'Carpet Cowboys': Look Inside the "Carpet Capitol of the World"
When was the last time you thought about the creation of carpet? If your answer is almost never, join the club. That plushy surface that embraces our feet is rarely given a second thought. Modern homes typically avoid the aesthetic altogether, citing its dated look and maintenance as a burden for homeowners and prospective buyers. Although carpet may be out of vogue for the majority, for a small cult-like community in Dalton, Georgia–often referred to as the "Carpet Capitol of the World"–carpet is the only thing on their minds.
The stylish documentary Carpet Cowboys is a macro look at the businessmen and innovators behind some of the country's mundane masterpieces. Directed by Emily Mackenzie and Noah Collier with Riel Roch-Decter producing and John Wilson (yes, of Max's docu-series How To with John Wilson) and Sebastian Pardo as Executive Producers, the meticulously eccentric Carpet Cowboys is the result of sharp-witted and contemporary creatives behind the lens. Humorous (sometimes uncomfortably so) while remaining observational and objective, this documentary is an all-around fresh and fun watch.
Throughout the film's swift 84-minute runtime, we're introduced to some of the men who have disrupted the carpet industry. That includes Scottish ex-pat Roderick James, a hotel and casino carpet designer (the most animated of the bunch). Like a Michael Scott-type caricature who's passionate about textiles, Rod peacocks his personal style through his wardrobe which primarily consists of his cowboy hat, fringe suede jacket, and stacks of thick silver rings. His eye for design may not translate in a fashion sense but when it comes to patterns for his textile business, Rod knows a good carpet design when he sees one. His iPhone is his tool and the outside world is his inspiration. Capturing the bark of a tree or blades of grass in a field can become Rod's next pattern (which is ironic considering he is capturing natural elements and memorializing them on an item that belongs indoors).
In a similar way that How To with John Wilson acts as an observation commentary on the niche cultural interests of a community, Carpet Cowboys follows the same blueprint. Mastering the balance of neutrality while also infusing comedy into the pacing and editing is a tricky task but one that Emily Mackenzie and Noah Collier accomplish gracefully. They set up various scenes with a keen eye for dramatics but don't interfere with the subjects onscreen to create the humor. Rather, they patiently let the characters bring the humor themselves, which they always do. This makes the film feel truly authentic, and not forced or contrived. These are real people with a real passion for carpets and no matter how silly or lighthearted that sounds, the subjects are never painted in a negative or "less than" light. To each, their own.
Carpet Cowboys is more than just a film about carpets. It also serves as a commentary on the American Dream and the rapidly changing landscape for small business owners and entrepreneurs. Set to a score by electronic ambient artist Kara-Lis Coverdale (stage name K-LC), Carpet Cowboys is an offbeat yet heartfelt film that, possibly for the first time ever, will have you pondering the story behind what's beneath your feet.
85 mins / USA / 2023 / English
'Scrapper': Growing Pains and Young Parenthood
When it comes to finding indie films, this year's Sundance darling Scrapper is a needle in a haystack. Honoring both the magical bewilderment of childhood and the stark realization of adulthood, Scrapper is an emotionally deft drama that is brimming with creativity and an abundance of love.
Slotting nicely in between The Florida Project and Aftersun–two films that also perfectly execute the young parent and adolescent relationship dynamic–director Charlotte Regan crafts a charming, heartfelt film about the growing pains within a family when an estranged young father re-enters the life of his pre-teen daughter after a tragedy.
Scrapper stars Lola Campbell as Georgie, a precarious and independent twelve-year-old who lives alone in the house she once shared with her single mother who recently passed from cancer. When we meet our protagonist, it is some time after her mother’s death, and Georgie seems to have adjusted to parenting herself. She spends most of her time with her best friend Ali (Alin Uzun), stealing bikes for money to make ends meet, and lies to anyone who questions her living situation, claiming that her fictional uncle is her guardian.
But for as brave of a face Georgie masquerades with in public, the loneliness is never far. Prominently displayed on a wall within the house is a checklist and upon closer inspection, it’s clear that Georgie is working her way through the 5 stages of grief. Little does she know that her life is about to change when she gets an unexpected visitor one morning: her estranged dad.
https://www.youtube.com/watch?v=slyUJ1_eK4E
Jason (Harris Dickinson) has been an absentee father for all of Georgie’s life, so their first encounter is no different than meeting a stranger. It takes time before Georgie begins to slowly warm up to Jason, whose well-intentioned but immature outlook on life comes with its own set of consequences. It’s clear that father and daughter both have a lot of growing up to do and in their own eccentric ways, Georgie and Jason start to navigate their new normal with each other by their side.
Charlotte Regan’s past career as a music video director is evident throughout Scrapper, from the quick cuts to the interesting composition and a beautifully stoic color grade. The film lands in a similar orbit to Andrea Arnold’s Fish Tank in the sense that both share a powerful point of view of the British working class, but Scrapper offers the viewer a more optimistic, playful experience. Lola Campbell is a delight to watch light up the screen and is the perfect scene partner with Triangle of Sadness star Harris Dickinson. For his part as the reformed bad boy, Dickinson wears his heart on his sleeve as the character’s vulnerability unravels throughout the film.
Winner of the World Cinema Grand Jury Prize at the 2023 Sundance Film Festival, Scrapper is a full-bodied coming-of-age film that ranks among the best of the year. Tenderly told with creative execution and striking performances, this independent film serves as a springboard for all involved, proving that these are all stars on the rise.
My Animal
In a stylish and sleek feature film debut from director Jacqueline Castel, My Animal is a ravishing, methodical tailspin into the life of a high schooler who finds herself in the center of two conflicting pulls: inheritance vs. nonconformity. Making its World Premiere at the 2023 Sundance Film Festival, this LGBTQ+ thriller is a fierce statement about identity and gives a platform to an exciting new voice in indie film.
Bobbi Salvör Menuez (Euphoria) and Amandla Stenberg (Bodies Bodies Bodies) star in this erotically-charged, supernatural coming-of-age story about “forbidden” love. Heather (Menuez) is an outcast in every sense of the word. She lives with her overbearing family on the outskirts of a small town where her freedom is limited, being forced into lockdown during every full moon. She finds temporary joy during the day at the local ice rink, quietly obsessing over the hockey team and constantly trying to persuade the coach to let her join this overwhelmingly male sport. Heather is used to being told no throughout her life, whether it be by the hockey coach, her family, or society in general. That’s why, when she meets Jonny (Stenberg) and isn’t met with an immediate dismissal, Heather latches onto this relationship as if it’s her life force.
https://youtu.be/fBelb-efRgA?si=YmXd-Sei1vAaNWLp
Love can transform one into a beast. As Heather’s desire intensifies, so does her carnivorous, animalistic instincts. Under the moonlight, Heather transforms into a teenage werewolf unable to regulate any sense of composure or normalcy. This hidden secret is why her family operates as recluses from society, but like any teenage girl, Heather doesn’t want to be an “other.” She is desperate to be normal, not a lone wolf. Jonny’s presence in her life, while threatening to her parents, allows Heather to finally feel seen and accepted as she is.
Jacqueline Castel doesn’t concoct the stereotypical werewolf story with obvious tropes and outcomes in My Animal. Instead, she serves us a layered genre film that feels weighty in its point of view. Bobbi Salvör Menuez, who identifies as they/them, is perfectly cast as the angsty teenager searching for self-acceptance. Heather’s character arc is beautifully realized through Menuez’s performance, perhaps her best work to date. Without knowing for sure, I can only imagine Menuez brought some of their life experience into the role of Heather, adding to the character's authenticity and depth. Aiding the film sonically is the electronic score by composer Augustus Muller (half of the duo Boy Harsher).
My Animal taps into the feeling of “otherness” that is often experienced throughout a lifetime. Through this provocative vessel, Jacqueline Castel encourages the viewer to reflect on their own coming-of-age story and tap into the potential werewolf inside all of us.
Distributed by Paramount Movies. In theaters Friday, September 8th, coming to VOD Friday, September 15th.
Bottoms
As the credits rolled at the end of Shiva Baby back in 2021, I contemplated an immediate re-watch. I didn’t want the good times to end. This progressive, cool girl comedy that filmmaker Emma Seligman so effortlessly brought to life (in her directorial debut, no less) had reawakened a part of me that had been dormant for some time. This was the type of movie that spoke to me, and I wanted more of it! Luckily, her sophomore feature, Bottoms, lives up to the hype. After a World Premiere at the 2023 SXSW Film Festival – where the film was nominated for an Audience Award – Bottoms is coming to theaters on Friday, August 25th.
Exploring sexuality is a recurring theme throughout 28-year-old writer/director Emma Seligman’s relatively short repertoire. In Bottoms, which was co-written by her Shiva Baby collaborator and the film’s co-lead actor Rachel Sennott (The Idol, Bodies Bodies, Bodies), two high school outsiders attempt to lose their virginity by devising a sneaky plan to get close to their crushes which, to no surprise, inevitably turns into complete and utter chaos.
Rachel Sennott and Ayo Edebiri (The Bear) play PJ and Josie, best friends about to enter another dreadful year of high school. Both proudly queer, and sexually frustrated, they have the unconventional idea to start a fight club in an attempt to get close to Isabel (Havana Rose Liu) and Brittany (Kaia Gerber), the hot cheerleaders and most popular girls in school. Like Cady Heron infiltrating into the “Plastics” orbit in Mean Girls, PJ and Josie bask in the sweet victory of success. Girls of all social circles are flooding to their self-defense class, literally throwing themselves at each other during made-up games of floor wrestling and slap fighting. Long gone are the days of being called just “gay, untalented, and ugly.” The popular girls are finally paying attention. Of course, things don’t stay perfect forever as the football team intercepts PJ and Josie’s long con, threatening to expose them for the horny teenagers they really are.
There are many factors that can be attributed to the success of Bottoms, especially the quick-witted and sharp banter between Sennott and Edebiri. Together they are magnetic, exuding this instant familiarity that draws us in and doesn’t let us go. Their comedic timing is spot-on, and the dialogue delivery hits every time. The script, co-written by Seligman and Sennott, is the right amount of self-aware and gut-punch funny. Subtle one-off comments said under the breath, like “You don’t care about feminism, your favorite show is Entourage”, are some of the film’s most memorable moments.
Best of all, Bottoms evokes a sense of nostalgia for rom-coms of the past. Imagine Superbad, Bring It On, and American Pie told through the lens of queer, sexually starved high school girls. Adding to the sense of female empowerment is seeing how many women contributed to the making of Bottoms behind the scenes and leading departments such as cinematography (Maria Rusche), editing (Hanna Park), casting (Maribeth Fox), and art direction (Michelle Jones).
Bottoms is a film for the girls, for the alt-Barbie crowd. A fierce soundtrack – which includes a perfectly-placed Avril Lavigne “Complicated” sync – and an original score by Leo Birenberg and Charli XCX is the perfect companion to the film’s fast-paced, frenetic energy. It’s definitely worth staying through the entire film so you don’t miss the bloopers and outtakes that are sprinkled throughout the end credits.
If you’re looking for the perfect back-to-school raunchy rom-com, make sure Bottoms is on the top of your watchlist.
Mob Land
Director Nicholas Maggio is pushing the boundaries of what a “crime film” can be. At first glance, the lush, artful aesthetic in his neo-noir drama, Mob Land, looks like it belongs on the cover of Vogue as much as it does on American Cinematographer. It’s a welcoming observation, one that the arthouse crowd will most certainly be surprised by. The photographer-turned-filmmaker builds a bridge between the traditional and untraditional schools of thought with Mob Land, proving that a crime film can be just as effective with less frills and more visceral observation.
Mob Land is a devastating look at the consequences of desperation. The film centers around Shelby (Shiloh Fernandez) and his brother-in-law, Trey (Kevin Dillon). Living in a small, Southern town that is in the throes of addiction, Trey schemes up a plan for some quick cash. Enlisting his hesitant brother-in-law, Trey and Shelby decide to rob a pill mill with the agreement that no one gets hurt. What was supposed to be a relatively harmless act quickly turns violent when shorts are fired, derailing the expectations for a silent steal and causing the men to fall into a panicked fight-or-flight state.
Meanwhile, the local sheriff, Bodie Davis (John Travolta) catches wind of the robbery and throughout his investigation, discovers harsh truths and dirty secrets about this small town and the people in it. But Sheriff Bodie isn’t necessarily the one to fear, Shelby and Trey know that there is an unspoken hierarchy amongst the community which puts mafia man Clayton Minor (Stephen Dorff) in charge. When they realize that the money they stole from the pill mill was Clayton’s, Shelby and Trey are terrified that they may have accidentally executed their own death warrant.
Mob Land lends itself to traditional themes of family and trust, but what makes this feel different from other crime films is how Maggio captures the quiet nuances of a drug-addicted Americana town. The story itself is told through an unconditional lens with its overall dark and gritty texture; handheld camerawork by cinematographer Nick Matthews makes the film feel alive as if the viewer is a cowering witness hiding from the fights that erupt on screen. The score by composer David Gerald Steinberg swells with tension and emotive energy but also knows when to restrain itself and let the characters organically reach certain arcs without the aid of the music. Performances by all involved, including Ashley Benson who plays opposite Shiloh Fernandez as his wife Caroline, capture an authentic sense of clinging to any strands of hope for a better future, no matter how grim the odds.
The juxtaposition at the heart of Mob Land is the act of doing the “bad” in an attempt to regain the “good.” Shelby isn’t a bad guy, and neither is Trey or Clayton for that matter. They are all just men fighting to survive in a cruel, unfair world, using whatever resources they have to gain any sense of security. The philosophical questions of morality and nihilism arise throughout the film, encouraging the viewer to imagine what their role would be in this scenario.
There are consequences to living fast, which Mob Land explores in rich detail. Paying homage to the independent crime thrillers of the past, Mob Land is a fresh and thrilling joyride worth taking.
Mob Land is distributed by Saban Films. Now playing in select theaters, coming to digital and VOD this Friday, August 25th.
On The Line
To say that On The Line, the emergency dispatch thriller from filmmaker Oliver Pearn, covers new territory would be a stretch. Predecessors with a generally similar storyline include the Danish award-winning film The Guilty (2018), the 2021 remake of the same name starring Jake Gyllenhaal, The Call (2013) starring Halle Berry, and the 2015 drama Operator (2015) starring Mischa Barton, to name a few. However, it’s worth admiring that On The Line utilizes a minimalist approach to give this micro-indie film an edge over its studio counterparts. The film builds tension with its use of only one location and one performer.
On The Line tells the story of a telephone operator residing in the northern Channel Islands in the UK. It’s the mid-1960s and telephone calls are dependent on operators successfully transferring the lines on their switchboards. For 24-year-old Agnes (Victoria Lucie), her shift at the office starts out like any other. She listens to conversations among friends and loved ones as she connects their calls without a second thought. However, Agnes is pulled back into reality after intercepting a phone call from a woman in distress who is desperate for police intervention. The woman, Martha, is in trouble and cannot share many details about her situation due to her captor being close by, so Agnes is forced to play detective and figure out how to save Martha on her own.
Shot entirely in a single room and with only one actor on screen (although the voices of the other actors are heard through the telephone), On The Line successfully builds authentic tension. The audience is with Agnes for the entirety of the film, hearing events unfold in real-time and anticipating the next move right alongside her. To this end, actor Victoria Lucie doesn’t just carry the film, she is the film.
Using a minimal, no-frills approach, filmmaker Oliver Pearn also plays into the psychology of the situation. Over the course of their scattered calls, Agnes develops a parasocial attachment to Martha and blurs the line between professional integrity and personal curiosity. This simple yet effective internal struggle adds another dimension to the character of Agnes and provides the film with an overall sense of tiptoeing around disaster.
On The Line is a microbudget indie with a bounty of potential. Never reaching above its comfort zone, the film doesn't intend to reinvent the wheel but rather add a very satisfying option to this crime drama genre.
Medusa Deluxe
The cutthroat world of competitive hairstyling turns into an up-do whodunnit in writer/director Thomas Hardiman’s murder mystery, Medusa Deluxe. Set in contemporary England, the unthinkable happens backstage at a local hairdressing competition: a stylist is scalped. Once the body is discovered, what follows is a rupture of chaos and mayhem as friends and frenemies alike begin pointing their fingers at each other, proving that in this business, obsession breeds jealousy and talent can be deadly.
Medusa Deluxe, the feature film debut from Thomas Hardiman, is a stylish thrill romp that will have you mesmerized right from the jump. Shot entirely as a one-take (and pretty convincing at that), the film effortlessly weaves in and out of green rooms and intimate conversations, building insurmountable tension with every passing minute. Obvious comparisons include Birdman, which Medusa Deluxe seems to take inspiration from in its use of backstage maze-work and seamless transitions.
Perhaps not as easily digestible for the general population as Rian Johnson’s Knives Out, Medusa Deluxe is the arthouse answer to the stereotypical whodunnit. Using shears instead of knives, Thomas Hardiman crafts an edgy, pulpy murder mystery that is propelled by a trifecta of excellence: cast, craft, and vision.
The cast of mostly unknown actors all give emotionally engaging performances. Many actors recite monologues with the intonation of seasoned thespians, which gives a sense of weight and seriousness to an otherwise surreal circumstance. The ensemble cast includes Anita-Joy Uwajeh, Clare Perksins, Darrell D’Silva, Debris Stevenson, Harriet Webb, Heider Ali, Kae Alexander, Kayla Meikle, Lilit Lesser, Luke Pasqualino, and Nicholas Karimi who are all vital players in the story’s bigger picture.
One of the biggest strengths of the film comes from the score by British electronic artist, Koreless. His signature sound of sleek, percussive electro is the perfect counterpart to the film’s fluid nature. The score consists of less “start and stop” musical moments and more continuous mood-building that fuels revelations onscreen. Feelings of uneasiness take shape through the use of off-tempo beats that sync up and then fall out of rhythm, thus painting a dreary, twisted soundscape.
Operatic in both its images and sound, Medusa Deluxe is a visionary breakthrough. Filmmaker Thomas Hardiman has created something truly unique with a voice and vision all its own. Dedicated to the hairdressers of the world, Medusa Deluxe is one fantastical trip worth taking.
Distributed by A24. Now playing on VOD and in select theaters, including the Los Feliz Theater.
Lola
Imagine Back to the Future as art-house science fiction with Christopher Nolan flare, and you’ll have some semblance of what to expect from Lola, the feature film debut from director Andrew Legge. One-of-a-kind in its execution and storytelling, Lola is a hidden gem that is just waiting to be discovered by larger audiences.
The film industry is in a tumultuous time right now with the ongoing conversations surrounding A.I. and its unknown impact. We’re seeing, firsthand, the ramifications of how technology is altering the future of film as we know it. This controversy sets the perfect backdrop in which to watch Lola, an ambitious story about how history can be made and unmade by human invention.
Lola takes place in 1941 England and centers around two sisters, Thom (Emma Appleton) and Mars (Stefanie Martini), who have built a machine that intercepts radio and TV broadcasts from the future. The machine, which they call LOLA, opens a limitless portal to the future. Turning on the device and seeing David Bowie singing “Space Oddity” is a revelation. They listen to iconic songs before they have been made, like The Kinks “You Really Got Me”, and place bets on games already knowing their outcomes. The sisters’ intention is to use LOLA for good, and they do… until things go terribly wrong.
With World War II impending, Thom and Mars use LOLA to change history by altering the course of the deadly event. Ecstatic about their contribution to history, they quickly realize that adding new variables has led to a new set of consequences. For starters, David Bowie is no longer a pop icon. In fact, they may have accidentally erased him altogether. They stopped the war and saved lives, but also existentially grapple with what they sacrificed.
Lola encourages critical thinking, much like the anecdote of the train going down the tracks toward a group of people. If you were to control the lever, would you let fate prevail and let the train strike the group, or would you alter its course by intentionally switching tracks, instead going in the direction of a single person? The film encourages audiences to examine these hypothetical questions, and therefore, I recommend watching with another person to engage in a post-screening Q&A. Transfixing performances by Stefanie Martini and Emma Appleton further add to the film’s charm. The experimental score by Irish singer-songwriter Neil Hannon is one of the most inventive and clever I’ve heard all year.
If you could control the butterfly effect, would you? Technology has the capability to enhance humanity thereby creating a perfect society, but at what cost? Lola tackles universe timeline jumping in the same fashion as Everything Everywhere All At Once, but even compared to the 7-time Academy Award-winning film, it still stands tall. A nominee for Best First Feature at the 2022 Locarno International Film Festival, Lola is a delightful film that deserves your attention.
Distributed by Dark Sky Films. Now available on VOD.