'Thank You Very Much' Review: Andy Kaufman: The Offbeat Anti-Comedian
Thank You Very Much asks a very simple question: Who is the real Andy Kaufman? The answer, however, is not as straightforward. With his controversial and gonzo style of comedy, Andy Kaufman was a provocateur. An iconoclast. He found pleasure in confusing and outraging audiences. Some people loved him for this while others found it incredibly annoying. He may not be everyone's cup of tea, but there's no denying that the tea was on a meteoric rise to fame. From the filmmakers behind Uncut Gems (Elara) and Won't You Be My Neighbor (Tremolo Productions), Thank You Very Much is a long overdue exploration into the all-too-short life of a one-of-a-kind comedic genius.
An Enigmatic Legend
Filmmaker Alex Braverman sorts through never-before-seen archival footage and speaks with some of Kaufman's closest friends, colleagues, and family members to craft a portrait of the curious Andy Kaufman. The consensus among the group is that Kaufman is an artist in the truest sense of the word. His artform is his act, his "always-on" persona that had everyone questioning the lines between reality and fantasy. Was he really an awkward guy with a high-pitched foreign accent? Or was he more like Tony Clifton, a rare steak-eating, womanizing drunkard? Through interviews, we learn that no one was ever 100% sure who the real Andy Kaufman was.
But there's a downside to being a full-time jokester... no one knows when you're telling the truth. Andy Kaufman was diagnosed with and later died from lung cancer at 35 years old. And still, people thought he was faking his death. Danny Devito admitted to not believing it, thinking it was just another one of Kaufman's outlandish pranks. Some people even poked his coffin to make sure he wasn't messing around. In death, as in life, Andy Kaufman kept everyone on their toes. I'm sure he would have been thrilled to know that this is the legacy he leaves behind.
Unearthing the Public Persona
Thank You Very Much brings to life an engaging timeline from Kaufman's early days, starting at NYC's The Improvisation in 1963. From here, we see tons of archival footage from his standup sets, all still hilarious and relevant today. Braverman makes it a point to also infuse the darker moments of Kaufman's life, including homelessness, addiction, and a traumatic childhood event about his family's decision to cover up the death of his grandfather. He overcame a lot of adversity in his short life, thanks in part to his belief and practice of Transcendental Meditation. The film goes into more detail on how exactly this form of meditation literally saved his life.
A Quote From Director Alex Braverman
"The greatest joy of making a documentary about Andy Kaufman is that he is impossible to define. The musicality of his act, his shapeshifting, and wild tonal experimentation gave us a thrilling, enigmatic performer whose influence can still be felt across our entertainment, art, even politics. But for me, his most indelible legacy is that he wasn’t afraid to be the fullest, most beguiling version of himself no matter how others responded to it. That’s his genius."
Takeaway
If Andy Kaufman were alive today, would he have liked his private life examined so publicly? Would he revel in the fact that some people still believe that he is alive and his death is just some elaborate hoax? While Thank You Very Much does an excellent job of reminding audiences of the once-in-a-generation talent that was Andy Kaufman, the real truth is we may never fully understand him. One thing seems clear though: he couldn't have written his legacy any better.
'izidor' Review: An Artfully Sincere Homage to Survivors
Sometimes, the reality of someone's past seems like an impossible challenge to document on screen. The subject matter can be considered too difficult or heartbreaking for audiences to witness, despite a strong central character worth rooting for. In izidor, a short film inspired by true events, director David Kabbe finds a way to tell one man's melancholic story in a way that leads with empathy and optimism.
To Belong is to Be Alive
In 1988 communist Romania, many civilians faced a difficult quality of life. Perhaps none are more affected than children with disabilities, whom the government takes away from their birth families and displaces them to various hospitals and care centers. Banished from the rest of society, these children grow up strictly within the walls of the Asylum for Irrecoverable Children. Sensing this injustice, one daring woman (Sarah Padbury) resolves to make a difference however she can by taking home 8-year-old Izidor (Iosua Barbu). Izidor suffers from a right leg deformity and he has been in the ward his whole life.
At the beginning of the film, animation is purposefully used to depict the passing of time and horrid living conditions. Says director David Kabbe, "[It] allowed us to handle sensitive content with delicacy and compassion, yet still invoke the harsh realities of that life." However, once Izidor is led out of the facility by the woman, the animation turns into a realistic portrait with actors and set pieces. This shift indicates Izidor's new world, one of possibility, color, and hope. Having never ventured into the outside world before, Izidor is amazed by everything he sees. Eventually, the woman has to bring Izidor back to the facility where his vivid world immediately turns back into animation. Despite this, he carries with him a glimmer of hope. He sweetly shares a little piece of the outside world with one of his friends on the inside.
Takeaway
izidor turns a difficult topic into an artfully sincere homage to Izidor's life story. The film makes its World Premiere at the 2025 Cleveland International Film Festival, running March 27 - April 13, 2025.
'Nomad Solitude' Review: The Reality of Nomadland Living
When Nomadland won the Oscar in 2021, it strongly indicated what audiences wanted to feel from a film. At the height of the pandemic, when people were forced into quarantine, there was an undeniable longing for fresh air, open roads, and above all else, freedom. The days of lockdown may be over but the resounding interest in alternative lifestyles remains high. Director Sebastien Wielemans captures this spirit of minimalist living in the documentary Nomad Solitude.
Life on the Open Road
Nomad Solitude tells the real-life stories of three women who live the lives depicted in big-screen feature films. A couple of examples from recent filmography include characters like Fern (Frances McDormand) in Chloé Zhao's Nomadland and Faye (Dale Dickey) in Max Walker-Silverman's A Love Song. Wielemans documents these women, all in their sixties, who live in their vans and travel wherever the wind takes them. Up and down the beautiful and vast American roads, Laurie, Kristy, and Linda individually give audiences a peek into their lives as nomads. All struggling to make ends meet in traditional society, they find immeasurable joy in their alternative lifestyles.
Linda is a vlogger and runs the YouTube channel Serene and Simple Life. She is a go-getter and monetizes her lifestyle by promoting her Amazon storefront and selling inspirational quote packs. Laurie is very down to Earth, pun intended, and has been solo traveling for many years. She too has a YouTube channel but with only 50ish subscribers, she falls back on family when facing a difficult financial situation. Finally, there is Kristy, a technologically unsavvy nomad who believes the whole purpose of van life is to live in the moment without the burden of having to document every minute of it. All without financial security, these women believe in placing importance on what they believe is a higher currency: freedom.
Camper Vans and Cinéma-Vérité
Filmmaker Sebastien Wielemans travels between Arizona, Tennessee, Florida, Arkansas, Georgia, and Texas in this sweeping portrait of American life. He captures the highs and lows of being addicted to freedom and how that impacts each woman's life differently. He makes an excellent decision to break the fourth wall in the film's third act, which makes the audience feel even closer to the subjects on screen. Further aiding this intimate journey is the score, which masquerades more like windchimes than a traditional soundtrack. The result is serene and heavenly.
Takeaway
A story of resilience and an unsatiated lust for life, Nomad Solitude acknowledges and celebrates uniqueness. If you've ever been curious about life as an "outside person", take a cinematic field trip with Nomad Solitude.
'¡Quba!' Review: For Cuba's LGBTQ Community, Love Wins
The veil of mystery shields much of the world from daily life in the socialist country of Cuba. Director Kim Anno bravely, and successfully, lifts the lid on Cuba's marginalized queer community in the documentary ¡Quba!. Shining a spotlight on the LGBTQ+ people who have struggled for visibility and safety in their communities, ¡Quba! offers a beacon of light and the promise of a more inclusive future. The documentary makes its World Premiere at the 2025 La Havana International Film Festival on Saturday, April 5.
Homosexuality is Not a Danger. Homophobia is.
The vibrancy of Cuba's colorful buildings and vibrant coastline act as a backdrop to this important human rights story. The film takes place around five cities: Havana, Santa Clara, Caibarién, Matanzas, and Santiago de Cuba. They share a similar background where the population's education is low but activism is high. Our protagonist is Adela Hernandez, a trans politician who overcame a four-year stay in prison due to her sexual identity to then become the first transgender official in Cuba's government.
The documentary also interviews Ramon Silverio, a trailblazer who has dedicated his life to El Mejunje Center, often regarded as a cultural haven for the queer community. This safe space aims to challenge prejudice through the universal language of art. Fidel Castro’s niece, Mariela Castro, Las Isabellas, and Ulises Suarez further propel the social revolution by leading the charge on the Marriage Equality Act, which resulted in a victory in 2022.
Love Wins
Combining modern interviews with archival footage from Fidel Castro's reign, ¡Quba! documents just how far the country has come. Gone are the days of machismo patriarchy and religious bigotry. The Cuba of the past is transforming into a country of acceptance and belonging. Says filmmaker Kim Anno, "The Cuban LGBTQ community opened their minds and hearts to our film and I am the first LGBTQ director to make a feature film about this topic."
Takeaway
For most Americans, visiting Cuba for tourist purposes is off the table. Due to a trade embargo and travel restrictions implemented in 1961, U.S. citizens may only enter the country for specific reasons, like visiting family, journalism requirements, or humanitarian projects. Until this ban is lifted, if it ever does, Kim Anno's ¡Quba! is our only window into the Cuban way of life. Thankfully, we have a front-row seat to their LGBTQ revolution.
'Billie' Review: This Queen of Hearts Seeks Revenge
Billie is an operatic revenge thriller that flips the male-dominated poker industry on its head. Writer/director Vincent Bossel's short film artfully puts the control back into the hands of young women everywhere. An exercise in combating ugly and misogynistic stereotypes, Billie is an unapologetic response to the power imbalance that still exists in certain communities and lifestyles.
This Queen of Hearts Seeks Revenge
Set in a Lynchian-style red room with dark furnishings, Billie (Luna Demeules) spends her nights as a masseuse at a private poker club. As the high-rolling men sit around the table smoking, drinking, and carelessly throwing money down in hopes of hitting the jackpot, Billie has her eyes on a different prize. For reasons slightly unclear, although we can assume it has to do with sexual abuse and misogyny, Billie attempts to find one specific man to enact her revenge on. This queen of hearts is on a mission
The Film's Visual Style Hits the Jackpot
Running just shy of 10 minutes, Billie impressively feels like a cornucopia of visual style. From the luscious production design to the dramatic organ piece in the opening sequence, Billie is an inspired crime drama. Award-winning Swiss-Vietnamese filmmaker Vincent Bossel seemingly takes inspiration from Quentin Tarantino and Park Chan-wook in crafting this short. The film's moodiness and fantastical elements play like fever dreams, blurring the lines of reality and fantasy. Bossel also expertly plays with the senses. Bold colors cut drastically between black and white, while walls of sound frequently descend into silence.
Takeaway
A pulsing thrill ride from start to finish, Billie is a deliciously satisfying femme-focused power anthem. The film played at the Rhode Island International Film Festival.
'The Assessment' Review: A Darkly Dystopian Mindf*ck
What immediately piqued my interest in The Assessment wasn't the headlining cast or the Pinterest-worthy production design photos. No, it was the film's director, the French visual artist Fleur Fortuné. Having personally worked in the commercial and music video industry for over a decade, I'd recognize Fortuné's visual style anywhere. She expertly blends surreal and whimsical imagery with compelling narratives, which makes for unforgettable cinematic feats. Fortuné uses her artistic strengths in The Assessment, a dystopian story about a couple's struggle to have a child for reasons other than you'd expect.
Keep Calm and You May Get a Baby
Starring Alicia Vikander, Elizabeth Olsen, and Himesh Patel, The Assessment is a psychologically provocative minefield. Set in the near future where parenthood is strictly controlled, Mia (Olsen) and Aaryan (Patel) are ready to take their relationship to the next level. They want to have a baby. However, the reality of this dream coming true is far more laborious than it once was. In this dystopian landscape, resources are limited and the government has total control over reproduction rights. Despite being a successful couple in every sense of the word, Mia and Aaryan have to undergo a seven-day assessment to determine if they are "fit" enough to have a child.
It doesn't take long before their assessor, Virginia (Vikander), arrives at the couple's home. Without delay, she quickly begins the highly confidential and borderline inhumane process. At first glance, Virginia seems like a levelheaded, unbiased judge of character. Any nerves the couple have are momentarily put at ease. However, Virginia's test quickly unravels into their worst psychological nightmare. Virginia begins acting like a child, roleplaying every worst-case scenario regardless of harmful intent. Mia and Aaryan's relationship begins to crack as they–for the first time–question the very foundations of their society and whether their relationship can survive.
Stunning Production Design Lends Itself to A Swoonworthy Retro-Futuristic Aesthetic
Elizabeth Olsen and Himesh Patel do an excellent job grounding the film in reality while simultaneously pushing against Alicia Vikander's absurdity. Vikander has a lot to play with as Virginia, her performance reminds me of her role in the Mike Mills short film I Am Easy to Find. Vikander is theatrical, brash, and at times borders on annoying. However, her role is to push Mia and Aaryan’s patience threshold. And in doing this, she successfully tests the audience's patience as well.
The retro-futuristic world of The Assessment is beautiful, almost museum-like. Stunning production design by Jan Houllevigue and art design by Philippe Mayanobe bring to life a cohesive blend of fantasy and reality. Further driving the mood is the original score by Emilie Levienaise-Farrouch whose previous work includes All of Us Strangers and Censor).
Takeaway
Filmmaker Fleur Fortuné crafts a darkly humorous and poignant thesis statement in The Assessment. At its core, it requires us to get introspective and determine what we're willing to sacrifice for our heart's desire. It's a chilling film to watch, and even harder to shake.
'Ash' Review: This Hyper-Pop Survival Horror Swings Big
Grammy Award-winning creative Flying Lotus is back with another stylized sci-fi conception in the Eiza González-led thriller, Ash. No stranger to the feature film world (see: 2018's Perfect and 2022's V/H/S/99), Flying Lotus takes on a slightly different approach to the genre by incorporating heavy doses of survival horror. Making its World Premiere at the 2025 SXSW Film Festival, where it was nominated for the Audience Award, Ash lands in theaters this Friday, March 21st.
Amnesia Amidst Aliens Leads to Dire Consequences
Starring Eiza González and Aaron Paul, Ash tells the story of forgotten memory, fragile trust, and the mysterious circumstances aboard a space shuttle stranded on a foreign planet. Riya (González) awakens one morning to find her crew slaughtered, but how they got that way remains a mystery. She has no recollection of that night, and every detail of events prior is fuzzy and unreachable. Stranded and alone, Riya is forced to confront her dire circumstances and impending death sentence. However, it's not long before Brion (Paul) arrives to rescue her. What should be a joyous relief is instead met with hesitation, and an ordeal of psychological and physical terror ensues. Can Riya trust Brion–a stranger–enough to survive?
An Homage to the Video Game Aesthetic
Visually and tonally, the film feels like a hyper-pop montage taken straight out of a video game. From the dialogue delivery to the framing and fight scenes, Ash feels bigger than its indie film budget. The music, composed by Flying Lotus, who also stars in the film in addition to directing, is a blast of high-octane beats and energy. The visual effects stand out as well, especially in the first-person "video game-inspired" combat scenes (complete with flame throwers).
The chemistry between Eiza González and Aaron Paul is accurately intense. They play well off each other's strengths, with Eiza leaning into the seriousness of the dramatics and Aaron's demeanor providing necessary tension relief.
Takeaway
Full of twists and turns ripe for a cinematic psychological thriller, Ash is another genre-bending statement by Flying Lotus. More artful than the traditional narrative feature, Ash is a visual and sonic feast for the eyes and ears.
'Liquor Bank' Review: Surviving the Dark Times With Brotherly Love
Filmmaker Marcellus Cox crafts a poignant story of redemption in the short drama, Liquor Bank. Based on the true story of an ex-Marine who struggles with alcohol dependency, Liquor Bank is a touching portrayal of commitment to betterment and unconditional brotherly love.
Dark Moments Give Way to Strong Survivors
It's morning when Eddie's (Antwone Barnes) phone alarm rings incessantly on his nightstand. Next to the device lay empty beer bottles, presumably from last night's consumption. Eddie lets the alarm go off for longer than it should, as he doesn't seem in a rush to wake up and begin his day. His hesitancy indicates that he is already anxious about what is to come. Soon enough, we understand why Eddie is overwhelmed. Last night would have been his first sobriety anniversary, and yet he missed it to stay home and drink.
As Eddie lingers around his apartment, he is confronted by his sponsor, Baker (Sean Alexander James). Baker lets Eddie know that he is alarmed that he skipped last night's AA group meeting and anniversary party. At first, Eddie is combative, trying to explain the difference between being "drunk" vs "buzzed" but Baker isn't buying it. He shows Eddie some tough love through his concerned yet serious reality check. Baker doesn't sugarcoat the situation. He empathizes with the sentiment that life is hard but reminds Eddie that liquor doesn't make this acceptance any easier. It's a tough message but delivered by a compassionate mentor, which is enough for Eddie to truly have his moment of realization.
Takeaway
Award-winning filmmaker Marcellus Cox is both the writer and director of Liquor Bank. Despite the film's short runtime, Cox delivers a full-bodied narrative layered with emotional density. A dramatic climax gives way to a powerful ending, one that Cox chooses to close on with a quote attributed to Jeff Warner. The passage reads, "We are not put on this Earth for ourselves, but are placed here for each other. If you are there always for others, then in the time of need, someone will be there for you." This message is the backbone of the short film, which will leave audiences inspired and optimistic that change, no matter how difficult, is possible.
'Rule Breakers' Review: One Giant Leap for Womankind
Angel Studios is kicking off International Women’s Day by releasing the inspiring historical drama Rule Breakers. Conventional in its storytelling yet powerful nonetheless, the film is based on the true story of Roya Mahboob, one of Afghanistan's first female IT entrepreneurs. It charts her relentless determination to give young girls the opportunity to study science and break free from the country's oppressive regime. In addition to correlating to Women's History Month, Rule Breakers is releasing ahead of National STEM Week, which kicks off on March 14th.
Some Rules Are Made to Be Broken
Roya Mahboob (Nikohl Boosher) is an iconoclast. As the founder of Afghanistan’s women’s robotics team and a global advocate for women’s education, she lives to inspire others. Despite her country's belief that educating girls is an act of rebellion, Roya continues to defy naysayers and critics by championing STEM in the local school system. She understands the importance of introducing kids, especially young girls, to science. It's no secret that educating the youth is their only way out of the current social oppression.
Despite Roya's good faith attempts to modernize the country, she is continuously met with the harsh reality that not everyone wants women to have autonomy. But this doesn't deter Roya. In fact, quite the opposite. Taking matters into her own hands, she organizes a small robotics team of four high school-aged girls. Together, they create a stunning mine detection robot made from old car parts. Their invention quickly earns them global attention. With all eyes on Afghanistan, Roya finally has her moment to prove to the world why education is not just a choice, but a right.
Takeaway
Rule Breakers is a classic underdog story with a happy ending. Academy Award-winning director Bill Guttentag (Soundtrack for a Revolution) tells this inspirational drama with heartwarming conviction, despite its formulaic, paint-by-numbers Hollywood structure. While there is nothing inherently wrong with this execution, it does feel too conventional and safe, especially for a story about a woman known for pushing the boundaries. However, giving Roya Mahboob and Afghanistan's first robotics team a platform to share their story is a film worth watching and supporting.
'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."