'Mesopotamia, TX' Review: Capturing a Phenomenon Up Close
Filmed during a real solar eclipse (and on 16mm film no less), Mesopotamia, TX is an incredible achievement. Written and directed by Lucy Gamades, this short film stands as both an enlightening character study and a successful technical achievement. When the climax of a film depends on a real-life event going according to plan, the stakes are dramatically high. Yet any signs of production stress are overshadowed, pun intended, by the beauty of the visuals captured on screen. Mesopotamia, TX recently made its World Premiere at the 2025 Clermont-Ferrand International Short Film Festival.
Statistical Occurrence, or Act of God?
Any time there is a solar eclipse event, it brings out the best in humanity. People from all walks of life gather together to marvel at the miracle in the sky. For a few brisk seconds, we all experience a universal natural wonder. The lead-up to this moment is when we meet a man (Nicky Maindiratta) and a woman (Megan Greener), two strangers who find themselves waiting for the eclipse amid a crowd of eccentric Texans. The nameless characters are total strangers, he is from out of town and she is a local. Their shared interest in the upcoming earthly phenomenon is enough to get them talking. They engage in playful banter until they eventually get into deep conversation. Their debate poses the question of the upcoming eclipse being an act of randomness or Godly intervention, giving each other pause. Just then, the sun begins to disappear behind the moon, and the new friends put their differing beliefs aside to engage in the communal celebration of this worldly wonder.
The visual aesthetic of Mesopotamia, TX is artfully vibrant. From the bright red title design that matches the protagonist's cowboy hat to the country song "In the Shadow of the Valley" that opens the film, Mesopotamia, TX is a thoroughly fun and enjoyable watch. Filmmaker Lucy Gamades crafts a smart script that comes to life in Matthew Marino's beautiful cinematography. The cutaway shots of the environment around the lead actors anchor the film in realism.
Takeaway
As the light dips into darkness, the energy of Mesopotamia, TX is tangibly felt off-screen. It serves as a genuine moment of reflection and appreciation for not just the beauty of the natural world, but the beauty of independent cinema too.
'Do I Shock U Like Lightning' Review: A Singing Portrait of Optimism
I've always believed that a soulmate can come in many forms. Whether romantic or platonic, when a special person enters your life and awakens a part of you that has been dormant for some time, it's a beautiful thing. In filmmaker Kahlil Maskati's rom-com Do I Shock U Like Lightning, this inspiring connection comes in the form of a creative resurgence between two artists looking for acceptance. Fans of 500 Days of Summer and John Carney films like Once will instantly fall in love with this indie's music and message.
A Tender Display of the Power of Music
Wardy (Omar Maskati) is a struggling singer-songwriter who is ready to pack it in. His career in Los Angeles hasn't taken off the way he hoped. Instead of performing on the city's biggest stages, he plays free concerts in the park outside of his apartment. Not exactly the Hollywood dream. That's why his bags are packed for his imminent move back to his hometown in New Jersey. Call it fate, call it coincidence, but it's at this pivotal moment when he meets Ellie (Malia Aiello), a ukulele-playing singer-songwriter who will soon light Wardy's creative spark again. Wardy and Ellie become fast friends, bonding over their shared love of music.
One afternoon, Ellie invites Wardy to help with a song she is stuck on. She brings out her ukulele and strums the four-chord melody, sharing beautiful lyrics about falling in love and keeping the spark alive. The chorus of her song, "Do I Shock U Like Lightning", is a catchy pop singalong that catches Wardy off guard. Both he and Ellie feel that their platonic relationship is teetering on the edge of something more, and that scares them. It should be noted that Ellie has a boyfriend, and Wardy is still planning to move across the country. This flirtatious feeling they're both experiencing causes a rift in their friendship. But an unexpected confession from Wardy and a tremendous display of encouragement from Ellie is enough to bring the duo back together again.
All Eyes on Actor Omar Maskati
Writer-director Kahlil Maskati crafts a heartfelt film about the healing and restorative power of music. There is truly nothing better than a four-chord harmony in C, and Do I Shock U Like Lightning has this in spades. Leading actor Omar Maskati does a wonderful job playing the charismatic struggling artist whose optimism is both inspiring and comical. His voice is angelic, even while singing lyrics like "New Jersey's not an armpit". Wardy may be that guy at the party who brings his acoustic guitar to play Wonderwall, but we still like him. Ellie is equally sweet with her soft demeanor playing nicely against Wardy's more outgoing personality.
Takeaway
Do I Shock U Like Lightning is a bright and charming independent film that will have you humming along to its catchy earworms. There are some religious undertones during certain scenes that come from Ellie's background but it does not feel like propaganda in any way. Full of musical montages and fun character hijinks, Do I Shock U Like Lightning is a feel-good rom-com that aims to leave a smile on your face.
'On Becoming a Guinea Fowl' Review: A Defiant Observation of Life and Death
Rungano Nyoni's sophomore feature, On Becoming a Guinea Fowl, earns the title of most unusual film I screened at AFI FEST. Her first film, the BAFTA-winning I Am Not a Witch, premiered in 2018 to critical acclaim. After its debut, she quickly solidified herself as an indie darling. Nyoni stays true to her roots and dips viewers back into the colorful and rousing Zambian culture in On Becoming a Guinea Fowl, which won the Best Director award at the 2024 Cannes Film Festival.
What Happens
The film tells the story of a young woman named Shula (Susan Chardy) who navigates through uncertainty. Specifically, she confronts familial expectations after the death of her uncle. On her way home from a costume party, Shula passes by a body lying untouched on the road. Upon realizing this is her uncle, with whom she has a complicated relationship, Shula does what she can to remove him from the road and preserve what dignity he has left.
The news quickly reaches both her immediate and extended family. Shula becomes enveloped in explosive discourse between the younger women in her family as her uncle's questionable past comes to light. The women finally let go, sharing memories that were previously kept hidden within the depths of their subconscious. Like a fire hydrant bursting open, they emotionally confront their confusing and conflicted relationship with the deceased.
Takeaway
This feels like a return to form for A24, a studio prioritizing art-centric films with a distinct POV. It's defiant and unapologetically absurd, some of the choices the characters make may even rub audiences the wrong way. Dealing with difficult subject matter, like sexual assault, should always be handled with incredible sensitivity, which is the case here. Filmmaker Rungano Nyoni cleverly infuses dark comedy into an otherwise horrific situation. A24 is distributing On Becoming a Guinea Fowl, in theaters on March 7th.
This review originally ran on November 2, 2024
'Gillyfish' Review: To See and Feel Seen
Filmmaker Sarah Sellman explores the complexities of identity and perception in her short film Gillyfish. The eleven-minute film examines the power of human connection and the intimacy that can grow when experiencing vulnerability. Gillyfish made its World Premiere at the 2024 BFI Flare Film Festival. Previously, it was nominated for 'Best North American Native' at the Miami Short Film Festival, and Alba Fernandez (Director of Photography) won 'Best Cinematography' at the European Cinematography Awards.
To See and Feel Seen
When we are first introduced to Gillian (Aoife Commons) and her partner Lana (Cat Coyle), they are in the middle of a sensitive conversation. Laying next to each other in bed, Lana expresses her hesitation about confronting her father. Apparently, this moment has been a long time coming and Lana is now getting cold feet. To ease her partner's anxiety, Gilly agrees to pretend to be Lana and face her father. This scenario plays out almost like a distant cousin to The Parent Trap where the children switch identities to spend time with the parent they never had in their lives. Gilly, rightfully cautious at first, finds Lana's father and courageously confronts him. What Gilly didn't expect, however, was to form an unlikely connection with the man she is conning. By working through Lana's issues, Gilly realizes she is also confronting many of her own.
Takeaway
Gillyfish is about healing by proxy, and the relief that comes when acknowledging hard truths. The film feels like it's part of a larger story, one that director Sarah Sellman can hopefully explore in the future. Given the time constraints and the film's loose story structure, audiences may feel they are missing a concrete resolution. However, Gillyfish imitates life in that tightly packaged happily-ever-afters are rarely experienced, nor authentic. Playing more like a meditation on an experience, rather than embodying a traditional movie structure, Gillyfish is, above all things, a moving indie gem. The film is produced by Maya Korn and MHK Productions.
Paul Leonard-Morgan Debuts Track from Focus Features' 'Last Breath'
In the upcoming thriller Last Breath, a group of rescue scuba divers attempt to save their crewmate who is stranded hundreds of feet below the ocean's surface. Based on a true story, this terrifying ordeal is brought to life by Emmy-nominated filmmaker Alex Parkinson. His background as a documentarian allows him to really delve into the compassionate and humanistic side of this unthinkable situation. The second X factor mirrors the intensity of the rescue mission itself, and that is the bold, cinematic score from BAFTA-winning composer Paul Leonard-Morgan.
This heart-pounding film tells an inspiring story of teamwork and resilience. Given the gravity of the situation and the limited air supply the divers have to work with, Leonard-Morgan's score compliments this "race against time" theme. Field recordings of real boats and sink faucets add unique depth to the otherwise orchestral score, comprised of strings, bass, and special electronic elements.
Cinemacy is excited to debut "Topaz" from Focus Features' Last Breath (Original Soundtrack Recording), below:
Says Leonard-Morgan of the album, “I wanted to create a sense of despair and isolation of being left alone. To achieve this, I selected a solo electronic cello to play the lonely main underwater theme. After recording audio elements of a boat by drumming various bits of metal over the hull, I then sampled, detuned, and made beats out of it. These elements then became the percussive “ticking clock” which signaled the race again time to rescue the oxygen-starved diver. The Main Theme is created by sampling a dripping faucet, processing that through a vocoder synth on vintage analog gear. The result of all this preparation is a unique melodic sound combined by powerful ascending strings in the orchestra, low brass, and pounding basses. The music drives the tension and desperation in the film from start to finish.”
About Paul Leonard-Morgan
Paul Leonard-Morgan is a BAFTA award-winning, Emmy-nominated composer and producer. His unique cinematic style of fusing orchestra with electronica puts him in high demand as a composer and artist. Leonard-Morgan's reach spans genres and includes film scores such as Limitless, The Hunt for Planet B, The Tomorrow Man, Lucy the Human Chimp, and a string of projects with Academy-Award-winning director Errol Morris: My Psychedelic Love Story, the award-winning Netflix series Wormwood, and the Steve Bannon documentary American Dharma. His award-winning collaborations with legendary composer Philip Glass began on Amazon’s series Tales From the Loop. He continued to work with Glass on The Green Veil followed by the documentary feature film The Pigeon Tunnel.
He has also worked with bands such as No Doubt, Snow Patrol, and Belle and Sebastian. His video game soundtracks include Battlefield Hardline, Warhammer: Dawn of War 3, Cyberpunk 2077, and Call of Duty Mobile. Concert work includes his concerto commission for Orchestre Nationale de Bretagne. His album of études for piano and cello is being choreographed by members of the San Francis ballet.
Focus Features & Filmtrax Ltd is releasing Last Breath on Friday, February 28th. You can pre-save the album for release here.
'The Umesh Chronicles' Review: Using Cinema as Poetic Language
Filmmaker Pooja Kaul uses cinema as poetic language in her soulful coming-of-age feature debut, The Umesh Chronicles. The film explores how a young Indian woman is shaped and formed by the encounters she experiences. Languid and patient in its storytelling structure, this romantic drama was selected to screen at the 2024 Stockholm International Film Festival.
Gone but Not Forgotten
The endless quest to feel grounded is something many of us experience throughout our lives, and Radha, a young girl living in 1980s middle-class India, is no exception. Her family is constantly moving due to her father's position in the military, and stability is hard to come by. School friends come and go but Radha has grown to understand that she can always turn inward to find comfort and solace. However, she is not immune to loneliness and will resort to books and music as escapism. One day, Radha is sent to live with her well-off grandparents to continue her education, while her father and the rest of her family deal with his relocation details. It is the first time she can put down roots in a familiar setting.
Then Radha meets Sundar, a young boy who helps out around the familial estate. She initially has little contact with Sundar who, like Radha, also mainly keeps to himself. They come from different backgrounds but there is no denying a shared kinship. Things are soon upended when Sundar runs away without warning, vanishing from Radha's life without a trace. But life goes on, Radha focuses on her future and attends college. Leaving the past behind is her way of moving on. But as fate would have it, Radha and Sundar cross paths years later, and the memories of childhood start flooding back with tangible sensations.
An Impressive Crew Who Count Joachim Trier and Joanna Hogg as Collaborators
As the writer and director of the film, Pooja Kaul's fingerprints are all over this delicate story of two different hierarchies navigating a changing society. An impressive crew brings this intimate and atmospheric portrait to life. Swedish Cinematographer Jakob Ihre leans into the atmospheric and dreamlike quality of the film's surroundings. His work on previous films with similar aesthetics includes Thelma, Louder than Bombs, and Oslo, 31st August by critically acclaimed director Joachim Trier. Helle le Fevre serves as editor, and her background is equally impressive. She frequently collaborates with director Joanna Hogg, having worked on The Souvenir, The Souvenir: II, and The Eternal Daughter.
Takeaway
The Umesh Chronicles is a slow-burn art film that requires its audience to embrace patience and poise. Sitting through the slower scenes comes with great payoffs, including many musical moments. Says Kaul of the film's greater themes, "The Umesh Chronicles is both timeless and of its time, a poem of life, both ancient and modern, a film for fathers, mothers, daughters, everywhere."
'B is for Bachata' Review: Full of Heart, Hips, and Passion
Writer/director Ricky Rosario brings the spirit of Latin music to life in his short indie film, B is for Bachata. Running just 13 minutes long, B is for Bachata is a colorful homage to the significance of the Bachata style of dance. In addition to acknowledging its rich cultural importance, the film portrays how this genre is being reinterpreted in modern times.
Regaining a Sense of Tradition
Yonathan (Andresito Germosen De La Cruz) is celebrating his college graduation with a backyard family BBQ. He is a proud Dominican-American but fails to take an interest in Bachata, which many of his party guests engage in. His cousins, Manny (Cesar Pichardo) and Beatris (Franceli Chapman) do their part to explain the rich history between Bachata and the Dominican Republic. They point to the people dancing all around them, gliding gracefully in four-step unison. This leads Yonathan down a road of discovery. He not only starts to learn more about dance but also about his own ancestry.
B is for Bachata has a commercial glossy quality to the film that radiates with energy. Its vibrancy reflects the heart and soul of the music, which is a pleasure to listen to throughout the runtime. Filmmaker Ricky Rosario does an excellent job incorporating Spanglish into the script, giving the film a strong authentic edge. Visually, close-ups of mouthwatering plates of food, coupled with feet moving to the rhythm, succeed in setting the perfect party mood. There's no doubt this film will leave audiences with an extra pep in their step as the credits roll.
Takeaway
Merengue and salsa may be more popular in America, but B is for Bachata makes a compelling case for championing this lively dance style. Both fun and sentimental, B is for Bachata premiered at the 2024 New York Latino Film Festival.
'Anwar' Review: Understanding the Beauty of Life and Death
Does mother always know best? The answer isn't so simple in director Fawaz Al-Matrouk's sci-fi drama, Anwar. The 20-minute short film tells the story of a mother and son who have differing perspectives on life and death and how, despite conflicting opinions, they finally come to understand the beauty in each other's choices. Anwar made its World Premiere at Les Utopiales, an annual international science fiction festival held in Nantes, France. The film makes its US Premiere at the Sedona International Film Festival at the end of this month.
When is Eternal Life Worth Living?
"What happens when you die?" asks 8-year-old Anwar to his mother, Mona (Kerry Bishé), shortly after they experience the loss of a pet bird. This expansive question kicks off the beginning of a highly-anticipated conversation with Mona, who has been waiting until he was old enough to comprehend the idea of eternity. Mona confesses that years ago, she decided to trade her human experience for eternal life. Just how that happened, and why she chose to turn immortal when everyone she loves remained mortal, remains unclear. But logistics don't seem to be a high priority to effectively get the message of the story across.
Mona has joined a growing number of people who trade mortality for invincibility. They are known as "ever people" and she hopes her son will join her destiny decision. But contrary to his mother's wishes, Anwar longs for heaven. He doesn't believe humans are meant to live forever. As the film evolves through the decades, we see Anwar age from 8 to 18 to 80. Mona, meanwhile, remains eternal throughout. It is only when Anwar reaches old age that Mona can see the beauty in death. Ironically, it is on his deathbed when Anwar has a final moment of doubt.
Takeaway
Fawaz Al-Matrouk gives audiences much to meditate on in his indie sci-fi drama. The film feels very organic in both its tone and aesthetic, which adds a sense of calmness to an otherwise distressing topic. Set in a lush natural landscape and backed by a strong leading performance from Kerry Bishé (Argo, Halt & Catch Fire), Anwar is a film that aims to awaken the spirit.