’m writing. I want it to feel like a world with my own thoughts and views. I’d say in general that people who inspire me are Paul Thomas Anderson, Hal Ashby, Yorgos Lanthimos… I really respond to people who like to blend tones … oh, the Coen Brothers for sure. People who blend tones and aren’t afraid of making people uncomfortable for laughing at something really dark or uneasy. That kind of stuff is fun for me. In terms of tone, I definitely borrow from those people. I’m very inspired by them, but I definitely don’t try to give an homage to something or put other people’s shots into my movies. That’s just the way that I work.

G: When I was watching The Art of Self-Defense, the first thing I connected it to was Dr. Strangelove and how that situation is very similar to this film — that being a serious situation that’s set to absurdist escalation.

R: That’s super cool to hear you say. I actually hadn’t thought of that film with regards to this movie in a long time, but when I first put together a director’s packet and I was sending the script to certain producers to get the feel if people wanted to work on it, I did mention Dr. Strangelove as a film The Art of Self-Defense could be loosely inspired by tonally. I hadn’t thought of that in forever, but I remember that.

G: Tone management for a comedy is very important. Your film goes from an absurdist comedy to being pretty serious about its subject— it reaches a tipping point where it is no longer a funny. Spoilers, but Casey ends up carrying out the same acts of violence that were committed against him.

R: He becomes a tool for Sensei’s machine. It’s fun to play around with that . . . to have a character that you are relating to go down a path that you know is wrong and still hope that they come out on the other side in a positive way. Being able to play around with the darkness while they’re in it is fun.

G: How many revisions of the script did you do?

R: Zero. I don’t like to rewrite. It’s probably out of laziness more than anything. Faults [Stearns’ first feature] is a first draft. The Art of Self-Defense is a first draft. I say first draft as in the script is what it is. What is in the movie is on the page. That first draft gets modified dialog and situations change here and there, but for the most part, the shooting script is almost identical to the first draft. It’s not that I’m not thinking about it though. I think about a movie for up to a year before I start writing it.

That time is coming down because I just want to do more things, but I like to really figure out exactly what I want to happen— in terms of structure —and then fill in the blanks with writing. That’s the fun part, discovering fun things that happened or making a good callback. That sort of stuff isn’t what I think about when I make the story’s structure, but I usually let the idea percolate a while before I start writing. I’ve almost done all the rewrites before I start writing. It’s not just like I go in blind and be like, “Oh, he does this and then that which leads to this.” I know what I want to do, and then when I don’t do a rewrite, it’s because I’m lazy.

G: You usually hear stories about actors or producers who give input and then the script goes through rewrite after rewrite to the point where the original is a distillation of the original script.

R: I’m in a very lucky position where for two movies now, I’ve met producers who trusted my perspective and vision. Keith Calder and Jess Calder [producers on Stearns’ first feature] for Faults loved the script. That script is a first draft, and it ended up on the Black List that year — I think it was top ten for that year, what ever that means. People liked it and it was great. People would say, “Well, if I would do that script, I would need another ten rewrites.” Well, then you aren’t the right producer for it. I’m looking for the things I want to make and I hope I find people who want to do the same. When I send the script out, that’s the film.

Self-Defense was the same thing. I found Andrew Kortschak [producer on the film] and he got what I wanted to do, trusted that vision, and didn’t make me rewrite anything. The edit was where we go to collaborate. If something really isn’t working, that’s where we talk about it and have back and forths. But yah, if you want me to do ten rewrites on something, then we’re not gonna be the right team. I’ve gotten to the point now where I don’t have to worry about that. On this next movie I’m working on called Dual, I met these producers who are incredible and make really incredible movies. They are trusting me to be like, “This is the script. This is what we’re making,” and they’re not coming in and changing anything.

G: I don’t know how much you can say about it, but how different will Dual be from your prior works?

R: It’s definitely in the same vein. It’s more along the lines of Self-Defense than Faults in the sense that it is more heightened and pseudo-sci-fi. There’s a cloning element involved with a female lead. It’s its own beast, but still very dark and very comedic. I don’t think I would be able to make something that isn’t funny — not in an egotistical way — but i just like making stuff that’s funny, so I’m not gonna try to make something that is exclusively dramatic. I’m always gonna be trying to have a sense of humor about something. That’s something that’s always gonna stick in my work hopefully.

G: The comedic payoffs in this film are really good, especially with the finger technique punchline. When you are writing, are you threading these jokes into the film as you are writing it?

R: There’s two things that come to mind. It goes back to the idea of filling in the blanks after the structure is there. In Faults, there is a part in the beginning when the two characters get to the motel and one of them reverses the door knob so that the other character can’t lock herself in the bathroom. He reverses the knob so he has control of the lock. That was just something I had in my head for the narrative.

I didn’t think anything of it until later on when I got to a scene where the two were gonna have to be trapped in a confined space. I realized that would be how they’d be forced to talk. It was something that came about as I was writing. It wasn’t planned, but it became a cool callback, and I really love those.

Self-Defense has moments like that too, in particular that finger moment that you brought up. Without spoiling things for your audiences, there is a moment when Sensei is explaining his signature technique that his master never taught him. It seems so unrealistic, and in the moment as I was writing, I thought it was just this fun thing that I would figure out later. I myself believed the finger technique was real. Later on, I knew how the movie was gonna climax, and I had this epiphany moment where I could connect those two elements. It’s a callback that ended up informing the dialog after the fact. It made the original story be rewritten as a fake legend that circulates the dojo. Sensei believes it, but the grandmaster was probably lying.

That was something that came about in the moment. I like how you can have an idea about a character or a line of dialog, and then something happens later on that makes you rethink your motives or that character’s motives. All that kind of stuff is really fun to play around with and that’s where the experimentation comes into play with the writing process.

G: One last question, you mentioned it way in the beginning, do you actually know karate? You mentioned jujitsu.

R: I’ve been doing jujitsu for six years now. I go five times a week. Haven’t gone since last Saturday.

G: The junket messing up your scheduling? You’ve been on the festival circuit right?

R: I have, but I’ve been in L.A.. This is the first festival in a string of festivals coming up. I went to Maryland a couple weeks ago then this one leads into a lot of others. I was just sick all last week, so my voice is a little lower and weaker than usual, but it effected my training. I’m like addicted to jujitsu now. If I don’t after a couple of days, I start feeling a little weird. Right now, I’m just in the mood to go choke somebody out.

I would be training in Seattle, I just don’t think I have enough time. I’m here for two days, and then head back to L.A.. I’ll train there, and then in Oklahoma City hopefully, then in New Jersey. Internationally, there’s one in South Korea that my instructor told me about and it’s great. I don’t have to speak the same language, but we’ll understand each other through jujitsu.

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Crystal Swan Interview with Screenwriter Helga Landauer – SIFF 2019

During SIFF 2019, Ivy Pottinger-Glass had the opportunity to sit down and talk with the screenwriter of Crystal Swan, Helga Landauer. During the interview, they discussed the historical context in which the film takes place, the collaborative process between Landauer and the director Darya Zhuk, and the personal connections to the film’s main character Velya. 

A full transcript of the film can be see found below, or you can listen to the whole interview as well! The written interview has been edited for clarity and readability.

Ivy’s review of the film can be found here.

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I: I’m really interested in how your prior work focused on documentary filmmaking, and the creative switch between documentary and feature length filmmaking. What was your process and approach?

H: I’ve been writing for other projects, and this is what I do. Darya [Zhuk, the director of Crystal Swan] was the producer on several of my prior films. When she came to me and said she wanted to direct her first project, I was really supportive and pleased. 

I: Do you find the process between documentary and feature very different?

H: When it comes to writing, of course it’s going to be different. I feel when people make documentaries, they mistakenly think that if they have a subject, they can just film whatever happens and retroactively figure out how to structure the film. It never works. You have to have a screenplay. Even if deviate from the theme or subject, you will eventually change it, but if you have a sketch for a screenplay, it’ll have some coherence. Without it, the material won’t fit together. You’ll be like, “I wish I shot this,” and, “I don’t have enough of that.” It just doesn’t come together like you want. 

With a feature, it’s a different thing. You can change dialog and various things during production, but it’s much more streamlined and developed as something with a different level of precision. You pretty much what go with what you envisioned first. 

I: So you said you worked with Darya before. How was it working together to make the screenplay? Did you work collaboratively on the screenplay? 

H: It was initially her idea to write a story based on the situation of a phone call — which was a true story that happened to a friend of her’s. The initial idea of the story came from her. However, when you write a screenplay for a director, you always work together on the screenplay. You write a draft. You send it over. She comments on it. We talk it over. We think about what we need to add or take away from the scenes, but it wasn’t joint process from a writing perspective. It was in the realm of typical collaboration when writing screenplays for someone else. The screenplay is always for the film, for the director. It’s not like I envisioned it, it’s how she wants it.

I: How did you envision the central character Velya? Was that something you based on a conversation with Darya or something else?

H: I was about Velya’s age in the 1990s when I was leaving Russia. I didn’t live in Belarus. I lived in Moscow, so I went through a number of things myself. Being a young woman out of college trying to adjustment into this completely changed social and economic climate of 1990s Eastern Europe. 

Darya had a different experience in Belarus, and she was younger. I was trying to create a character that would be more connected to her experience. Someone that is based on her memories or occupation — which she actually was working as a DJ at the time. She was involved with different music at that time. She knew it well and it wasn’t my realm. I was trying to incorporate my experience, but mainly make the character that would speak to Darya first as a director. It was kind of like a hybrid between Darya and I.

I: I noticed that there was a sense of latent political unrest within the story. Do you think that it was symptomatic of Belarus is in the 90s?

H: Of course. It was a time of immense, sudden freedom, and also simultaneous restraint that came with the social changes. It was similar to other former Soviet Republics. We decided from the beginning that this should be a film about freedom and about different margins of that freedom … how people deal with it and how social changes work with each character we create. I was more for the stronger political underline. In the beginning and end of the film, I suggested that we take that message further, but Darya decided to make it her film, so at the end of the day, maybe it doesn’t come through as much.

I: I’m wondering what stories interest you now, and what ones you plan on telling in the future. Is there anything you have planned? 

H: I’m really fortunate that so far in my life and career that I’m working on projects I’m deeply interested in. I choose the subjects that would help me or take me further. Thinking about things that deeply matter to me. Although there are very different forms of that work, when I write a screenplay it’s more collaboration. At the end of the day, the film is a director’s statement. Not a screenwriter’s. 

Right now this year, I’ve written one synopsis that’s also taking place in the 1990s. I also wrote a feature screenplay for the whole 20th century around a historical drama. As of current, I’m developing the former film. The 1990s was a very important time for me, and I find that there’s so much to be explored during that time. Personally and historically, this period of transition for the country and me is something that I’m excited to explore.

I: I’m excited to see what you come up with next.

H: Oh thank you. Can I ask you a question? Do you find points of connection with this film? It’s a different countries and different times for you, but I’m really curious how Velya can be perceived by a young person. 

I: Even though I can’t relate to the cultural context, I still identified with this young woman who has all these dreams — there’s things holding her back, but nevertheless, she’s pursuing what she wants to do. I really related to Velya in that sense regardless of our differences. I found it to be a very engaging story not only because of our age similarities, but also the experience of a young person in general with restraints and yet all these aspirations.

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The Student Guide to SIFF 2019

The 2019 Seattle International Film Festival kicks off today and with 234 features from 86 countries, it can be daunting to say the least, especially for first time attendees. That’s why we made a handy-dandy guide to help navigate the festival. Below you’ll not only find the films you should be on the lookout for, but also the periphery elements that will make your overall experience more enjoyable! These tips will help organize your trip, get involved, and save you some time and money in the process.

Planning

The Seattle International Film Festival lasts for an eye popping 25 days and as students, it can often conflict with deadlines. It takes place during the last few weeks of the quarter and wraps up just before finals week on June 9th, so if you’re not careful, it’ll be easy to buy tickets early, only to realize you can’t go.

What I recommend is pull out all your syllabuses for your classes and plot out the deadlines for the rest of the quarter. Then go to SIFF’s website, make an account, and use their My Festival feature. With it, you can add films you’re interested in to your account and see them over the course of festival. Compare your school calendar with the one online and see which ones you can attend. Note that there are usually two screenings of each film, but pay attention to their location as they can occasionally be located in Shoreline or Bellevue.

You can use your Husky ID to catch public transportation from campus to the SIFF Cinema Uptown (route 32), SIFF Egyptian (route 49), and AMC Pacific Place (Link/49/70). Or split a Lyft or Uber with friends — use code SIFF19 on Lyft and you’ll get 15% off your rides! Set yourself up to arrive about an hour before the show time, because a line will usually form outside the venue and the best seats in the theater will fill up fast.

Some films have special guests scheduled to attend! This information is listed on the SIFF website under the select films, and if you want insight into the film you just saw, some times they will host a Q&A session afterwards. SIFF also loves to throw parties, so be on the lookout for those special events.

Ticket Sales

SIFF has three tiers of tickets on their site: Available, Limited Availability, and On Standby. Available is exactly as it sounds: you can still buy tickets. Limited Availability means tickets are running out but few are still left for sale so buy them quick.

On Standby means that the allotment of public tickets for the screening are sold out. SIFF partitions the available seats between public tickets and pass holder tickets. On Standby still means you can see the film, but there is no guarantee. If a film you want to see is On Standby, you can go to the theater the day of the screening and wait in the Standby line. Once both the ticket holders and pass holders are let in, SIFF will let in people from the Standby Line to fill in the remaining seats. It’s done on first come, first serve so if it’s something you really want to see, get there early!

Volunteering

Volunteering with SIFF is a great way to get free tickets to the festival while also padding out your resume. By volunteering you not only get a free T-Shirt, but you’ll get complimentary tickets that are good for festival screenings or for admission to films at SIFF’s year round cinema. If you’re like us, you stockpile them during the festival and when Oscar season comes around, you unload them and save yourself some cash. PLUS, volunteering at the festival puts you on a list for Appreciation Screenings and Membership Appreciation Nights that SIFF puts on throughout the year to say thanks to the volunteers.

To volunteer, you can follow the steps on here and make an account with Shiftboard. Most shifts are taken, but if you check periodically, spots will open up. Venue Crew is our personal favorite as you often get to relax while the screening is taking place, but assisting the festival lounge or packing gala gift baskets are also well and good. Lastly, if you can get a buddy to occupy the same shift as you, time will fly by!

Memberships

SIFF memberships are a great way to get access to a plethora of perks that’ll help with the festival. SIFF tickets are usually $14, but with a membership you get $2 off every time. Additionally, you’ll also get a slew of year round perks with SIFF like discounted tickets, access to special screenings, and early access to presale of next year’s festival tickets. Memberships are $50 at the base level, but students can get discounted memberships for $35. If you’re a movie aficionado, the membership will pay for itself, plus the early festival access (for next year) will ensure you get tickets before they go on standby.

SIFF Picks for Students

Like we mentioned, there are over 200 feature films at the festival this year and most of them don’t have any readily available reviews. If you look at the festival guide, you only get a short blurb about the synopsis and nothing else. It’s a blessing because you’ll often find yourself surprised when you find a hidden gem, but it’s also a curse because you don’t know what you’re getting yourself into. The following selections are films that we’ve seen or heard good things about, and think will suit the tastes of students the best. If you want to see a comprehensive list of all the films we’ve seen with their ratings, you can check out our Capsule Review Page here.

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The Farewell: Sunday, June 9th SIFF Egyptian 6:00pm(Closing Night Film)

A true lie. That may seem like the greatest oxymoron, but it’s what makes The Farewell so intriguing. Modeled after director Lulu Wang’s real-life experiences, the film follows Billi, played by Awkwafina, as she returns to China after discovering her grandmother has been diagnosed with cancer. However, instead of informing her, Billi’s family keeps her in the dark, staging a faux-wedding to let their grandmother see the entire family and celebrate one last time. Refrained from letting her emotions get the better of her, Billi struggles to keep the secret from the one she loves, questioning the morality of this decision and leading to an emotionally packed 98 minutes that will bring you into tears. 

Crystal Swan: Friday May 24th Lincoln Square 9:00pm/Friday May 31st SIFF Uptown 8:30pm/Saturday June 1st SIFF Uptown 2:30pm

A young DJ from Belarus dreams of escaping her oppressive motherland and emigrating to America, the land of freedom and possibilities. Things go awry when she forges her visa references, leading her to the town of Crystal and a dysfunctional family wrapped up in wedding preparations. This bold and entertaining comedy with a great soundtrack is definitely one to watch!

For Sama: Sunday, June 2nd AMC Pacific Place 6:30pm/ Monday, June 3rd SIFF Cinema Uptwon 4:00pm

The Syrian Civil War is one of the most significant conflicts of our time. While it may be easy to characterize the war by news headlines, it is just as easy to forget the individuals living through it. Waad al-Kateab’s and Edward Watts’ SXSW Jury Doc winner and Cannes selection, For Sama, shines a light on those that decided to stay and fight Bashir Al Asad’s regime. Tracking the war from its inception in the Arab Spring to late 2016, the film structures itself around al-Kateab’s personal letter to her daughter as she assesses her reasons for staying the country and coming to terms with the fact that it may be Sama who has to make a better world for herself. With shocking video, For Sama humanizes a war that has long been a political talking point and gives it new context for those removed from it. (Read Our Full Review)

The Sound of Silence: Friday, May 17th  SIFF Uptown 9:30pm/Sunday, May 19th Majestic Bay 6:00pm

Peter Saarsgard plays a New York ‘house tuner’ at the turn of the last century trying to figure out the source of Rashida Jones’ bad vibes. Described as a quiet indie drama, this film has a solid cast and will no doubt be quirky and charming.

Blinded By The Light: Thursday, May 23rd SIFF Egyptian 6:30pm / Friday, May 24th SIFF Uptown 3:15pm

Remember the feeling when you heard that one song that expressed all of your emotions and solved all your problems. Well, Blinded by the Light explores that feeling. Following British Pakistani teen Javed and his discovery Bruce Springsteen, Gurinder Chadha’s (Bend It Like Beckham) crowd-pleasing film explores self-expression as a means to escape and stand up to the racial intolerance in his hometown.

The Art of Self Defense: Friday, May 31st SIFF Egyptian 6:30pm / Saturday, June 1st SIFF Uptown 3:30pm

The Art of Self Defense follows Casey (Jesse Eisenberg) who is the victim of a brutal mugging that leaves him shaken and traumatized. Determined to muscle up and prevent a future attack, his search for self defense leads him to a karate dojo where he quickly ascends rank and becomes a star pupil of Sensei, but what he soon learns is there is more to the dojo and his training than he first thought. Thriving on dry-pan, dark humor, director Riley Stearns creates a film that cuts deep into toxic masculinity by showing how normalized it has become. (Read Our Full Review)

Death of Dick Long: Friday, June 7th SIFF Egyptian 9:00pm / Saturday, June 8th SIFF Uptown 2:30pm

Death of Dick Long is director Daniel Scheinhert’s follow-up to his indie hit Swiss Army Man which sees two drinking buddies, Zeke and Earl, as they attempt to cover up the mysterious death of their friend Dick Long. Through hilarious attempts to maintain their complicated lie, Zeke and Earl find themselves falling from one rabbit hole to another as Scheinhert employs the same dark comedy and zaniness that made Swiss Army Man a success. 

The Nightingale: Saturday, May 18th SIFF Uptown 9:00pm / Thursday, May 23rd SIFF Egyptian 9:30pm

Jennifer Kent’s The Nightingale is not an easy watch, but the gravity it presents in its scenarios are needed as it discusses violence against women and the horrors of colonialism. After a vicious act of violence, Claire pursues the perpetrators through the Tasmanian bush looking to extract revenge for the wrongs committed against her. It has a lengthy run time, but its blunt look at thematic targets will surely leave a lasting impression long after you leave the theater. 

Archival Film Series: As always, we recommend checking out one or two  archival films to help fill in your back catalog of important films. This year SIFF has great offerings including Fritz Lang’s Spies, Billy Wilder’s One, Two, Three, I Am Cuba, Fantastic Planet, and Between the Lines. Any one of these are worth watching on their own, but seeing them in a theater is certainly preferable to your computer screen.

Other Notable Recommendations:

–Monos

–Non-Fiction

–Honeyland

–Meeting Gorbachov

–The Apollo

–We Are the Radical Monarchs

Film Club has a special code to get $3 off your tickets for Banana Split, the Futurewave Shorts, Blinded By The Light, and House of Hummingbird! Use UWFILMCLUB19 at checkout when buying tickets for those films!

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SIFF 2019 Capsule Reviews

The 2019 Seattle International Film Festival kicks off on May 16th and runs until June 9th and UW Film Club is covering as many films as possible so you know which films to see! Throughout the festival, this article will be regularly updated with capsule reviews for festival films with the newest additions at the top. Check back every couple days to see what’s new!

For new comers, we recommend checking out our Student Guide to SIFF to get a feel of everything the festival has to offer. Want to listen to our takes on festival films? Then listen to our podcast where we round up our favorites: Part 1 and Part 2.

Full reviews will be added as embargoes lift!

The Dead Don’t Die

Jim Jarmusch’s latest, The Dead Don’t Die, draws from the well of 1950s and 60s B-rate horror films to create a star studded genre film about the end of the world. Starring the likes of Bill Murray, Adam Driver, Tilda Swinton, Selena Gomez, and more, the film premises itself on the idea that “the world is off its axis” in literal and metaphorical terms. The film is shameless in its overt meaning, but perhaps intentionally so. In the name of tongue-in-cheek humor and aligning itself with the style of its influences, the film takes on a very literal, on-the-nose approach to its meaning, often resulting in the film’s driest and funniest lines. Full of great moments and characters, The Dead Don’t Die is another great outing by Jarmusch that distills the essence of its influences for a comedic zombie flick about contemporary problems.

3.75/5 STARS

Read Our Full Review Here

-Greg Arietta

The Dead Don’t Die played on June 8th at 6pm at SIFF Uptown, but will be making its return to SIFF on June 21st.

Burning Cane

Fresh off his Founder’s Award victory at Tribeca, Philip Youmans’ Burning Cane has made its way to SIFF. Set in rural Louisiana, the film revolves around Helen, her son, and her pastor as their religious faith is put to the test by the struggles of life. Taking a very ‘meditative’ approach to the film, Youmans isn’t concerned with a straightforward Hollywood narrative, but rather, a dissection of what it means to have faith by using poetic speculation. For a first time director at the age of 17, it’s an impressive work that shows the future potential of this young talent.

-Greg Arietta

Interview with Philip Youmans on Burning Cane [Coming Soon]

Burning Cane plays on June 6th at 6:30pm at SIFF Uptown, and on June 7th at 3:30pm at SIFF Uptown.

Them That Follow

The dark, cold Appalachian Mountains conceal a community whose fringe religious practices prove to be deadly to any sinners. No one is wholly innocent though, their secrets looming over their pious and oppressive convictions. Them That Follow makes for a relatively smooth directorial debut for both Britt Poulton and Dan Madison Savage, but the true highlight is some of the most cohesive and intelligent casting this year. The last thirty minutes will undoubtedly elicit some white knuckles, as characters take up serpents to test their soul and your nerves. 

-Megan Bernovich

Them That Follow plays on May 31st at 9:30pm at SIFF Uptown, and June 1st at 1:00pm at SIFF Uptown. Producer Bradley Gallo is scheduled to attend both screenings.

Tel Aviv On Fire

It takes a great deal of tact and dexterity to depict the turbulent relationship between Israeli and Palestinian, and even more to crack jokes about it. Writer and director Sameh Zoabi manages to navigate opposing perspectives while telling an exceptionally charming and human story. There is an ever-present sense of meta at play in this filmmaking that only adds to the one of a kind sense of humor. Festival films like these are priceless for their deft execution of a truly unique idea and something that shouldn’t be missed. 

-Megan Bernovich

Tel Aviv On Fire plays on May 30th at 7:00pm at AMC Pacific Place, and May 31st at 3:30pm at SIFF Uptown. Director Sameh Zoabi is scheduled to attend both screenings.

Memory – The Origins of Alien

In 1979, Alien made its world debut at the Seattle International Film Festival, and now, forty years later, the legendary film comes back in the form of Memory — The Origins of Alien. 78/52 director Alexandre O. Philippe tackles the characters, themes, and moments of Ridley Scott’s beloved sci-fi horror film to get to the bottom of why we all love it so damn much. If you’ve ever read a BFI Film Classic Book, this film is essentially the visual manifestation of that. It’s a conventional doc that utilizes interviews, behind the scene footage, and even some self-produced content to create a by-the-numbers break down of the film. What it says won’t blow your mind, but what it does say is composed very well, and for a film like Alien, it’s hard not to love some extra trivia knowledge for one of cinema’s best films.

3.5/5 STARS

-Greg Arietta

Memory plays on June 8th at 7:00pm at SIFF Egyptian.

The Death of Dick Long

Attempting to blend drama and comedy in a grotesque fashion, The Death of Dick Long is a poor follow up for director Daniel Scheinert (Swiss Army Man). After the death of their friend, two ‘small-town idiots’ try to cover up a monumental farce from those around them. The breaking point is the film’s revelation which will either have you in stitches or, like me, make you completely repulsed. The film wants to walk the fine line of a dramedy, but ends up choking on its own words.

2.25/5 STARS

-Greg Arietta

The Death of Dick Long plays on June 7th at 9:00pm at SIFF Egyptian, and on June 8th at 2:30pm at SIFF Uptown. Daniel Scheinert is scheduled to attend both screenings.

Sew the Winter to My Skin

Sew the Winter to My Skin is folk tale of the Robin Hood figure who championed the resistance of Native South Africans in the early days of Apartheid. Relying on montage editing and minimal dialog, the film paints an epic picture of human struggle with the sweeping landscapes of South Africa as backdrop. It’s a theatrical and poignant storytelling method for such a vast and sorrowful period of history. Also, hats off to the composer and production designer for their particularly standout work.

-Megan Bernovich

Sew the Winter to My Skin plays on June 8th at 8:00pm at SIFF Uptown, and June 9th at 2:30pm at SIFF Uptown.

Orange Days

A purposely slow and understated burn, Orange Days is a carefully calculated endeavor. Lead actress Hedieh Tehrani embodies a terse and persistent orchard contractor named Aban, a woman hardened to survive in a man’s world and industry. Only this year, she risks everything in order to reap a successful harvest and prove her capability, because to fail would mean the collapse of her entire world. In part to the film’s mounting tension, desperation to finish the job condenses in the air around her crew of seasonal laboring women. It’s a multi- sensory experience, with rich colors, textures, and the nearly perceptible scent of ripe citrus.

-Megan Bernovich

Orange Days plays on May 20th at 6:30pm at Lincoln Square Cinema, May 22nd at 3:30pm at SIFF Uptown, and May 24th at 11:00am at AMC Pacific Place.

Kifaru

Extinction is made intimate by this documentary about the last male white rhino. With the stunning backdrop of the Ol Pejeta Conservancy savannah, the struggle to protect and serve the last hope of a species is chronicled in vivid detail. The film is carried by two young caretakers, James and Jojo, whose vulnerability before the camera is nothing short of moving. The grief Kifaru evokes is almost too much to bear, yet it’s an absolutely essential viewing if mankind wishes to reverse the effects we have had on our planet. 

-Megan Bernovich

Kifaru plays on May 21st at 7:00pm at SIFF Egyptian, May 22nd at 4:00pm at SIFF Uptown, and June 3th at 4:30pm at SIFF Egyptian. Producer Andrew Brown and Rhino caretakers James Mwenda and Joseph Wachira are scheduled to attend the former two screenings.

Q Ball

Q Ball tells the story of the lesser known San Quentin Warriors, a basketball team comprised of convicts at California’s San Quentin state prison. In the pursuit of recovery, the doc analyzes how basketball has given these men newfound purpose behind bars, excelling at making these prisoners human and removing the stigma attached to them. Through the sport of basketball, we see the players make themselves better individuals and find some kind of personal reconciliation for what they have done. The film touches on prison reform and mass incarceration, but at its core, Q Ball shows is that sports continue to be one of the greatest unifiers out there.

3.5/5 STARS

-Greg Arietta

Q Ball plays on May 17th at 6:30pm at Ark Lodge Cinemas, May 18th at 12:00pm at SIFF Uptown, and May 21st at 3:30pm at SIFF Uptown. Director Michael Tolajian is scheduled to attend the May 17th screening.

International Falls

When an aspiring comedian meets a washed up stand-up, the two form a newfound relationship where they look inward and see what brought them to the lowest point in their lives. International Falls is a film that positions itself as a comedy set against the narrative backbone of a midlife crisis. Using humor as a means to cover up their own pain, our leads come to find a new outlook on life, but the path that got them there is bland to say the least. It doesn’t help that the drama can’t be covered up by its comedy which, in my experience, was just not funny and made for a grating viewing. Like the subjects in the film, International Falls lacks the comedic spark to make it succeed, and without a compelling narrative, the film unfortunately doesn’t have much going for it.

2/5 STARS

-Greg Arietta

International Falls plays on May 18th at 8:30pm at Ark Cinema Lodge where cinematographer Andrew Aiello scheduled to attend, June 6th at 9:00pm at SIFF Uptown, and June 7th at 12:30pm at SIFF Uptown. Director Amber McGinnis is scheduled to attend the later two.

Knife+Heart

Knife+Heart is well aware of its colorful kitsch, giallo roots. Following a killer working their way through performers in the indie gay soft-core industry, the camera is granted access to the interior of insular European queer spaces of the 1970s. It’s vibrantly bloody exactly when it needs to be and utterly inscrutable the rest of the time. For stylized eroticism, it’s handled with a surprisingly gentle touch. The fittingly garish coloration and grainy texture are the icing on the cake of an already very hypnotizing piece of art. 

-Megan Bernovich

Knife+Heart plays on May 17th at 11:59pm at SIFF Egyptian, and May 19th at 9:30pm at SIFF Uptown.

Here Comes Hell

Here Comes Hell is a love affair between 1930s haunted house dinner party tropes and the confident absurdity of The Evil Dead with that iconic staircase shot from Psycho slipped in to boot. With plenty of practical effects and foggy black & white cinematography, the film gives the impression that these classic horror archetypes are kids dressed in their parents’ clothes having a ridiculous amount of fun making home movies together (in the best way possible). It’s a giddy, uncomplicated pick ideal for a late night with friends. 

-Megan Bernovich

Here Comes Hell plays on June 7th at 11:55pm at SIFF Egyptian, and June 9th at 9:00pm at SIFF Uptown. Producer Olivia Loveridge is scheduled to attend both screenings.

N. Scott Momaday: Words from a Bear

N. Scott Momaday: Words from a Bear pays tribute to the titular renowned Kiowa artist and Pulitzer Prize winning writer whose works capture the spirit and history of his Indigenous people. Combining prose with dreamy visuals and historical art with archival photographs, the documentary positions the genocide and loss of Indigenous culture a personal experience still felt today. Brimming with reverence for Momaday’s great gift of language, Words from a Bear creates a vibrant profile of an exceptional storyteller respected for his preservation of an identity devastated by colonialism.

-Megan Bernovich

N. Scott Momaday: Words from a Bear plays on May 25th at 12:30pm at the Seattle Central Library, and May 26th at 5:30pm at SIFF Uptown.

Take It or Leave It

Take It or Leave It is not only a sentimental and funny take on the bittersweet trials of early parenthood, but also a valiant commentary on gender stereotypes within the family. Strung with tension in between sweet moments with his daughter Mai, single father Erik is forced repeatedly to defend the legitimacy of his fatherhood while simultaneously trying not to lose himself along the way. With an earnest hope, Take It or Leave It seeks to redefine the stereotypical definition of parenthood.

-Stephanie Chuang

Take It or Leave It plays on May 27th at at 9:30pm in AMC Pacific Place, May 30th at 9:00pm at SIFF Uptown, and June 4th at 6:00pm at SIFF Uptown.

The Peanut Butter Falcon

“A great deal of the film’s pleasantries come from Tyler’s and Zak’s relationship. The two meet under unlikely circumstances and come together under a mutual understanding of their on-the-run status. Together, they represent a carefree duo that finds joy in drinking on the beach, firing guns, and developing Zak’s wrestling persona, The Peanut Butter Falcon. With parts humor, sympathy, and rebellion, the two are an indomitable pair that generate much of the film’s long lasting appeal, and which only grows stronger as the film progresses and as external forces try to tear them apart. Though their pairing unlikely, you can’t help but leave the theater feeling warmed by the kindred friendship the two form on their journey…

Zak’s down syndrome is often brought up as a rationale to restrict him, but what PBF rightfully asserts is that it shouldn’t matter. He is not seen in the same light as others because of what others project onto him, and not what Zak knows true about himself. Elenor’s character is perhaps representative of the audience and the realization that comes from the film’s message. To see someone with a disability is to automatically assume inability, but what comes to fruition is that their hopes and dreams shouldn’t be shelved because of labels.”

Read Our Full SXSW Review Here

4.25/5 STARS

-Greg Arietta

The Peanut Butter Falcon is playing on June 9th at 7:30pm at SIFF Uptown.

Late Night

Late Night is a comedy from Nisha Ganatra that tackles at diversity in the workplace. With its heart in the right place and the talents of Mindy Kaling and Emma Thompson, it’s unfortunate that the film is horribly misguided visually, narratively, and thematically. For the majority of the run time, the film is fine at best, but in the eleventh hour, Late Night implodes in eye-brow raising fashion with a questionable outcome, ultimately undermining its credibility. It also doesn’t help that its only marginally comedic.

2.5/5 STARS

-Greg Arietta

Late Night is SIFF’s Centerpiece Gala taking place on June 1st at 5:30pm at SIFF Egyptian, and June 2nd at 3:30pm at SIFF Uptown.

Long Time No Sea

Long Time No Sea follows the lonely paths of a a homesick teacher and a young boy waiting for his father’s return working together to compete in an indigenous dance competition. Even though the performances are mediocre and the narrative a bit stale, the story still has enough heart to appreciate its few sensitive moments. There’s no surprise to how the story unfolds, but it just strikes hard enough to remind us that “home is where the heart is.”

3/5 STARS

-Stephanie Chuang

Long Time No Sea plays on May 30th at 6:30pm at Lincoln Square Cinema, and June 6th and 8th at 7:00pm and 4:00pm respectively. Both of the later two take place at AMC Pacific Place and will have actors Chung Chia-Chun and Ou Lu in attendance.

In Fabric

Peter Strickland follows up the Duke of Burgundy with a giallo-inspired horror comedy about a demonic dress called In Fabric. In pursuit of the aforementioned giallo aesthetic, the film intentionally plays up awkward, cheesy, B-movie choices which results in a delicate balancing act that works varyingly. Whether something will spur scorn or admiration is a toss up — my audience in particular modulated back and forth — but the vibe is mostly achieved, creating an interesting, albeit long-toothed, call back to a sub-genre of the 70s.

3.25/5 STARS

-Greg Arietta

In Fabric will play on May 29th at 4:00pm at AMC Pacific Place, and May 31st at 9:15pm at SIFF Egyptian.

Meeting Gorbachev

Werner Herzog is back with a documentary about one of Russia’s most important leaders of the Cold War era: Mikhail Gorbachev. Meeting Gorbachev is very informative doc in the sense that it feeds you a stream of facts without a taking a firm stance any one way. It frames Gorbachev as an unrealized bridge between Russia and the West, and the doc gets particularly interesting as it pursues this notion after all the components have been laid out. It’s a straightforward, interesting doc from a legendary director.

3.25/5 STARS

-Greg Arietta

Meeting Gorachev plays on May 30th at 7:00pm at SIFF Uptown, and May 31st at 6:30pm at Shoreline Community College. 

Stuffed

When you think of taxidermy you probably think of malicious hunters, grotesque interests, and creepy hobbyists akin to Norman Bates. But if you watch Erin Derham’s Stuffed, all those notions will be changed. Stuffed is a doc that looks at the artistry of taxidermy with a new light, one that wants to destigmatize the craft and show the passion behind it. The film is enlightening in a lot of ways not only because it layers its material in way that takes you through the various facets of taxidermy, but also because it outlines the beautiful nuances behind it. Stuffed encompasses several taxidermists, each with their own specialization, characteristics, and stories that are endlessly fascinating, and pervasive throughout is a respect for their craft. You can tell by the doc’s presentation that Derham isn’t out to make these artists into psycho creeps, but rather passionate craftsmen. Ultimately, coming out of Stuffed, you will walk away with a new perspective of taxidermy and those involved with it, and if that’s not an indicator of a good doc, then I don’t know what is.

3.75/5 STARS

-Greg Arietta

Stuffed plays on May 26th at 12:30pm at SIFF Uptown, and May 27th at 6:00pm at Shoreline Community College.

Brittany Runs a Marathon

Brittany Runs a Marathon is a film who’s plot can be explained by its title, but despite its narrative simplicity, has cosmetic problems. Its overt storytelling involves cramming in as many contrived inspirational moments as possible, creating an artificial feeling of empowerment that often felt unearned and occasionally grating. The film shines when it focuses on Brittany (played wonderfully by Jillian Bell) as it explores the necessity to take responsibility for yourself, and in the end, that helps create a charming crowd-pleaser. 

3/5 STARS

-Cynthia Li

Brittany Runs a Marathon plays on May 24th at 7:30pm at Shorline Community College, and May 26th at 7:00pm at the SIFF Egyptian.

Human Nature

As someone who knows nothing about biology, Human Nature not only turns the field into a interesting and digestible subject, but it also presents it as a horrifying one as well. The film explores CRISPR, a DNA family that can used to detect and destroy DNA with similar genetic traits with the goal of eliminating diseases. Human Nature begins with a bang, creating a riveting hour introduction of CRISPR that sets the stage for the technology’s larger ramifications. However, the film tries too hard to present us both sides of the argument as it jumps from wooly mammoths in one scene to genetically modifying children in the next to artificial intelligence, detracting from the film’s momentum and ultimately causing it to lose grasp on its own argument. Despite this, Human Nature is one of the more intriguing and shocking documentaries at SIFF this year. Like last year’s Three Identical Strangers, the less you know going in, the better your experience will be. 

3.5/5 STARS

-Cynthia Li

Human Nature plays on May 17th at 4:30pm at SIFF Uptown, May 25th at 9:00pm at SIFF Uptown, and May 27th at 1:15pm at SIFF Egyptian.

The Apollo

The Apollo traces the history of one of the world’s most culturally significant theaters and shows the lasting impact it has on the African-American community. With great access to interviews, archival footage, and material, Roger Ross Williams’ doc progresses through the Apollo’s history chronologically, outlining what it meant at various moments in time for not only African-American artists, but also African-Americans living in America and the social issues they faced. The doc is conventional and often strays from its focus, but its message sings a contemporary resonance.

3/5 STARS

-Greg Arietta

The Apollo plays on May 25th at 6:45pm at the SIFF Egyptian, May 26th at 1:30pm at the SIFF Egyptian, and May 27th at 1:30pm at the Shoreline Community College.

3 Faces

After viewing a distressed fan’s suicide video, actress Behnaz Jafari goes on a trek with director Jafar Panahi to discover what caused the incident. By utilizing on-the-go shooting styles and basing the characters on themselves, Jafari and Panahi create a Neo-realist, documentarian-esk road film. Through its simplicity, 3 Faces analyzes deep-seated issues of misogyny and creative oppression in restrictive areas. Despite still being under a filmmaking ban, Panahi writes a powerful script, elevated by Jafari’s beautifully subtle performance to create a quiet, provocative feminist tale. 

4/5 STARS

-Cynthia Li

3 Faces will play on May 18th at Lincoln Square Cinemas at 6:00pm and May 19th at SIFF Uptown at 6:30pm.

Nightmare Cinema

Nightmare Cinema is an anthology horror film akin to V/H/S that tells five short stories in one over arching narrative. Certain shorts play better than others — notably David Slade’s fourth short —, but what is so off-putting about this film is being unsure whether or not the film is going for midnighter camp or is playing itself straight and serious.  If you’re looking for your SIFF midnighter this year, then look no further. Just hit the bars before hand and enjoy the ride.

-Cynthia Li

Nightmare Cinema is playing on May 29th and June 4th. Both at 9:30pm at the SIFF Egyptian. 

Crystal Swan

Set in newly independent Belarus in the mid-90s, Crystal Swan follows Velya, a law graduate turned DJ as she desperately tries to emigrate to America. A black sheep in her native land, Velya dreams of freedom and the famous house music scene in Chicago, but standing in her way is the bureaucratic American immigration process. With a caustic and skilful blend of humor and tragedy, Darya Zhuk manages to provide both sincerity and hilarity in this unique (anti-)homage to Belarus and to those who refuse to conform. Whilst it can, at times, seem bleak and unforgiving – much like the setting itself – the film is well balanced, with vivid and beautiful cinematography, absurd humor, and a banging house music soundtrack to boot.

-Ivy Pottinger-Glass

Crystal Swan is playing on May 24th at 9:00pm at Lincoln Square Cinemas, May 31st at 8:30pm at SIFF Uptown, and June 1st at 2:30pm at SIFF Uptown. Screenwriter Helga Landauer scheduled to attend the 5/31 and 6/1 screenings.

Monos

Concealed on an ethereal mountaintop in the Colombian wilderness, a band of rigorously trained teenagers are tasked with guarding a prisoner of war by an enigmatic militia referred to only as ‘the Organization’. Within this situation of extreme isolation and self-governance, the group have to navigate leadership, love, and rivalry as they guard their captive for an otherwise unknown political purpose. Monos is an overwhelming sensory experience that portrays the extremities of raw human emotion with both disturbing intensity and artistic dexterity.

-Ivy Pottinger-Glass

Monos is playing on May 17th at 3:30pm at SIFF Uptown and May 20th at 9:30pm at SIFF Egyptian

Sibel

Youth worldwide know the difficulty of breaking with the traditional values only to be greeted with resentment, and Sibel tackles just that. Following our titular character in a remote village in Turkey, Sibel is shunned not only because she is a mute who communicates by whistling, but also because she doesn’t abide by the traditionalism of the old guard. Her differences and defiance become a source of drama in the film, presenting a solid narrative about rebellion and romance in the face of adversity which we’re all familiar with.

3/5 STARS

-Greg Arietta

Sibel is playing on May 18th at 5:30pm and May 19th at 12:00pm. Both are at SIFF Uptown.

Baby (Bao Bei Er)

Baby skillfully uses the forgotten stories of its main characters to build an honest critique of China’s ableist and sexist society. As the main character fights to save a disabled newborn girl –in whom she sees reflections of herself– the film reveals how society’s expectations and social norms pressure individuals into decisions they don’t want to make and others into total apathy. With strong performances and a quiet strength, Baby makes you evaluate the value of human life. 

4/5 STARS

-Stephanie Chuang

Baby (Bao Bei Er) is playing on May 22nd at 6:30pm at Lincoln Square and May 30th at 3:45pm at SIFF Uptown.

The Farewell

The Farewell is the perfect combination of heartwarming and heartbreaking, an oxymoron perfect for a story based on a true lie. In its brief 98 minute runtime, The Farewell explores the emotional struggle of any first/second generation American immigrant, unpacking the complicated notion of wanting to be there for a family you often feel distant from. With great comedic beats and impassioned performances, The Farewell provides an oddly familiar tale that reminds us to embrace the eccentricities of family, because in the end, they make us who we are. 

4.5/5 STARS

-Cynthia Li

The Farewell is SIFF’s Closing Night Gala Film. It will play on June 9th at 6pm where director Lulu Wang is scheduled to attend.

Another Day of Life

Renowned Polish journalist Ryszard Kapuscinski reported from the frontlines of war for nearly three decades covering 27 revolutions and giving a voice to people in the midst of revolutions and civil wars. One of his more famous books, Another Day of Life, has now been adapted into an animated feature of the same name, and shows the Angolan Civil War through the journalistic approach Kapuscinski took that made him so prolific. Using rotoscope technology reminiscent of A Scanner Darkly and opting for a surreal fantasy approach akin to Waltz with Bashir, Raúl de la Fuente’s and Damian Nenow’s feature uses archival footage, contemporary interviews, and animated material to discuss a journalist’s roll in national conflicts, questioning the ramifications of their work and exposing the necessity for it. The film is not only easy on the eyes, but it’ll also leave you with a better understanding on how journalism can give a voice to those who don’t have one.

3.5/ 5 STARS

-Greg Arietta

Another Day of Life plays on May 20th at 9:15pm and on May 22nd at 4:30pm, both at SIFF Uptown

Running with Beto

“You just don’t get it.” These words uttered by Beto O’Rourke’s communication director perfectly describe an outsider’s perspective on the phenomenon of O’Rourke’s 2018 Texas Senate campaign, and what looks to be answered with David Modigliani’s Running with Beto. Packing an impassioned punch that’s sure to shake up political participation, Running With Beto frames its political message through characterizations of O’Rourke himself and the ambitions of his supporters. Through these two, we explore the significance of O’Rourke’s campaign for Texans and the future of American politics as a whole.

4/5 STARS

-Cynthia Li

Running with Beto will play on May 17th at 6:30pm at SIFF Egyptian and May 18th at 12:30pm at SIFF Uptown. Producer Rebecca Feferman scheduled to attend both screenings.

Pigeon Kings

Pigeons. The rats of the sky. The birds that pillage city streets and poop on your car are made cool in Milena Pastreich’s documentary, Pigeon Kings. Telling the story of enthusiast pigeon trainers who compete with their birds in South LA, audiences are shown one of the most bizarre hobbies that you won’t believe is an actual thing. Like last year’s SIFF film Catwalk which took viewers inside the cat show circuit, this doc will guide you through the wild and surreal hobby that is competitive pigeon training. Synching up rolls with multiple pigeons, learning the rules of pigeon scoring, preventing a hawk from killing your birds, keeping a family tree of pigeon lineage, and more are facets of this unbelievable niche culture that cultivates an avid and passionate fanbase. Through an extraordinary exhibition of this absurd avian interest, you sympathize with these trainers and come to understand their obsession much in the same way you would for any other culturally popular past time, despite the repugnancy that comes from the very idea of pigeons themselves. Though the ending is relatively flat and its theme on pursuing one’s passions is fairly common, Pigeon Kings’ subject matter is certainly enough for a passing score. 

3.5/5 STARS

-Greg Arietta

Pigeon Kings will play on June 8th at 6:45pm at AMC Pacific Place and June 9th at 11:00am at AMC Pacifc Place. Director Milena Pastreich and subjects Keith London & Darrian Hogg are scheduled to attend both screenings.

The Nightingale

The Nightingale is Jennifer Kent’s follow-up to the Babadook that pulls no punches when addressing its themes of violence against women and the terrors of colonialism. This period piece tale of revenge is extremely graphic — and I mean brutal —, but only because its subject matter calls for it, presenting issues from the 19th century that have contemporary relevance today. At 136 minutes, The Nightingale really run its course by the end of the film, but its worth the watch if you can stomach its length and explicit violence.

3.5/5 STARS

-Greg Arietta

The Nightingale is playing on May 18th at 9pm at SIFF Uptown and May 23rd at 9:30pm at the SIFF Egyptian.

Sword of Trust

The opening night film for SIFF 2019 is Lynn Shelton’s Sword of Trust, a comedy about a duo trying to sell an inherited confederate sword that claims to prove the South won the Civil War. The film thrives on a seemingly improvised brand of comedy between from the likes of Marc Maron and Jillian Bell to great effect as it assesses the value of personal ‘trust’, but the story and lessons it spins out of history, historical artifacts, and their social controversy are less clear.

3/5 STARS

-Greg Arietta

Sword of Trust is SIFF’s opening night gala film and will be shown on May 16th at 7pm at the Marion Oliver McCaw Hall. Director Lynn Shelton and actor Marc Maron will be in attendance.

Honeyland

One thing that is clear about Honeyland is that it’s aesthetically stunning. Directors Tamara Kotevska and Ljubomir Stefanovemphasize visual storytelling by elegantly navigating the Macedonian landscape, utilizing the natural beauty of the countryside to create magnificent silhouettes, cascading shadows, and intimate looks at our subject’s faces. With its visual emphasis, Honeylandfeels like an untraditional documentary that pulls from slice-of-life filmmaking. It introduces us to a new type of resiliency, one that will leave us in awe at the stress, joy, and isolation that comes with raising bees.

3.75/5 STARS

-Cynthia Li

Honeyland is playing on May 21st at 7:00pm at SIFF Uptown and May 25th at 11am at SIFF Egyptian.

Wild Rose

Wild Rose is about the troubles one faces when your dreams and responsibilities are at odds with one another. Telling the story of ex-conn Rose-Lynn trying to make it big as a country singer in Glasgow, Scotland, the film is a sugary depiction that leaves its potential on the table. At its best when it pits Rose’s ambitions against her children’s interests and at its worst when it loses focus on that, Wild Rose presents a decent, albeit dramatically tame, message about pursing personal aspirations.

2.5/5 STARS

-Greg Arietta

Wild Rose plays May 18th at 7pm at SIFF Egyptian and May 24th at 9:30pm at SIFF Egyptian.

Chef’s Diaries: Scotland

“At the core of the documentary is a heartfelt and respectful sentiment for the Scottish environment as a natural pantry, full of resources that we would be foolish to waste or overlook. A sense that we should all adopt a greater awareness and appreciation for where our food comes from, and the people who produce it, is communicated poetically and eloquently throughout, and is embedded within the brothers’ culinary philosophy. Josep states that the angle of the light in Scotland makes one view things differently, and it is clear that the Roca brothers see the beauty in a culinary tradition that is often disregarded as basic or unrefined. Ultimately, the documentary serves as a tribute to the land, the people, and most importantly, the great food that is waiting to be discovered.”

-Ivy Pottinger-Glass

Full Review Here

Chef’s Diaries: Scotland is playing on May 22nd at 4:30pm at Majestic Bay, June 4th at 6:30pm at SIFF Uptown, and June 5th at 4:30pm at SIFF Egyptian.

For Sama

“The film is narrated by al-Kateab as she looks back at her time in Syria and addresses her daughter, Sama. From the day the revolution breaks to the day she flees the country, al-Kateab traces the important moments in her life that happened in the middle of the war, and what that means for the future of the country.

Through violence, injury, and death, al-Kateab and Watts paint a bloody picture of the Syrian Civil War, but they ground it with the people who experience the conflict. To see a city full of life devolve into complete ruin is unworldly, yet al-Kateab speaks about her country with such tender affection that you come to understand why a family would stay—even with young children. Self-sacrifice and revolution are married as revolutionaries like al-Kateab and her husband put everything on the line and stay in Syria with the hope that their children will not have to live under Bashir al-Assad. But as the war rages on, the film transitions into the possibility that the children themselves will have to bring about change, a somber and sympathetic message for a country whose fate is uncertain.”

Read Our Full SXSW Review Here

4.25/5 STARS

-Greg Arietta

For Sama is playing June 2nd at 6:30pm at AMC Pacific Place and June 3rd at 4pm at SIFF Uptown.

The Art of Self Defense

“The film centers on Casey (Jesse Eisenberg) who is your average, awkward, white collar accountant. One evening on his way back from the store, he is the victim of a brutal mugging that leaves him shaken and traumatized. Determined to muscle up and prevent a future attack, his search for self defense leads him to a karate dojo. There he quickly ascends rank and becomes a star pupil of Sensei (Alessandro Nivola), but what he soon learns is there is more to the dojo and his training than he first thought.

The film thrives at dry-pan, dark humor. The script is tack sharp when laughing at things that come off as bizarre, strange, or absurd, but presented as totally normal in the narrative. This sense of humor gives the film an edge to cut deep into the hyper-masculine practices in our own society that we have adopted and normalized. Ditching your plans to learn French because the nation is perceived as weak, or refusing to pet your dog as to not show weakness through compassion are just two of the several dozen sharp witted and exaggerated jokes that Stearns writes into the script to build his hyper-masculine world of the dojo. What are initially pitched as methods of improving your karate abilities are underscored with just the right amount of out-there, rational thinking that makes it funny to laugh at until, eventually, it isn’t anymore, and we realize, ‘Oh … this has taken a dark turn.’”

Read Our Full SXSW Review Here

3.75/5 STARS

-Greg Arietta

The Art of Self-Defense is playing May 31st at 6:30pm at the SIFF Egyptian  and June 1st at 3:30pm at SIFF Uptown. Director Riley Stearns is scheduled to be in attendance for both screenings.

 

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Jim Saunders’ Top Ten Films of 2018

The year 2018, for all of its ups and downs, has been one of the best years in film that I’ve lived through in my short 18 years on this planet. Looking back, there were plenty of releases that were very exciting, and narrowing down my 10 favorite films of the year has been a rewarding, albeit difficult, experience. I was generous with five-star ratings this year, so there were plenty of movies I loved that didn’t quite make the cut. So before I share my ten favorites of 2018, here are some honorable mentions: Beautiful Boy, Eighth Grade, First Reformed, First Man, Annihilation, Suspiria , You Were Never Really Here, Creed 2, The Miseducation of Cameron Post, Minding the Gap, and Bad Times at the El Royale.

And without further ado, here are my top 10 films of 2018:

10. Widows (Steve McQueen, 2018)

Featuring a superb cast, confident direction, and a gripping third act, Widows is everything you’d want from a heist film and so much more. It’s a shame to see the surprising lack of awards attention for this film, especially given Steve McQueen’s stellar track record and the excellent ensemble cast. Nevertheless, Viola Davis has cemented her place as one of the best actors this decade with this role, and the lack of nominations shouldn’t discourage audiences from seeing this excellent, female-driven drama.

You can read my full review of Widows here.

9. Shoplifters (Hirokazu Kore-eda, 2018)

Shoplifters is a tragic drama masquerading as a feel-good film; it warms your heart and then proceeds to shatter it into a million pieces. The film’s greatest strength is making you genuinely feel for these morally ambiguous characters; not through emotional manipulation, but by portraying them as utterly human and showcasing their vulnerabilities and flaws. The film feels like a slice-of-life, and it is the portrayal of these characters’ struggles that makes this film truly special.

You can read Cynthia Li’s full review of Shoplifters here.

8. Paddington 2 (Paul King, 2018)

Paddington 2 is the film that unexpectedly came to unite us in our politically divided landscape. It speaks to the power of kindness and human decency that we, unfortunately, need now more than ever. Outside of being utterly cute and wholesome, Paddington 2 contains a funnier and smarter script than it has any right to have, breaking free from the oft-disrespected category of “family film.” Paddington 2 transcends those labels entirely. It’s not “great for a kid’s film” or “great for what it is,” it’s just great. Paddington is certainly the hero we need, if not the one we deserve.

7. If Beale Street Could Talk (Barry Jenkins, 2018)

If Beale Street Could Talk is a gorgeous film that shares the power of love and hope in the face of adversity. It speaks to the generations of black men torn from their families due to the institutional discrimination that continues to be perpetuated. It’s an important film that demands to be seen, and it is a timeless story that will both resonate and devastate your very being. There’s so much more to say about the film, but the main takeaway is this: It’s easily one of the best films of the year, and Barry Jenkins has still got it.

You can read my full review of If Beale Street Could Talk here.

6. The Favourite (Yorgos Lanthimos, 2018)

Ever since I watched Yorgos Lanthimos’ indie hit The Lobster, I immediately knew this man was making films unlike anyone else in the industry. My impressions were once again validated with the release of The Favourite. Utilizing his darkly eccentric humor to full effect, this film is one of the most unique period pieces I’ve seen to date. As someone who has never been a big fan of period pieces, this film captivated me throughout its runtime. It’s excellently paced, well-written and well-directed, and contains three of the best performances of the year from Rachel Weisz, Emma Stone, and especially Olivia Colman, whose childlike mannerisms are equal parts hilarious and tragic. Plus, that ending is perfection.

You can listen to UW Film Club’s podcast on The Favourite here.

5. Hereditary (Ari Aster, 2018)

Hereditary is a slow burn that bursts into flames and sets the house on fire. More than just a simple horror film, Hereditary explores the devastating nature of grief and the substantial rupture it creates within a family unit. It’s a drama that builds tension and exploits the psychological fear caused by the unknown presenting itself within the familiar; it’s a bizarre, anxiety-driven experience carried by a career-defining performance from Toni Colette. Though the third act plays out like much more of a conventional horror movie in comparison to the first two, it is terrifying nonetheless and leaves you disturbed beyond belief. It is the best horror movie of 2018, hands down, and Ari Aster has already proven himself as a master horror director on his first outing.

You can read Greg Arietta’s review of Hereditary here.

4. Sorry to Bother You (Boots Riley, 2018)

No other film from 2018 left me as utterly speechless as Sorry to Bother You did. This film is one of the most off-the-wall and hilarious satires in years, and the sheer ambition of writer/director Boots Riley blows me away. It’s imperfect, yes, but its strengths still far outweigh its flaws. Sorry to Bother You is an absolutely bonkers film I didn’t know I needed in my life, and I can’t recommend it enough.

You can read Greg Arietta’s review of Sorry to Bother You here, and you can listen to UW Film Club’s podcast on the film here.

3. Roma (Alfonso Cuarón, 2018)

Roma is, without a doubt, the most aesthetically appealing film of the year. Shot in black-and-white and making good use of the digital 65mm cinematography with a multitude of grandiose one-takes,  Roma is truly a sight to behold. But more than that, the film shows Alfonso Cuarón at his absolute best. Dedicated to the resilience of women in the face of emotional and physical turmoil, Roma is one of the most affecting dramas of the year. If you have a Netflix account and you haven’t seen this yet, you owe it to yourself to check out yet another fantastic film from director Alfonso Cuarón.

You can read Greg Arietta’s review of Roma here.

2. Blindspotting (Carlos López Estrada, 2018)

This film is everything Green Book wanted to be and more, and it breaks my heart to see this masterpiece getting absolutely no awards attention. Blindspotting is an exploration of gentrification and racial identity that blends comedic and dramatic elements so eloquently and in a way unlike most films I’ve ever seen. One moment I would be laughing and the next I’d be physically trembling; it’s one of the most viscerally engaging film experiences I’ve had all year. The chemistry between the leads (Daveed Diggs and Rafael Casal) is captivating, and their dynamic plays thoughtfully and incredibly well into the themes of the film. Blindspotting is designed to provoke hours of conversation. It’s a provocative work of art that deserves way more attention than it got.

1.  Spider-Man: Into the Spider-Verse (Robert Persichetti Jr., Peter Ramsey & Rodney Rothman, 2018)

Spider-Man 2 has long been my favorite superhero film, and also one of my favorite films ever. Beyond being incredibly entertaining, its narrative and character work were surprisingly poignant, and it defined what a superhero story could be while still retaining its charm and levity. I never would have expected that my favorite film of 2018, and my new favorite superhero film, would be an animated feature from SONY. Wow. Jokes aside, Spider-Man: Into the Spider-Verse is fantastic in every way imaginable. It feels so refreshing and ambitious in the same year as Infinity War (“the most ambitious crossover event in history”). A particular highlight is its unique animation style, which is unlike anything I’ve ever seen in a Western animated film, mainstream or otherwise. With an intelligent, humorous and touching script and a true understanding of the character(s) of Spider-Man, Into the Spider-Verse is my favorite film of 2018.

You can read Sierra Stella’s review of Spider-Man: Into the Spider-Verse here.

Cynthia Li’s Top Ten Films of 2018

This was the first year that I actively saw new releases in the theater rather than waiting for them to come out on streaming services. While MoviePass was still a functioning entity, there were weeks in which I watched a new film every day. However, with that gone along with 2018, it is time for me to look back on my favorite films of 2018. Before I jump into my list, I have to briefly give honorable mentions to First Man, Minding the Gap, Incredibles 2, Spider-Man: Into the Spider-Verse, You Were Never Really Here, First Reformed, Annihilation, Blackkklansman and If Beale Street Could Talk. Honestly, I could have made a Top 20 list, but here are my Top 10 films of 2018:

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