'The Novice' is a Rowing Drama That Strives For Perfection
Winner of Best U.S. Narrative Feature Film at this year’s Tribeca Film Festival, The Novice is a college drama that shows the dark side of striving for perfection. Picture the adrenaline-inducing anxiety of Whiplash combined with the relentless nature of Black Swan and you'll find The Novice fits squarely in the middle of these hyper-intense character studies.
The Novice follows Alex Dall (Isabelle Fuhrman - Best Actress winner at Tribeca Film Festival), a queer female collegiate rower whose struggle with being a perfectionist goes from being a positive attribute to a cry for help. Over the course of a few months, her dangerously obsessive pursuit to attain straight A's and stand out on her school's crew team affects her mental health, physical health, and relationships with peers and love interests alike. Alex doesn't care who she offends on the way up, as long as she moves up.
The film is nontraditional in its editing style with quick cuts and fast-paced shooting, seemingly reminiscent of how I'd image Alex's mind to be: racing constantly. Its eerie nature and gloomy aesthetic hums with desire, doubt, and secrets.
The Novice is Lauren Hadaway's directorial debut, but the former competitive rower didn't need years of filmmaking experience to successfully bring the rarely-seen portrayal of women's crew to the big screen. What's even more impressive are the dual storylines that are equally fraught with increasing psychosis. Not only is Alex developing gnarly open wounds on her palms from the incessant rowing, she is also stumbling through a relationship with her Physics teacher's assistant, Dani (Dilone).
Set to a rich score by Alex Weston, The Novice is a cautionary tale about what happens when we push our human potential too far. For Alex, "quitting" is the most offensive word and "relaxing" should be viewed as a privilege. Sadly, there are people who subscribe to this way of thinking that, although maybe not as severely as Alex, could alleviate the self-appointed pressure to be perfect. Grit is a great thing when used appropriately, and as writer/director Lauren Hadaway shows us in stark detail, there is such a thing as taking it too far.
This review originally ran on June 24, 2021, during the Tribeca Film Festival.
Distributed by IFC Films, The Novice opens in theaters this Friday, 12/17.
'Project Space 13' is Performance Art During Covid Panic
If you feel like reliving a not-so-distant nightmare, queue up writer/director Michael Bilandic's fascinatingly bizarre feature, Project Space 13. This suffocating satire offers a trippy look at how a performance artist and two security guards spend a night in SoHo at the height of the 2020 Covid apocalypse.
Nate (Keith Poulson) is an amateur performance artist in NYC who finally gets his big break when he's invited by Pieter (Jason Grisell) to take up residency at his high-scale Manhattan art gallery. Nate's provocative and jarring piece includes self-isolation in a prison-like cage, relying on a dominant robot accomplice for food (fried bugs), relief (excrement supplies), and torture (electrical shocks). However, as luck would have it, the city shuts down on night one of his three-month show. But Nate is stubborn and refuses to quit, so the galley hires a security guard duo (Hunter Zimny and Theodore Bouloukos) to watch over the space and Nate. As the city turns more chaotic by the minute and deranged, desperate civilians begin to threaten their safety, the three men start preparing for the worst – spilling their darkest secrets in the process.
Project Space 13 has a Marina Abramović meets Dash Snow vibe that makes for an intentionally uneasy watch. Bilandic's daft protagonist, embodied by Keith Poulson, is a self-righteous artist who claims to dwell at the center of art & technology. His stance is admirable, even sympathetic, but his method of getting his point across via provocative performance art while the city plunges into chaos around him is charmingly naive.
Cinematographer Sean Price Williams, best known for his work on the Safdie brothers' Good Time, lends his artfully chaotic eye to this micro-indie feature, giving the film an unsteadiness that perfectly encapsulates how we all felt during the height of the Covid confusion. Further pushing the film into the arthouse column is the original score by "Cult Film Composer" Paul Grimstad (Heaven Knows What, Jobe'z World). I'm still trying to shake the sounds of a baby's cry set against a sporadic drum line beat from the opening sequence. And trust me, the end title credit remix is a jam worth waiting for.
Project Space 13 is streaming exclusively on MUBI.
Lorne Balfe Premieres New Track From 'Silent Night'
Grammy-winning composer Lorne Balfe upgrades a classic Christmas carol in the British dark comedy Silent Night, and we've got the exclusive.
Silent Night, starring Keira Knightley and directed by Camille Griffin, follows parents Nell (Knightley) and Simon (Matthew Goode) as they invite their closest friends to join their family for Christmas dinner at their idyllic home in the English countryside. As the group comes together, it feels like old times. But behind all of the laughter and merriment, something is not quite right. The world outside is facing impending doom, and no amount of gifts, games, or Prosecco can make mankind’s imminent destruction go away.
A choir of voices sings the familiar titular hymn, but their proclamation that "all is calm, all is bright" feels anything but cheery. Rapturous orchestration builds throughout the piece until it reaches a moment of calm, which is where the strong soloists take over and ease the suspense.
Cinemacy is thrilled to premiere the first track from Silent Night, "All Is Calm,” before its release on Friday, December 10th. Click here to pre-save the soundtrack now.
"Musically, we sought to think big," says Balfe, who brings his years of expertise and extraordinary talent to Camille Griffin's feature-length directorial debut. "We filled the silence with a full orchestra, Bulgarian and Viennese choirs, incredible soloists, and the Christmas powerhouse that is Michael Buble who helps sell the film's dystopian reality by bridging our worlds with easily recognizable nostalgia.”
Originally from Inverness, Scotland, Balfe was destined to be a composer. At 8 years old, he wrote and sold “jingles” for advertisements, and at 13, he auditioned to be a percussionist with the Edinburgh Symphony Orchestra (he secured a spot, of course, and became their youngest member). Balfe's drive and passion led him to pursue a career as a film composer in the U.S., where he continues to leave lasting impressions in the industry. His critical acclaim extends far and wide, having worked on compositions for the Mission Impossible franchise, Black Widow, The Lego Batman Movie, and the Oscar-nominated The Florida Project.
Distributed by AMC+ and RLJE Films, 'Silent Night' is now playing in theaters and streaming exclusively on AMC+. The OST will be released by Lakeshore Records on Friday, December 10.
In 'Wolf,' George MacKay and Lily-Rose Depp Embrace Their Animal Sides
I love my family's pug, Papacito. His rolls of back fat, droopy lips, and sensational snoring are what make him (and all pugs, really) so lovable. The thought of being a pug though is absolutely horrifying.
For some people, this is more than just a humorous "what if." Clinical lycanthropy is a real mental disorder in which a person believes that they were born into the wrong body and are, in their truest form, a nonhuman animal. These delusions are not new either. The first major case dates back to the 1850s when a man truly believed he was a werewolf. This fascinating taboo of "species dysphoria" is the basis of Nathalie Biancheri's high concept arthouse film Wolf.
George MacKay (1917) plays Jacob, a quiet young man who enters a facility that claims to cure a very specific psychosis: species dysphoria, or his belief that he is a wolf. Having gotten in trouble for acting on his animalistic instincts, Jacob and his fellow animal peers undergo intense and often graphic treatments at the hands of a man called The Zookeeper (Paddy Considine).
During his time at the clinic, Jacob befriends a Panda (Karise Yansen), steers clear of the Parrott (Lola Petticrew), is followed by the German Shepard (Fionn O'Shea), and unexpectedly, falls in love with the Wildcat, played by Lily-Rose Depp (The King). Her feline features compliment Jacob's canine characteristics, and the two are quick to fall in puppy love. However, Jacob soon realizes that he is faced with a life-changing decision: can he deny his "true self" for true love?
It's easy to quickly draw comparisons to Yorgos Lanthimos' The Lobster (in my opinion one of the best movies ever made). But the similarities stop short of being a carbon copy of the Greek weird wave output. Wolf is a gritty juxtaposition between the beauty and complexity of staying true to oneself.
Despite the humorous thought of actors crawling on the floor and howling like animals for the majority of the film, Wolf is definitely not a comedy. The Zookeeper forces a young man who thinks he's a Squirrel to climb up a tree using his fingernails which, as one could assume, ends in excruciating pain. He also pressures the girl who believes she's a Parrot to jump from the window of their building, claiming that if she's a real bird, she will be fine in her ascension.
Psychological torture and manipulation run rampant throughout the film, further illustrating that the idea of conversion therapy treatment centers are often fraught with abuse and power struggles. Further supporting the dark nature of the film is the primal score by Polish composer Stefan Wesolowsky, whose use of cellos, old synthesizers, flute, contrabass saxophone, and more create an edgy, untamed vibe.
George MacKay is the true star here, fully committing physically and emotionally to the role. His ability to stabilize and strengthen every scene he's in is a true talent, and he shines the brightest on screen.
Giving the audience much to ponder post-watch, Wolf is a high concept, humble production that, at its core, is a film that celebrates the beauty of individuality.
Distributed by Focus Features. 'Wolf' opens in theaters this Friday.
'Flee' is a Breathtaking Recount of Survival
Remarkably moving in both its story and delivery, Jonas Poher Rasmussen's animated feature Flee is a must-watch. Expanding our idea of what a documentary can be, Flee's depiction of an Afghan refugee's decades-long plight for survival and, most importantly, self-acceptance, is a deep well of emotional fragility. Executive produced by Riz Ahmed and Nikolaj Coster-Waldau, Flee was also the first film to be acquired (by NEON) from the 2021 Sundance Film Festival.
The film begins with a title card informing us that what we are about to watch is based on a true story, but some names and locations have been changed to protect identities and avoid persecution. For the next hour and a half, we become wrapped up in the life story of Amin Nawabi (a pseudonym) as he tells his harrowing journey of life as a young gay man who was always on the run from the police, the government, and his own feelings.
In a very poised, yet hesitant way, much like he is talking to a new therapist, Amin describes his earliest childhood memories as a three-year-old in Kabul, Afghanistan in the 1980s. A-ha's 'Take on Me' plays under b-roll of live-action footage– a jarring reminder that despite the film's mostly animated look, this is not make-believe. After his father mysteriously disappears and Amin and his brother risk getting drafted into the military–which might as well be a death sentence– the family flees Afghanistan with hopes and prayers as their only game plan.
What follows is horrifying abuse and multiple life or death situations while constantly crossing borders to cover their tracks. Forever in flux, it is hard to plan for the future when you're forced to live a day at a time. Especially as a gay man, Amin's fight for survival was his only goal.
Set against a haunting score by composer Uno Helmersson (The Painter and the Thief) and powerful uses of the tracks 'Breathe In' and 'Help Me' by the American-Icelandic artist Low Roar, Flee will put you through your own emotional journey. Mesmerizing visuals span throughout Amin's life; from childhood to the present day, living in Stockholm with his partner, and even though it's drawn in 2-D animation, we feel his pain. We see the tears well up in his eyes and sense the tension and anxiety he has carried around his entire life. And that last shot... just brilliant.
Flee is a remarkable feat for the entire filmmaking team and one of the most profound films I've seen in a long time.
This review originally ran on January 30, 2021, during the Sundance Film Festival.
Distributed by NEON. Opening in theaters this Friday.
Uno Helmersson Premieres First Track from 'Flee'
When I watched Flee at the end of my virtual 2021 Sundance Film Festival run, I knew I had just witnessed something extraordinary. My jaw was on the floor and I was wiping tears from my eyes simultaneously, yet still wishing there was an "encore" button I could click to watch it all over again.
What makes this documentary so special aside from its sympathetic story about Amin, a gay refugee from Afghanistan who opens up about his past for the first time, is the music. The powerful placements of the tracks ‘Breathe In’ and ‘Help Me’ by the American-Icelandic artist Low Roar evoke a tender subtext that cannot be expressed through dialogue alone. However, it's the hauntingly beautiful score by Swedish composer and multi-instrumentalist Uno Helmersson (The Painter and the Thief) that will sweep you off your feet and take you through your own emotional journey.
Cinemacy is honored to premiere the first track from Flee titled "Leaving Family Behind" before its release on Friday, December 3rd. Listen below.
"Leaving Family Behind", like the rest of Helmersson's score, does an astute job of complimenting the picture without distracting from the film's already emotional narrative. It flows organically in tandem with the animation, the orchestration really brings the film to life. The score, like Flee itself, is a triumphant work of art.
Helmersson, who currently has over 70 IMDB credits to his name, was born and raised in a rural part of northern Sweden (and now lives in Stockholm). He has always been musically gifted; he took organ classes as a child and was accepted into the Royal College of Music in Stockholm in 2002. His path to international acclaim started when he met Johan Söderqvist, one of the most prominent composers of film music in the Nordics. Since then, he has worked on numerous film and TV scores and has been acknowledged with a Golden FIPA Award at the Biarritz International Festival of Audiovisual Programming for the Scandinavian TV series Bron/Broen.
Ever since winning the Sundance Grand Jury prize earlier this year, Flee has been a front-runner in the pre-awards chatter, landing on every Best Documentary nomination list from around the globe. I wouldn't be surprised if this also makes all of the Best Soundtrack lists too.
Distributed by NEON, Flee is Denmark’s official selection for Best International Feature Film at the 94th Academy Awards. Coming to theaters on Friday, December 3rd. The OST will be released by Milan Records on the same day.
In 'C'mon C'mon,' Joaquin Phoenix Sees Life Through a Child's Eyes
Watching a Mike Mills film is always a very intimate experience because he draws inspiration from his own life. Beginners was for his dad, 20th Century Women was for his mom, and his new film, C'mon C'mon, is for his kid (whom he raises with his partner, filmmaker Miranda July).
Acting as a time capsule of childhood innocence, viewed from the perspective of the young at heart, C'mon C'mon is an earnest and delicate relationship drama that leaves room for reflection on the vulnerability and importance of human connection.
Johnny (Joaquin Phoenix) is a middle-aged, single man who is consumed with his job as a field radio journalist in NYC. His current project is interviewing kids about their candid thoughts on the future, recording their answers that span the spectrum of incredible optimism to sobering realities. Johnny's ability to connect with these kids is a foreshadowing of what the universe has in store for him next.
Ever since the death of his mother, Johnny has had a semi-estranged relationship with his sister, Viv (Gaby Hoffmann), so it's a little surprising that she calls him asking for a favor. Viv is in the throws of navigating through an unhealthy relationship roadblock with her husband (Scoot McNairy) and has to travel from her home in Los Angeles to San Francisco to sort it out.
Viv is desperate for Johnny to watch her young son Jesse (Woody Norman) for the few days she will be gone. Hesitant at first, Johnny sees this as an opportunity to re-connect with the nephew he barely knows. What becomes unveiled as Johnny and Jesse spend time together – which goes from a few days to a few weeks – is the epiphany that, despite being different, they are actually more alike than they know.
In addition to being a touching tribute to his own nuclear family, C'mon C'mon is an ode to the overall challenges of parenting in the 21st Century. It's easy to see the Mills' school of thought here – the uncertainty and amazement of raising a human being while you yourself are still figuring out how to co-exist in the world.
Joaquin Phoenix gives a phenomenal performance as Johnny (a man who Mills admits is partly based on himself). Phoenix's organic embodiment of the character and emotional translucency is on full display, most notably when interviewing the various children for his radio show. Those scenes were not scripted, rather, they are improvised documentary moments between actor and child. As a whole, young people are rarely given the opportunity to answer important questions, and these scenes prove why society needs to start conversating with and listening to these younger voices.
And speaking of paying attention to the next generation, British-born Woody Norman is the film's biggest revelation. With his mop of messy hair, charming doe-eyes, and precocious sensibilities, his ability to hold his own against a Hollywood heavyweight like Phoenix is not only admirable but downright amazing. Norman disappears into the film, radiating joy in the more lighthearted moments and shedding tears when it calls for emotional release. Together, Phoenix and Norman create a bond that's raw and honest and should be remembered for the brave journey they take here together.
The other noticeable element is the film's look. Shot by cinematographer Robbie Ryan (The Favourite, American Honey), black & white gives the film an obvious "cinematic fairytale" look that is more intentional than simply for aesthetic purposes. Life, as well all know, is never black or white. We live in the grey. C'mon C'mon also lives in that grey, tackling philosophical issues that have no clear answer and proposing hypothetical questions that receive varied reactions. What Johnny and Jesse navigate throughout the course of the film is a whole lot of greyness–and it's a beautiful monochromatic vision.
Complimenting the film's natural look is the music by frequent Mike Mills collaborators Aaron and Bryce Dessner of the band The National. Their minimalist, gentle sound colors the emotional world of Johnny and Jesse.
C'mon C'mon is full of magical little wonders, but perhaps the most important of all is the reminder that the simple act of listening can be a catalyst for good. Whether it be through intimate moments shared between Johnny and Jesse or the unscripted admissions from youth across the country, C'mon C'mon encourages an expression of unconditional love. Not just to our blood relatives, but to humanity as a whole. Picturing the future is a scary thought when we feel like we're facing it alone, but trusting that someone will be there for us throughout the journey makes moving forward a little easier.
Distributed by A24. 'C'mon C'mon' opens in theaters this Friday, November 19th.
AFI FEST: 'Vera Dreams of the Sea' Fights Against the Patriarchy
In Kaltrina Krasniqi's moving drama Vera Dreams of the Sea–a film about exploitation and sacrifice–director Kaltrina Krasniqi proves that, yes, revenge is a dish best served cold.
Our hero–the stoic matriarch at the center of the film–is Vera (Teuta Ajdini). Vera is a middle-aged sign language interpreter who is nearing retirement and eyeing a relaxing future on the sandy shores outside of the city in Kosovo. She and her husband, Fatmir (Ilire Vinca Celaj), own a second property in a remote village that has recently become worth thousands and Vera plans to capitalize on the hot commodity and sell it, fast. However, her beachside musings will have to wait.
Tragedy befalls Vera and her family when her husband surprisingly takes his own life. Immediately, her hopes for their future together are washed away. To further add to her heartache and confusion, a family friend, Ahmet (Astrit Kabashi), claims that before he died, Fatmir verbally gave the property rights over to him. This is news to Vera, who doesn't believe her husband would do that behind her back. But as the film goes on, blackmail and harassment begin to follow Vera and her family, ultimately forcing her hand towards relinquishing the house to Ahmet. But Vera, being the wise woman that she is, has one last trick up her sleeve.
A semi-autobiographical tribute to her own mother, Kaltrina Krasniqi creates a swelling, tension-filled living nightmare for all players involved. In its conservative 82-minute runtime, Vera Dreams of the Sea speaks to archaic political institutions and women's role in society, specifically in Kosovo; it's both a history lesson and a fable packaged as a female empowerment film, and I'm here for it.
Krasniqi plays with blurring the line between fantasy and reality in beautifully choreographed, surreal seaside moments. The ocean waves sweep over Vera, serving as a physical cleansing of her foreboding problems, if only metaphorically. Her daydreams serve as her escape, and this fantasy world is her safe place.
Vera Dreams of the Sea is a slow burner that simmers with intensity. Vera is a submissive woman by nature, and the film follows in a similar vein. It's quiet, searing, and serves as a reminder to never underestimate the underdog.
Distributed by Heretic. 'Vera Dreams of the Sea' is awaiting US release.
Camille Rowe and James Jagger Dive Into Danger in 'The Deep House'
Adrenaline junkies and YouTube influencers find themselves in over their heads when a seemingly casual adventure goes terribly wrong, in Julien Maury and Alexandre Bustillotake's aspirational horror film, The Deep House.
I say "aspirational" because while the bones of a chilling story are there–foreigners in a foreign land, the flurry of paranormal activity, a dire race against the clock–the end product is a lackluster turn of events that sinks without so much as a splash.
The couple at the center of the film are social media influencers, Tina (Camille Rowe) and Ben (James Jagger). Both are extremely beautiful, fit, and with the most envious of distinctive jawlines. After hearing local lore that a perfectly preserved mansion is settled at the bottom of a nearby lake, the duo set off to explore it for #content for their online #followers.
Ben seems to be more of the instigator, badgering Tina to follow his lead as they gear up and prepare to scuba dive to the house's location hundreds of feet underwater. What starts out as a peaceful excursion turns sinister when the duo gets trapped in the aquatic haunted house and panicked screaming and hyperventilation ensue for the remainder of the film.
My biggest hang-up with The Deep House is how it feels more focused on scaring its protagonists rather than its audience. We see that Tina and Ben are terrified as their circumstance continues to spiral downward but their anxiety doesn't fully translate to audience sympathy. Perhaps some of the blame is that most of the film is dependent on voiceovers. Model turned actor Camille Rowe–whose credits still list her as the ex-girlfriend of Harry Styles (like that should carry any weight toward her own accomplishments, but I digress)–and James Jagger–son of Mick Jagger–do a fine job when on land (when we can see their facial expressions and body language). But placed behind a thick scuba diving mask for a majority of the film, we lose that connection and ultimately, lose our care.
Most impressive is the practical nature in which the co-directors approached this project. There is no reliance on CGI, rather, a full-scale haunted house set was constructed in a water tank in Belgium. Capturing this choreographed chaos is cinematographer and skilled diver, Jacques Ballard. Ballard, who is also credited as DP for Naughty Boy ft. Beyoncé, Arrow Benjamin’s aquatic music video “Runnin' (Lose It All)" is the real MVP here, contributing adequate tension and suspense to all of the maze-like twists and turns.
I was initially drawn to The Deep House because of its potential. An underwater haunted house sounded SCARY. However, 85 minutes later, I admit that I would have rather watched actual YouTubers doing actual YouTube shenanigans, which I do not say lightly. If you're looking for a satisfactory B-movie horror night, The Deep House could be an option. Or you could just be better off clicking on a random video on the YouTube homepage.
Distributed by Paramount and EPIX. 'The Deep House' is now streaming on EPIX & for digital purchase via Paramount Home Entertainment.
Gustavo Santaolalla Shares New Track From 'El Cid'
Gustavo Santaolalla is a hardworking man. He was 5 years old when he realized playing the guitar was his passion and has never looked back since. The now 70-year-old Oscar, Grammy, Golden Globe, and BAFTA winner has a long list of industry accomplishments, ranging from composing the scores to feature films such as Babel, Brokeback Mountain, and The Motorcycle Diaries to producing documentaries like Break It All: The History of Rock in Latin America. He has recently added to his repertoire composing the soundtrack to the Amazon Original series El Cid – which tells the story of the mysterious and complex Rodrigo Díaz de Vivar, a Castilian nobleman and war hero in medieval Spain.
Fans of Gustavo Santaolalla will be pleased to know that his unmatched and highly technical guitar work is on full display throughout the El Cid soundtrack. The score is richly orchestrated with instruments of the medieval period, providing an epic backdrop with an integral Spanish flair to the series.
Cinemacy is thrilled to premiere the title track from "El Cid: Themes and Inspirations" before its soundtrack release tomorrow, November 4th. Listen below.
"On this album, I want to share the themes, interludes, and textures that I originally created for the series," says Santaolalla. "Some pieces were used as you’ll hear them here. Others became part of the score that [composer Alfonso G. Aguilar] put together. And there are some that you will only hear in this collection, which continues my quest to connect with music that is part of my identity. This is a very personal album.”
"El Cid: Themes and Inspirations" will be released on November 4th on Lakeshore Records. You can now pre-save the album here.
'Mark, Mary & Some Other People' Sees Millennials Exploring Non-Monogamy
If you're a millennial who has ever thought about the reality of ethical non-monogamy, writer/director Hannah Marks offers an airy, lighthearted glimpse into the complexities of seeking physical pleasure outside of the traditional relationship model in Mark, Mary & Some Other People. While the characters can come off a little immature in their quest to hook up with anyone other than their primary partner, the film's biggest achievement is its ability to inject some comedic relief into an otherwise emotionally taxing or uncomfortable situation. But please I'm begging you, if you've been thinking about opening up your relationship, don't spring the topic on your partner while you're in the middle of getting down. You don't have to watch the film to know that that won't end well.
In a modernized "meet-cute," ex-college acquaintances Mary (Hayley Law) and Mark (Ben Rosenfield) bump into each other at a liquor store and have been inseparable ever since. Mary is a cool, confident woman who's outspoken about her feminist ideals and progressive beliefs, and serves as a nice balance to Mark, who is more of the nerdy submissive type. They compliment each other well and there's no doubt that they love each other but after a year of marriage – and a small ceremony where Mark wore a tuxedo t-shirt and Mary screamed "Hell yeah 'I Do'" – Mary begins questioning her promise of monogamy forever.
Her fear of being a "crusty married person" paralyzes her. (I should mention that Mary and Mark are 27 and 26, hardly "crusty" at all, but I digress.) After talking with her equally progressive-minded friends, Mary approaches Mark with the idea of a polyamorous relationship. "Monogamy is dumb," Mary states. "You should've thought about that before we were married," Mark quips. "How am I supposed to know what I want before I want it?" Mary retaliates. The immaturity of this conversation is my biggest hangup in the film; I believe it missed an opportunity to address the real need for connection, both physical and emotional, that isn't always attainable in one's spouse alone. Non-monogamy certainly isn't for everyone, and while it's becoming more common as a relationship model allowing partners to forge connections with people outside of the marriage, the way it was presented here felt slightly childish.
Their polyamory starts out as a game between Mary and Mark; after setting some ground rules, they are then free to sleep with whoever, whenever. They initially have a pretty toxic mindset about the whole thing but eventually, start to realize that how they're going about polyamory is not sustainable if they want to preserve a healthy relationship with each other. To the film's credit, the ending is perfectly executed and redeems the earlier hang-ups I had with the characters' intentions.
Hannah Marks certainly has a strong directorial voice and vision that is on display here, making Mark, Mary & Some Other People an impressive feat. It feels as if this film exists in the same universe as the Eastside-set, indie rom-com Band Aid. A few standout moments include the soundtrack, especially the breezy "falling in love" montage set to Mac Demarco's "My Kind of Woman" and Mary's envious collection of Dadybones jewelry. Hayley Law and Ben Rosenfield pair well together too, bouncing their comedic energy off of each other with ease.
It's refreshing to see progressive romantic comedies become more mainstream, especially with characters that are so relatable. Mark and Mary have flaws, sure, but they're still trying to figure it out just like the rest of us. And that's something I'll always root for.
This review originally ran on June 14, 2021, during the Tribeca Film Festival.
Distributed by Vertical Entertainment. 'Mark, Mary & Some Other People' opens in theaters and on-demand this Friday, 11/5.
In 'Violet,' Olivia Munn Battles The Voice in Her Head
Our 'Violet' review was first published after the 2021 Toronto International Film Festival.
A confident woman is an unstoppable woman in Justine Bateman's feature-length directorial debut, Violet. Set in the fast-paced, male-dominated Hollywood film industry, one young studio executive is finally pushed to her breaking point and forced to confront a lifelong mental illness that has held her happiness hostage. Part video art, part exposure therapy, Violet is an untraditional film that dares to show the distressing inner turmoil that many people silently deal with every day.
Olivia Munn plays the titular character, a sensitive woman who is just coming to terms with the realization that her entire life has been shaped by fear. Flashbacks reveal that the first signs of verbal abuse started in childhood, and we all know by now that unless properly dealt with, childhood trauma follows us into adulthood. The wounds have resulted in a harsh inner critic (voiced by Justin Theroux) who Violet calls "the committee." The committee spews negativity constantly, which causes her relationships–platonic and romantic–to suffer.
Up until that point, Violet wasn't proactively trying to silence the committee, resulting in submissiveness that allows people to walk all over her, including her co-workers at the film production company she runs and her manipulative brother who lives out of state. The only comfort she finds is with her friend Red (Luke Bracey), a very handsome man who Violet has known for decades (thus, in her mind, rendering any sort of romantic relationship between the two unspeakable). Eventually Violet decides that she's had enough of living by the committee's criticism and discovers that freedom lies on the other side of fear.
Bateman's bold approach to telling this story is seen in the video art-like quality of the film. Violet is designed to be an immersive experience for the viewer as if we're living in Violet's head while her intrusive thoughts build on top of each other and almost become too overbearing to withstand. Handwritten statements and video montages comprised of jarring quick cuts represent her racing inner thoughts, and set to a score by indie band VUM, Violet is purposefully disheveled and chaotic. Olivia Munn internalizes the character's insecurities so honestly, her performance is raw and sympathetic.
Violet is an uncomfortable watch but that is only because it succeeds in its intention to place the audience inside the mind of Violet. If nothing else, it will reassure you that even the people who look like they have it all together on the outside could very well be struggling on the inside. No one has it all figured out, and despite Hollywood making you believe otherwise, that's ok.
Distributed by Relativity, 'Violet' opens in theaters this Friday and is available on VOD November 9th.
In 'Bergman Island,' An Artist Couple Confront Their Love on the Coast
Do you love beautiful-looking arthouse films? Are you prepared for a film to pluck at your empathetic, tender heartstrings for an hour and a half? Then Bergman Island–a filmic love letter by French director Mia Hansen-Løve (Eden) to famed Swedish director Ingmar Bergman–is for you.
Not only is the film a respectful and enlightening look at the late filmmaker's career (whose seminal works like The Seventh Seal and Persona have no doubt inspired all of cinema), it is also a reflection of melancholia and how invisible things can cause real-life effects within a couple.
Related: 'Eden' Review: An Unexpectedly Quiet Snapshot of the EDM Generation
Tim Roth and Vicky Krieps play Tony and Chris, a filmmaker couple who embark on the opportunity of a lifetime, attending an artist's residency in Fårö, a Swedish island where Ingmar Bergman shot some of his most celebrated films. Upon arriving at the island, Chris (Krieps) immediately is suspicious of its beauty, claiming that she finds the island's calm and perfection depressing.
The duo takes up residency in the house where Bergman was said to have written the screenplay of Scenes From a Marriage, the film that "made millions of people divorce." Upon arriving, they immediately sense that they are in the shadow of an idol. The pressure for perfection intensifies the longer they stay, however, Tony (Roth) seems to have no trouble letting his ideas flow like running water. Chris, on the other hand, struggles with her unfinished screenplay.
Art imitates life in the second act of the film, when Chris begins to share her work in progress screenplay with Tony. Her words come to life as we're transported into her pages and meet her protagonist, a young filmmaker named Amy (Mia Wasikowska). In Chris's story, which she narrates, Amy is forced to work through complicated emotional entanglements when she runs into her first love Joseph (Ander Danielsen Lie) on the Fårö island. Amy's struggles don't seem so far off from Chris's, giving the impression that Chris is working through her own struggles via her surrogate protagonist.
Bergman Island has a lovely warmth to it. It also has a sun-drenched breeziness that Call Me by Your Name also perfectly captured. Further, it's enhanced by its transfixing harp melodies and score by Raphaël Hamburger. Not only do the idyllic coastlines elicit a sense of calm, they also act as a mini-history lesson for cinephiles young and old. Bergman Island is a film lover's movie, paying tribute to an icon, by an up-and-coming icon.
Distributed by IFC Films, 'Bergman Island' is now playing in theaters and available to rent this Friday, October 22nd.
Drum & Lace and Ian Hultquist Release Track from 'Night Teeth'
If you've watched Apple TV+'s Dickinson, or Amazon's I Know What You Did Last Summer, then you're familiar with the synth-heavy, sonic storytelling of Italian composer Drum & Lace (aka Sofia degli Alessandri-Hultquist) and her husband, American composer Ian Hultquist. They are both solo artists in their own right; Sofia's new single drops November 12th with her LP dropping early 2022, and Ian started his career as a founding member of Passion Pit. Together, the Hultquists' filmography is eclectic and spans across films, documentaries, tv, theatre, fashion, and advertising.
In the duo's biggest project to date, the co-composers team up with Netflix to lend their signature sound to the action-packed film Night Teeth, available to watch on the streaming service tomorrow. Jorge Lendeborg Jr. plays a college student moonlighting as a chauffeur who picks up two mysterious women (Debby Ryan, Lucy Fry) for a night of party-hopping across LA. But when he uncovers their bloodthirsty intentions - and their dangerous, shadowy underworld - he must fight to stay alive. The film also co-stars Sydney Sweeney and Megan Fox.
Night Teeth called for wall-to-wall music that matched the dark and gritty tones of the characters' fight for survival. With input from director Adam Randall, Drum & Lace and Ian embraced the idea of making the score sound like a continuous mixtape to support the movie’s eccentric narrative.
Exclusive: Listen to “The Dark Prince of Gossip” before its release, here:
In a similar way composer Cliff Martinez's score for the Ryan Gosling-led Drive became the soundtrack of Los Angeles in 2011, Drum & Lace and Ian have, 10 years later, created an updated soundtrack that feels like a roadmap of Los Angeles. Each city, including Boyle Heights, Hollywood, Downtown LA, and Venice, has its unique, signature sound.
"From our very first conversation with Adam (Randall, Director)," says Drum & Lace and Ian Hultquist, "we knew this film would give us the chance to create something unique, exciting, and propulsive to complement the film's pacing and rhythm. We landed somewhere between electronica, synth-pop, and hip-hop, and we're really excited for folks to hear it in the film."
Night Teeth is available to stream on Netflix this Wednesday, October 20th, the same day Milan Records is releasing the original soundtrack.
In 'Aware: Glimpses of Consciousness,' Self-Awareness Abounds
What is consciousness? Is it in all living beings? How is it that "feelings" and "emotions" are produced from just 3 pounds of grey goop (AKA brain matter)? These questions and more are posed in the fascinating documentary Aware: Glimpses of Consciousness, a scientifically and spiritually dense film that gives its audience much to consider throughout the course of its 100-minute runtime.
Investigates life's "big questions"
Constructed in a fairly standard doc structure, grounded by formal sit-down interviews, Aware follows six researchers who have devoted their lives to various aspects of answering life's "Big Questions." Scientists, environmentalists, spiritual leaders, and psilocybin advocates all provide their unique takes on why they believe consciousness is the essence of life, and the unspoken miracle it is that we're even aware of our own consciousness in the first place.
A wealth of cerebral concepts
For those who like rhetorical questions, Aware is a goldmine of head-scratchers and cerebral concepts. How are we aware that we're aware? If, at a micro level, all brains are similar, then who's to say that dogs don't have consciousness too? There are moments when we get pretty deep into the weeds (and literally, mushrooms) of interconnectedness, especially when talking about plant communication and its potential sentient nature. But directors Eric Black and Frauke Sandig keep the high brow concepts easily digestible for the average viewer.
Sure, thinking about these concepts all at once can probably provoke a mini existential crisis (so have some CBD on hand for the comedown). For those who are interested in this subject matter though, the new documentary Aware: Glimpses of Consciousness will leave you feeling like you've unlocked a cheat code for a new level of otherworldly understanding.
Distributed by Area 23A, 'Aware: Glimpses of Consciousness' is now playing at the Laemmle Monica Film Center.