'Sweat' Review: An Influencer's Need for Attention Comes at a Dangerous Cost
This review originally ran on during the 2019 Chicago International Film Festival
Sweat is an inside look into the life of a social media influencer and fitness guru Sylwia Zajac (Magdalena Kolesnik). She is self-made, driven, and a high energy overachiever wrapped up in neon pink leggings with a polished blonde ponytail.
Beloved by 600,000 followers, Sylwia’s life seems perfect from the outside. However, tension builds when her manager confronts her about a vulnerable post gone viral. It is speculated that it may have sullied her peppy image potentially costing her sponsorships. Sylwia seems to be more comfortable alone talking to her camera than she is with actual relationships with family or friends.
Behind all of the unboxings, smoothie tutorials, and extravagant influencer parties is the dark underbelly of fame. To add to mounting stress, a stalker enters her life, waiting outside her building exposing himself to her. After their confrontation goes violent, Sylwia takes pity on the stalker; and one might wonder why she made this choice? Perhaps it is because she relates to putting herself on display for all to see in a desperate need for attention?
The film concludes with Sylwia making an appearance on a popular morning talk show. When pressed about being too vulnerable she seems to finally have a paradigm shift. We see that she truly loves her fans and admires people who can be completely open with their feelings...no matter how they may be judged.
Director Magnus Von Horn paints a portrait of a modern creator: The social media influencer. The storytelling is so relevant and fascinating that the audience might even forget they are reading subtitles. Loneliness and insecurities run rampant in the age of image crafting on social media. Like so many of us, Sylwia craves connection and attention. But how much is too much? Does it come with the price of sacrificing true intimacy?
Streaming on MUBI this Friday, July 23.
CIFF: 'Sweat,' 'Becoming Mona' and 'Charlatan' Reviews
How does a film festival operate when movie theatres have been closed for the past 6 months? Pre-COVID, the Chicago International Film Festival was an eleven-day extravaganza located in the heart of downtown Chicago at the AMC River East 21. However, this year CIFF had to get creative to meet the challenges presented by the pandemic. They succeeded in this endeavor by offering safe options for viewers such as Virtual Screenings to stream from the safety of their home, as well as partnering with ChiTown Movies for a drive-in movie experience. According to CIFF Artistic Director Mimi Plauché, “This year, everything about the festival experience is new, fresh, and reimagined…”.
Pandemic or not, once again CIFF expertly curated a dynamic selection of 50 feature films and nine short film programs from around the world. The festival notably includes competitive categories highlighting Black Perspectives, Cinemas of the Americas, International Comedy, Women in Cinema, Out-Look (LGBTQIA+), After Dark, and the City & State program (showcasing films made in Chicago and Illinois.)
Here are a few noteworthy international selections from this year’s festival.
Polish drama Sweat paints a portrait of a modern creator whose need for attention comes at a dangerous cost.
Sweat is an inside look into the life of a social media influencer and fitness guru Sylwia Zajac (Magdalena Kolesnik). She is self-made, driven, and a high energy overachiever wrapped up in neon pink leggings with a polished blonde ponytail. Beloved by 600,000 followers, Sylwia’s life seems perfect from the outside. However, tension builds when her manager confronts her about a vulnerable post gone viral. It is speculated that it may have sullied her peppy image potentially costing her sponsorships. Sylwia seems to be more comfortable alone talking to her camera than she is with actual relationships with family or friends. Behind all of the unboxings, smoothie tutorials, and extravagant influencer parties is the dark underbelly of fame. To add to mounting stress, a stalker enters her life, waiting outside her building exposing himself to her. After their confrontation goes violent, Sylwia takes pity on the stalker; and one might wonder why she made this choice? Perhaps it is because she relates to putting herself on display for all to see in a desperate need for attention? The film concludes with Sylwia making an appearance on a popular morning talk show. When pressed about being too vulnerable she seems to finally have a paradigm shift. We see that she truly loves her fans and admires people who can be completely open with their feelings...no matter how they may be judged.
Director Magnus Von Horn paints a portrait of a modern creator. The social media influencer. The storytelling is so relevant and fascinating that the audience might even forget they are reading subtitles. Loneliness and insecurities run rampant in the age of image crafting on social media. Like so many of us, Sylwia craves connection and attention. But how much is too much? Does it come with the price of sacrificing true intimacy?
Becoming Mona shows how the roles and expectations we take on as children can perpetuate patterns that stifle our truest self well into adulthood.
Mona (Tanya Zabarylo) has lived her entire life as a doormat and a peacekeeper. When she was a young girl she lost her mother in a tragic car accident, and her father quickly remarried a woman named Marie. Marie is lovely at first but it soon becomes apparent that her moods are quite unstable. Along comes a new baby sister. At such a young age, Mona learns that to keep everyone happy she must stay small and sacrifice her happiness. This theme followers her into adulthood both in her professional life, as well as her love life. She surrounds herself with narcissists eventually becoming emotionally stunted. However, the death of her father shakes up everything and Mona finally manages to rise above her circumstances. She finally dares to fight for herself.
Becoming Mona (co-directed by Sabine Lubbe Bakker and Niels van Koevorden) is based on the book KOM HIER DAT IK U KUS by Griet op de Beeck. The title translates to “come here that I kiss you” which sounds endearing, however, it's actually a cruel concept which the film takes on. “I’m not coming to you, but if you come to me you can get a kiss.” Affection and approval are elusive concepts to Mona. They are something that must be earned and not given freely. In the end, Mona must ultimately learn to love herself.
Based on the true story of the man who gave aid to Nazi officials, Charlatan balances the delicate duality of how a person can both be a generous healer and a cruel sadist.
Charlatan tells the story of the rise and fall of Czech healer Jan Mikolášek. He was a man who dedicated his life to an unconventional process of “urinary diagnosis” and healing the sick using medicinal plants. In Czechoslovakia, just before World War II, he became renowned for his healing abilities. Mikolášek went on to gain further fame and fortune during the German occupation as he was able to preserve his prestige by treating high ranking Nazi officials. This decision would haunt him and would ultimately lead to his demise.
This true story balances the delicate duality of how a person can both be a generous healer and a cruel sadist. Mikolášek’s love for his work was only matched by his affection and love for his assistant, František. As we all know, this type of relationship was highly illegal and was yet another secret that Mikolášek had the burden of bearing.
Director Agnieszka Holland tackles this epic story spanning dozens of years covering three different regimes and two World Wars with a quiet intimacy. Scenes are static with minimal dialogue driven by hidden emotions. The gorgeous cinematography by Martin Strba, coupled with the score by Antoni Komasa Lazarkiewicz, elevates the story masterfully. Charlatan has all the makings of an Academy Award-winning film: A period piece with elements of forbidden love. A World War II narrative whose hero is tormented by inner demons. What’s not to love? However–viewer be warned–the scenes of simulated animal cruelty (although brief) could make it unbearable for some to watch. Mikolášek’s sadistic tendencies could be conveyed in a more nuanced way.
'Pamela & Ivy' Explores the Roots of Iconic Comic Book Supervillain
Comic book origin stories are so hot right now. We have recently seen Joker and Harley Quinn get their moment in the limelight. Catwoman has always been a fan favorite. But where is the love for Poison Ivy?
For those of you who are unfamiliar with Poison Ivy, she is a Gotham City misanthropic botanist and villainess extraordinaire from the Batman comic book series. In Pamela & Ivy, writer/director Leah McKendrick (writer/producer/actor in revenge thriller M.F.A.) explores the childhood traumatic events of Pamela Isley in a story of abuse and survival that generated this iconic supervillain.
The film begins with young Pamela Isley (captivatingly portrayed by Aria Lyric Leabu) trapped with an abuser (played by Eric Roberts). Locked in a basement by her menacing captor, Pamela forms a bond with a small plant that is sprouting from a seemingly uninhabitable and bleak environment. However, the plant is not the only one keeping her company, as "Ivy" sprouts as a manifestation of Dissociative Identity Disorder. Even though Pamela is eventually rescued and returned to her normal life - the damage is done and Ivy never leaves her. We flash forward to adult Pamela. She is a shy yet enthusiastic scientist. We see how she gained her plant powers and eventually transforms into Poison Ivy on her way to Gotham to claim her stake as the next Supervillain.
Triple threat McKendrick seamlessly blossoms from the meek botanist into the charismatic and intoxicatingly confident Poison Ivy. McKendrick skillfully weaves a full-fledged narrative into only 16 minutes and does not skimp on the heart of the character. Pamela & Ivy could easily be a feature-length film or a series. There is so much to unpack and explore in this compelling character. In addition, it shows how powerful it is to see female comic book characters through a female lens. Poison Ivy is more than a seductive, plant-obsessed villain in botanical lingerie. She is complex, smart, strong, sexy, and has a killer sense of humor. Who knew we would be rooting for a villain?
The 16-minute short can be viewed here.
The Best of the 2019 Chicago International Film Festival
The 55th Chicago International Film Festival is a festival celebrating cinema from the far reaches of the world to films made right here in Chicago.
Located in the heart of downtown Chicago at the AMC River East 21, the festival is an eleven-day extravaganza highlighting not only special presentations with A-list names attached but also curating a beautiful selection of independent films, shorts, animation, in addition to paying special tribute to films from Black and LGBTQ+ perspectives.
According to CIFF Artistic Director Mimi Plauché, “the festival is a celebration of our shared human experience.” As an actor myself, I couldn’t agree more with this statement, as I felt overwhelmingly grateful to be a part of a universal community of storytellers upon attending this festival.
Clemency
Director: Chinonye Chukwu
U.S.
English. 112 min.
Bernadine Williams (Alfre Woodard) is committed to her career as a prison warden. She is tough yet dutiful. She believes she has a responsibility to bring respect and dignity to the inmates. After a botched execution procedure, we see her tough exterior crack, as the weight of her responsibility haunts her. Mounting pressure in her personal life, as well as, her professional career comes to a head as she questions the innocence of a death row inmate.
Director Chinonye Chukwu paints a powerful character study of a strong woman trying to remain steadfast to her duties but poses the question: will she lose her soul in the process?
The Truth (La Verite)
Director: Hirokazu Kore-eda
France/Japan
French, English with subtitles. 106 min.
Fabienne (Catherine Deneuve) is an iconic French actress and admired by many. However, she has a problematic relationship with her screenwriter daughter Lumir (Juliette Binoche) not to mention almost everyone who has ever been close with her. Tensions rise when Lumir returns to Paris with daughter and husband (Ethan Hawke) soon after Fabienne has published her controversial memoir. The reunion quickly turns confrontational as the truth about past accounts are told and old resentments resurface. As Fabienne is shooting her newest film, Memories of My Mother, parallels of the on-screen world and real-life become intertwined.
Director Hirokazu Kore-eda (Shoplifters) masterfully showcases the nuances of a complicated mother-daughter relationship. He captures both the painful resentment as well as love, laughter, and forgiveness in this charming and moving film.
Digitalkarma
Directors: Francesca Scalisi, Mark Olexa
Switzerland
Bengali, English with subtitles. 78 min
Rupa is an ambitious, hard-working Bangladeshi teen who aspires to have her own career as an entrepreneur. She is recruited to join a women’s tech-training program and begins to see the possibilities that her future could hold as she experiences new freedoms such as riding a bicycle and owning a cell phone. However, with an unfortunate decline in her father’s health, Rupa’s dreams are abruptly halted as she has to abandon her program to appease her family’s wishes for her to have an arranged marriage.
Digitalkarama follows Rupa’s journey over four years in an intimate, raw and heartbreaking portrayal of a rural community that is trapped somewhere between tradition and emerging into the modern-day.
To Live To Sing (Huo Zhe Chang Zhe)
Director: Johnny Ma
China/France
Mandarin with subtitles. 100 min.
To Live to Sing is a bittersweet musical drama that highlights the struggling Jinli Sichuan Opera Group (played by the troupe’s actual performers). The opera troupe is the only remaining pleasure for the elderly villagers. As the traditional art form struggles to captivate new and younger audiences, the community is also facing demolition. Company leader Zhao searches for a way to keep the building and to maintain the troupe’s morale. When her niece and leading starlet DanDan begin to seek opportunities elsewhere, Zhao goes on a journey of her own, dipping in and out of fantasy.
Director Johnny Ma captures both the raw unglamorous side of theatre, as well as the grand spectacle of it while focusing on the tension between tradition and the rapidly changing world of technology and progress.
And Then We Danced (Da Cven Vicekvet)
Director: Levan Akin
Georgia, Sweden, France
Georgian with subtitles. 106 min
And Then We Danced is a coming of age drama featuring a young man who struggles to break free of his circumstances. Merab (Levan Gelbakhiani) lives in poverty with his single mother, grandmother and troubled brother. His passion for Georgian dance is challenged by an instructor who continually berates and critiques him. When a new gifted dancer joins the company, Merab’s disposition increasingly goes from melancholy to giddy as the two explore their desires for each other. However, Merab is aware of the dangers of this new romance as same-sex relationships are frowned upon in Georgian society. He soon begins to question if there is anything left for him in Georgia.
Levan Gelbakhiani gives a dynamic and captivating performance as Merab. Subtitles are almost unnecessary as he is able to convey defeat, outrage, jealousy, ecstasy, and defiance all with a glance.
Leah McKendrick: "I don't get in my own way"
In her Instagram bio, Leah McKendrick describes herself as an "Actress ???????????? Moviemaker ???? Brunch lover ???? Horror buff ????"
Getting through the emotionally dark times as the writer, producer, and actress was physically draining.
As a producer, getting the "shit beat out of you" is part of the job.
It can be tough. As a writer, I feel emotional and thoughtful, and sensitive. Similar to being an actor. To me, these roles go hand in hand.
As a producer, you've gotta lead with a calm, level-head. It's two parts of yourself battling. The biggest jump for me is from actor to producer. My other producers knew that on my big acting days they needed to hold down the fort. They let me have that space. But I would still freak out about things. Especially on a tiny indie film like M.F.A. - my mentor and friend JB (John Benitz, my mentor and close friend and consulting producer on M.F.A.) told me this- as a producer, it's your job to get the shit beat out of you every day. Yep. Something gets broken, it doesn't matter who did it- you step up and apologize profusely and fix it. Someone's not happy, you work it out so that they are. Cops show up- you go out there and beg and plead. As an actor, it can be freeing to let your emotions lead you. To follow impulses. That is not a strength as a producer! I don't know that it gets easier from project to project to wear all the hats, but I have a better understanding of what is required of me, and where I draw the line. I'm learning. I can't do it all. Delegating can be hard for me, and I'm figuring it out. You gotta suffer for your first one sometimes! And believe me - I did. On the next one, I won't be boots on the ground as much as I had to be on M.F.A. On the next one I will hand over more of my producing duties. I say that now, but we shall see!
Gaining confidence as an artist and a woman at Chapman University.
Chapman is, in many ways, responsible for me becoming a filmmaker. I never really wanted to go to college. I just wanted to go to Hollywood and be a pop star and an actress. At Chapman I began writing plays and scripts, directing, producing, starring in things I'd written... I was very experimental. I wasn't afraid of failing because there was this very safe space where it was encouraged to take risks. My professors always praised the qualities I never knew I had. Michael Nehring always told me I'd make a great director from the notes I gave other actors in class. Directing had never even occurred to me. JB was the one who got me screenwriting. When I wanted to double minor in Women's Studies and Sociology the school let me build my own minor. Barney McGrane, my sociology professor was always so encouraging. He made me feel that my thoughts were valid and intelligent. It sounds simple, but looking back, I think it gave me a lot of confidence, not only as an artist but as a woman. It's interesting that I write very feminist, female-driven work and many of the biggest champions in my life and career have been men. I love men! If you look deeper, you see that in my films, too.
M.F.A. was called too risky or too feminist or too man-hating in pitch meetings.
Making M.F.A. was easily the most difficult experience of my life. Many of the challenges were typical of any indie film: never enough money or time. Everything that can possibly go wrong always goes wrong!
But for me personally, the greatest challenge was how much the film evolved from my original vision - and that's not necessarily a bad thing. But a film begins as this very intimate, very solitary experience. It was a concept, then it was me getting up early every morning to go to the coffee shop as though I was going to a day job. I felt that I needed to take it seriously or no one would ever take me seriously. I chipped away at it, for many months and then I sat in meetings where people would tell me it was too risky or too feminist or too man-hating or blah blah -whatever. You write hundreds of emails begging people to believe in nothing but you and a PDF. There are a lot of steps that you fight tooth and nail through. And what you have to hold on to is the vision in your head. The love that you have for that vision. So when it starts to come to fruition and that vision starts to change, it can be really hard. When things get thrown out or aren't working or get cut- MAN. It can feel like a part of you is dying! And I wish I had been more prepared for that. I wish I could have been less precious about it all because it would have saved me a lot of heartaches. But I think it's just something you go through on your first feature. And I love our film. It's not exactly the film I originally envisioned- and that's ok. Film is a collaboration of many artists. That's what makes it great.
Greenlight your own script.
I would say don't wait for permission. And don't use a lack of resources as an excuse. Start small. Write it. Make stuff with friends. Collaborate. But just be constantly creating and developing your voice and your sense of taste. I'd say the biggest killer of creativity is getting in your own way. A strength that I have is that I am hungry and foolish. I always assume something is going to be easier than it is and it's always a rude awakening and I'm crying in the shower. But I don't get in my own way. I don't always succeed, but I make a lot of attempts. All of the attempts have made me braver and smarter. I love the filmmakers out there shooting a short or sketch a week or making a feature for 20 grand. That's inspiring. They're not waiting for anyone's permission and that's how you have to do it. Too many people are waiting for someone to greenlight their million-dollar script. Greenlight your own script. If you don't have a million, rewrite it so you can make it for less. I've learned that you've gotta give yourself the opportunity before anyone else will. But if you build it, they will come.
Francesca Eastwood Mesmerizes in Timely Revenge-Thriller 'M.F.A.'
Taking into consideration the very recent Harvey Weinstein sexual assault controversy, as well as the horrific Brock Turner case of 2016, the revenge-thriller M.F.A. is not only timely but also necessary.
Much like how Get Out stemmed a conversation on race relations in the United States, M.F.A. creates a dialogue on the epidemic of sexual assault on college campuses.
Directed by Natalia Leite and written by Leah McKendrick, the film focuses on a timid art student, Noelle (Francesca Eastwood), who struggles to express herself through her work. One night while attending a party, Noelle is viciously raped by a fellow classmate. When her attempts to report the trauma are received with suspicion and victim-blaming, Noelle decides to take matters into her own hands and confront her attacker– a decision that results in a grave conclusion. This incident becomes a catalyst for her inner vigilante to emerge as Noelle seeks to avenge other college women whose attackers have walked free, reclaiming her power and blossoming creatively.
M.F.A. offers so much to unpack. Star on the rise, Francesca Eastwood, delivers a dynamic performance. Her expressive eyes are haunting and her emotional range is nothing short of astonishing. Eastwood takes a flawed anti-heroine and makes the audience want to root for her. There is a certain catharsis achieved as her character takes out the attackers one by one. However, as we watch Eastwood’s metamorphosis into a black widow avenger, she brings an added depth to the role as her character gets sloppy and drunk with power.
Simultaneously, writer/producer Leah McKendrick is cast in the film in a pivotal supporting role as Skye, Noelle’s neighbor and close friend. Leah’s character is anything but your typical quirky best friend nor is she merely a vapid party girl. Rather, McKendrick creates a three-dimensional woman who is not only sexy and confident on the surface but displays complex vulnerability as she secretly battles her own demons.
As a thriller, M.F.A. has twists and turns that are heart-racing and gut-wrenching. While there are plenty of moments of levity, the film deals with rape which can be hard to stomach, if not triggering. However, director Natalia Leite and McKendrick approach the subject with sensitivity. Pulling from both personal experience and a female perspective, the more graphic scenes are not fetishized, as we often see in other films. That being said, the film does not water it down, rather it faces the uncomfortable reality and aftermath of sexual assault head-on. Unfortunately, the scariest thing about this thriller is that the horror is all too real for many women.
The unnerving topic that M.F.A. explores will hopefully serve a platform for dialogue. Perhaps, it will bring awareness to some and encourage others to speak out about their own personal trauma courageously. If so, M.F.A. may very well be one of the most relevant and compelling films of 2017.
'Alive and Kicking' Review: Swing Dance is Still Jumpin’ & Jivin’
The documentary highlights this phenomenon that is more than a hobby for people who dream of yesteryear.
Alive and Kicking is a feature-length documentary film about swing dancing, including its Harlem origin, its rebirth in the 1990s, and ongoing presence today. Film executive (and Lindy Hopper) Susan Glatzer makes her directorial debut with Alive and Kicking, giving audiences an inside look into the modern-day sensation of the international swing dance community. The film highlights this phenomenon which is clearly more than a hobby for a niche group of people who dream of yesteryear. And we are shown that swing dancing, in fact, offers one solution to the repercussions of technology as well as other issues of modern day society.
The film celebrates the origins of swing dance and its legends: Frankie Manning and Norma Miller (who were pioneers in the early days of jive and continued to teach and dance well into their nineties). In addition to paying homage to these icons of swing, Glatzer follows a handful of enthusiasts who are currently cutting a rug on the international competition circuit.
As a swing dance fanatic myself, I can safely say this film accurately portrays the exhilaration to a tee.
Through segmented interviews of dancers coupled with glimpses of the competitions, it’s clear to see that the dance that was born out of the Great Depression still resonates today. The audience is able to gain insight into how this genre of dance can specifically affect people from all cultures, generations, occupations, and walks of life. The filmmaker demonstrates that in stepping away from technology and engaging in “pure joy set to music” can alleviate isolation and bring not only a tight-knit sense of community but healing, freedom, and joy.
As a swing dance fanatic myself, I can safely say that this film accurately portrays the exhilaration and community, as well as depicts the changing demographic of its devotees, to a tee. The passion of the dancers is nothing short of magnetic. The enthusiasm and zest of Alive and Kicking are downright contagious.
"Alive and Kicking" is not rated. 88 minutes. Opens today at Laemmle's Ahrya Fine Arts Theater in Beverly Hills and VOD.
'Nutcracker' Review: Validation at the Cost of Self Worth
It is extremely relevant in our current hyper-sexualized and often misogynistic culture where sexual assault is excused as “twenty minutes of action” and “locker room talk”. Watch the short film below.
Michael Aronson’s "Nutcracker" is a short film adaptation of the short story by Tia Clark that tells a coming of age story of Shelly, an introverted but imaginative good girl, who longs to fit in and be noticed at any cost.
Set predominantly in a sporting goods store just outside of New York City, the film opens with a scene of what appears to be a graphic rape in the stockroom of the store. However, it is soon revealed that is a hazing “game” where the male workers pounce on the female coworkers and simulate rape. Although extremely disturbing, the girls seem to welcome this attention and go as far as to ridicule the reserved and seemingly prudish Shelly for not being chosen as prey by the other boys.
Often losing herself to the fantasies in her rich inner life, Shelly escapes the mundane day to day of her retail job by imagining she is the recipient of affection from Miles, a slightly older boy at the store. As many teens often do, Shelly desperately seeks the validation from her peers and cannot understand why she is the only one excluded from the “rape game.” Inching closer and closer into dangerous territory during a night out with a few coworkers, Shelly gives into the toxic atmosphere, but unfortunately, learns that the cost of validation is the loss of her self-worth.
If you can look past the gritty realness, "Nutcracker" is a catalyst to create a dialogue around rape culture, as well as, our own personal compromises.
Director Michael Aronson shows a great skill at storytelling through using both heightened realism and fantasy coupled with great attention to detail. The use of visually striking close-ups that range from dripping sweat, the obnoxious noise of a microwave's beeping, condensation on their drinks, fingers touching et cetera, creates a visceral sense of tension. The scenes displaying Shelly’s fantasies are an effective tool to help the audience see the world of the film through her perspective. In addition, the sound design (Thomas Ouziel) and original score (Jacob Yoffee) add an extra layer to the storytelling that truly immerses the audience into the film.
The heavy subject matter of “Nutcracker” is a hard pill to swallow. That being said, it is extremely relevant in our current hyper-sexualized and often misogynistic culture where sexual assault is excused as “twenty minutes of action” and “locker room talk”. It holds a mirror up to the viewer and compels them to take a good hard look at what we have individually compromised in exchange for validation.
If you can look past the gritty realness, "Nutcracker" is a catalyst to create a dialogue around rape culture, as well as our own personal compromises. This is the type of film that sticks with you long after the end credits roll. It makes you think and want to unpack what you just experienced. Taking into consideration the current cultural climate around these issues, I anticipate more thought provoking art and filmmaking as Aronson has displayed with "Nutcracker."
'Nutcracker' is now streaming on Vimeo.