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Review: Won’t You Be My Neighbor? Offers an Emotional Look at Fred Rogers

This film was seen at the 44th Seattle International Film Festival. The film is now in wide release in Seattle.

In 1968,“Mister Rogers’ Neighborhood” launched and ushered in one of the longest running kids programs with over 900 episodes across 31 seasons. The show was a profound take on child’s television for the time, offering low production values, but earnest messages that helped with early development. Behind it all was Fred Rogers, a Presbyterian  minister who saw how television of the time was negatively influencing younger audiences with sought to do something about it. 

For 33 years, Rogers created television that raised generations of kids to be the best version of themselves, and Morgan Neville’s (20 Feet from Stardom) latest documentary, Won’t You Be My Neighbor?, aims to tell the story of everyone’s favorite neighbor. Using a combination of interviews, archived footage, and animated segments, Neville is able to dive deep and provide an introspective into Roger’s life. Doing so, gets at the heart as to how important Rogers was not only to children, but also society at large.

As with most good documentaries, there’s a revelatory quality to them that enlightens you about a subject matter. In this case, you really get a sense of how influential Rogers was. Rogers effectively raised an entire generation of children with his show, but you would never know that as a kid who grew up with him. At a young age, you may have watched “Mister Roger’s Neighborhood” and kept the lessons you learned, but never know the context of Rogers himself or how he was presenting wholesome, progressive values in an era when it was radically uncommon. What this documentary does so well is shine light on Fred Rogers’ ability to encourage children to to understand empathy, to be loved, and to be the best version of them self all from a single television program and one man’s dedication to improving the well being of children around the nation.

From his kind hearted nature revealed by behind the scenes stories to how he saved government funding for PBS, Won’t You Be My Neighbor? thoughtfully lays out key moments in  Roger’s life and not only translates them to character moments for Rogers, but also attaches a sentiment to them. Each ‘section’ of the film deals with a certain theme ranging from love and acceptance to race and war, and with each, you add another dimension that builds to more wholistic image of who Rogers was as a person.

The doc is incredibly powerful at converting these themes into messages that echo into 2018. Even though the show started in 1968, there are stark parallels that are almost uncanny in resemblance to today. King Friday wanting to build a wall to prevent change, Nixon wanting to defund PBS for its counter opinions to the administration, and the state of decency within the public are all represented in the show and brought up in the doc to expose some inherent reality we experience today.

With each aforementioned ‘section’ of the film, you’ll find yourself holding back the tears as periodic moment converges on an emotionally rich touching point. These points often relate to Rogers’ character as we see how much a good man he really was and frequently tie into the relevant themes noted above. Since its often so diverse, one moment you’ll be crying at Roger accepting a gay man despite his religion and the next you’ll be tearing up when you hear college students profess their gratitude to him. It’s hard to believe the film can illicit tears at so many moments, but it earns them, as it conveys a broad array of emotions like grief, love, and anger in a very concise package.

But of course this is a documentary about Fred Rogers, and one of its stronger elements is illustration of the unsung hero that is Rogers. Using first hand experiences of people who knew Rogers, the doc gives audiences an image of a man that had an unrivaled passion for helping children understand and interpret their emotions, and it shines light on how Fred Rogers influenced generations of kids to be the best version of them selves. Being able to connect with children in ways others could not and using his platform as a vessel for positivity, progressive ideas, and social acceptance are the ways in which Rogers shaped his audience to be better people. As one of the most influential personalities on television, Neville accurately paints the positive impact he had on them and the legacy he left because of it. In many ways the documentary lets us experience our own emotions by observing the man who helped us understand them.

It maybe hard to draw with words, but the weaving of relevant themes, emotional moments, and ovation worthy depiction of Rogers all mix and mingle incredibly well within Won’t You Be My Neighbor?. Collectively, the film uses these elements to showcase a man that made us better people and makes us strive to be more empathetic human beings. Rogers may have touched us in ways we may not recognize, but we certainly carry his lessons with us, and in a world as bleak as this, it’s nice to know there’s always someone out there as good as Fred Rogers.

4.5/5 Stars

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Review: The Moral Quandaries in the Uneven Heist Film American Animals

This film was seen at the 44th Seattle International Film Festival. The film is now in wide release in Seattle.

They say imitation is the sincerest form of flattery, but in the movie business, it can be a tricky beast. All great films are built off those that came before it, but at what point does imitation become problematic? Queue Bart Layton’s American Animals.  American Animals is an example of when a film’s cinematic language tries too hard to be like something else. The film utilizes a variety of techniques but in doing so, it creates an inconsistent film that doesn’t find itself until later on in the film when it creates a consistency with its stylings.

American Animals depicts the true to life story of Spencer Reinhard (Barry Keoghan) and Warren Lipka (Evan Peters) are two friends who are tired of the same old mundane lives they carry out everyday and hope that one day they will achieve something “extraordinary.” One day while taking a tour of the Special Collections Library at Transylvania University, Warren notices that $14 million worth of rare books are protected by one librarian. He shares this with Warren and the two begin hatching a plan to steal a first edition of John James Audubon’s Birds of America and Charles Darwin’s Origin of Species that will set them up for life, but while trying to pursue something bigger than themselves, they realize the moral implications of their actions.

Side by side of the real Warren with Evan Peters’ Warren.

The film suffers from an identity crisis for the first two thirds of the film, and it is really prevalent in the films first act. Between the inter-stitched documentary-style clips of the actual capers, the fourth wall breaking narration, the inconsistency of narration, the light hearted jovial tone, and the serious tone, it’s hard to pin down exactly what the film is trying to be. Is it trying to be “I can’t believe these idiots are pulling off a heist” film like Logan Lucky? Is it a serious heist film akin to Heat? Or is it mistrustful heist film like Reservoir Dogs? The film doesn’t seem to know itself for the most of the run time as it tries to create a hodgepodge of other heist films. 

The film wears its influences on its sleeve, going as far as to have an isolated shot of rented heist films like Rififi that Warren and Spencer watch to learn the ins and outs of the business, and even a sequence that directly replicates the suave stylings of Steven Soderburg’s Ocean’s Eleven, complete with Elvis music and all. Part of this appreciation can be cited as the reason for being stylistically imprecise. Pulling from so many inspirations has caused a cavalcade of inconsistent moments that work on their own, but when strung together, result in an uneven film.

However, when the heist begins, American Animals actually begins to find its footing. Despite the jarring whiplash that occurs when the film turns into a very serious (almost dark) heist film, the newfound tone in the film helps it emerge from the shadow of its inspirations and declare its differentiation. The heist itself is handled with extreme gravitas; as the gang realizes what they are actually doing —not only to their lives but that of those around them—the tension ratchets up and sustains itself all the way until they get caught. Much of this is accomplished when the film finally nails down its tone and strips away the inspirations it was beholden to for the first two thirds of the film. By exploring the moral quandaries of their actions within a cohesive tone, the film hits its stride and shows that it doesn’t need to imitate anyone else.

What is commendable about this film is how much it tries to replicate from other films, but in doing so, it creates an inconsistent tone. Whether it be serious or funny, straightforward or deceptive, or realistic or hyperbolized, Layton tries a mishmash of techniques in an effort to pay homage to the films that inspired it while at the same time making American Animals standout. The film is indebted to the films that came before it, but it’s not until the film stops imitating something else does it become something worth watching.

Score 3/5

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Review: The Conflict of Institutional Faith Versus Individual Freedom in Disobedience

This film was seen at the 44th Seattle International Film Festival. The film is now in wide release in Seattle.

After a quick turn around from his Oscar winning film A Fantastic Woman, Sebastian Lelio is back with his latest feature: Disobedience. While his last film dealt with transgender prejudice set across the loss of loved one, Disobedience depicts a lesbian couple set against a religious institution that doesn’t approve of them. At the center of the film you have a couple who love each other and want to be apart of the community that raised them, but all the while feel rejected for who they are. What makes this film so special is how it shows nuances between the desire to be accepted by those who resent you while all the same wanting to leave and be yourself.

The film follows follows Ronit Krushka (Rachael Weisz) as she returns home after the unexpected death of her father. There the Jewish community she grew up with shuns her for the relationship she had in her youth with Esti Kuperman (Rachael McAdams), a a woman now married to a prominent Rabbi in the community. While paying her respects to her father, she reconnects with Esti and the two rekindle their relationship in the face of the institutional and social intolerance that aim to keep them apart and stifle their affection.

This movie is as if the third act of Moonlight was expanded into its own movie. As Ronit and Esti cross paths years later, we not only see how they react to each other, but also the conflicts they face when they upend the norms set before them in their daily lives. The story is set within an Orthodox Jewish community steeped in tradition and a major element of the film is exploring the relationship between Ronit and Esti and how their identities in the community are complicated by their lesbianism. The desire to feel like you belong, but all the while being pushed away is a dynamic that plays out over the course of the film as characters (particularly Esti) are pulled towards general acceptance and their true identity. 

While the film likes to align itself with Ronit for a majority of the film, the audience will find itself compelled by Esti’s character more often than not. Ronit has already found her own sovereignty; she moved away from her home, lives in New York, and doesn’t live under the rules of the Jewish religion like Esti. Her arc is more about reconciling her past with a community she still wants to have in her life, but which continually rejects her with each attempt she makes to reconnect, than attempting to declare her own freedom. That is not to say Ronit’s character is disinteresting, but rather the complexity on display with Esti’s character is much deeper. After their young romance, Esti has conceded to her religious life, giving up her love in exchange for communal acceptance. Her internal conflict is what really drives home the film’s message of institutional faith versus individual freedom and sexuality, plus it helps that Rachael McAdams gives a smashing performance that is well nuanced and multidimensional, and one that I cannot emphasize enough. 

While it is easy to dismiss those that resent you, Lelio is able to portray the emotions that tie you to home. You don’t want to give up on those you grew up with, but it’s hard to do so when those same people don’t like you for who you are. It’s a sophisticated notion, and while it can feel lumbering at times, Disobedience accurately depicts a lesbian relationship in the face of institutional rejection and does so with a level of care that helps create distinguished and nuanced themes from your regular romance.

3.75/5 Stars

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SIFF’s VR Zone Offers a Glimpse of Virtual Reality’s Cinematic Future

Before stepping into SIFF’s VR Zone, staffers are quick to warn attendees that the festival’s virtual reality showcase is not an arcade arena à la Ready Player One, but rather, a peek at the future of interactive and immersive filmmaking. While cinema has had over 100 years to refine itself and create a general formula for success, VR is just now entering the scene and very much experimental. The techniques and elements included in the VR experiences vary incredibly as each filmmaker choses to integrate different ideas and levels of interactivity into their films. This diverse development is evident in how each film handles space, interplay, and style, and with each experience demonstrating something new.

Even though a trip to the VR Zone lasts 90 minutes, it is not nearly enough time to cover all the booths, even with two people. There are 28 experiences to be had, and they range from narrative based filmmaking to dance routines, avant-garde art collections to interactive games, and music videos to news segments. With that being said, we will give a run down of what we saw, our impressions, the highlights, and our takeaways.

To preface, this was our first experience with VR and both of us walked away impressed. At each booth, it is difficult not to get caught up in VR’s potential, but that is not to say that the works shown in the VR Zone don’t feel complete or artistically fulfilled. If you can look past the color fringing, screen door effect, occasional motion sickness, or scuba-goggle field of view, you find yourself in worlds unlike your own. The most impressive films featured high end headsets that have higher pixel densities for clarity and more processing power to render the worlds, but regardless of hardware, every station offered an experience that was unique and different from current cinema.

One of our favorite shorts was titled “Queerskins: A Love Story” created by Illya Szilak and Cyril Tsiboulski. The viewer rides in a Cadillac alongside the Missouri parents of a young man who has died of HIV/AIDS in the 1980’s. Before entering the virtual reality space, there is a physical room curated with the man’s items and mementos, pictured below. The car ride is an opportunity to view his personal possessions, reflect on a life taken too young, and experience grief alongside a confused and challenged mom and dad. VR is aptly used as a tool to make the narrative more compelling and substantial.

The set of “Queerskins: A Love Story.”

Another fascinating narrative piece was “The Visigoths”, which through camera perspective and use of technology created sentimental nuance in an examination of a romantic relationship.  “Where Thoughts Go” was one of the most interesting interactive pieces. It uses the contributions of hundreds of prior viewers to bolster the experience of the viewer. In the real world, the viewer is placed  in a quiet, personal setting that creates a sense of serenity, much like your room or a place of comfort. In the virtual reality world, one hears the answers to five intimate questions from previous visitors, before being prompted to share their own responses as well. Responses are saved, and passed on for the next participant. “Where Thoughts Go” is a communal piece that candidly and naturally grows over time, effectively eliciting meaningful emotional reactions.

In terms of music, we experienced two music videos: The Posies’ “Unlikely Places” and Billy Corgan’s “Aeronauts”. The former was a stationary camera that had various band members overlaid at different opacities wandering about a game room. The viewer’s position doesn’t move, but is instead confined to a single stationary position that evokes Zbigniew Rybczynski’s Tango.  The later had Corgan playing on a piano as various digital sets flew by and transformed into various artistic locales. Both offered passive experiences for VR, but showcased how music videos could be made within the medium. They are simple concepts for a VR film, but make one curious about what a group like OKGO has been working on in the VR space.

Jamie interacting with thoughts inside of “Where Thoughts Go.”

In terms of effectiveness, Al Jazeera’s “7 Stories for 7 Years” news piece transports the viewer to a Syrian refugee camp and gives a glimpse of the hopes and dreams of seven young people living there. Films like this generate a sense of empathy when virtually transported into their world and give the viewer a sense of their lives, environment, and living situation. Al Jazeera’s melding of news and virtual reality has the potential to prompt viewers to be more understanding of conflicts and issues foreign to them.

We also enjoyed “Homecoming: Seduction” which explored addiction through dance, “Everything Flows” which created an enhanced artistic and abstract world, and “The Other Dakar” which used experimental film making and production design to depict Dakar community. VR has so far been most prominent in gaming, and “Mono: Blackwater” gave us a glimpse of VR gameplay with three interactive mini-games, while “Maiden Flight” gave us the feeling of vertigo as we took a ballon ride above a medieval village.

The variety on display is fascinating, and perhaps inspirational as one considers how VR and cinema may merge. SIFF staff are passionate about the amazing new ways ideas can be illustrated, and how that will empower a new generation of filmmakers from every background to create new stories. After just a short 90 minute visit and a handful of demos, it’s hard not to share their enthusiasm.

Over the course of the festival you can check out the VR Zone at AMC Pacific Place. Each session last 90 minutes and costs $20 for members ($25 for non members). Use code UWVR18 at checkout and your ticket will be reduced to $15.

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The Student Guide to SIFF

The 2018 Seattle International Film Festival is less than a week away and wither 400 films from around the world and 246 features, it can be quite daunting to take it all in, especially for anyone’s first go at the festival. That’s why we made a handy dandy guide to help navigate the festival in terms of not only the films you should be on the lookout for, but also periphery elements that will help with the overall experience. There are a slew of films you can see at the festival before they are commercially released, but 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 through finals week 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. 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 usually $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.

*Note: Films like Sorry to Bother You and Don’t Worry, He Won’t Get Far on Foot are not on this list because they are currently on standby, but would otherwise be here.

THE MISEDUCATION OF CAMERON POST: Fri 5/25 6:30pm SIFF Uptown | Sat 5/26 3pm SIFF Uptown

The story of gay high school kids in a conversion camp refusing to change who they are, chock full of heartache and hope. Simultaneously charming and disturbing, and not to be forgotten.

THE DEVIL’S DOORWAY: Fri 6/8 11:55pm SIFF Egyptian | Sat 6/9 8:30pm SIFF Uptown

Each year SIFF hosts a number of midnight movies each year, spotlighting the best of the horror and WTF?! selection that is sure to be a treat for horror fans. (Writer/Director Aislinn Clarke scheduled to attend!)

EIGHTH GRADE: Sat 6/9 6:30pm SIFF Egyptian | Sun 6/10 12:30pm SIFF Uptown

We all had those awkward years in middle school, and comedian Bo Burnham makes his film writer/director debut perfectly encapsulating that experience. Modeled after Burnham’s own experiences yet dodging all the clichés of the coming-of-age story, this one certainly hits home, and hits hard.

WON’T YOU BE MY NEIGHBOR?: Sat 5/26 6pm SIFF UPTOWN | Sun 5/27 at 1:30pm | Both screenings will have director Morgan Neville in attendance.

Won’t You Be My Neighbor? is a documentary that tells the story of everyone’s favorite neighbor: Fred Rogers. What this documentary does so well is shine light on how Fred Rogers influenced generations of kids to be the best version of our self. Director Morgan Neville is able to illicit an array of timeless emotions that’ll have you in tears throughout, and you really get the sense of how important Rogers was to not only children, but also to society at large.

DISOBEDIENCE: Sun, 5/20 6:45 PM SIFF Cinema Egyptian | Mon, 5/21 6:30 PM Ark Lodge Cinemas.

Disobedience is Sebastián Lelio’s  (A Fantastic Woman) latest that  follows Ronit (Rachael Weisz) as she returns home to England and she reconnects with Esti (Rachel McAdams), a now married woman she had a relationship with in the past. The story is set within an Orthodox Jewish community and explores the relationship between Ronit and Esti in the face of institutional and social norms that aim to keep them apart and stifle their affection. It’s a powerful film that asks us how we balance belonging and freedom in our personal lives.

FOUND FOOTAGE FESTIVAL: Wed, 6/6 9:15pm SIFF Egyptian | Both Joe Pickett and Nick Prueher will be in attendance

Known for their antics on local news networks, Joe Pickett and Nick Prueher have compiled the weirdest clips from VHS tapes you’ve ever seen and presented them in a compilation for your enjoyment. It’s described as a collection of the “best-of-the-worst” and by our metrics, it seems like nothing short of a good time.

ARCHIVAL FILM SERIES:

If you’re a little more savvy with films and you’re a Film Connoisseur, you should check out SIFF’s Archival Film series where they bring back old films in restored formats. Of note, check out Belle de Jour, Sansho the Bailiff, and L’Inferno ft. a live orchestral score if you’re looking for some “oldies but goldies.”

OTHER NOTABLE FILMS:

We could write about dozens of films at the festival, so we’re gonna round it out with a list of other prominent films at the festival that you may be interested.

-Mantangi/Maya/MIA

-First Reformed

-Heart Beat Loud

-Thunder Road

-Blindspotting

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SIFF 2018 Capsule Reviews

The 2018 Seattle International Film Festival takes place from May 17th to June 10th and UW Film Club is covering as many films as possible so you know which films you should see or might peak your interest! Below will be a regularly updated feed of our capsule reviews from festival films with the newest ones at the top. Check back regularly to see whats new!

UPDATE: As films are released, this article will be updated with links to their full reviews.

Thunder Road

Thunder Road expands on the humor, message, and heartbreak explored in the magnificent original short film through the force of writer, director, and star Jim Cummings. Legitimately laugh out loud funny, Thunder Road greets the viewer with an onslaught of jokes from start to finish, while still effectively conveying themes of grief and inadequacy. The film’s conclusion feels rushed narratively, but also in part because Thunder Road is so funny the end comes too soon. Hilarious, hysterical, and heartrending, Thunder Road is among the best SIFF 2018 has to offer.

4.5/5 Stars

– Jamie Housen

Thunder Road will play on Friday, June 8th at 3:45pm at the SIFF Cinema Uptown.

Three Identical Strangers

Three Identical Strangers is the type of documentary that could easily go viral. It is riveting from start to finish, with gripping twists and turns driven by a true, larger than life story. Three Identical Strangers is well crafted, bringing together historical news footage, home videos, and uncompromising interviews with many involved parties, and repurposing them throughout the film for varying effects. The viewer should enter with as little background knowledge as possible, as the film will launch them on an emotional and revelatory rollercoaster.

4/5 Stars

-Jamie Housen

Three Identical Strangers will have a limited release on June 29th, and will be broadcast on CNN later this year.

Tyrel

Tyrel disorients the viewer in style and in subversion of expectations. Featuring an excellent performance from Jason Mitchell as the sole black man vacationing with a group of white friends the weekend of Donald Trump’s inauguration, viewers will enter with bated breath anticipating the scenario’s potential disasters. The film’s theme is steered by character interaction, atmosphere, and erratic camerawork. This style creates extended sequences with little activity, making the 86 minute film feel long. Tyrel may not develop a concise, transcendent conclusion, but leaves a lasting and effective impression.

3/5 Stars

-Jamie Housen

Tyrel will have a limited release later this year.  

Don’t Worry, He Won’t Get Far on Foot

Gus Van Sant’s latest tells the tale of recovery and redemption through the life of John Callahan, a real life cartoonist who becomes a paraplegic after a drunken car accident. The film’s biggest enemy is its construction as it goes for a narrative that hops around and often wrangles with itself over consistency, but luckily it’s biggest strength is its tentpole performances from Joaquin Phoenix, Jonah Hill, and (a very minor) Jack Black who bring strong meaning to life even after being dealt a shitty hand.

3.75/5 Stars

Read our full review here.

-Greg Arietta

You can catch DWHWGFOF at SIFF’s Closing Night Gala on Sunday, June 10 at 6pm at the SIFF Egyptian, though it is currently on Standby. 

Brewmaster

Brewmaster is a documentary that covers every college student’s favorite drink: beer. While weaving in interviews with industry professionals, the doc mainly follows Drew Kostic, a former lawyer who is now pursuing his career as a brewer, and Brian Reed, an educator trying to become a Master Cicerone, as they try to realize their dreams. Even though the film isn’t revolutionary in terms of profound meaning, it is still fascinating to watch people achieve a sense of craftsmanship for something they truly love in a blossoming industry.

3/5 Stars

-Greg Arietta

You can catch screenings for Brewmaster on Friday, June 8 at the SIFF Uptown at 6:30pm and Sunday, June 10 at AMC Pacific Place at 1:45pm.

The Miseducation of Cameron Post

The Miseducation of Cameron Post brings pitch black humor that transitions seamlessly into heartache. It follows a teenage lesbian Cameron, who is sent to an evangelical gay conversion camp, growing resilient and self-determined with the company of two friends, played by Forrest Goodluck and Sahsa Lane. The film engages with painful subject matter through a thoughtful and memorable coming of age narrative. With a powerhouse cast of teens, it walks the line between hope and devastation.

4.5/5 Stars

-Megan Bernovich

There are no more screenings for this film, but you can catch it in Seattle when it releases on August 3, 2018.

The Devil’s Doorway

In The Devil’s Doorway, director Aislinn Clarke manages to breathe a little freshness into the exhausted tropes of the found footage genre. Set in Northern Ireland the 60s, the footage is meant to be that of a young Catholic Father John Thornton sent with his elder Father Thomas Riley to a Magdalene Laundry to investigate and document a supposed miracle. The film is thoroughly postmodern horror, with thinly veiled social critique at play. Clarke taps into the societal anxieties that gives horror film power over us, particularly a biting critique of the religious authority and institutional policing of bodies. As a whole, The Devil’s Doorway makes competent use of the found footage style while provoking a larger conversation about women’s rights while packing in a couple gut wrenching sequences along the way.

Read our full review here.

4/5 Stars

-Megan Bernovich

All screenings of The Devil’s Doorway have past, but you can find it in limited release later this year.

Mutafukaz

Mutafukaz is a Japanese anime inspired, Shakespearean animated French film that takes place in a dystopian version of Los Angelos. If that sounds like one of the most wildest pitches you’ve heard of, that’s because it sort of is. Drawing inspirations from many mediums, Mutafukaz uses a variety of designs and techniques to depict the frantic and zany hero’s journey of Angelino. While the plot is by the numbers, its style is so unique because it borrows from Japanese, French, and American influences, creating a visually stunning film that always surprises you with how clever it can be. If anything, the kooky world of Dark Meat City lends itself to even crazier antics, but for part one, it exhibits a great deal of swagger. 

3.5/5 Stars

-Greg Arietta

You can catch screenings of Mutafukaz  on Tuesday May 29 at 9:30pm at the SIFF Egyptian and Thursday, May 31 at 9:30pm at the SIFF Uptown.

Blaze

Blaze is Ethan Hawke’s directorial debut biopic that follows famed country singer Blaze Foley. Told via three inter stitched timelines, the film has an easy going nature to it that matches the carefree artistic nature of Foley himself. The film uses the Foley’s life as a vessel for life’s trials and tribulations; as Foley tries to be a country legend, he faces challenges that occupy everyday life such as love, drinking, and career struggles, but the way in which the film carries itself is too often long in the tooth.

3/5 Stars

-Greg Arietta

You can catch screenings of Blaze on Saturday, June 9 at SIFF Uptown at 3:15pm or at the Tribute to Ethan Hawke event on Friday, June 8 at the SIFF Egyptian at 7:30pm.

Sorry to Bother You

Sorry to Bother You tackles an array of social issues such race, labor, colonialism, capitalism, and inequality in a science fiction comedy package. The result is a very clever film that often spreads itself too thin, but paints a hyperbolized version of society as a whole that underscores the injustice in our own. The film’s broad strokes can leave it feeling unfocused and mirky especially by the end when the film gets progressively weirder and weirder, but I can say I enjoyed the social reflection of it all.

Read our full review here.

3.5/5 Stars

-Greg Arietta

You can catch this film at SIFF’s Centerpiece Gala at the SIFF Egyptian on Saturday, June 2 at 5:30pm, but it is currently on standby.

Nancy

Nancy is small film with intricate notions of what it means to connect with others. At its heart, we have Nancy who feels alienated from the world, but also compelled to connect emotionally in the shadow of her rejection, and to do so, she creates fake personas. Director Christina Choe dials in on the longing for emotional bonds and writes a narrative that is empathetic while also disturbing. Part drama and part mystery thriller, Nancy depicts the necessity for human connections through lies that become reality for the titular character.

Read our full review here.

3.5/5 Stars

-Greg Arietta

Both screenings of Nancy have past, but you can catch it in Seattle later this year.

Hearts Beat Loud

Hearts Beat Loud follows Frank Fisher (Nick Offerman) and his daughter Sam (Kiersey Clemons) as one of their songs becomes famous. As Sam prepares for college, Frank must learn to let go of the past or hold onto it. The film’s biggest issue is how contentious the father-daughter relationship can be. Nothing is really learned by Frank and only consolations are made, making for some unsatisfactory outcomes. There’s nothing that completely derails the film, but it’s also nothing to write home about either.

3/5 Stars

Read our full review here.

-Greg Arietta

Both screenings of Hearts Beat Loud have past, but you can catch it in Seattle on June 15th.

Godard Mon Amour

Godard Mon Amour is a romance story depicting the infamous Jean-Luc Godard and Anne Wiazemsky. As someone with no experience with Godard, I found the film function as an interesting depiction of a “false revolutionary” struggling to find acceptance in a rapidly changing landscape while balancing his romance with Anne. However, while talking with someone who has a knowledge of the director, I was told it was quite inaccurate and unrepresentative of the films Godard made. If you’re like me, this will best serve as a passable romance film.

2.5/5 Stars

-Greg Arietta

Screenings of Godard Mon Amour played at SIFF on Sunday, May 20 at 7pm at  AMC Pacific Place and Tuesday, May 22 at 9pm at Majestic Bay.

Blindspotting

In Blindspotting, Rafael Casal’s Miles says something along the lines of “people listen more when you make it pretty.” Casal and co-star/co-writer Daveed Diggs prove this in a rap driven film that is substantively fascinating and stylistically rich. Blindspotting succeeds in visuals, comedy, and tension. Some won’t like the bluntness with which it explains its symbolism, but that doesn’t detract from the film’s message. In true Hip-Hop fashion, the film feels postmodern; it’s one part Dope, one part Get Out, and one part Hamilton, yet still completely its own work.

4/5 Stars

-Jamie Housen

Blindspotting played on Saturday, May 19th at 6:30pm and Sunday May, 20th at 4:15pm at the SIFF Cinema Egyptian.

The Miseducation of Cameron Post

The Miseducation of Cameron Post follows Cameron who is sent away to a gay conversion therapy camp after being caught having sex in the back of the car with her friend. While there she meets Jane and Adam who collectively resent the practices going on at the camp. Stylistically assured and narratively strong, Desiree Akhavan’s sophomore film deconstructs the topically relevant institutional failing of these centers while going the emotional distance to generate tear jerking empathy. It’s a coming of age film that will sure to leave a lingering impression.

4.5/5 Stars

-Greg Arietta

You can catch screenings on Friday, May 25th at 6:30pm at SIFF Uptown and Saturday, May 26th at 3:00pm at SIFF Uptown. Actor Forrest Goodluck will be in attendance at both screenings.

Eighth Grade

Bo Burnham’s directorial debut follows Kayla during her final week of middle school as she tries to shake her pariah status. From start to finish, Eighth Grade is an incredibly authentic look at our tween years with all their quirks and oddities. It’ll make you cringe, but only because the scenes are all too relatable as the film holds a mirror to the audience and shows them how awkward and painful these years were while at the same time underscoring how seminal they were to who we are now.

4/5 Stars

Read our full review here.

-Greg Arietta

You can catch screenings for Eighth Grade on Saturday, June 9th at 6:30pm at SIFF Egyptian and Sunday, June 10th at 12:30pm at SIFF Uptown. Both director Bo Burnham and Elsie Fisher will be in attendance at both screenings.

On Chesli Beach

Harkening back to Elia Kazan’s Splendor in the Grass, On Chesli Beach tries to discuss the social pressures of love and marriage within a flash back narrative that is full of sexual tension and repression. The emotional tenants that connect major moments don’t always congeal and you’re often left wondering why certain characters act the way they do, so while the ending tries to play up your emotions, it fails to reconcile why characters end up where they are in the first place. 

2.5/5 Stars

-Greg Arietta

You can catch screenings on Friday, May 25 at Shorline Community College at 7:30pm or on Saturday, June 2 at SIFF Uptown at 3:00pm.

Catwalk: Tales from the Cat Show Circuit

Catwalk: Tales from the Cat Show Circuit depicts the unbelievable but true competition that takes place in the Cat Show Circuit. Full of gorgeous felines, this doc shows just how much people adore cats, and in spite of the desire to win, how owners put their love for cats above all else, resulting in a bondage between competitors. You’ll be surprised at just how obsessed but passionately caring the subjects of the film are, and if you love cats, this is made just for you. 

3.5/5 Stars

-Greg Arietta

You can catch screenings of Catwalk on Saturday May 19th at 3:30pm at SIFF Uptown, Sunday May 20th at 1:00pm at SIFF Uptown, and Saturday June 2nd at 3:30pm at the Shoreline. Director Michael McNamara will be there for the 5/19 and 5/20 screenings.

Ruin Me

Ruin Me follows a couple who go on a weekend trip called Slasher Sleepout, a murder mystery-esk puzzle game that mimics a slasher film. As the game progresses, the lines between the game and reality blur when an actual escaped murderer crosses their path. The film’s strongest element is its gaslighting effect, playing with what is and isn’t apart of the game, but there is nothing you haven’t seen before as it lives well within the shadow of its influences, but services as some passive entertainment.

2/5 Stars

-Greg Arietta

You can catch screenings of this film on Friday, June 8 at 11:55pm at SIFF Egyptian and Saturday, June 9 at SIFF Uptown. Producer Trysta A. Bissett and David Hendleman and Director Robert O’Twomney will be in attendance at both screenings.

The Bookshop

Sixteen years after the death of her husband, Florence Green decides to open a local bookshop and fulfill her dream. However, she encounters a series of hurdles as powerful locals try to shut the store down to protect its historical value. What is admirable about the film is Green’s integrity in the face of circumstance, especially considering that she is a female entrepreneur in the 1950s. However, the film’s positive message is wrapped in a very ordinary narrative that too often plays it safe and lacking something more daring.

3/5 Stars

-Greg Arietta

You can catch this film at SIFF’s Opening Night Gala on Thursday, May 17 at 7:00pm at Marion Oliver McCaw Hall.

Won’t You Be My Neighbor?

Won’t You Be My Neighbor? is a documentary that tells the story of everyone’s favorite neighbor: Fred Rogers. What this documentary does so well is shine light on how Fred Rogers influenced generations of kids to be the best version of our self. Director Morgan Neville is able to illicit an array of timeless emotions that’ll have you in tears throughout, and you really get the sense of how important Rogers was to not only children, but also to society at large.

4.5/5 Stars

Read our full review here.

-Greg Arietta

You can catch screenings of it on Saturday, May 26 at 6pm and Sunday, May 27 at 1:30pm. Both screenings are at SIFF Uptown and will have director Morgan Neville in attendance.

First Reformed

Written and directed by Paul Scrader (Taxi Driver, Raging Bull), First Reformed is a two hour Ethan Hawke spotlight. Hawke plays the pastor at a small, historic church in upstate New York. There he meets Mary (Amanda Seyfried) and her husband (Phillip Ettinger) forlorn by climate change. The film’s slow, methodical pace, static camerawork, and candid plot drive toward an escalating hum contrasting galvanization and despondency. Thematic elements are thought provoking, but the audience must suffer alongside First Reformed’s characters to fully grasp their significance and implication.

3/5 Stars

-Jamie Housen

See First Reformed at SIFF Cinema Egyptian on Friday, May 18th at 4:00pm or at SIFF Cinema Uptown on Tuesday, May 22nd at 7:00pm. 

We the Animals

We the Animals, from the Justin Torres novel of the same name, lets the viewer into the world of three young boys from a poor New York state family. Between small, meaningful moments the audience witnesses their developmental impact through visceral animation. Occasionally suffering from overly symbolic dialogue attempting to evoke the film’s literary origin, performances from Evan Rosado (Jonah) and Raúl Castillo (Paps) are otherwise powerful and authentic. We the Animals is intersectional, analyzing identity through a focus on poverty but considerate of its relationship to race and sexuality.

3.5/5 Stars

-Jamie Housen

See We the Animals on Friday, May 25th at AMC Pacific Place at 7:00pm with screenwriter Daniel Kitrosser in attendance or at SIFF Cinema Uptown on Saturday, May 26th at 12:30pm.

Boundaries

Boundaries is a comedic examination of strained familial relationships and the challenges of reconciliation. Christopher Plummer plays father Jack Jaconi to Vera Farmiga’s daughter Laura, and they are joined by Lewis MacDougall who plays Laura’s son Henry. Some jokes fall flat and there are moments of triteness, but the film succeeds by highlighting its performers. Plummer as a marijuana dealing 85-year-old is a unique premise that gives its leads plenty to work with on their road trip from Seattle to Los Angeles.

2.5/5 Stars

-Jamie Housen

See Boundaries on Friday, May 18th at Lincoln Square at 6:30pm or at SIFF Cinema Uptown on Sunday, May 27th at 5:30pm with director Shana Feste and star Vera Farmiga in attendance.

Waru

Waru is a truly unique piece. It is the combination of 8 short films directed by 8 female Māori directors and gives a voice to a population essentially unseen in cinema. The quality of these shorts varies significantly from vignette to vignette, but they respond to the same prompt through extended takes featuring devoted, hardworking, and fatigued Māori women. Standouts include Kiritapu and Mere. Ultimately these directors demonstrate the wide reach of tragedy on community and draw attention to compelling social issues that are likely very foreign to the viewer.

3/5 Stars

-Jamie Housen

See Waru on Friday, May 25th at AMC Pacific Place at 9:30pm, on Sunday, May 27th at Lincoln Square at 1:00pm, or at SIFF Film Center on Friday, June 1st at 6:15pm. Director Chelsea Winstanley is expected to attend the May 25th and May 27th screenings.

American Animals

American Animals depicts the true to life story of Spencer Reinhard and Warren Lipka who plan to break into the Special Collections Library at Transylvania University when they realize $14 million worth of rare books are guarded by one librarian. The film wears its influences on its sleeve and utilizes a variety of techniques, but creates an inconsistent styling because of it. That being said, when the heist begins, American Animals finds its footing as it explores the moral quandaries of the gang’s actions within a cohesive tone and structure.

3/5 Stars

Read our full review here.

-Greg Arietta

You can catch screenings of it on Saturday, May 19 at 9:00 PM at SIFF Cinema Uptown and Sunday, May 20 at 1:30 PM at AMC Pacific Place .

Disobedience

Disobedience is Sebastián Lelio’s  (A Fantastic Woman) latest that  follows Ronit (Rachael Weisz) as she returns home to England and she reconnects with Esti (Rachel McAdams), a now married woman she had a relationship with in the past. The story is set within an Orthodox Jewish community and explores the relationship between Ronit and Esti in the face of institutional and social norms that aim to keep them apart and stifle their affection. It’s a powerful film that asks us how we balance belonging and freedom in our personal lives.

3.75/5 Stars

Read our full review here.

-Greg Arietta

You can catch screenings of it on Sunday, May 20 at 6:45 PM at SIFF Cinema Egyptian or Monday, May 21 at 6:30 PM at Ark Lodge Cinemas.