The Engine Inside
If you consider yourself a gearhead, the documentary The Engine Inside will feel like a warm embrace from the greater cycling community. However, those who aren’t passionate about the two-wheeled machine may feel a bit like an outsider looking in. Regardless, the film’s niche commercial appeal has a wider universal message that applies to everyone: a bike has the potential to solve global problems and move humanity forward. We just need to be willing to embrace it.
The Engine Inside, directed by Darcy Wittenburg, Colin Jones, and Darren McCullough, is more than just a love letter to the bicycle. It teeters on appearing like a PSA, or a long-form call to action to get audiences to ditch their cars and incorporate more bikes into their daily lives.
This nearly 200-year-old machine is the star of the film, its importance made known from the voiceover narration by a David Attenborough-sounding English gentleman. Throughout the brisk 83 minutes, we are introduced to people from all over the globe whose lives have been greatly affected by a bicycle. Through their vulnerable stories, we come to realize that a bike can be more than a tool or a toy, many consider it a source of therapy and freedom.
It’s clear that this film was made with the purest of intentions and goodwill, and not necessarily for cinematic accolades and awards. That said, at times it lingers on melodramatic moments that distract from the film’s intention of hopefulness. Slow-motion crying about past trauma and claims of feeling “discriminated against” or that “humanity treats people on bikes like punching bags” comes off heavy-handed. No doubt these emotions are valid but perhaps the effect would have been toned down if the documentary didn’t also incorporate a strong dependence on music with lyrics. The film is wall-to-wall music, which can come off as claustrophobic and forced.
The Engine Inside doesn’t necessarily tell the history of the bike, but rather the effects of the bike on people’s lives. Interesting facts are sprinkled throughout, like where the white “ghost bikes” originated from, and how bicycles and cars share the same laws. By the end of the documentary, it is the filmmakers’ goal that audiences consider this alternative way of living. After all, it is the cleanest engine around.
Passages
Passages, the new film by acclaimed American director Ira Sachs, has the potential to be one of my favorite films of the year. A love triangle of sadness set in Paris, the film explores the intricacy of modern relationships and how sticky they can become when a sexual awakening threatens to disrupt the dynamic. Making its premiere at the 2023 Sundance Film Festival, Passages is a rapture of desire and sexual fluidity.
Passages stars Franz Rogowski (Transit) as Tomas, a queer German film director who struggles with unexpected lust for a woman after the completion of shooting his passion project. The security Tomas once felt in his marriage to his partner Martin (Ben Whishaw, Women Talking), is shaken when he lays eyes on the beautiful Agathe (Adèle Exarchopoulos, Blue Is the Warmest Color) at his film’s wrap party. Naturally seductive and charismatic, Agathe persuades Tomas to follow her to the dance floor after Martin turns down Tomas’s pleas to dance, citing an early wake-up call the next day. In the middle of a crowded club, electro-disco blaring, Tomas and Agathe move in complete synchronicity. Their first encounter doesn’t quite reach a palpable sexual tension, but rather an intriguing curiosity and flirtation.
Tomas ends up spending the night with Agathe and immediately tells Martin about his sexual deviation the next morning. Martin is understanding of Tomas’s desire for exploration but somewhat dismisses the event as a one-time thing. After all, Tomas isn’t attracted to women, or so Martin thinks. The bisexual grey zone Tomas finds himself straddling becomes almost too unbearable. He can’t stop thinking about Agathe, his uncaged animalistic desire to spend time with her, sleep with her, and build a concurrent life with her becomes what he now desires. He’s fallen in love with her, and her with him, but anytime Tomas feels too removed from Martin, he also can’t help but crawl his way back into Martin's life too.
Ira Sachs’s seductive, NC-17 drama continues in a rather exhausting way for Tomas. His displays of love toward Agathe and Martin are expressed and then squandered as Tomas realizes that choosing between the two proves impossible. Things get even more complicated when Agathe reveals something that will change the course of Tomas and Martin’s life forever.
Bringing empathy to an otherwise self-absorbed character, Franz Rogowski gives one of the best performances of his career. He is a magnet on screen, visibly working through a never-ending stream of complicated emotions. Acting opposite him as his dejected lover is Ben Whishaw, whose own character's journey is fascinating. Don’t mistake his quietness for weakness, as Martin seems to be the ultimate voice of reason in the film. Adèle Exarchopoulos once again proves her star power with an incredible turn as Agathe, the strong-willed Parisian whose self-imposed blinders to Tomas’s double life is a constant, depleting struggle.
It’s no surprise that Passages is expertly crafted, from the set design to the styling and soundtrack. In the early moments of the film, when Tomas and Agathe meet for the first time, the song that accompanies this crucial moment has the lyrics, “I know you but I want to know you more” – an obvious foreshadowing of their tumultuous love affair. The film ends with a jazz piece, symbolic of chaos and disorientation.
Passages, distributed by MUBI, is an unconventional love story for modern times. From top to bottom, it’s an unforgettable watch that leaves ripples of desire and despair in its wake.
The Beasts
The thought of human extinction is a truly terrifying concept. Whether it be from ecological threats brought on by climate change, or at our own hands through over-consumption and corporate greed, those who choose a simple life are increasingly facing difficulties. As society adapts to more advanced technology and capabilities, those who refuse to adapt either get lost in the nostalgia of the past or are forced to embrace the changes.
Survival and identity are key elements in Spanish director Rodrigo Sorogoyen’s haunting eco-thriller The Beasts, a simmering piece of filmmaking that broods with tension and despair. Part true-crime drama and part social realism, The Beasts is an exceptional viewing experience that offers multi-layered commentary on gentrification and the repercussions of strongly-held beliefs.
Set in a picturesque Galician farming village commonly referred to as the “Wild West” of Spain, a middle-aged French couple, Olga and Antoine (Marina Foïs and Denis Ménochet), find themselves at odds with their contentious neighbors after moving into the community. Their new home sits in a region that, while beautiful, is fraught with economic hardship and desperation. The couple, uprooted from their previous life, decide to relocate to the village to try their hand as organic farmers. Their love for the work is unquestionably pure; Olga and Antoine rigorously stick to their harvesting schedule so they have enough produce to sell at the local farmer’s market in town. Their land is their livelihood, and the most important asset in their lives.
However, longtime residents of the village aren’t thrilled with their new neighbors’ hobby, especially when it comes between a potentially lucrative business deal. Local brothers, Xan (Luis Zahera) and Lorenzo (Diego Anido), are also farmers who’ve struggled for generations to earn a living but see their ticket out of survival mode when foreign interests offer quick cash to use the land to develop wind turbines. Olga and Antoine strongly object to selling the property, which enrages the brothers. Psychological torture ensues, causing Antoine to fear for his and his wife’s safety. This brewing fight between good-intentioned immigrants and desperate natives reaches a breaking point toward the middle of the film, building to a crescendo that is entirely gripping.
In The Beasts, Rodrigo Sorogoyen creates a dazzling display of complex gentrification dynamics through beautiful visuals and a pulsating score. The soundtrack by composer Olivier Arson creeps in and out of scenes with its organic melodies. The instruments sound as if they could have been sourced from natural elements, adding to the earthy tone that encompasses the film. Conceptually, the film feels breathy and lived in. The actors – who all give phenomenal performances – are given space and time to embody the dialogue, without any feeling of rushed or inconclusive moments.
Akin to the Icelandic eco-thriller Woman at War, The Beasts similarly hits on the struggle to preserve our natural environment. What this film does so well is portray all of the sides to the story, blurring the line between victim and perpetrator. Winner of nine Goya Awards, Spain’s equivalent of the Academy Awards, including Best Picture and Best Director, The Beasts is a revelation and a film not to be missed.
Distributed by Greenwich Entertainment. Opening at the Laemmle Royal this Friday, 8/4.
Kokomo City
Winner of the 2023 Sundance Film Festival NEXT Innovator Award and the NEXT Audience Award, Kokomo City is a fireball of energy and truth that is ready to burst into theaters. Directed, produced, edited, and shot by filmmaker D. Smith, Kokomo City proves that a documentary is only as good as its subjects, and what we have here are excellent subjects telling unapologetically raw and unforgettable stories.
Seen through a bold black-and-white filter, this tell-all highlights four Black transgender sex workers in Atlanta and New York City. Daniella Carter, Koko Da Doll, Liyah Mitchell, and Dominique Silver share their private experiences – past and present – as “entrepreneurs” who have taken an unconventional route toward self-sufficiency and independence. Unfiltered and definitely NSFW, the women get candid as they bare all to D. Smith whose understanding and empathy permeates from behind the camera.
Kokomo City humanizes the people who are often referred to as a statistic, or an “other”. We see their faces, learn their names, and are given access to their complicated world for 73 minutes. Comprised entirely of interviews which range from the logistics of "topping" and "bottoming" with clients, to familial disappointment and disownment, the film doesn’t glamorize the sex industry in the slightest but shows how the promise of fast money is enticing enough to those in desperate financial situations. It’s a sad reality that D. Smith captures with such elegance and grace through engaging and rhetorical questions.
The subject matter is dark, but there is lighthearted humor throughout the film that keeps audiences from pitying the women onscreen. Rather, we admire their bravery in the face of violence or bigotry. Despite coming from different backgrounds, the women all agree on one fact: this is survival work and it’s risky. For too long, women and those who are woman-identifying have put their lives in the hands of men, trusting them to keep us safe. For Black trans sex workers, every client is a potential threat, which highlights the horrible conditions they must continue to accept.
Aside from spotlighting a tragic existence, if Kokomo City does nothing else, hopefully, it will aid in the visibility of transgender women on screen. D. Smith has taken a conversation that has been purposefully avoided for years and made a feature film that shines a bright spotlight on these vulnerable, human experiences.
Distributed by Magnolia Pictures. Opening this Friday at Alamo Drafthouse Cinema Downtown Los Angeles.
Loud & Longing
New York City has the potential to either bring out the best in a person or break them. This city that never sleeps is a central character in Loud & Longing, a film that acts as a cinematic love letter to NYC and the brave dreamers who call it home. For as opportunity-riddled as the concrete jungle can be, many aspirational artists have been met with a reality check that threatens to crush their ambition and overall outlook on life. As this micro-indie shows, it helps to have a chosen family that understands the entrepreneurial struggle and can offer support throughout the inevitable highs and lows.
The ultra-low-budget film from directors Isabel Ellison and Ryan Guiterman tackles the darker side of chasing a dream while still weighed down by unprocessed baggage. Lucy (director Isabel Ellison) and Lucien (Sam Encarnación) are childhood friends in their early thirties who find themselves together in New York. Each a creative on the verge of a career breakthrough, Lucy, an actor, and Lucien, an artist, also share a trauma bond that emerges from the shadows when her cousin Matt (Max Carpenter) shows up in town. Matt brings with him the reminder of a shared painful history, one that includes abuse, addiction, and loss. But even in the darkest of moments, Lucy and Lucien keep their head above water with the support of their friends.
A diverse cast of queer and trans millennials creates the film's emotional heartbeat, in a similar fashion to Jonathan Larson's eclectic cast of Rent. All struggling with something, it's only through unwavering friendship that Lucy and Lucien are able to survive their worst moments. The themes of recovery and reclaiming one's identity ring true throughout the leaden script from writers Isabel Ellison and Brian Otaño.
Loud & Longing has a 2010's arthouse quality to it and presents in a similar style to the Safdie brothers' 2014 film Heaven Knows What. Stripped back of any superfluous characteristics, Loud & Longing is bare-bones but still manages to keep its edge. This aesthetic works in terms of building the world within the film but faces problems when it comes to the literal viewing of it. Dipping into questionable sound quality and mixing, the film's light and fluid nature comes to an abrupt halt when technical inconsistencies occur. Gaffes aside, Loud & Longing ultimately succeeds as an ode to the misfit and a prudent reminder that we are not an island, and should consider ourselves fortunate to have a friend in our corner.
Talk To Me
A24’s latest horror film Talk to Me is a litmus test of physical restraint. How long can you go without clenching your fists, squirming in your seat, or covering your eyes is determined by your tolerance for intense gore, and–to be frank–sheer insanity. Supernatural forces conjure chaos in Australian filmmakers Danny and Michael Philippou’s directorial debut, making for a whiplash of thrills that will no doubt delight any masochistic horror fan.
Written by Danny Philippou and Bill Hinzman (and based on a concept by an additional ten people), Talk to Me tells a story of a group of high schoolers who get caught up in conjuring spirits. The film also comments on the natural coming-of-age tendencies to experiment with boundaries and the enticing element of danger.
A couple of years after the unexpected death of her mother, Mia (Sophie Wilde) is beginning to have some semblance of a normal life again. Growing accustomed to not having her mom by her side, Mia finds comfort and stability with her best friend’s family, Jade (Alexandra Jensen), her younger brother Riley (Joe Bird), and their mother Sue (Miranda Otto).
One night, Mia and Jade invite a small group over to their house to try out a bizarre ritual that has been sweeping social media. Lighting a candle, holding the hand of an embalmed paranormal body part, and whispering the words “Talk to me, I’ll let you in,” is all it takes for demonic spirits to cross over from the other side and inhabit the body of the victim. Or, that’s what the group of friends are led to believe. A time limit of about 90 seconds is discussed beforehand; anything longer than that and the spirits could take over your body forever. Of course, things don’t go as planned during the group’s night of conjuring as they accidentally unleash the most demonic, nightmarish supernatural forces that quickly overstay their welcome.
The Philippou brothers push maximalist extremes in every direction. From the scratchy string-heavy score by composer Cornel Wilczek to the hyper-realistic special effects makeup, there is a lot to digest. Blood floods out of pores like a rapidly flowing river and skin flakes off like hardened scotch tape in such astute detail, it’s enough to make one’s stomach a bit queasy. These aesthetics help elevate the performances as well. Alexandra Jensen, playing Mia’s BFF Jade, steals the show with her grounded yet increasingly unhinged performance.
On the whole, Talk To Me is a staggering directorial debut. The Philippou brothers know how to capture the audience's attention and have them hanging onto every word. Their fresh voices and stylish aesthetic in the horror genre are welcome, and I look forward to seeing what nightmarish brainchild they’ll come out with next.
Distributed by A24. Talk To Me opens in theaters on Friday, July 28th.
https://youtu.be/aLAKJu9aJys
'Nathan-ism' Explores Truth and Fiction Through This Cartoonist
In Nathan-ism, filmmaker Elan Golod does two things at once. He introduces audiences to WWII veteran and bespoke cartoonist Nathan Hilu while simultaneously commenting on the juxtaposition between the impermanence of life and the everlasting nature of art. Nathan is well into his 90s but that doesn’t slow him down in the slightest, in fact, quite the contrary in fact. He is determined to present his memory on paper and continue creating pieces of art that reflect the monumental moments in his life. Through his own words and pictures, Nathan shares intimate moments of history that otherwise may have been lost to time.
Putting marker to paper, Nathan tells the film’s director that he still doesn’t consider himself an artist but more of a “memory man” who illustrates his recollections from decades prior. The son of Syrian Jewish immigrants, Nathan recalls the moment his life changed forever. In the mid-1940s, at the end of WWII, he received an assignment from the U.S. Army to guard top Nazi war criminals at the Nuremberg trials. This experience would serve as the catalyst for Nathan’s art as he therapeutically recounts the tragic events using crayons and markers.
The colorful output on the pages stands in stark contrast to what is being depicted; hangings, death, and heartbreak fill up the corners of his sketchbook. "Every soldier has memories,” Nathan reminds us, as he sits in his recliner, doodling with his sun-spotted and wrinkled hands that embody his astute wisdom and life experience. The art world took notice of Nathan’s works and story, leading to gallery runs and a retrospective exhibit at the Hebrew Union College Museum.
Urgency is the subtext of Nathan-ism. Despite his age, the sentiment rings true for all of us that it’s never too late. Nathan has a very storied life, one which Elan tells in vivid detail that compliments the cartoonist’s eccentric personality. Composer Christopher Bowen’s score is whimsical and bright, painting the film in an overall optimistic light. Also attached as Executive Producer is the Emmy Award-winning Caryn Capotosto, whose recent documentary Won’t You Be My Neighbor won an Independent Spirit Award (2019) for Best Documentary, a Producers Guild Award (2019), and a Critics’ Choice Award (2018) for Best Documentary.
In art, there are many types of “-isms”: modernism, surrealism, impressionism, etc. Adding to this list, “Nathan-ism” stands for authenticity and reflection. Running at a brisk 79 minutes, Nathan-ism is a feel-good documentary that offers audiences the opportunity for self-reflection about the moments in their lives that could lead to meaningful works of art.
While Nathan died in 2019, his art and stories will live on forever.
Bobi Wine: The People's President
If there’s one documentary you seek out this year, make it this one. Equal parts inspiring, educational, entertaining, and emotionally activating, the story of Ugandan musician turned politician Bobi Wine is an incredible exposé of the hypocrisy of political elections and the hero who was willing to sacrifice his life to defend the oppressed. Documented over five years by filmmakers Christopher Sharp and Moses Bwayo, Bobi Wine: The People’s President charts the fascinating trajectory of one man’s selfless dedication to his people in true David vs Goliath fashion.
Robert Kyagulanyi Ssentamu was born in the slums of Kampala, which shaped his identity as he grew into a young man. His awareness of the lack of equality within his country’s political system struck a nerve with the budding social activist who, at that time, was expressing his frustration through music. With colorful vocals and infectious beats, Bobi’s catchy tunes held a deeper meaning than just entertainment value, these songs were calls for freedom. Robert adopted the stage name Bobi Wine and then, a star was born. As his musical career turned him into a national superstar, Bobi remained a man of the people and returned to the slums often to encourage future generations to persevere through the tough times.
Bobi’s dreams extended beyond the recording studio – his eyes were set on Parliament. He secured a seat within the government and quickly realized that behind the facade was corruption, illegal activity, and anti-republic intentions. Since 1986, Uganda had been under a ruthless regime led by power-hungry Yoweri Museveni, and the opposition wanted him gone. With a Presidential election upcoming, Museveni was determined to take another five-year term after he unethically changed the country’s constitution to make him eligible to run again. As a result, Bobi decides to gear up for the biggest battle of his life and run against the most powerful man in Uganda.
Bobi’s campaign journey is documented in harrowing detail throughout the film’s 2-hour runtime. Caravaning from town to town in an effort to connect with the voiceless people in remote Ugandan towns, Bobi and his team of supporters continuously risk persecution, intimidation, and even death from Museveni’s military. Told through intimate conversations with filmmakers Christopher Sharp and Moses Bwayo, Bobi gives audiences a glimpse into his secret life at home with his wife, Barbie, and their three children, revealing the sacrifices he makes to keep them safe.
The music that drives the film is a compilation of Bobi’s own recordings. Similar to the way Rodriguez came into the musical zeitgeist after the debut of the documentary Searching for Sugar Man – which also happened to also be produced by Bobi Wine‘s John Battsek – Bobi’s music has the potential to find its way to a mainstream audience. Inspiring activism through music, Bobi sings about denouncing the dictatorial regime and fighting for freedom. It’s a universally resonating message that you’ll be eager to sing along to.
The target on Bobi Wine’s head is never out of sight, even today., and the very act of making this documentary is already an act of defiance. If there’s one takeaway from the film, it’s that nobody can stop Bobi Wine from carrying on. Getting his message out into the Western world would be a huge victory for all the Ugandan people who feel oppressed at the hands of their own government. We owe it to Bobi, the filmmakers, and our fellow world citizens to listen to their stories and then act in a way that allows for liberty and freedom to prevail.
Distributed by Nat Geo Docs. Opening in select theaters on Friday, July 28th.
'The Deepest Breath' Review: An Incredible Story of Sea-Bound Soulmates
Every decision we make on this earth, whether on land or sea, is left to some degree of chance. Even with years of experience, we can never truly predict with full certainty the outcome of a situation. Yet in some ways, this unpredictability is part of the beauty of life. Happenstance is what brought Alessia Zecchini and Stephen Keenan together, and fate is why their story is so painstakingly tragic. To bring this story to life, director Laura McGann takes audiences on an emotionally-stirring and reflective journey throughout the lives of these two sea-bound soulmates in the documentary The Deepest Breath, now streaming on Netflix.
On the surface, The Deepest Breath can be described as a tragic love story between a world-champion Italian freediver, Alessia Zecchini, and her Irish safety expert coach, Stephen Keenan. But dive a little deeper, and you’ll soon discover that it’s so much more than that. This film tells a poignant story about pushing the limits of the human body – mentally and physically – and the vulnerability that it takes to surrender everything in the name of love.
From the very first frame, audiences are submerged into the little-known world of freediving. Don’t be surprised if you catch yourself attempting to hold your breath simultaneously with the divers on screen, as I subconsciously did. My pathetic 45 seconds compared to their nearly four minutes is laughable, and really puts into perspective why freediving is highly considered by many athletes to be the most dangerous sport in the world.
Alessia Zecchini meets this challenge head-on as she competes for the title of world champion freediver. Her dedication to the sport is admirable, if not foolish at times. Throughout the film, we witness her compete in different tropical locations, whose beauty is often overshadowed by the deadly activity happening underneath the water. Plunging hundreds of feet downward with a single breath leads to occasional blackouts, where bodies are pulled to the surface by expert divers and given lifesaving treatments like CPR. Given the circumstances, there is no doubt that the bond between a diver and their safety expert is a precious one. Alessia and Stephen prove this ten times over throughout the film and their intimate moments are such a privilege to witness.
The crux of The Deepest Breath takes place in the moments between an inhale and an exhale. A mere matter of seconds can feel like a lifetime when one is submerged hundreds of feet in the ocean. Director Laura McGann has complete control of the emotional power of the story, which is complemented by the beautifully layered score by Nainita Desai. Produced by John Battsek of Ventureland, in association with A24, Motive Films, and RAW, The Deepest Breath is a full-bodied viewing experience and an incredible homage to those who are willing to risk it all for their dream.
Lakota Nation vs. The United States
The Black Hills are a magnificent natural wonder that tower over the grasslands of Keystone, South Dakota. Many nationals and tourists alike make the pilgrimage to this remote area to admire one of the country's most notable monuments: Mount Rushmore. To many, the faces of Theodore Roosevelt, Abraham Lincoln, Thomas Jefferson, and George Washington etched into the mountainside stand as a symbol of freedom, opportunity, and the American Dream. For the Lakota people, however, it serves as a constant reminder of colonialism, genocide, and broken promises.
In filmmakers Jesse Short Bull and Laura Tomaselli’s timely documentary, Lakota Nation vs. The United States, new light is shed on the Lakota people’s fight to regain their sacred land and live in peace once again. Using stunning archival footage from some of America’s earliest days, we bear witness to what led to the unconstitutional takeover of the Black Hills, and gain a deeper understanding of how unfairly the government continues to treat the first inhabitants of the United States of America.
While some of what is discussed throughout the film will sound familiar from textbooks, seeing it brought to life through visuals is even more disheartening. The U.S. has dehumanized Native Americans since the first European settlers arrived in 1492, and this sentiment carried over into the early days of the entertainment business. Characterizing “Indians” in cartoons and films like The Searchers, Peter Pan, and countless others, continued to demonstrate the way Hollywood tropes made a mockery of their existence and importance to this country. In the early 1800s, government officials reneged on a treaty that guaranteed Native Americans land ownership and colonized it for themselves. Over the next hundred years, treaties were constantly drafted yet violated almost immediately.
Lakota Nation vs. The United States is built upon powerful interviews with descendants of the Lakota people who share their ancestors’ struggles through stories that have been passed down from generations. It is a sensitive matter handled with the utmost respect by the filmmakers, including co-director Jesse Short Bull whose own great-great-grandfather, Tatanka Ptchela (Short Bull), was an active witness to the conflict between the two nations in the mid and late nineteenth century. Expertly composed shots by cinematographer Kevin Phillips show the depths of beauty and magic within these sweeping landscapes. Composer Raven Chacon – the first Native American to win a Pulitzer Prize for Music – lends a quietly stirring score that amplifies the sacredness of the subject matter.
"Land is Life” for the Sioux Nation, and this is a powerful testament that is repeated by many throughout the film. Without land, there is no identity. Lakota Nation vs. The United States wasn’t made with the intent to start another conflict with the government. Instead, the filmmakers hope that through respect and recognition of wrongdoings, the future of the Black Hills will one day be returned. As of today, the Lakota people continue to push for rights to their ancestral land.
Distributed by IFC Films. Opening at Laemmle Royal on Friday, July 21st.
It Is In Us All
Writer/Director Antonia Campbell-Hughes's own nomadic upbringing serves as inspiration for the hero's journey in her feature film debut, It Is In Us All. Throughout this thrilling LGBTQ+ drama, Campbell-Hughes explores themes of belonging and identity, tangled up in secrecy.
The heavy fog has rolled in by the time Hamish (Cosmo Jarvis) arrives in the small Irish town of Donegal. The Londoner, whose suave appearance immediately stands out amongst the working class community, has arrived from the city to inspect a farmhouse that he received as part of an inheritance from his aunt who recently passed. Hamish didn't know her well and as a result, lacks emotional ties to the property. He has every intention of selling and returning to London quickly. As he makes his way to the house later that night, Hamish crashes head-on into a driver speeding from the opposite direction, catapulting his vehicle down the hill and leaving him for dead.
Hamish wakes in a hospital, narrowly escaping serious injuries. Unfortunately, the same can't be said for the passengers of the other vehicle. A 15-year-old boy died and his passenger, 17-year-old Evan (Rhys Mannion), sustained minor injuries. Being that Donegal is a small town, it doesn't take long for Hamish to cross paths with Evan once he is discharged. Contrary to the expected, Evan seems keen to start a friendship with Hamish. Adding to Hamish's confusion are the unexpected feelings of attachment to his aunt's property that he has developed. Feelings of legacy, belonging, and identity creep in, and what initially seemed like an easy decision has now been muddied with emotional complexity. Hamish decides to ignore his instinct and befriend the boy, as well as dive deeper into his own family history in Donegal. Conflict is never far from the surface as Hamish begins to feel the repercussions from these decisions, and is ultimately faced with gut-wrenching revelations that could impact the course of his life.
It Is In Us All hinges on the demanding physical performances of its lead and supporting actors, both exuding total trust and confidence in director Antonia Campbell-Hughes's vision. Cosmo Jarvis embodies a "Tom Hardy in Locke" sense of awareness, where his grit and quiet demeanor are tightly packaged until he is pushed to the brink and explodes with such brute force. Compositionally, the film is gorgeous. Cinematographer Piers McGrail's beautiful wide shots look reminiscent of The Banshees in Inisherin at some moments – the idyllic rolling meadows and stormy oceans create a stunning juxtaposition of vulnerable characters navigating extreme terrain. The sweeping score by Tom Furse is robust for such an intimate film, but it sounds lovely nevertheless.
In 2022, the film made its World Premiere at SXSW and won the Special Jury Award for Best Narrative Feature. It Is In Us All won the Best Cinematography award at the 2023 Irish Film and Television Awards, as well as a BIFA nomination for Cosmo Jarvis for Best Lead Performance. At its core, It Is In Us All is a story about facing harsh truths. It has a dark and moody tone that is accelerated by strong, full-bodied performances from all involved. It's quite a feat for Antonia Campbell-Hughes, her visual style is full of clarity and confidence as if she has been making films for decades – hers is a name to keep on your radar.
'20 Days in Mariupol' Review: A Brutal and Sobering Time Capsule
A good documentary brings the viewer into a previously unknown world, introducing them to the subjects and situations from an unbiased point of view. At times, this intimate experience can prove to be a challenging watch, especially when human lives, including the filmmaker's, are at stake. 20 Days in Mariupol is a brutal and sobering time capsule of the early days of Russia's invasion of Mariupol, Ukraine's Eastern port city.
Bringing this story to the world is Pulitzer Prize-winning AP journalist and Ukrainian filmmaker Mstyslav Chernov, who is credited as the documentary's director, writer, and cinematographer. Immediately, we are transported to a ramshackle apartment building, with Russian tanks etched with the letter "Z" (signaling war) slowly encroaching into this previously quiet neighborhood. What follows is devastation of the highest degree: civilians are shot, the local hospital is under siege, and the harrowing realization that safety is fleeting.
Wearing a press badge as if it was a bulletproof vest, AP reporter Mstyslav Chernov uses a handheld camera to capture all of the events that unfold in Mariupol over the three weeks he is there. The footage he gets from being on the ground is directly sent to news outlets around the world, that is, when Russia doesn't revoke internet access and make communication with the outside world impossible. The footage from Mariupol you saw on CNN, BBC, ABC, FOX, and more was captured by Chernov.
Throughout all of the chaos, Ukrainians are glad to have Chernov on site to show international news outlets the horrific nature of the war and Russia's consistent killing of civilians. Chernov's presence is invaluable, as he captures doctors frantically performing CPR on a four-year-old child who's clearly dying, a father weeping over his sixteen-year-old son's bloody body, his face so close that there's a transfer of blood on his forehead, and devastated doctors crying underneath their N95 masks. "This is painful to watch, but it must be painful to watch," says one Ukrainian police officer. This is the reality of life in Mariupol.
The filmmaking team could only withstand 20 days in the war-torn city before making a desperate decision to escape. It's horrifying to discover that the war continued for another 60+ days after the AP reporters' departure. What more destruction could Russian troops have possibly inflicted on this already depleted working-class town? One statistic displayed at the end of the film paints a stark picture of the community's fate – a confirmed 25,000 people perished, with the actual number believed to be much higher.
20 Days in Mariupol feels unlike other documentaries in that it comes across as a true "journalists' documentary". Non-fussy title cards in Helvetica font display the necessary information; given that this is a PBS Distribution, and a FRONTLINE | PBS and The Associated Press-produced film, the intellectual tone that resonates with their online profiles rings true here. The score by Jordan Dykstra is very tense and often times it can be mistaken for wailing emergency alarms.
Haunting in the most extreme of ways, 20 Days in Mariupol also signifies the resilience of the community. The doctors, first responders, military, reporters, and citizens who open up their homes to strangers, all work together to keep any semblance of optimism alive. Mstyslav Chernov and all involved in helping tell this story should be lauded for their heroism and dedication to revealing one of the most important events in history.
Jordan Dykstra Premieres Track From '20 Days in Mariupol'
One of the more profound and unforgettable documentaries to come out of 2023 so far is the harrowing wartime exposé, 20 Days in Mariupol. Set on the ground during the early days of the Russian invasion of Ukraine, filmmaker and Pulitzer Prize-winning AP journalist, Mstyslav Chernov, documents the uncontrollable chaos of a city falling apart, a community being destroyed, and a country forever changed. Composer Jordan Dykstra provides the sonic heartbeat to these historical moments in time through his experimental, yet grounded, score.
Winner of the 2023 Audience Award at the Sundance Film Festival in the World Cinema Documentary competition, 20 Days in Mariupol demands your attention from the start. The cries of desperation from the Ukrainian survivors act as a secondary soundtrack to Dykstra's pulsating score, furthering the feeling of dread and perpetual anxiety. No matter which way you look, it's a haunting experience.
Cinemacy is excited to premiere “Devastation Everywhere”, from PBS Distribution’s 20 Days in Mariupol, below:
It's not a coincidence that most of Dykstra's score incorporates harsh noise music that has been distorted. The disorientating nature of the sound combined with the devastating events that unfold onscreen act as a mirror to the reality of war. To achieve this sound, which can at times be confused for the drawn-out wailing of an emergency alarm, Dykstra uses digital and analog synthesizers, percussion, strings, detuned piano, and filtered noise elements. This is all in addition to the more classical string section that is carefully placed during scenes with the utmost emotion.
Says Dykstra of the track: "'Devastation Everywhere' features haunting call-to-war-like drum beats, tense siren-like synth blasts, and dissonant trumpet screams all building toward a grand finale of epic proportions. This track evokes images of painful carnage and loss, shelled homes and apartment buildings, and the utter devastation seen from every angle in Mariupol during the invasion in February 2022 — intensely documented in the film 20 Days in Mariupol.”
Jordan Dykstra is a composer and performer specializing in both film and concert music. He was an apprentice to Daníel Bjarnason, composer and conductor of the Icelandic Symphony Orchestra, in 2014. In 2018 he received his MA in Experimental Composition from Wesleyan University in Connecticut where — under the mentorship of Alvin Lucier and astrophysicist Seth Redfield — his thesis explored connections between microtonality and the cosmic distance ladder. Previous film projects include the musical noir Blow the Man Down, the satanic panic doc Hail Satan?, the psychological horror film It Comes At Night, and the Emmy Award-winning investigative documentary, Documenting Hate. He is based in Brooklyn and runs his own cottage industry label, Editions Verde.
Esme, My Love
Through the power of the mother-daughter connection, director Cory Choy's feature film debut Esme, My Love acts as a poignant meditation on life and loss. Set in the sprawling backwoods of an isolated forest, this relationship-based drama between a young mother and her terminally ill daughter captures not only the timeless beauty of all living things but also the mysterious possibilities of a life beyond Earthly existence.
Esme, My Love is told through the lens of magical realism. A gentle hum opens the film under an echoey voiceover between Hannah (Stacey Weckstein) and her young daughter, Esme (Audrey Grace Marshall). What initially seems like a somewhat spontaneous camping trip quickly becomes something more intentional. The next few days are spent hiking and camping in the woods until the pair eventually reach an abandoned farmhouse. The house, rickety and clearly left vacant for several years, is what Hannah is hoping holds the key to unlocking precious memories for Esme before it's too late.
From there, the film unravels into darker and more mysterious territory. Hannah's desperation to connect with her daughter before she loses her for good becomes more erratic and psychologically draining. Esme's more subdued nature reflects one of acceptance, even if she doesn't fully realize her condition and fate, while Hannah's distress continues to agitate Esme. Esme doesn't understand her mother's persistent pleas to recall memories and therefore grows more frustrated day by day. But Hannah will stop at nothing to make this connection with Esme one last time.
The film was completed over six years and is considered a micro-indie in every sense of the word. Some scenes were shot on an iPhone because of faulty camera equipment (but you would never be able to tell which moments). The surroundings are beautiful, color-corrected like a big studio movie, and shot with such detail. The intimate two-person cast and outdoor setting no doubt was a cost-effective choice but it also works so well for the story that director Cory Choy is trying to tell. The atmosphere feels complete when it's set against composers Stephanie Griffin and Charlotte Littlehales' mesmerizing score. The heaviness of the music–which includes violin, strings, and synth–adds to the claustrophobic nature of the situation.
In Esme, My Love, audiences bear witness to a layered spiritual horror film. It is a slow burn in a lot of ways and doesn't make the character's intentions immediately clear. Like Esme, it's easy to get confused about what is happening – what is real and what is surreal – but trust in the film's narrative journey will lead you to the other side with acknowledgment of this powerful filmmaking feat.
Biosphere
One of my favorite indie films of the last decade is the romantic dramedy The One I Love, directed by Charlie McDowell and produced by Mel Eslyn. Starring Mark Duplass and Elisabeth Moss as a couple falling out of love, the simplicity of the storyline is sprinkled with absurd moments throughout and ends with a jolt of frenetic energy from a twist in the final scene. For all of the WTF moments though, it stays grounded in reality, leading us to believe that this situation could happen to any one of us watching. This is a nearly impossible tone to achieve in an indie film, and the filmmakers made it look easy. It’s no surprise that I had high expectations going into Eslyn’s directorial debut, Biosphere–would this be my new cult favorite? The short answer: no.
In Biosphere, Eslyn (a lauded producer and President of Duplass Brothers Productions) returns to familiar territory with another unconventional “love” story about choice and reckless abandon. Mark Duplass and Sterling K. Brown are the only two actors in this incredibly intimate story about survival. Billy (Duplass), former President of the United States, and his childhood best friend Ray (Brown) are the last two men to escape from a doomed Earth (its demise unknown). They are a number of days into their isolation in a handmade personal biosphere, constructed by Ray who happens to be an incredibly gifted scientist. The biosphere was built to sustain life in perpetuity; the hydroponic garden and fish pond provided vegetables and protein, the scholarly books intended to stay sharp, and the video games were selected for fun.
Their daily routine is the same, with no cause for concern, until the last remaining female fish dies. With only two male fish left in the tank with no way to procreate, Billy and Ray begin to accept that the end is near. Starvation is inevitable. However, one of the male fish goes through an unbelievable transformation overnight, giving a glimmer of hope that survival is still possible. Life finds a way, as adaptation and evolution have proved over time. Billy and Ray are about to learn firsthand just how far the human body will go in order to survive.
Biosphere can be best described as a sci-fi buddy dark comedy. The performances from Duplass and Brown are equally balanced, their dynamic easily carries the film for its entire 1h 46m runtime. They both play into each other's comedic strengths without feeling like Dumb and Dumber. The plot, on the other hand, is out of this world, too bizarre to have any lingering feelings of “could this happen to me?” that The One I Love so expertly crafted. The problem here is the lack of an emotional hook. As a female viewer (a clarifying factor that makes more sense after you’ve seen the film), I felt like the script had more misses than hits when relating to the female experience and bodily functions. While funny at first, the evolution began to feel tired and drab. Perhaps cutting 20 minutes or so could have freshened up this already claustrophobic dramedy.
While Biosphere fell short of my expectations, the film is still an enjoyable watch for its inclusion of themes like gender, sexuality, love, and the human capacity to change and evolve. For a two-person, single-setting film, it is an impressive accomplishment. Award-winning film composers Danny Bensi and Saunder Jurriaans create a moody and tense atmosphere with a primarily vocal score, using hums with the utmost suspense. I may not have connected with Biosphere, but I applaud the unique vision and can’t wait to see what director Mel Eslyn does next.
Distributed by IFC Films. In select theaters this Friday, July 7th.