'Memoir of a Snail' Review: A Misfit Finds Peace in This Stunning Stopmotion Drama
The epidemic of loneliness and isolation is devastatingly realized in director Adam Elliot's animated feature Memoir of a Snail. The stunning stop-motion drama, which won the "Cristal Award" for Best Feature at the Annecy Film Festival, expertly blends coming-of-age angst and bittersweet melancholy. Sarah Snook of Succession fame voices the film's main character Grace Pudel, while Kodi Smit-McPhee (The Power of the Dog) voices her twin brother, Gilbert.
A Melancholic Misfit Finds Joy Through an Unconventional Relationship
Latching onto our heartstrings in the unique way that animated films can, Memoir of a Snail is a bittersweet story about acknowledging and overcoming loneliness, bullying, and grief. Taking place in the 1970s, Grace Pudel (Snook) unloads her life story onto a garden snail called Sylvia. The snail is, after all, her only friend, as Grace has always considered herself an outsider. Moving through the world as a shadow of herself, Grace is a lonely misfit with a passion for collecting snails, both alive and ornamental. Her only stable relationship is with her twin brother Gilbert (Smit-McPhee). But when their parent dies unexpectedly, Grace and Gilbert are forced into state-run foster care and, devastatingly, become placed with separate families.
Grace slips further into her depression and existential dread. Her foster parents are weird and she misses her brother so much that it hurts. However, the faintest of silver linings appear when Grace meets the eccentric, Cuban cigar-smoking older woman Pinky (Jacki Weaver). They are opposites, no doubt, but Grace is immediately transfixed by Pinky's optimism and lust for life. The two form an unlikely friendship, each learning the life lessons they need most. But perhaps the hardest lesson of all is letting go, which Grace has experienced more intensely than any young person should. It never gets easier but through her time spent with Pinky, Grace becomes better at finding joy in the small things. Her new motto becomes: "Life can only be understood backwards, but we have to live it forwards".
Handmade Props and Stopmotion Animation Brings Grace's Story to Life
Academy Award-winning animation writer and director Adam Elliot crafts an evocative and tender story with strong universal appeal. Memoir of a Snail is a poignant and surprisingly humorous look at some of life's most vulnerable moments. There were a handful of moments when I caught myself laughing out loud, as well as wiping away tears. Empaths, this is your warning that you will feel many feelings.
The production is an incredible feat as well. A team of artists spent almost a year making the 7,000 objects needed to tell the story. Further bringing the characters to life is an incredible ensemble cast. Each with their distinct voice, it's apparent that they put everything into this little story with a big heart. The script includes many specific details about navigating through grief, it almost feels as if we are reading Elliot's private diary. The score, created with vocals from the Australian Chamber Orchestra, is another standout for its commanding presence.
Takeaway
Memoir of a Snail is a one-of-a-kind film that can evoke new emotions with every watch. Its dark and gothic aesthetic encases a soft and bittersweet story that will undoubtedly stir up sentimental feelings of childhood. Be prepared to laugh, cry, and reminisce all at once.
'The American Question' Review: How to Get Democracy Back on Track
There are less than three weeks until a pivotal election decision has the potential to upend our democracy as we know it. In the coming days, those on both the right and left are digging in their heels and fighting ruthlessly for what they believe is the best path forward for our country. Director James Kicklighter takes a wide-lens approach to this divisive historical moment in his eye-opening documentary, The American Question. At a time when it seems we are becoming further divided as opposed to united, Kicklighter aims to explore the roots of American polarization and find solutions for a harmonious and symbiotic path forward.
With Great "Hyperpowers" Comes Great Responsibility
The film begins with a brief history lesson offered by Amy Chua, a Yale Law professor and one of Time’s 100 most influential people. She is incredibly well-spoken as she explains how, centuries ago, empires succeeded through a practice of tolerance. Distrust between a government and its citizens was a telltale sign of imminent decline. As we take stock of our current political predicament, it's obvious that we've collectively fallen off track. Where there used to be trust has now been overshadowed by skepticism and outright hatred. The American Question dates this obvious shift in divisiveness back to the 2016 election. That's not to say that politics wasn't an ugly game before, but post-2016, there seemed to be a visible shift toward outright hatred of the opposing party.
How did the overarching trust we once had in our process so dramatically erode the relationship between citizens and government? This is the question that the central narrator of the film, Guy Seemann, is attempting to answer. Guy is a political analyst who moved back to the United States after spending years in Israel. He speaks with scholars, educators, political figures, and average citizens across the country to gain their perspective on the present moment. Regardless of what side of the aisle they identify with, they ironically all have the same conclusion: we should be open-minded enough to understand that people will think differently than you. If only everyone could practice what they preach.
Engaging Beyond Your Bubble
Another way out of this metaphorical sinkhole our country is currently experiencing is listening to other people's points of view. Too often, we're quick to dismiss those who have a differing opinion. As the interviewees point out, this leads to narrow-mindedness which gives way to resentment and can ultimately breed hatred. An interesting parallel is made in the film that claims when people feel threatened, they revert to tribalism, and to avoid this, we all need to be better listeners. We don't need to necessarily agree, but we need to be open-minded enough to at least listen.
How to Fix America
It all comes down to stability and respect. When people feel safe, they exude goodness. Through engaging interviews with people in swing state communities in Pennsylvania and Michigan, diverse Americans share their unique experiences in this country. Director James Kicklighter aids their stories with easy-to-understand graphs and a plethora of archival footage that brings the otherwise typical "talking head" interviews to life.
Takeaway
The American Question is an enlightening, non-partisan look at an incredibly sensitive and timely issue. James Kicklighter doesn't just ask the question to create provocative soundbites. He actually leaves audiences with actionable steps to depolarize America. We are in desperate need of a better path forward, and The American Question is a great first step.
'The Waiting Game' Review: The Ongoing Drama Surrounding the ABA/NBA Merger
The 2024-2025 NBA season officially begins on Tuesday, October 22nd when the Boston Celtics go up against the New York Knicks. I usually find this time incredibly exciting as my favorite team returns to the court, dressed in sleek new jerseys and outfitted with a renewed sense of competition. However, I have a new perspective on how the NBA operates since watching director Michael Husain's expose of the organization and their treatment of a rival league dating back to the '70s. Spoiler alert- it is not pretty, or very ethical. The Waiting Game offers insight into the drama behind one of the most popular sports in the world.
The ABA Made Basketball What It Is Today
Through stunning archival footage, The Waiting Game begins by sharing the origin story of the American Basketball Association, commonly referred to as the ABA. The ABA was founded in 1967 as a more entertaining counterpart to the NBA. The NBA had become stale and corporate, lightyears away from the game we know and love today. Fans were bored and quickly losing interest in the overly regimented NBA. Seeing an opportunity to reinvigorate fans, the ABA decided to put more emphasis on the entertainment aspect of the game. This strategy resulted in changing the trajectory of the league forever.
The ABA's creative new additions included the three-point shot, slam dunk contest, and a half-time show. In short, the ABA essentially recreated the modern game of basketball as we know it. The plan worked, and spectators started filling the seats again. The ABA lasted nine years before merging with the NBA, with four of the original ABA teams existing today, the Pacers, Spurs, Nets, and Nuggets.
Capitalism Off the Court
The ABA became a shining example of an underdog success story. However, the good times didn't last long. After the 1976 ABA/NBA “merger” came a complex legal battle that ABA players are still fighting against today. The issue comes from a lack of resources and benefits that the original ABA players were guaranteed but was never delivered. Like many jobs, players in the NBA receive benefits such as retirement and healthcare. However, when the merger took place and ABA players entered into the NBA, those benefits didn't transfer. Perhaps most grotesque of all, those ABA players who–arguably–turned basketball into a multi-billion dollar industry, never saw any monetary reward. Like textbook capitalism, these players gained almost nothing from the growth and prosperity of the product they essentially created.
This is where the film's beacon of light, the small non-profit Dropping Dimes Foundation, comes into play. The foundation saw the injustice and took it upon themselves to fight the NBA for fair treatment of ABA players. The film documents the countless hours of speaking with former players to get a sense of their disappointment with the league. Their hard work paid off in 2022 when the NBA Board of Governors reached a historic agreement. They agreed to pay $24.5 million to former ABA players. Unfortunately, however, many players are still waiting for their due.
A Blend of Historical and Investigative Journalism
Making its World Premiere at the 2024 Heartland Film Festival, The Waiting Game is a powerful documentary that re-exposes the murky backstory of one of the most popular sports organizations in the world. It is an engaging look at basketball's metamorphosis over the years. The film also caters to fans who enjoy investigative journalism documentaries, especially in the vein of David vs Goliath. Interviews with renowned figures like sports commentator Bob Costas, basketball icon Julius "Dr. J" Erving, and six-time All-Star ABA player James Jones, add urgency and credibility to this mostly unknown story.
Takeaway
The Waiting Game reflects the ongoing fight for recognition, dignity, and justice for former ABA players. "How could the guys who played such a crucial role in developing the billion-dollar modern game of basketball, be in a place where they couldn’t buy medicine or pay rent?", is the pointed question asked by director Michael Husain. Whether or not you're a fan or a critic of the NBA, The Waiting Game is a must-see.
'We’re Not Done Yet' Review: The Simple Pleasure of Reconnection
Director Joseph Longo acts alongside his mother in the redemptive short film We're Not Done Yet. Co-directed by Sofia Camargo, who shares Longo's vision for inspecting family dynamics, We're Not Done Yet is a simple yet effective look at the complex relationship between parent and child, specifically the nuance of mothers and sons. The film is 22 minutes long and will premiere at the 2024 Hamptons International Film Festival this week.
The Joy and Pain of Parenting
Alex (Joseph Longo) is visiting his mother Bettina (Barbara Sukowa) at her beach house for a weekend. They are not quite estranged, but in a typical parental fashion, Bettina is far from subtle in that she feels Alex should be visiting her more. The duo falls into a routine of morning yoga and beachfront strolls, a seemingly perfect way to reconnect and spend quality time together. However, their personalities clash when unresolved issues bubble up, forcing tension into an already tender relationship.
Bettina is an empty nester who wants to regain a sense of responsibility. She thinks adopting a child will fill the void in her life, despite her being 70 years old. She is also back on the dating scene and introduces Alex to her new boyfriend, Doug (Danny Mastrogiorgio). Alex is clearly not a fan of his mom's recent life choices and especially mocks her for wanting to adopt a child at her age. This frustration hits Alex's pain point: his lack of control, and his growing feeling of exclusion from his mother's life. From Bettina's perspective, it's never too late to live a little. Her son is an adult and out of the house, so why not date and feel wanted again? On the contrary, Alex expects Bettina to prioritize caretaking him first and foremost. He is her son after all!
Growing Up, Letting Go, and Moving On
Both express their needs in not the healthiest of ways, but ultimately, they cut the tension by returning to the ocean and taking a moment of introspection. It's here where they realize that they are both human with constantly evolving wants and needs, and their love for each other is unconditional.
A True Family Affair
We're Not Done Yet offers a humorous and touching look at this common mother-son dynamic. What sets it apart from other films that focus on similar themes is the casting of a real-life mother-son duo. Their chemistry is undeniably sharp and captures both the struggles and joys of growing up and moving on. I'm not privy to director Joseph Longo's personal family relationships, but it's fair to guess that working on this film only strengthened his bond with his mother. Another strong aesthetic choice is the color grade which gives the film the look and feel of a 1970s film.
Takeaway
A highly intimate and personal love letter about the art of reconnection, We're Not Done Yet is a powerful watch. It aims to spark conversation around family dynamics, specifically the fear of letting go and facing adulthood.
'Anora' Review: An Electrifying Odyssey Through Love, Loss, and New York City
If you want to see the best film of the year, look no further than Sean Baker's Anora. Winner of the Palme d'Or at the Cannes Film Festival, Anora follows the rise and fall of an erotic dancer named Ani. Baker's operatic love story is equally stunning and devastating as it depicts a whirlwind young romance destined to fail from the start. Not only is Anora a dazzling cinematic experience from script to screen, it also catapults lead actor Mikey Madison to stratospheric heights.
A Cinderella Story That Could Only Come From Sean Baker
Anora opens with a five-minute sequence set in a New York strip club, perfectly synched to a remix of Take That's single "Greatest Day" (looking back through my notes during the screening, I had underlined–multiple times–"hot song!"). As the song pulsates through the speakers, Russian American sex worker Ani (Mikey Madison), short for Anora, is in her element working the floor of the gentlemen's club with finesse and confidence. She may be scantily clad but what she lacks in modesty, she compensates for in charm and charisma. Ani flirts with the guests, her warm demeanor and inquisitive nature make her a natural conversationalist. It's not unusual for men to fall in love with her for the night before they inevitably return to their wives in the early morning.
On this night, Ani is set up with a young and mysterious client who specifically asks for a Russian-speaking dancer. Unbeknownst to her, this scrawny and boisterous nepo baby will change her life forever. She quite literally falls into the lap of luxury when she meets Ivan (Mark Eidelshtein), the son of a very wealthy Russian oligarch. A couple of years her junior, Ivan is immediately smitten with Ani, so much so that he convinces her to quit her job to spend time exclusively with him at his mansion in Sheepshead Bay. Hesitant at first, Ani eventually agrees. But she is a businesswoman first and foremost, so a deal is reached, prompting her to pack her bags, leave her Brooklyn apartment, and begin her new role as "girlfriend".
From Russia, With Love
On paper, these two opposites are initially only focused on each other's superficial qualities: sex and money. However, it's not long before Ani and Ivan develop genuine feelings. This growing attachment makes Ivan's upcoming situation complicated. He eventually confesses that his Visa is expiring and he must return to Russia. However, Ivan–who is used to getting whatever he wants–proposes a solution. He can stay in America if he marries an American. Ani reads between the lines. A spur-of-the-moment decision brings them to a little white chapel in Las Vegas, where they exchange drunken "I do's". Walking down the bustling streets of Sin City, with fireworks lighting up the sky, Ani is on cloud nine. She knows it's fast and completely unexpected, but she's never been happier.
A Beautiful Dark Twisted Fantasy
The honeymoon phase doesn't last long. Once word gets back to Ivan's parents that he married a sex worker, they immediately jump on a plane to force an annulment. While they travel to New York, Ivan's parents dispatch the family guardian Toros (Karren Karagulian) to talk some sense into Ivan. From here, Ani's love story turns into complete and utter chaos. Toros and his cronies, Garnick (Vache Tovmaysan) and Igor (Yura Borisov), force their way into Ivan and Ani's life. These men look tough, act tough, and will not take no for an answer. Afraid of his family's retaliation, Ivan flees his mansion and goes MIA, leaving Ani at Toros's mercy. From here, the film unravels into a wild goose chase as the unlikely group tries to track down Ivan and bring him home.
Shooting the Film in 35mm Using Anamorphic Lenses
Ani comes from the working-class world and is understandably swept away by Ivan's wealth. She romanticizes him and his deep pockets. Much like how Dorothy in The Wizard of Oz experiences color when she enters the land of Oz, Ani's world gets brighter just being next to Ivan. To further illustrate this new dimension and worldview, Sean Baker was adamant about shooting on 35mm with anamorphic lenses. This decision, lensed by director of photography Drew Daniels, gives Anora a timeless and beautifully sculpted aesthetic style.
Takeaway
Much like its titular character, Anora is a straight-shooting, no-BS, mesmerizing odyssey that, once experienced, is impossible to forget. It's as much an exaggerated story of a sex-filled love bombing as it is an intimate look at class and access. Backed by strong performances that will make you laugh out loud and possibly shed a tear, Sean Baker once again strikes gold by telling another human-centered story that rings true with authenticity, courage, and heart. I hope he is ready to accept a lot of gold this awards season too.
'Last Party' Review: Teenagers Face an Unexpected Leveling Up
Director Nicolas Dozol presents a unique coming-of-age story in his feature-length film, Last Party. Utilizing one location for the duration of the 70-minute drama, Last Party incorporates intricate on-screen choreography and camera sleight of hand to capture a transformative night. Comprised of 28 long takes that give the illusion of a single shot, Dozol's intention has a delightfully artful result. Last Party will have its World Premiere at the Chelsea Film Festival on October 20, 2024.
Teenagers Face an Unexpected Leveling Up
Last Party blends different cinematic genres, including mystery and drama, to tell the story of a life-changing night for four teenagers. While celebrating their recent high school graduation with classmates, they are all separately confronted with internal angst. They are suddenly faced with difficult truths and uncomfortable awakenings, which catches them off guard since they were expecting a fun-filled night of carelessness rather than a life lesson. At the film's climax, the four teens find themselves accidentally locked in a room wondering if this awful night might be their last. Ultimately, they realize that facing these unmet needs will help shape them as they embark on the next chapter of adulthood.
The Camera Conveys Emotion
Appealing to fans of Euphoria, Last Party also doesn't shy away from showing the more provocative nature of teenage liberation, including drinking, drugs, and random hookups. As the characters become more inebriated, the camera movements mimic their mental state. They too get more loose and fluid as if we the audience are experiencing their increasingly blurry state of mind. The production design succeeds in creating a party atmosphere, however, there are moments in the film that are awkwardly quiet, especially for a house party. The music, while pleasant to listen to, does a lot of the heavy lifting.
Takeaway
Last Party is not a typical coming-of-age story that has a conclusive ending. It seems director Nicolas Dozol would rather plant seeds of curiosity that give way to rumination than force-feed the audience a pre-packaged resolution. This leaves Last Party more open to interpretation. Five years in the making, with a shooting schedule of just five days, Last Party is an artful illustration of the sudden, and sometimes chaotic, transition from teenage to adulthood.
'We Live in Time' Review: An Emotional Rollercoaster for Hopeful Romantics
Falling in love comes with its fair share of risk. There are many unknowns to consider at the beginning of any relationship, including intention, longevity, and shared future goals. Statistically speaking, cultivating a successful long term relationship is a rare event! But when you meet your soul mate–your person– suddenly, the risk becomes worth taking. No challenge is too difficult when you're facing it together. In the heart-heavy drama, We Live in Time, a couple is forced to re-evaluate major life decisions after a cancer diagnosis puts an expiration date on their future.
A Love Story Takes a Devastating Turn
Directed by John Crowley (Brooklyn), We Live in Time stars Florence Pugh and Andrew Garfield as partners who attempt to make the most of their time together after receiving devastating news. Told in a non-linear structure, the film begins with Almut (Pugh) learning that her ovarian cancer has returned. This time, it has metastasized to Stage 3. Having already fought and beat cancer once, the thought of doing it all over again is exhausting. She proposes an unorthodox idea to Tobias (Garfield): what if she skips chemo and together, they make the most out of 6 really good months rather than 9 months of chemo-ridden horrible ones?
From here, the film jumps backward in time to tell each character's backstory. Almut is a professional chef and Tobias is a recent divorcee. They were never destined to cross paths until their unconventional meet-cute when Almut accidentally runs Tobias over with her car. After the pain meds wore off the sparks flew, and the unlikely couple proceeded to have a whirlwind romance.
Of course, they had their share of hard moments too. The most challenging moment comes when Tobias asks about Almut's desire for children since he sees fatherhood in his future. The question puts Almut off, and their relationship dramatically hits the brakes. But when Almut falls ill and is told by doctors that she has ovarian cancer, putting her childbearing chances near zero, she realizes that actually does want a family with Tobias one day. It's the classic you want what you suddenly can't have.
"It's OK Not to Be OK"
When the film cuts back to the present day, Almut and Tobias are raising their daughter together. Mindful that their time as a family of three is limited due to Almut's diagnosis, Tobias makes sure they prioritize quality time. Almut, however, is more compelled to work and spends hours a day preparing for an upcoming invitation-only culinary competition. Tobias is enraged, hurt, and devastated. When questioned why she prefers to spend time in a kitchen over her own family, Almut gives the most painful answer: "I can't bear the thought of being forgotten."
The passion and competitiveness that makes Almut such a talented chef are, ironically, the same qualities that threaten to disrupt her relationship. Almut has been a fighter her whole life, which is why her decision to stop fighting the cancer is so devastating.
Strong Performances Energize an Otherwise Flat Script
We Live in Time is a fairly conventional romantic drama that could have benefitted from an infusion of energetic catharsis. While the subject matter is predominately melancholy, the film attempts to lighten the mood with humor. While some of the comedic moments land, more often than not they end up falling flat. At times, the editing could have been tighter to drive home a more powerful scene. The soundtrack, scored by Bryce Dessner, also comes across as too nice and bright for the circumstances. These few but important misses do a disservice to the film that, otherwise, seemingly had awards potential.
The chemistry on-screen between Pugh and Garfield is magnetic and undeniably the film's greatest strength. From the light banter to the more physically demanding scenes, they seem to tap into each other's subconscious minds to complement each other's performance perfectly. It's almost as if, in a past life, they were actually a couple. Florence Pugh is no stranger to the culinary world. If you watch her YouTube channel "Cooking With Flo" you'll understand why she is the perfect person to play Almut. Andrew Garfield leans into more of a modern-day Hugh Grant caricature playing Tobias. He leads with goofiness and is quite passive compared to Pugh's confident Almut. However, Garfield really comes alive when he embraces Tobias' bigger emotions, as seen in the unconventional birthing scene.
Takeaway
We Live in Time is an emotional rollercoaster ripe for hopeful romantics. It has a broad appeal which is fine for the status quo but I was hoping for an edgier, more artful approach. The film's potential outshines the end result and ultimately is quite predictable. Perhaps in the hands of a different director, the film would have harnessed the much-needed energetic spark it so desperately lacks. Almut's worst fear is being forgotten and, ironically, I fear We Live in Time will be forgotten amongst the sea of titles this year too.
Tomás Barreiro Debuts Score from Hulu's 'La Máquina'
Composer Tomás Barreiro gives Cinemacy an early invitation to listen to his latest score for the newly-released series, La Máquina. La Máquina is a Mexican boxing drama that has already made history as Hulu's first-ever Spanish language series. Blending the familiar sounds and rhythm of Hispanic heritage music, Barreiro (La Cocina, Museo, The Good Girls) creates a standalone soundtrack that brightly evokes the spirit of Mexico. The six-episode series stars Gael García Bernal, Diego Luna, and Eiza González. It is available to watch now on Hulu (U.S.) and Disney+ (Internationally).
Hulu's First-Ever Spanish Language Series
After a devastating loss, Esteban “La Máquina” Osuna (Gael García Bernal) is at a low point in his boxing career. Lucky for him, his manager and best friend Andy Lujan (Diego Luna) is determined to get him back on top. But when a nefarious organization rears its head, the stakes of this rematch become life or death. While struggling to mount a comeback, Esteban must also juggle his demons and protect his family, including his ex-wife Irasema (Eiza González), a journalist who finds herself on a collision course with the dark side of the boxing world.
Cinemacy is excited to premiere a Score Sampler from La Máquina, below:
The sampler features three tracks that cover the series' thematic spectrum. The first track, "Llegada De Felix" has a rhythmic drum beat that sounds similar to a traditional drum circle. The song is organic and animalistic. The second track titled "No Merecia Garnar" steers away from the heaviness of the drums and instead opts for lighter strings and piano. The result evokes feelings of tingly anxiety or anticipation. The final track, "Llegan A Feria" is a more classical composition. It involves slower pacing with a more balanced orchestral tonality.
Says Barreiro of his creative intention behind the score: “La Máquina sequences needed 3 basic musical materials… hectic drums for Andy’s frenzy, a gloomy one for the mind of Esteban, and a sarcastic almost shrine-like for Andy’s mother and their shallowness. All that mixed with Latino flavors in drums, percussion, and guitars make the score for La Máquina!”
About Tomás Barreiro
Born in Mexico City, Tomás Barreiro is a multidisciplinary composer whose work spans film, TV, theater, and live performances. In 2008, he was selected by renowned composer Steve Reich as one of four finalists for the prestigious Toru Takemitsu Composition Award in Tokyo. Reich gave Barreiro his seal of approval, stating he "has a very fine ear."
With over 15 years of experience in the cinematographic medium, Barreiro has contributed to over 20 feature films, both Mexican and international productions. These films include Güeros (2014), Museo (2018), and Verde (2016). He has received accolades throughout his career including Ariel and Fénix Prizes, Berlinale, and Toronto International Film Festival. Barreiro recently expanded his career to the United States, with productions like Bad Hombres (2020) a documentary directed by Andrew Glazer. Tomás Barreiro is a member of Sistema Nacional de Creadores de Arte, a program that reunites Mexico’s most distinguished artists. He also teaches film scoring at the Panamerican University in Mexico City, and Hidalgo State’s Music School.