We’ve Got Your Exclusive Trailer Premiere: '32 Weeks'
Drawing parallels to Charlie Kaufman and Michel Gondry's Eternal Sunshine of the Spotless Mind, writer-director Brian Cavallaro's 32 Weeks explores the effects of memory, love, and loss. After a car accident leaves a young woman (Nicole Souza) with amnesia, she is torn between the new man in her life that she can't remember and her ex who she can't forget.
After its world premiere at the Fort Lauderdale International Film Festival and screening at the Rome International Film Festival, this indie darling will be available for all to enjoy next week.
Angelenos may recognize familiar locations in the trailer, as it was filmed entirely in Santa Monica, California. Comprised of a two-person crew and a micro-budget, 32 Weeks is truly an intimate portrayal of emotional abuse and pathological tendencies.
Indie Rights will release 32 Weeks on VOD and digital platforms on Tuesday, November 24.
https://vimeo.com/477259657/08ba6d299e
'Ammonite' Reflection: Would I Give Away My Heart For Temporary Love?
One of the most gut-wrenching moments in Luca Guadagnino's Call Me By Your Name is realizing there is an expiration date on Oliver and Elio's time together. Their relationship defied societal expectations, geographical borders, and yet, for as beautiful as it was, it couldn't stop time. Much like Ammonite.
It takes a lot of courage to be able to give your whole heart to a person, especially faced with an obstacle as monumental as distance (where handwritten letters are the only source of communication).
In Francis Lee's period drama, Ammonite–based on a true story–Mary Anning (Kate Winslet) and Charlotte Murchison (Saoirse Ronan) face a similar fate after falling into an unexpected love affair. But with a concrete end date in sight, I wonder if the eventual heartache is worth the temporary happiness?
We can't help who we fall for. Blame it on the pheromones, loneliness, what have you, we know that connecting with someone on a deep level doesn't happen too often.
The platonic relationship in Ammonite, between the seaside dwelling Mary–a renowned fossil hunter–and the married Mrs. Murchison turns into something more over the course of six weeks after which Charlotte is scheduled to return home to her husband and life in London. Mary and Charlotte throw caution to the wind as they get to know each other beyond guarded exteriors. Mutual stimulation, both mental and physical, draw them in like a moth to a flame, as if this is the first time they have been truly seen.
Almost immediately after the trailer for Ammonite dropped, it was being compared to Céline Sciamma's Portrait of a Lady on Fire, perhaps justifiably so. Both tell a fragile love story between two women and their attempts to conceal their growing relationship. Plus, we get more Victorian garb and mesmerizing beach scenes.
However, the major difference here is the basis of Ammonite's love story. There were a few times I was questioning if, given different circumstances, these women weren't just trying to make something fit into place to fill a void.
For Mary, Charlotte could be a distraction from her solitary lifestyle and sudden death of her mother. For Charlotte, who is outwardly reeling from residual trauma from the death of her only child, Mary could be another vessel in which to pour love into.
I don't doubt that what these women had wasn't love, and maybe modern dating has turned me into a little bit of a skeptic, but it feels to me that these women found a co-dependent relationship rather than a happily ever after.
Loving and losing someone is painful. Our heart is fragile and deserves to be given to someone who can properly care for it. And while love may look different for everyone, I think there is one thing that most of us can agree on: loving and losing is better than never having loved at all.
Distributed by NEON, Ammonite is now playing in select theaters, on-demand Friday, 12/4.
Bringing 'I Am Greta' To Life with Non-Binary Singers and Synths
How would you musically describe teenage climate activist Greta Thunberg and her message of ecological urgency? That was the challenge for the Swedish composer-duo Rebekka Karijord and Jon Ekstrand, who took this opportunity to create an unconventionally compelling, hybrid score for the intimate documentary, I Am Greta– streaming on Hulu this Friday.
To create this cinematic score, Karijord and Ekstrand were cautious not to sound too heavy or emotionally leading. Yes, the thought of the world crumbling from the effects of climate change is depressing and horrifying, but the music shouldn't necessarily contribute more somberness. In the end, with a blend of classical instrumentation and electroacoustic elements, the duo struck the right balance.
“With the music for I Am Greta, we aimed to find a sonic counterpoint to the friction between the shy, contemplative inner world of Greta, and the unbounded energy of the natural world and climate change movement... So, we choose to work with repetition and persistent musical patterns, often illustrated through energetic string arpeggios. This, we felt, helped underline the remarkable persistence and focus Greta has on the climate issue, as well as that of the relentlessness of nature.”
Combining a string octet, modular synthesizers, and a voice instrument (built by Rebekka) of 25 male, female, and non-binary singers from around the world in their full range is what brings this soundtrack to life. Listen to the track Tic Toc off of the forthcoming album below:
https://soundcloud.com/whitebearpr/tic-toc-from-i-am-greta-by-rebekka-karijord-jon-ekstrand/s-NN54VGBL4ju
The full soundtrack is available to stream now on the OONA Recordings website and on all streaming platforms, including Spotify.
I Am Greta tells the story of Thunberg through compelling, never-before-seen footage. Starting with her one-person school strike for climate justice outside the Swedish Parliament, Swedish director Nathan Grossman follows Greta - a shy student with Asperger’s - in her rise to prominence, and her galvanizing global impact as she sparks school strikes around the world. The film culminates with her astonishing wind-powered voyage across the Atlantic Ocean to speak at the UN Climate Action Summit in New York City.
In 'The Trial Of The Chicago 7,' Sorkin's Starry Cast Fights Back
In 1968, a mass of counterculture activists spearheaded a massive protest in Chicago’s Grant Park, hoping to draw attention away from the Democratic National Convention and onto their anti-Vietnam War demonstration. To say their plan succeeded, is an understatement.
All eyes were on the "Chicago 7," after the protest sparked a riot between police and protestors, overtaking the city and leading to political unrest (sound familiar?). Charged with criminal conspiracy and crossing state lines to incite a riot, the seven men and the trial that followed became one of the most infamous events in history. And with The Trial Of The Chicago 7 (on Netflix tomorrow), the story comes to audiences by way of Mr. Courtroom Drama himself: Aaron Sorkin.
Acclaimed for his Oscar-winning screenwriting but here directing his second film, Sorkin assembles a top-notch cast of actors, including Eddie Redmayne, Sacha Baron Cohen, Jeremy Strong, Frank Langella, and Joseph Gordon-Levitt, plus short but sweet appearances by Kelvin Harrison Jr, and Michael Keaton, to name a few. To be expected in any Sorkin work, there is a lot going on here: from fast-paced dialogue to quick cuts that jump between archival footage and reenactments, The Trial Of The Chicago 7 is sealed with the stamp of Sorkin. If you love his previous work, I won't have to sell you on this film. I know you'll watch it anyway.
A line that's repeated throughout the film is the protestor's battle cry "The whole world is watching!" That was true in 1969, and it's still true today. Here we are, in 2020, reliving eerily similar scenarios of unlawful police brutality, peaceful demonstrations turned into aggressive brawls, and a legal system than runs on bias (conscious or unconscious).
Sorkin said it himself at Tuesday's drive-in screening I attended at the Rose Bowl: "This film will upset you. Anger you. But above all else, it will inspire you." It's no coincidence that the film's release is just weeks before the most important Presidential election of our lives yet, and if there is one takeaway from The Trial of the Chicago 7, it's this: every voice in our country matters, and has the potential to change the world–even it starts as just seven.
Distributed by Netflix, 'The Trial of the Chicago 7' is streaming on Netflix this Friday, October 16, 2020.
Because the World Isn't a Scary Enough Place Right Now, 'Possessor' is Here
Set in an alternate reality where hitmen for hire infiltrate the brains of innocent people to enact their violent crimes, Possessor is a sci-fi thriller done right. Director Brandon Cronenberg has no problems filling the very big, and very bloody, shoes of his cult icon father David (The Fly, Dead Ringers) in this visionary indie film. Relying heavily on the phenomenal performances from Andrea Riseborough and Christopher Abbott, Possessor is one film that will be hard to shake. One might even say it'll burrow in your brain like a parasite.
Elite assassin and family woman Tasya Vos (Riseborough) is an unsuspecting killer, but her quiet composure and soft-spoken nature don't fool her boss (Jennifer Jason Leigh). In her latest mission, Tasya is to implant herself into the mind and body Colin Tate (Christopher Abbott), the boyfriend of a high profile businessman's daughter. Tasya is then instructed to kill the businessman John Parse, his daughter Ava, and then commit suicide as Colin. After the killings, she is to detach from Colin's brain and resume her life as Tasya. However, the multiple implants Tasya has undergone throughout the years are starting to tear at her psyche, slowly torturing her own life and jeopardizing her ability to make it out of the mission alive.
For a film that is so dependent on the performances of its lead actors, the expectation for a top-notch cast is exponentially high. Christopher Abbott exceedingly delivers as a conflicted man whose thoughts are at constant battle with an invisible force. Andrea Riseborough's commitment to her role is also commendable, further solidifying my belief that she is among the most underrated actors of today. Both Abbott and Riseborough bring restraint and bold expression to a uniquely shocking script, making Possessor a thrill to watch and an impossible film to forget.
Distributed by NEON, Possessor is now playing at the Vineland Drive-In and other select theaters.
'Dick Johnson Is Dead': Love Greatly, Live For the Moment, Eat the Chocolate Cake
Why do we give our love to another person when we just end up alone in the end? This hypothetical question has stumped lovers, poets, and philosophers for years but I believe it comes down to this one reason: we love because that's the only way to live.
Award-winning documentarian Kirsten Johnson (Cameraperson) shows that loving wholeheartedly may be painful but the reward of being vulnerable and sharing your life with another person far outweighs the eventual heartache of losing them in her most personal film yet, Dick Johnson is Dead. After seeing the mental decline of her aging father, Kirsten suggested making a film about him dying. In her unique way, she works through her emotional hang-ups and the not-so-distant reality of his death by enacting hilariously absurd death scenarios. To execute this, she enlists her 86-years-young, retired psychiatrist father, Dick Johnson, to play himself.
These surreal fantasy moments are sprinkled in throughout an otherwise emotional and at times, heartbreaking, storyline. Dick's memory continues to decline as the film progresses and Kirsten captures it all on camera. The laughter, the tears, the struggles, the chocolate cake. With Dick Johnson is Dead, Kirsten has created a darkly humorous awakening to the reality of death and the impact we all leave behind when we're gone. One of the most powerful moments comes from Dick's "funeral," where a group of his family and friends -who knowingly participated in this mock service- are gathered to reminisce about his impact on their lives. And even though Dick Johnson is alive and well, watching from a peephole behind the door, half of the room is in tears. That's the power of love.
I couldn't help but think about my dad while watching Dick Johnson is Dead. I'm so lucky to have such a close relationship with him and my worst fear is the thought of losing him one day. But I keep coming back to this quote from the film, "What loving demands is that we face the fear of losing each other." Love greatly, without regrets, because we only get one chance.
And at 2:56 pm, as soon as the film ended and I closed out of the Netflix browser, my dad texted me asking when I was going to come over and visit.
Distributed by Netflix, Dick Johnson is Dead is available to stream on Netflix this Friday, October 2, 2020.
'Chasing The Present' Review: A Consciousness Revolution
Quick Take: As Chasing The Present shows, when we finally come to the realization that we have all the answers, our problems don't feel so overwhelming.
I've always considered myself to be a self-questioning person. For better or for worse, I've never been satisfied with the status quo and the expectation of what society considers a "successful life." I studied Buddhism in college after years of fascination over the idea of the minimalist lifestyle, including non-attachment and impermanence. And I'll admit, these ideas sometimes led to nights of unsettling future projecting, but as soon as I was able to reel in my thoughts about tomorrow's unknown, I felt a simultaneous sense of control and relief wash over me. All I can do–all anyone can do–is focus on the present. This very moment. Right Now.
Chasing The Present, the new documentary from Mark Waters, feels like a crash course in the basics of spirituality and consciousness. It's easy to put yourself into the shoes of the main subject, James Sebastiano Jr, who travels the world on a journey of self-inquiry to explore the root cause of his lifelong battle with mental health issues. The gurus, healers, and therapists (including Russell Brand) remind James, and in turn, us, that the only way to end suffering is to break free from attachment. The ego has gotten too comfortable running the show, and when the ego is bruised or starved for attention, we tend to act from a selfish place. Over time, this selfishness leads to unhappiness and emptiness that goes against the only thing (besides food & water) that we as human beings have been biologically conditioned to need: connection. A life lived without a pure connection to oneself and the world isn't a very fulfilling life at all; there's a reason why those on their death beds never regret spending time with loved ones while the career milestones and material wealth end up seeming wholly unimportant.
It's easy to distract ourselves from the awful events happening in the world by turning on the latest reality TV dating show or jumping on any number of social media platforms (highly recommend Netflix's The Social Dilemma to dive deeper into this topic), especially right now. But the only way to get through these tough times is to acknowledge that we have the power to tap into our consciousness and see beyond the hatred and despair and heal ourselves. Beyond anxiety, beyond thought, freedom is possible.
Distributed by 1091 Pictures, Chasing the Present is available to rent on iTunes, Vimeo, and more, today.
'Kajillionaire' Review: A Family of Scammers Long For Connection
I couldn't believe that I was going to miss the world premiere screening of Kajillionaire while I was at Sundance earlier this year. I caught the flu the night before and was physically unable to move, bedridden and devastated to miss this once in a lifetime event. After all, Miranda July is one of my favorite filmmakers and I cursed the cruel irony of skipping the only film that I had really wanted to see at the festival. Fast-forward nine months (and a lot of unexpected life changes later), I finally saw Kajillionaire, and honestly, the timing couldn't have been better.
Writer/Director Miranda July is known for her charmingly original stories about relationships and this one is no different. In Kajillionaire, a family of Los Angeles-based con artists Robert (Richard Jenkins), Theresa (Debra Winger), and their daughter, Old Dolio (Evan Rachel Wood), make a life for themselves by scamming and stealing from a society they claim is phony and foolish. During one desperate "Get Rich Quick" scheme, the family befriends Melanie (Gina Rodriguez), a single woman who doesn't hesitate to help them with their next scam. However, the trust between them gets tested after a couple of shady encounters cause Old Dolio to question her allegiance to her family and the life she thought was predetermined for her.
A good film will always have these three qualities: a strong directorial voice, a clear and coherent script, and a solid cast. Kajillionaire has all of these and then some. Miranda July's deeply felt and visionary style is undeniable with its ethereal, yet down to earth charm. July's tender feelings seep onto the screen, creating a universally emotional bond between the filmmaker and her audience. For as unlikable as their characters' actions are, Richard Jenkins and Debra Winger play Robert and Theresa with a sense of compassion that makes us pity them rather than despise them. Gina Rodriguez gives a complex performance as Melanie, peeling away more layers as the film progresses. But hands down, it's Evan Rachel Wood who steals the show as the totally awkward, extremely guarded Old Dolio, a young woman who ultimately just wants to be loved.
At its core, Kajillionaire is a film about lonely people slowly letting down their guard to accept the gift of human connection. Now more than ever, at a time when human connection is met with a risk warning, this arthouse indie comedy feels like a warm, much-needed hug.
Distributed by Focus Features, Kajillionaire opens in theaters this Friday, September 25.
Obama's White House Photographer Captures What's Different With This Current Presidency, in 'The Way I See It'
Immediately after the film ended, I texted my brother, Ryan. "Just watched The Way I See It for review and wow. Easily one of my favorite films of the year."
It's been claimed that Pete Souza created the best photo archive of a President that's ever been done, and I believe that based solely on the chills I got from watching Dawn Porter's documentary, The Way I See It. The photographer, who is charmingly referred to as The King of Shade on Instagram for his Trump trolling posts, stayed publicly apolitical throughout his entire career as the Official White House Photographer during the Ronald Reagan and Barack Obama presidencies. Like a fly on the wall, he not only documented some of the most influential and powerful moments in American history but humanized the leaders in these roles. Since the Obama era ended, the abuse towards and damage to journalists and the free press by our current President has been completely disheartening. Having reached his breaking point, Pete is finally speaking out against the atrocity of today's leadership through his secret weapon: his photos.
Through his lens, Pete shares intimate moments from Reagan and Obama's terms, the most powerful of which are the small, fleeting moments that have never been seen before. Breathtaking images that are beautiful beyond words portray Obama as more than just the 44th President of the United States, but as your typical dad, husband, and human. The juxtaposition of these personal photos from the Obama era compared to the staged photo-ops of today- since Trump doesn't allow personal photogs access- is a stark reminder that empathy, humility, and communication are the qualities that make a leader honorable.
Perhaps the biggest takeaway is Pete's notion about the role of a leader. Not everyone will agree with your policies, but your behavior should always be respected. This goes without saying that Pete's comments are pointed at one person in particular, but this simple yet common sense reminder applies to everyday situations. A truly remarkable film, The Way I See It is proof that the impact of a still photo can say a lot more than words.
Distributed by Focus Features, 'The Way I See It' is in theaters this Friday, September 18th, and premieres on MSNBC October 9th at 7:00 pm.
'The Argument' is Forced Déjà Vu of Semi-Funny Proportions
Quick Take: I wanted to like this film, I really did, but the biggest hurdle in giving The Argument anything other than a mediocre review is the fact that the characters just aren't likable.
Director Robert Schwartzman's latest indie film is an offbeat comedy about pride and poor communication, but unfortunately, The Argument plays more like a slightly uncomfortable improv show. I wanted to like this film, I really did, but the biggest hurdle in giving The Argument anything other than a mediocre review is the fact that the characters just aren't likable. And when we're stuck with these characters in one room for the duration of a film, they have to be likable.
The Argument is a humble production that tells the story of how Jack (Dan Fogler) and his girlfriend, Lisa (Emma Bell) get into a petty argument during a night in with some friends. Jack and Lisa have different recollections of who is in the wrong, and because they can't just be adults and settle a disagreement like grown-ups, they insist that they replay the night over, and over, and over again with their friends in hopes that they will suddenly realize who was right. Thank goodness someone in the group literally has a photographic memory and could just tell us who was "right," but that is never utilized for reasons unknown.
There are some standout performances, notably from Danny Pudi and Maggie Q, but the rest of the cast plays characters that are too emotionally unintelligent to be believable or likable. Which is a shame, because the potential is there. The Argument may not be his best, but if you're in the mood for a Schwartzman lighthearted comedy, may I recommend his directorial debut Dreamland.
Distributed by Gravitas Ventures, The Argument is now available to rent on VOD.
Miu Miu and MUBI Present Mati Diop's Latest "Women’s Tales" Film, 'In My Room'
The curated streaming service MUBI and Italian high-fashion brand Miu Miu have partnered to make In My Room available to stream worldwide, shortly after its world premiere at the Venice Film Festival. In My Room, created and directed by Mati Diop (Atlantics) during confinement, is the twentieth short film in the ongoing Women’s Tales series.
“When Miu Miu proposed to me to make a film for Women’s Tales during confinement, in the midst of a health and social crisis, I thought it was a very delicate exercise but also a challenge that confronted me with essential questions about my practice as a filmmaker," said Diop. “What story can I tell now, with minimal means, alone in my studio, that resonates with what the world is going through while being intimate?”
Since 2011, Women’s Tales is an ongoing series of short films commissioned by Miu Miu and directed by today’s most distinctive female filmmakers, who invent beautiful, strange worlds inhabited by women’s idiosyncratic imaginations. With a brief to look both critically and lovingly at femininity in the 21st century, these short films embrace the many complexities and contradictions that make up women’s experiences today. The full Women’s Tales collection, which also includes work from Agnés Varda, Chloë Sevigny, Haifaa Al-Mansour, Ava DuVernay, and Lynne Ramsay, is available in the MUBI LIBRARY.
The twenty Women’s Tales coming to MUBI are:
Shako Mako, by Hailey Gates (English language. Italian subtitles)
The Wedding Singer’s Daughter, by Haifaa Al-Mansour (Arabic language. English and Italian subtitles)
Hello Apartment, by Dakota Fanning (English language. Italian subtitles)
(The [End) of History Illusion], by Celia Rowlson-Hall (English language. Italian subtitles)
Carmen, by Chloë Sevigny (English language. Italian subtitles)
That One Day, by Crystal Moselle (English language. Italian subtitles)
Seed, by Naomi Kawase (Japanese language. English and Italian subtitles)
Les 3 Boutons, by Agnès Varda (French language. English subtitles)
Nightwalk, by Małgorzata Szumowska (No dialogue)
De Djess, by Alice Rohrwacher (No dialogue)
Somebody, by Miranda July (English language. Italian subtitles)
Spark and Light, by So Yong Kim (English language. Italian subtitles)
Le Donne della Vucciria, by Hiam Abbass (No dialogue)
The Door, by Ava DuVernay (No dialogue)
It’s Getting Late, by Massy Tadjedin (English language)
The Woman Dress, by Giada Colagrande (No dialogue)
Muta, by Lucrecia Martel (No dialogue)
The Powder Room, by Zoe Cassavetes (No dialogue)
Brigitte, by Lynne Ramsay (English language. Italian subtitles)
In My Room, by Mati Diop (French language. Subtitles: English, French, German, Italian, Japanese, Korean, Chinese, Portuguese (Brazilian), Spanish, Turkish)
Other Music Helped Cultivate Bands Like Vampire Weekend and Animal Collective–Before Being Forced to Close Their Doors
Quick Take: Whether you were lucky enough to sort through their highly specialized music selection or just a fan of early 00s bands like The National or TV on the Radio (who credit this prolific NYC record shop with widening their music knowledge)–Other Music is a must-see so that their story lives on.
Benicio Del Toro called his visits to the store a religious experience. Jason Schwartzman was constantly inspired by its hyper-knowledgeable staff. It's also where Ezra Koenig of Vampire Weekend "literally discovered new genres of music" because of how everything was uniquely and specifically categorized. Any music buff will tell you that Other Music in NYC was nirvana (pun intended).
The self-titled documentary from co-directors Puloma Basu and Rob Hatch-Miller follows the last 6 weeks of this iconic and legendary indie record shop before they were forced to close their doors for good in June 2016. Increasing rent prices in Manhattan's East Village made it impossible to stay afloat and the trend towards streaming was a battle that shop owners Josh Madell and Chris Vanderloo knew they couldn't win. It's such a shame that culturally significant safe havens like Other Music aren't invincible, and their loss hits hard. Interviews with devoted customers and artists like Matt Berninger of The National, Tunde Adebimpe of TV on the Radio, and Regina Spektor all speak from the heart about how Other Music influenced their careers and lives for the better.
Other Music was the quintessential place for people in NYC who appreciated music to spend hours racking the shelves for otherworldly discoveries, rare gems, and human connection. They hosted in-store performances from No Age, St. Vincent, Conor Oberst, and Neutral Milk Hotel to name a few, which the film shows with great nostalgia. If you're a fan of any of the bands I've mentioned, including Animal Collective, Interpol, Yeah Yeah Yeahs, William Basinski, Sharon Van Etten, and The Rapture, you'll find so much joy in watching this film. Physically, Other Music is no more but its spirit lives on. After a canceled theatrical run due to COVID, the filmmakers partnered with record stores and theaters for a Virtual Cinema run.
Distributed by Factory 25, Other Music is available on Amazon Prime, iTunes, Google Play, etc. today.
Eugene Kotlyarenko: "There can only be two relationships: Off-social media and On-social media"
Already known as a filmmaker in which audiences should expect the unexpected, Spree follows suit in its boundary-pushing style. This is one film you're likely never to forget. In our exclusive interview, Kotlyarenko talks about his relationship with social media, working with actor Joe Keery, and how he would describe the film in emojis. Spree is now in select theaters, drive-ins, on digital and on-demand.
Many people can take social media too seriously with overly curated and artificial profiles, especially in LA. In Kurt's case, it's the only source of validation he craves. What is your relationship with social media and influencer culture like?
There can only be two relationships: Off-social media and On-social media. I’m still on, which makes me a participant in the sort of attention economy the film is indicting. Not that I’m doing anything horrific like Kurt, but maybe like Jessie, I’m complicit in the system, while trying to think of myself as “different” from everyone else.
Joe Keery nails the role of the struggling pseudo-influencer, which is hilarious because he has over 7 million Instagram followers "IRL." What was your dynamic with Keery like on-set, how did you two collaborate and help him come into this deranged character?
Joe is the sweetest and most creative person. We began collaborating months before the shoot - watching reference videos and making some Kurt reviews and tutorials of our own. He brings an enormous level of respect, enthusiasm, and diligence to set and once we start shooting he’s able to modify beats and improv in a really inspiring way. Many of the lines he made up, ended up in the movie.
This film is such a visual whirlwind, what did your mood board look like while writing the script, and in the general pre-production process?
I don’t really believe in mood boards or visual references because I don’t want anyone, including me, to get bogged down in how stuff used to look or some cool thing someone else did. I’m trying to encourage everyone on the crew to help me come up with a new language to make films and be formally adventurous. That being said, I did provide the cast and crew with a Google Drive of 10 movies I found to be influential and said “let’s try to capture this spirit.” A few in that drive were Taxi Tehran, The King of Comedy, Dossier 51, Henry: Portrait of a Serial Killer. For the bigger set pieces like the freeway chase and the junkyard, we did make storyboards because I knew there was very specific coverage we would need to make that work in terms of blocking and choreography and camera manipulation.
What do you hope people take away after watching Spree? And what impact do you as a filmmaker hope to leave on the independent film community?
I hope the first thing you experience is just excitement, laughter, tension, and joy while watching it. I know the subject matter can be intense and reflective of horrific stuff, but usually, when I step away from a movie that has a great energy to me I sort of soak that in, regardless of the themes. Then when you step away from it, I’d like people to reflect on their relationships to their phone, their virtual identities, and their thirst for social media validation.
As a filmmaker, I hope we are all inspired to expand the relatively narrow language of cinematic storytelling up until now. And to keep in mind that if we are being experimental with form, it doesn’t mean we have to alienate viewers from a story well told. I would also say that 10 years ago, I made a movie entirely by screen-capturing Skype and Gchat video conversations I was having with friends, who didn’t know I was acting and then edited it together over the course of two weeks. It technically cost me $0, beyond my frugal survival... So if you don’t have the resources to stage high-speed chases or get access to established actors or even have high-end equipment, don’t let that stop you from telling stories with the resources that you do have all around you.
And finally, what emoji(s) would you use to describe Spree?
'Tesla' is Not the Biopic That You’d Expect It To Be
Quick Take: A mostly whimsical retelling of the life of Nikola Tesla through humor, electronic music, and Ethan Hawke singing karaoke.
Based on the film's logline, Tesla may sound like a standard historical biopic about the engineer, scientist, and inventor credited with devising the first practical application of alternating current (AC) to generate and distribute light and power. And while yes, I'll admit that does sound rather dry, Tesla is anything but a bore. Writer/director Michael Almereyda (Marjorie Prime) takes full creative control and presents a whimsical, vibrant retelling of the life and accomplishments of Nikola Tesla through humor, electronic music, and breaking the 4th wall with Ethan Hawke singing karaoke to the Tears for Fears song “Everybody Wants to Rule the World.”
Hawke shines (pun intended) as Nikola Tesla, the iconic inventor whose big ideas and projections for the future left him entangled with fellow inventor Thomas Edison (Kyle MacLachlan). The film follows their shaky partnership and Tesla's eventual success, as well as his complicated relationship with Anne (Eve Hewson), daughter of financial titan J.P. Morgan (Donnie Keshawarz).
Rollerskating scenes and self-aware one-liners are sprinkled throughout factual narration and serious moments, a clear indication that Almereyda did not want Tesla (which premiered at the 2020 Sundance Film Festival) to be perceived as a typical biopic. The freewheeling and neon-soaked nature of the film is the main draw, and it plays much like an extended episode of Comedy Central's ‘Drunk History.’ However, there are scenes that seem disassociated with this otherwise unique style which throws off the balance of the film. Had the surreal moments carried consistently throughout, there's no doubt that Tesla would have made big sparks on its release day.
Distributed by IFC Films, Tesla is available to rent on VOD this Friday.
Gen Z and Wanna Be Influencers, 'Spree' Was Made For You
Some people believe that your social media "status" directly correlates to your worth as a human being. Clearly, this is ridiculous, but in a city like Los Angeles, where numbers and followers mean everything, some people will do whatever it takes to raise their profile. Director Eugene Kotlyarenko pokes fun at influencer culture in the dark comedy Spree, a story about how one man's desire for fame turns deadly.
A Fame-Obsessed Rideshare Driver Takes Reality TV Stars on a Deranged Joyride
On 4/12/19, Kurt Kunkle (Joe Keery) aka @KurtsWorld96 finally went viral. In a desperate attempt to raise his followers and, in turn, self-esteem, Kurt concocts a plan which he brands #TheLesson. His goal? Kill as many people as possible, all while live-streaming during his shift as a rideshare driver. Kurt subscribes to the belief that "If it bleeds, it leads," and throughout the night, unsuspecting passengers fall victim to Kurt's antics; the more gruesome the kill, the more his viewer count increases. It's sick and twisted, and frighteningly, doesn't seem so far-fetched in today's wacky world.
However, his plan takes a turn when he crosses paths with stand-up comedian Jessie (Sasheer Zamata). Shot and edited in a similar format to 2018's Searching, where the story is told through technology only, Spree is a visual whirlwind of desperation. For 90 minutes, we watch Kurt (in an incredible performance from Joe Keery) unravel into a demented loose cannon.
Takeaway
What The Rental did for Airbnb, Spree does for Lyft (semi-spoiler alert: You may think twice about drinking that backseat bottled water). In addition to being a somewhat cautionary tale about trusting the convenience of technology, Spree is mostly a character study on the effect of social media on the mentally unstable. Whereas 2017's dark comedy Ingrid Goes West is an uncomfortable look at stalker behavior and mental illness, Spree is all of that amplified by 100%. You're in for a wild ride, dare you take it...