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UW Film Club Podcast #43 – The Art of Self-Defense

“This is your podcast. It is yours, and it’s sacred. There’ll be a $15 charge to replace a lost podcaster.”

Showing first in Seattle as a hit at SIFF 2019, The Art of Self-Defense broke through the festival circuit and has now hit its wide release. Writer/director Riley Stearns has crafted a film that starts out a story of a meek, passive accountant seeking self-defense training that quickly morphs into a biting takedown of toxic masculinity and false leaders. We talk about its unusual tone and dialogue, Jesse Eisenberg’s performance, and even include an interview from Stearns himself, all in the 43rd episode of the UW Film Club Podcast! Check it out now!

On this episode: Cynthia Li and Jim Saunders.

You can find us on Facebook at /UWFilmClub, and on Twitter and Instagram @FilmClubUW. Make sure to rate, comment, and subscribe to our podcast on Apple Podcasts, Soundcloud, Spotify, and Google Play, and tune in every Monday for a new episode of the UW Film Club Podcast!

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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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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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SXSW 2019 Capsule Reviews

Over the last week we saw dozens of films at the South by South West Film Festival in Austin, Texas. There were highs and lows, but each one an experience onto itself. Over the next couple days we’ll be updating this article with capsule reviews and links to full reviews of films from the festival. Check back regularly to see whats new!

This SXSW coverage was done as a joint effort with Cinema As We Know It.

Booksmart

“Easily the strongest feature to come out SXSW is Olivia Wilde’s comedic directorial debut Booksmart. Kaitlyn Dever (Beautiful Boy, Short Term 12) and Beanie Feldstein (Lady Bird) star as Amy and Molly, two brilliant high schoolers on the cusp of graduation, dutifully prepared to chase their grand dreams of leadership and social change in college. All their focus and energy on school has earned them admissions to Ivy League Schools, but it isn’t until the eleventh hour they realize there may have been more to their teenage years than a grade point average. In a last ditch effort to redeem themselves, they plan to attend a wild high school party on their last night before donning their caps and gowns.

Booksmart operates as a coming of age story, which seems to be a running theme the past couple years with young directors on the rise. While on the heels of the excellence of Lady Bird and Eighth Grade, Booksmart’s wholehearted brilliance stands up there with the rest of them. Olivia Wilde’s fresh directorial influence comes with a willingness to break conventional rules and take risks that others more entrenched such a may not. Her style is clearly full of enthusiasm and love for the craft, and her perspective as an actor works as a catalyst for some inspired performances. The entire film is an embarrassment of riches with endless re-watch value. It will without doubt secure a place in audiences’ hearts as an instant classic. Much like Molly and Amy, Booksmart has earned its A+.”

-Megan Bernovich

Full Review Here

Adopt a Highway

“When you saw Marshall-Green as a robot cyborg kicking ass last year, I bet you didn’t think he had directing chops. And good ones at that. With the right balance of heart and empathy, he strikes a winning formula for a story about redemption in the face of extraneous circumstances. Adopt a Highway shows that despite all the things that can go wrong in our life and how dire it can get, with a little hope, humanity, and compassion, we can all get a second chance at life.”

-Greg Arietta

Full Review Here

The Peanut Butter Falcon

“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.”

-Greg Arietta

Full Review Here

Pet Sematary

“In examining what has been gained from this updated retelling, there is no avoiding the sacrifices as well. One major infraction is its explanation of the narrative world. Pieces of essential exposition have been cut, leaving holes that would confuse anyone not well familiarized with the 1889 film or original novel. It’s far too easy to miss the connection that the pet cemetery exists because of the semi-trucks, which is critical information to grounding the environment. This film also slacks on justification for the indigenous burial ground, which in other versions is identified as MicMac. Pet Sematary and Stephen King have always had an issue with appropriating and mythicizing Native American lore with the Wendigo, but in this instance it is especially generalized and simplified for easy use. The film entirely drops Jud’s story of the last time a mourning parent resurrected their child, leading to chaos and fatalities in the town. Beyond all of that, the character of Pascow is relegated to the background rather than the driving conscience of the story. His personality has been replaced by some ominous lines, hardly given a second thought. By rushing through proper explanations and disregarding the main moral compass of the film, it leaves the events feeling baseless and shallow.”

-Megan Bernovich

Full Review Here

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.”

-Greg Arietta

Full Review Here

Tales from the Lodge

Part of SXSW’s Midnighters programming, the film features a misfit college friend group, now grown up, with unsettled interpersonal relationships. As they awkwardly reunite to spread the ashes of their deceased comrade, this purpose is complicated by the fact that they are perhaps being hunted by a homicidal maniac. Tales from the Lodge is a portmanteau film, featuring a main plotline interspersed with scary tall tales as told by the characters. Each anecdote is directed by the actor telling it, with significant variation in tone and quality. The inconsistency is furthered by a central narrative that substitutes “gotcha!” moments for actual twists. Much of the character’s humor and dialog doesn’t quite come across for a non-British audience. One positive aspect is a solid cast of unconventional figures for a horror film.  For its small scope and budget, it’s a passable late-night watch.

-Megan Bernovich

Body at Brighton Rock

The film begins with strong potential to be a survival thriller about a young woman learning self-reliance and courage in a hostile wilderness. The discovery of a dead body is an intriguing hook, but execution grows weaker from there. The plot is somewhat disorganized and fails to explain some of its central plot devices, while saving others for reveals that come too late. While the heroine does fight for her life, there is never a revelatory moment of triumph, but rather a flimsy open-ended conclusion. The film’s visuals have integrity, with striking vistas and vibrant colors that make the watch worthwhile. The lesson to be learned here is that you can either make a good natural survival film or supernatural film, but from what I saw, not both at once.

-Megan Bernovich

The Gift: The Journey of Johnny Cash

This documentary takes a look at the internal life of the legendary Johnny Cash, whose unmistakable voice and vast career redefined American folk, country, and gospel music. The film utilizes Cash’s autobiographic tape recordings to emphasize the power of hearing the “gift” of his voice, along with audio testimonies of fellow artists and his children. This oral storytelling is paired with an abundance of still and video footage spanning his entire life, providing a full and intimate arc.  The Gift also candidly examines fame changed his career, as well as his long struggle with drug addiction. The film uses his live performance at Folsom Prison as an extended metaphor for his folk hero status, but also for his tortured inner life. Overall, the film is a wonderful chance to get to know the man behind the music.

-Megan Bernovich

Building the American Dream

Chelsea Hernandez’s documentary is a culmination of years of work assembled into a powerful and personal experience. Building the American Dream follows undocumented individuals in Texas fighting for basic rights in their working conditions. It’s a sobering look at how urban development exploits laborers who have no protections physically or legally, and at how many have lost their lives trying to make a living. Hernandez’s camera is noninvasive but rather a symbol of solidarity and compassion, the action of filming a commitment to representing those ignored by corporations. It also casts a damning light on the people and structures in power that allow wage theft and unsafe conditions to continue. Ultimately, the film underscores the power of solidarity in the face of oppression, and the continued fight for human rights.

-Megan Bernovich

The Beach Bum

“You may be thinking at this point, “This sounds like a fun ass time.” And to that I would say, “Yah, if you’re into Harmony Korine.” Like I said, this film is one giant joke for an hour and half, and by the hour mark it really grades on you. Or at least me. I’m indifferent to Korine; I admire his audacity in some moments and other times times I can’t believe someone thought this was a good creative decision, but that’s kinda what makes his films his films. Those who have seen his prior work and enjoyed it will surely feel the same about The Beach Bum, but at the same time, I don’t think this will do anything to change the minds of those who already have baggage with Korine.”

-Greg Arietta

Full Review Here

Yes, God, Yes

“What Yes, God, Yes does so well is talk openly about female sexuality in the context of a Catholic upbringing. In this repressive environment, Alice is led to believe a number of misconceptions about sex and its peripheries that results in conflicting emotions. In her ‘sex ed’ classes, she is taught to believe that sex is only supposed to occur between a married man and woman, and that anything outside of that, including pleasuring oneself, is a sin. This leads Alice to repress herself again and again until she learns that she will not in fact go to hell for masturbating.

Alice’s conflict regarding her sexual urges reinforces society’s inadequacy in addressing such issues, and Maine tackles it on multiple fronts. One instance may find Alice ridiculed for sexual behaviors she never did while the alleged male recipient gains social currency. Another finds Alice holding back her desires for a camp counselor in fear that she may be viewed as unvirtuous. And as pitched in the synopsis, Alice learning about masturbation in a society that doesn’t even acknowledge it. The scenarios ask the audience to reconsider the ways in which society treats these issues about female sexuality, particularly under religious institutions.”

-Greg Arietta

Full Review Here

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.’”

-Greg Arietta

Full Review Here

Villains

“Directed by Robert Olsen and Dan Berk, Villains caught audiences by total surprise in the best way possible. Simply put, it’s the story of a Bonnie and Clyde pair who are caught in the clutches of a far more dangerous couple with a house full of deadly secrets. Villains gracefully introduces its main characters, Mickey (Bill Skarsgård) and Jules (Maika Monroe), under the context of their motivations and desires within the first two shots of the film. It’s a proficient approach that wastes no time endearing our anti-heroes to the audience. Although they behave as outlaws, their youthful affection for each other keeps us rooting for them at every turn. After bungling a robbery, their dreams of escaping to the sunny and carefree beaches of Florida are put on hold when they encounter George (Jeffrey Donovan) and Gloria (Kyra Sedgewick) during a supply run break-in. Having stumbled upon a horrible secret, it becomes a question of whether or not they can escape with their lives at all as they are ensnared by the sinister couple.

It’s not unusual for many films like Villains making their way to the festival circuit to boast a stacked cast. It’s far rarer to find a film that utilizes their talent so very effectively. Maika Monroe has found a role with plenty of room to explore personality, allowing her to be as feisty as she is heartfelt with Jules’ liveliness complimented by a deeper emotional side. Her past tragedy is subtly woven into the plot without coming to define her character. It’s clear Monroe is amply capable of embodying multidimensional leads and in this role in particular she shines. Bill Skarsgård is her equal match, a chameleon of a man able to inhabit perfectly the sweet, slightly goofy personality of Mickey. He has something of a young Leo Dicaprio heartthrob look going on, with greased hair and bright eyes. Monroe and Skarsgård share an unexpectedly delightful chemistry, playing off each other constantly. Their relationship is the light soul of this dark comedy, both with a high aptitude for quick banter and physical humor. Their bumbling antics and drug habit somehow enhance the charm of these two lovers on the lam.”

-Megan Bernovich

Full Review Here

Good Boys 

“Bear with me for a few moments as I try to explain this stilted plot. The film tracks three kids Max, Thor, and Lucas (Jacob Tremblay, Brady Noon, and Keith L. Wiliams respectively) gallivanting around town trying to recover a drone they took from Max’s dad (Will Forte), a drone they stole so they can spy on teenagers and learn how to kiss for a middle school party. The drone crashes and sets them on a looney adventure based on anything the writers thought was remotely funny on paper. You probably read that synopsis and thought it was overtly trivial and you would be right. It’s such a bad premise that it barely, barely, functions as nothing more than a skeleton for the antics written in. 

By sheer circumstance, this coming-of-age tale is made even worse by the fact that I had just finished my second screening of Booksmart. Imagine seeing one of the greatest teen comedies of all time that is destined to become an all time classic, and then immediately seeing a raunchy, child-based comedy that has a near one to one thematic core, but executed to a much worse degree. Clearly, this isn’t a fault on Good Boys, but it makes all its shortcomings more blatantly obvious, especially when the film you are inspired by, Superbad, is evoked better by a fellow festival film. To put it simply, it got outplayed in every way.”

-Greg Arietta

Full Review Here

 

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SXSW Review: ‘The Art of Self Defense’ Takes Aim at Toxic Masculinity

The way in which toxic masculinity manifests itself can be aggressive to say the least. Stroll by greek row on a Thursday night and you’ll find several cases that prove my point. It’s the kind of psychology for the Brads and Chads of the world, and as such, it’s an easy target for ridicule, satire, and criticism. Riley Stearns seemingly knows this and created The Art of Self Defense, a dark comedy that laughs at absurdism of hyper-masculinity and all its pitfalls.

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.”

Eisenberg is often typecast as an awkward, dweeb-ish character, and that is no different here, but in this case it’s a perfect typecast. His delivery is smart and precise, but also awkward and socially reclusive, giving Casey this kind of innocence and malleability that makes his transformation believable. His performance is a perfect match for the film and really gives way to the dry humor that characterizes the film.

The whole cast plays their roles this way including the indomitable, aforementioned Sensei who leads the testosterone filled dojo. Nivola plays him stoic, virtuous, and well disciplined to the tune of a well defined masculine creed. He is, for a lack of a better term, a major Chad, and holds beliefs the film wants to critique. His excessive use of force as a means of punishment, sexism towards the lone female student Anna (Imogen Poots), and being the top alpha male are characteristics that eventually rear their head, and show what toxic masculinity can manifest itself as.

But the film rightfully puts the Sensei at odds with the audience. Sensei plays up the masculine role model who starts Casey on his journey with promise of being a fine tuned weapon. Casey naively follows Sensei’s requests, but what he doesn’t understand is the negative transition he undergoes. I think what the film does well is straddle the line between wanting to learn a healthy ‘art of self defense’ and tipping over into complete Brad status. To show this, the film gets dark near the end, a type of seriousness that, upon reflection, I probably should have seen coming with all the dry-pan humor. In spite of that sharp tonal shift, The Art of Self Defense finishes strong.

Oh, and while we’re on the ending, the film has some really funny clever payoffs. Jokes start in act one and come back forty minutes later with new meaning and revelation. It’s top notch humor and great stuff all around.

With a target so easy to make fun of, you might think you already have a beat on the film’s pulse, but The Art of Self Defense’s use of clever humor really makes it a stand out. The film’s surface may indicate a small, quirky comedy, but under it, there is some real substance. I haven’t even mentioned Stearns’ strong sense of direction and style, but it shows there’s an adept ability behind the camera that matches the themes on screen. To put simply, it’s smart, it’s funny, and it’ll make you think twice before you caveman that beer in front of your friends.

3.75/5 Stars