Our Favorite Moments from the 2023 Film Independent Spirit Awards
Last Saturday, Cinemacy returned to the giant tent on the Santa Monica beach to celebrate the 38th annual Film Independent Spirit Awards.
The event has become a mainstay throughout awards season for its total dedication to celebrating independent storytellers, and always attracts top talent who recognize the importance of keeping indie film alive. This year brought new changes too, including the switch to gender-neutral acting categories ("Best Actor/Actress" became "Best Lead Performance"), a distribution shift from being broadcast live on the IFC channel to IMDb.com, and – perhaps most impressively – Everything Everywhere All At Once's near awards sweep. With the Academy Awards only days away, the Spirit Awards have had a history of predicting who will walk away with an Oscar on Sunday. Keep reading for highlights from this year's awards show, as well as where you can watch the winners.
Everything Everywhere All at Once
This is no doubt the darling of awards season, racking up seven total trophies at this year's awards show including Best Feature, Best Director, Best Screenplay, Best Lead, Supporting, and Breakthrough Performance, and Best Editing. Directed by Daniel Kwan and Daniel Scheinert, the film stars Michelle Yeoh, Ke Huy Quan, Stephanie Hsu, and Jamie Lee Curtis in roles that are guaranteed to take you through the full spectrum of emotion. The logline is simple: an exhausted Chinese American woman can't seem to finish her taxes. But this doesn't even begin to scratch the surface of the absurdist comedy's unexpected depths, its unmatched genius vision, and unforgettable pop cultural moments (hot dog fingers, Raccacoonie, everything bagel). You can rent Everything Everywhere All At Once on iTunes and Amazon, now streaming on Showtime.
Aftersun
It's hard to believe that Aftersun is director Charlotte Wells' first feature. The mastery of craft and the confidence to let her actors, Paul Mescal and Frankie Corio, explore their characters on screen is something that usually comes with years of experience. It's no surprise that the Best First Feature award went to Wells, who generously shared the honor with her filmmaking crew. Aftersun tells the story of a young, single father and his daughter on holiday before she is set to return to her mother's house and start up the school year. Wells so effortlessly captures the innocence of childhood memories and the unbreakable bond between father and daughter. Aftersun still remains among Cinemacy's favorite films of 2023, and clearly, the rest of the independent film community agrees. We're all excited to follow Wells' career and are looking forward to seeing what she does next. Aftersun is available to rent on Apple TV and Amazon.
Women Talking
Director Sarah Polley and her incredible cast of actors took home the Robert Altman award for best ensemble. Sarah and her casting director John Buchan, who also happens to be her brother, accepted the honor by acknowledging the strength and power of the women who turned Miriam Toews' novel into a force of nature on screen. Women Talking tells the story of a group of women within an isolated religious community who grapple with reconciling a brutal reality with their faith. Starring Claire Foy, Rooney Mara, Jessie Buckley, Judith Ivey, and Frances McDormand. Women Talking is available to rent on Apple TV and Amazon.
All the Beauty and the Bloodshed
Winner of Best Documentary, All the Beauty and the Bloodshed is a standout, revelatory addition to the growing number of films raising awareness around the opioid crisis. Academy Award-winning filmmaker Laura Poitras (Citizenfour) uses her gifts as a documentarian to tell the story of renowned photographer and activist Nan Goldin, whose mission has become to seek justice against the Sackler family, the pharmaceutical dynasty who was greatly responsible for the opioid epidemic's unfathomable death toll. Interweaving rare footage and intimate interviews, All the Beauty and the Bloodshed is a tough watch told in a tender way. All the Beauty and the Bloodshed is streaming on DirectTV, available to rent on Amazon and YouTube.
God's Time
The chaotic energy of New York City is bottled up, shaken, and set to explode in writer-director Daniel Antebi's offbeat comedy, God's Time. The first-time filmmaker tells the tale of two addicts on a misguided mission to stop the murder of their mutual crush's ex-boyfriend. It's messy, but so is life sometimes! God's Time is not for the sensitive viewer. Its lighthearted look at sobriety mixed with tongue-in-cheek humor about addiction woes make for an at-times uncomfortable watch but it's obvious that Antebi doesn't try to play this dark comedy safe.
Addiction comes in many forms, and for best friends Dev (Ben Groh) and Luca (Dion Costelloe), it's the embodiment of Regina (Liz Caribel Sierra). Regina is a fellow recovering addict and the source of their shared infatuation. A topic that comes up a lot during their recovery meetings is Regina's passionate hatred of her ex-boyfriend (rightfully so–he stole her dog, after all).
Her flippant comment of saying she wants to kill him is usually followed by "In God's time," a semi-morbid sentiment that implies he has death coming to him soon enough. But when Regina leaves out that three-word foreshadowing during one outburst, Dev and Luca are convinced that this was her premature confession. And so, they take it upon themselves to stop a crime that hasn't yet been committed.
For fans of Jobe'z World, Zola, or any Safdie Brothers-adjacent film, God's Time has similar tonal energy. Dev continuously breaks the 4th wall and addresses the audience, keeping us up to speed on their thought processes (no matter how bizarre). It's fast-paced and hip, fitting squarely into the growing category of films for the Euphoria crowd.
Daniel Antebi's unique perspective on recovery is a welcomed one, as he allows audiences to find humor in the darkest of places. He offers us the opportunity to laugh with the characters as they poke fun at the antiquated notion of trusting a higher power to fix your problems. Produced by Topic Studios, God's Time is an intoxicating serotonin hit that you'll want to chase.
Distributed by IFC Films. Opening at Laemmle Glendale and on VOD this Friday.
This review originally ran on June 22, 2022, during the Tribeca Film Festival.
The Integrity of Joseph Chambers
If a tree falls in a forest and no one is around to hear it, does it make a sound? Or, in director Robert Machoian's case, if a man murders another man in a secluded nature preserve and no one sees it, is he guilty? Exploring themes of personal accountability and masculine fragility told through an intimate lens, The Integrity of Joseph Chambers is a methodical study of human behavior and the self-preservation tactics we default to when we fear the unknown.
Robert Machoian's previous feature film, 2020's Sundance-selected drama The Killing of Two Lovers, offered an introspective look into a fraught relationship from the perspective of a scorned ex-lover. Machoian once again re-teams with his lead actor Clayne Crawford (Hollywood Critics Association Award-nominee), who played the jilted ex in the slow-burn drama. That same ethos of exploring the darker sides of man's ability to rationalize hardships is very much on display here too, in his new film The Integrity of Joseph Chambers.
Here, Crawford plays Joseph Chambers, an insurance salesman who, despite being an inexperienced hunter, challenges himself to catch a deer. Believing that his manhood is on the line if he can't provide for his family with his "survivalist instincts," he disregards his wife's (Jordana Brewster) numerous attempts to get him to bring a friend along. After all, what if something happened and Joseph was out in the woods, alone?
The day starts out smoothly enough, Joseph eats his packed lunch and plays with his hunting rifle. However, things take a dark turn when he shoots at what he thinks is a deer, only to discover it was a man. This revelation causes Joseph to spiral, jumping between scenarios that involve burying the body and hiding the evidence to coming clean to the police. Either way, his life is forever changed.
This dilemma gives the film its psychologically thrilling roots. We're left to ponder – what would we do if we were Joseph? Director Robert Machoian does so much with so little; the setting is bare, and the film's entirety rests on Clayne Crawford's performance. But it is the combination of sound editing and score that gives the film life and much-needed emotional catharsis. Composer William Ryan Fritch crafts a hauntingly visceral sonic language that perfectly adds to the slow burn of the visuals. Rounding out the film's small but mighty impact are supporting actors Michael Raymond-James and Jeffrey Dean Morgan.
The Integrity of Joseph Chambers is a psychologically impactful watch that faces an ugly truth. Are we really selfish beings, capable of lying and cheating when we think there are no consequences? Or does the thought of unraveling morality cause us to feel shame, making us own up to our mistakes? That's the chilling question at the center of this layered, pointedly crafted character study.
This review originally ran on June 14, 2022 during the Tribeca Film Festival
Distributed by Gravitas Ventures. 96 minutes. In Select Theaters and VOD on Friday, February 17th
The Good Nurse
A killer nurse's trajectory from doctor's scrubs to handcuffs is depicted in the eerie crime drama The Good Nurse (now streaming on Netflix). Based on the true story of Charlie Cullen's 16-year crime spree – which included the murder of at least 29 hospital patients and up to 400 additional victims – the film details the horrific events that led to his eventual arrest. Directed by Tobias Lindholm, whose previous credits include screenwriter on 2021's Oscar-winning film Another Round and writing the teleplay for one of Netflix's most binge-able crime series, Mindhunter.
Academy Award-winning actor Eddie Redmayne transforms himself into the 40-year-old sociopath Charlie Cullen. Having bounced around from hospital to hospital throughout his questionable tenure as an ICU nurse, he lands on the floor of a hospital in Central New Jersey in 2003. Here, he meets fellow ICU nurse Amy Loughren (Academy Award-winner Jessica Chastain), a compassionate woman and single mother of two whose own struggle with her health is becoming life-threatening. Amy immediately takes to Charlie's sweet disposition and kind nature, and his goodwill extends beyond that of just a colleague. Their relationship quickly goes from co-workers to friends, staying purely platonic but genuinely invested. However, Amy soon discovers that Charlie's projection of being a good guy isn't necessarily true for everyone he meets.
While initially optimistic about Charlie's addition to the hospital staff, his presence is overshadowed by the mysterious death of two patients. These unnatural circumstances lead the hospital's senior staff to involve state police and an external investigation into their causes of death is quickly launched. The two detectives assigned to the case, Danny Baldwin (Nnamdi Asomugha) and Tim Braun (Noah Emmerich), are immediately suspicious of the hospital's vow of secrecy and believe they are hiding behind loopholes in the law. When a light is cast on Charlie's sketchy employment history and possible involvement, the detectives reach out to Amy to see if they can crack the case, with her help, from the inside. Reluctant to believe that her friend is a murderer, seeds of doubt have already been planted and Amy takes it upon herself to risk their relationship, his future, and her life, to see that justice is served.
The Good Nurse does an especially good job of capturing the essence of feeling unsettled. Masterfully crafted to match the nature of the crimes, the film is deliberately paced so that the audience feels like they're uncovering Charlie's inconsistencies at the same time as Amy. Running just over 2 hours long, the film successfully builds suspense until the pressure cooker of intensity explodes at the very end, evidenced by Eddie Redmayne's remarkably powerful performance. His characterization of a serial killer is subtle yet undeniably haunting. In her role as an empathetic woman who finds herself struggling with mounting internal conflict, Jessica Chastain is the film's emotional vehicle. Her battle is internal yet we all clearly feel her plight, which is further explored through the film's soundtrack by ambient musician and composer, Biosphere.
Produced by Darren Aronofsky's production company Protozoa Pictures and FilmNation Entertainment, The Good Nurse is a thrilling watch that feels too surreal to be true. However, for as entertaining as it is to see onscreen, the lingering takeaway that not all service workers in uniform have good intentions is a dark realization that I haven't been able to stop thinking about.
2 hours 1 minute. Rated R for language. 'The Good Nurse' is now available to stream on Netflix.
Fingers in the Wind
Independent filmmaker Chad Murdock delicately crafts a tender story of love and longing in his feature-length directorial debut, Fingers in the Wind. This mystery/romance hybrid sets three Black and queer young adults front and center, in the midst of evolving relationship dynamics and memories of the past. Serving as director, writer, producer, and editor, Chad's preference for pastel visuals and restrained editing saturates the screen in a warm, artful way.
Set in a quaint section of NYC – untraditional to the majority of films set in the city – the audience can immediately settle into the film's calming atmosphere. A beautifully composed one-shot, running almost two minutes in length, foreshadows one of the film's defining themes: reflection. Opaque glass windows from the central location, a flower market, reflect a sort of optimism and newness stemming from the vibrant fresh flowers and active city streets. The protagonist, Young Man (Azendé Kendale Johnson), enters the frame and buys a bouquet of pink flowers, which will be prevalent throughout the rest of the film.
Meanwhile, two women Naya (Maya Holliday) and Faye (Taylor Brianna) are coming to terms with the end of their friendship. The reason for the breakup isn't immediately clear, only that their relationship has become "empty". Faye is heartbroken and quietly shocked at the drastic measure Naya has taken to sever ties. It's shortly after saying goodbye to her former friend when a vulnerable Faye comes across the young man from the flower shop, who she believes she recognizes from her past as Kenny. Coincidentally, he does not recognize her but their undeniable chemistry cannot be overlooked, so Faye chalks up her misremembering to the passage of time and continues to spend the rest of the day with him.
It's here when we start to realize that not everything is as it seems. After Faye confides in the man by sharing a deep-rooted secret of past trauma, the film takes a more surreal approach in its storytelling format. Like its title suggests, Fingers in the Wind encapsulates the feeling of trying to grasp onto something intangible, like a feeling or a moment in time. Confident performances from Taylor Brianna and Azendé Kendale Johnson, in particular, help guide the audience through the ambiguity of some of the film's more challenging scenes.
Fingers in the Wind is a measured, artful examination of friendship, memory, desires, and longing. At times, it feels reminiscent of a Shakespearean love story of courting, although it plays rather ambiguously which could hinder its universal audience appeal. However, it is an impressive debut from a new voice in cinema, especially one that's focused on Black, queer, coming-of-age stories.
Women Talking
It's been a while since we've seen a memorable arthouse output from Orion Pictures, the production company behind box office classics like The Terminator (1984), RoboCop (1987), and The Silence of the Lambs (1991). Their re-introduction to the art-centric, indie crowd hits a high note with writer/director Sarah Polley's powerful feminist drama, Women Talking. Based on Miriam Toews' 2018 novel of the same name, Women Talking is an unapologetic statement of radical awakening and action, where feminine needs are the focus and sisterhood is an act of self-preservation.
At first glance, it looks as though we've been transported to a remote compound in the early 1900s. Kids running around outside free from screens, conservatively dressed women unloading goods from horse-drawn buggies, and pencils and paper taking the place of computers. But this is not a time-period piece. This is what an isolated religious community looks like in 2010, as close to Amish as one can get without directly saying so. The audience is dropped into the middle of heightened tension as soon as the film begins – clearly, there are disturbing issues that must be dealt with. A group of women from the community's most prominent families are appointed to sort out the impending dilemma.
The men of the community, who have been mysteriously absent from the compound since the beginning of the film, are accused of sexually violent acts towards the women and children. Outraged and disgusted by their predatory and vile behavior, there is no disagreement from the women the men need to stop. Where it becomes a point of contention is how – or if – the women choose to retaliate.
Within the group are those who want to stay and keep things status quo (Scarface Janz - Frances McDormand), those who want to stay and fight (Salome - Claire Foy), and those who want to leave (Ona - Rooney Mara). The arguments for their varied positions all come back to their interpretation of the Bible, which some take literally while others interpret it more vaguely. Everyone is sensitive to the religious element but that doesn't stop the women from candidly voicing their opinions, no matter how divisive. Acting as the group’s secretary is the affable school teacher (and sole male) August Epp (Ben Whishaw), who writes down the points and arguments made by the illiterate women. Shot almost entirely in the hayloft where these conversations take place, the tension builds like a pressure cooker until a decision is finally reached.
Women Talking derives its strength and staying power not just from the eloquently-voiced script, but also from its phenomenal ensemble cast. Rooney Mara, Claire Foy, Jessie Buckley, Frances McDormand, Judith Ivey, Sheila McCarthy, Michelle McLeod, Kate Hallett, Liv McNeil, August Winter, and Ben Whishaw give some of the year's best performances. Like a delicately woven web, the characters' lives intertwine amongst heartache, elation, and love. Despite their differing views, they continue their heated conversations for the greater good and immediate future of the women of their community (a gentle reminder that earnest communication can de-escalate many problems).
Resilience is the backbone of Sarah Polley's script adaptation, beautifully realized on the big screen. The film lacks saturation, giving off cool blues and greys, perhaps in an attempt to show how devoid of color and joy this moment is in all of their lives. The trauma these women are dealing with is both felt and seen. Behind the scenes is another strong female force in composer Hildur Guðnadóttir. Her layered, transcendent score builds throughout the entire film until it culminates in a glorious final sweeping shot that will evoke goosebumps.
Explosive, euphoric, and powerful, Women Talking is a passionate piece of filmmaking from all sides. It broaches difficult subject matter with empathy and compassion and encourages audiences to do the same.
Distributed by Orion Pictures. 104 minutes. Rated PG-13. In select theaters Christmas, everywhere January 20, 2023.
Brian H. Kim Debuts Track From 'Spoiler Alert'
Los Angeles-based composer Brian H. Kim reunites with director Michael Showalter in Focus Features' latest Spoiler Alert, based on Michael Ausiello’s best-selling memoir Spoiler Alert: The Hero Dies. Blending soft synth notes with evocative strings and gently stroked piano keys, Brian guides the audience through the highs and lows of navigating life when the happy ending you expected doesn't go according to plan.
Starring Jim Parsons and Ben Aldridge, Spoiler Alert is a heartwarming, soulful story that follows the 14-year love affair between entertainment journalist Michael (Parsons) and his partner, Kit (Aldridge). Since the beginning of their relationship, Michael has always been in awe of Kit. From his close-knit family (Sally Field and Bill Irwin) to his supportive friends, Michael realizes that Kit is living the life he always wanted. Their love and admiration for each other are strong – seemingly unbreakable – and their future looks stable and bright. However, when a terminal diagnosis enters the relationship, their Happily Ever After begins to look very different.
Cinemacy is excited to premiere “I Will Delete It, Michael”, from Focus Features' Spoiler Alert, below:
Brian's awareness of the sensitive nature of the subject matter is brightly reflected in this beautiful track. As heard here, Brian intentionally creates music that feels authentic and true to the characters onscreen without overpowering the story. He doesn't force the audience to emote through stereotypical musical tropes, rather, he gives the audience space to figure out their own feelings and identify their own thoughts. He explains, "‘I Will Delete It, Michael’ accompanies one of the film’s most emotional moments — a love scene with almost no dialogue that is a culmination of Michael and Kit’s 14 years together. I used a combination of prepared piano, strings, and atmospheric synths with long, dreamy delays, playing a melody and progression that would become ‘Michael and Kit’s theme’ as we worked on the film. This theme returns in crucial moments later in the film, but it is at its fullest in this scene.”
Spoiler Alert is Brian's first wide-release studio feature. His repertoire is expansive, having created scores under a myriad of musical genres including the rhythmic beats in Panic (Amazon) and Search Party (HBO Max) to more cinematic orchestrations in G.B.F. (dir. Darren Stein) and Hello, My Name Is Doris (dir. Michael Showalter). Outside of the film industry, Brian has recorded with artists such as Adele, Lin-Manuel Miranda, Neil Patrick Harris, Patrick Stump, and Boyz II Men.
Back Lot Music is releasing the ‘Spoiler Alert’ Original Motion Picture Soundtrack on Friday, December 9th. Listen to the album here.
‘Spoiler Alert’ is now playing in select theaters, everywhere December 9.
The UnRedacted
Back in January, an independent documentary called Jihad Rehab had its world premiere at the Sundance Film Festival. Fast forward to October 11th, Jihad Rehab–now going by The UnRedacted–has resurfaced in the zeitgeist after the film's director Meg Smaker made an appearance on the Sam Harris podcast, Making Sense. Her story is inspirational, to say the least, and I encourage everyone to give the episode "A Tale of Cancellation" a listen. Last month, I was invited to watch The UnRedacted at a small theater in Glendale, CA. With no official distribution or release plan, The UnRedacted is a film that no one can see. However, its story is still worth telling in hopes that this will change.
The heartbeat of the film is empathy which, ironically, upsets many of the film's naysayers. The UnRedacted follows a small group of former terrorists and Guantanamo Bay detainees as they attempt to reintegrate into society by spending a mandated amount of time at the Prince Mohammed Bin Nayef Center for Advice and Care, a rehab institution for Islamist jihadis in Saudi Arabia. Meg Smaker's film is highly intimate as she is the one sitting across from the men asking them, in their native Yemeni tongue, questions about their childhoods, their decision to join terrorist organizations, and their dreams for the future.
It's easy to feel hatred toward these strangers at the onset, it goes against every instinct to empathize with evil. However, Meg's film intends to push audiences out of their comfort zone. The UnRedacted encourages us to look beyond one's horrifying past, without judgment, and just listen.
At times, it feels almost surreal to acknowledge any feelings of sympathy for the men who participated in al-Qaeda's reign of terror. Years spent at Guantanamo Bay didn't offer any humanitarian rehabilitation, which is why it is vital that behavioral and psychological centers like Prince Mohammed Bin Nayef Center for Advice and Care exist. Through drawing, expressive writing, and other creative activities, the men are given the opportunity to process their past and set their sights on a brighter future. Enrolling in classes to learn basic skills, like navigating the internet and balancing a checkbook to dating advice and interpersonal communication, are all intended to set up the men for success once they graduate and enter the outside world again.
This is not a film that has a "happy ending", nor did it set out to be. This is a film that shows reality in all of its confusing and complex forms. Sure, the controversy surrounding the subject matter is layered and divisive, and best explained by Meg Smaker through her own words in her conversation with Sam Harris. But just because something is hard to watch, doesn't mean it should be erased. The UnRedacted is not a hateful anti-American film, quite the contrary in fact. The UnRedacted is a symbolic peace offering to those who have wronged, showing that if one is committed to change and truly redemptive, a second chance at life is possible.
At the time of this review, The UnRedacted is still unavailable for viewing.
Edit: A correction was made on December 3rd, 2022: an earlier version of this article misstated that the film had been pulled from the Sundance Film Festival lineup following its World Premiere; Sundance Institute has confirmed that the film had all of its intended screenings at the festival.