Fantasia Fest 2021: 14 Films We're Looking Forward to Seeing
Today kicks off the beginning of Fantasia Fest 2021, the Montreal-based, multi-week showcase with the reputation for being "the most outstanding and largest genre film festival in North America." The Canadian festival has been on our radar for years and we're excited to bring you along as we (virtually) embark on our inaugural Fantasia journey.
Mad God
The Deep House
King Knight
Midnight
Pompo: The Cinéphile
Dreams on Fire
The Last Thing Mary Saw
Love, Life and Goldfish
Giving Birth to a Butterfly
Dr. Caligari
Prisoners of the Ghostland
Follow the Light
Strawberry Mansion
Ultrasound
'Whirlybird' Review: Capturing Serenity and Chaos Over the Clouds
In Matt Yoka’s debut feature documentary, Whirlybird, audiences are taken on a visual journey of the City of Angels in the 90s through the lens of journalist Bob Tur and his wife Marika Gerrard, the couple responsible for capturing the iconic ariel video footage of the OJ Simpson pursuit, the Rodney King riots, the Northridge earthquake, and so much more. Infamous for his risky (and often illegal) methods of “getting the shot,” Bob was a relentless reporter, in love with the excitement and thrill of the chase. However, the documentary digs deeper, beyond his success as a journalist, and into Bob’s volatile, explosive, and obsessive behavior that puts not only his relationships but his physical and mental health at risk.
In the world of journalism, Bob Tur is credited for revolutionizing breaking news by changing the way news was captured: via helicopter. Bob and Marika were never far from a crime scene, murder, fire or flood – hanging out of a helicopter, camera in hand and ready to film. However, Bob’s personal life was fraught with torment. Not only was he constantly fighting with his wife, his employees, and the authorities, he was also struggling to accept himself as a trans man, which the documentary only focuses on in the last fifteen or so minutes of the film. The story of Whirlybird is primarily about the revolution of the news industry, not the reinvention of Bob Tur, who now goes by Zoey. Unfortunately, more focus on his personal struggle would have made this film a lot stronger and more memorable.
Bob was the original TMZ. He was a pioneer, and his legacy will never be forgotten. However, through raw and vulnerable interviews, he admits to living a life full of regret. It’s as if he questions if this was all even worth it, a difficult sentiment to hear someone say aloud. The relentlessness of capturing the headline news will affect any man over time, much like it did Bob Tur. For Angelinos especially, Whirlybird – with original music by Ty Segall – is a fascinating retrospective of our city from above as we navigate the fine line between serenity and chaos from among the clouds.
The review originally ran on February 3, 2020 during the Sundance Film Festival
Distributed by Greenwich Entertainment. Playing in select theaters, including Laemmle Glendale, and VOD this Friday.
'Enemies of the State' Review: A Teen Anarchist Takes on America
Matt DeHart may not have the same name recognition as Julian Assange or Chelsea Manning, but his self-proclaimed capability to expose the U.S. government for what they truly are: emotionless, ruthless, international murderers is just as feared as the actions of the aforementioned WikiLeaks founder and US Army vet turned whistleblower. In the new documentary Enemies of the State, viewers are introduced to the DeHart family, a nerdy and frantic family of three, who find themselves at the center of espionage accusations when Matt's ties to Anonymous and the dark web are exposed.
Convinced of Matt's innocence, the DeHart's believe that they're being unfairly targeted by the government in a wild conspiracy theory, which sends them to seek asylum in Canada. Perhaps they're on to something, but their claims weaken when evidence of child pornography on Matt's computer (plus victim statements) directly point to him. But Mr. DeHart, a current pastor, and Mrs. DeHart are in denial; instead of confronting the possibility that their son might be guilty, they come up with varied excuses. Many times throughout the film we are left wondering, are they really that oblivious, blinded by a parent's love? Or is the truth really stranger than fiction?
Nominated for "Best Documentary Feature" at the 2020 Tribeca Film Festival, Enemies of the State was brought to the screen by some heavy-hitters. Directed by Sonia Kennebeck and executive produced by Errol Morris, the film is a hybrid blend of documentary and fiction storytelling from the perspective of unreliable, biased narrators, which makes for an anxious watch. While Matt's parents are in the film playing themselves, Matt is played by actor Joel Widman (the reason for Matt's absence is explained in the film). Interviews with government officials, lawyers, and reporters are all real, including the sound recordings from Matt's court trial, but set to a fabricated recreation of those court scenes.
The aesthetic of Enemies of the State feels as sterile as the maximum-security prison cell Matt was kept in, stripped bare and unforgiving. It's a twisty story that I found myself rewinding a couple of times throughout my watch both out of fascination and confusion, the delivery here not being as strong or punchy as its cinematic counterparts like The Imposter or The Thin Blue Line. However, Enemies of the State is thrilling enough to satisfy that true crime craving.
Distributed by IFC Films. Opening in select Laemmle Theaters and on VOD on Friday, July 30.
'Mandibles' Review: A Buzzy Buddy Comedy
Surreal, campy B movies have always been synonymous with French provocateur Quentin Dupieux. His weirdness is an art form in and of itself; killer car tires and self-sabatoging directors seem like outrageously insane plots that no producer or studio would ever think to finance but on the screen it somehow works. Same is true in his latest film Mandibles, a buzzy buddy comedy about a giant fly. That's it. That's the plot.
Low-achieving but well-meaning best friends Jean-Gab (David Marsais) and Manu (Grégoire Ludig) are the French equivalent of Dumb and Dumber's Harry and Lloyd. They manage to get themselves into truly remarkable and idiotic situations, but their oblivious and laissez faire attitude never gives them cause for concern. That is, until they stumble across something that they believe has the potential to change their lives forever: a giant fly.
Jean-Gab takes to the fly immediately, giving her the name Dominique and imaging a future where he can train her well enough to start making money off of her party tricks (or bank robberies, the latter seeming more unlikely but he isn't deterred). Manu on the other hand hesitantly goes along with Jean-Gab's plan until an unforeseen situation forces the duo to adapt.
When the guys get caught up in a case of mistaken identity and find themselves staying at a vacation home with a group of strangers, Jean-Gab's protective paternal instincts kick in. He doesn't want anyone to know about Dominique, especially the inquisitive and slightly "off" houseguest Agnès (Adèle Exarchopoulos), but Agnès knows something is up, and she's determined to figure out what it is.
Mandibles is low-hanging fruit for comedy fans; the film's light-hearted nature doesn't strive to be anything other than zany and oddball kooky but at times, this chaotic jumble also rubbed me the wrong way. Personally, I find it grating when characters constantly yell and one of Agnès' character traits is her inability to control her speaking level, so those moments were a bit hard to sit though.
Going into any Quentin Dupieux film, you're probably not expecting thought-provoking, Oscar-qualifying work. That's the joy in his movies, they're original, completely fun, and entirely wacky. Mandibles is truly something you have to see to believe.
Distributed by Magnet Releasing. In theaters Friday, July 23.
'Roadrunner: A Film About Anthony Bourdain' Review: To Savor An Icon
It still feels surreal to talk about Anthony Bourdain in the past tense. Anthony Bourdain was charismatic. He was revolutionary. And he definitely was gone too soon. When Bourdain passed away three years ago at the age of 61, the conversation around mental health struggles wasn't nearly as normalized as it is today. It was still prevalent, just conversationally taboo. But as director Morgan Neville explores in the documentary Roadrunner: A Film About Anthony Bourdain, the larger than life TV personality wasn't necessarily keeping quiet about the horrible disease that was depression and suicidal thoughts: he was crying out for help on camera. We just weren't watching closely enough.
Morgan Neville (20 Feet From Stardom, Won't You Be My Neighbor?) harmoniously captures the pleasures and pains of Bourdain colorful life, and is careful not to ruminate too long on his demons. Told through Bourdain's own voiceover narration (a very meta move), Roadrunner is an engrossing look at how he went from "dishwasher, to cook, to chef, to fuck-up" (his words). After the overnight success of his book Kitchen Confidential entered the cultural zeitgeist, Bourdain took his talents to TV. It's here where he became a household name, traveling the world in search of great food and bridging the gap between countries in his hit shows No Reservations and Parts Unknown.
In poignant narration, Bourdain admits that he had the greatest job in the world, but it was one he could never escape from. This affected his mental health, family life, and relationships with colleagues and friends. For as widely loved as he was, Bourdain was lonely. Despite his success and acclaim, he openly admits that he questioned everything constantly and had often thought about harming himself.
His addictive personality eventually moved from his work life to his love life in the form of an Italian actress and early Harvey Weinstein #MeToo accuser Asia Argento, and this is when those closest to the TV personality noticed a shift in his demeanor. Interviews with the production crew, his ex-wife, and friends say Bourdain's complete obsession with her contributed to his downfall, although we should be careful not to blame Argento herself for his death. After all, he was the one who made the devastating decision to end his own life, no matter how heartbroken she made him feel.
Morgan Neville is the perfect person to capture this complicated figure, flaws and all. Anthony Bourdain lived with an irreplaceable spark and charisma that made him feel like a close, personal friend and that's what makes this documentary so hard-hitting and culturally important. In one of the film's earlier scenes, Bourdain talks openly about dying. In his signature style of cheeky humor, he tells a colleague that thinking about his death is "therapeutic." Retroactively, though, it's clear that he was only half-joking. Roadrunner offers a glimpse into the inner thoughts of Bourdain himself and while it has a somber through line, there is optimism and peace sprinkled throughout.
And man, does it feel good to see him on the TV screen again.
Distributed by Focus Features. Opening this Friday at The Landmark in West LA, Laemmle Monica, Laemmle Pasadena Playhouse 7, Laemmle NoHo 7, AMC Century City, AMC Sunset 5, AMC Universal Citywalk, AMC Burbank 16, Alamo Drafthouse Downtown, and Regal LA Live, among others.
'Summertime' Review: Visual Poetry Lights up Los Angeles
When Amanda Gorman took the stage in January at the 2021 Presidential Inauguration, two things happened. One, she sparked a meteoric rise of her own accord, landing nationwide notoriety, book deals, and an IMG modeling contract. She also–maybe more importantly–normalized and encouraged younger generations to explore spoken word poetry for themselves, proving that age is not a factor when it comes to self-expression.
In his latest film, director Carlos López Estrada (Blindspotting, Raya and the Last Dragon) shows how the streets of Los Angeles are filled with inspirational youth who are ready to speak their truth in the spoken-word musical, Summertime. Like an indie version of In the Heights for millennials (complete with mixed races and various skin tones!), Summertime is a feel-good film full of literal visual poetry and promising artists of tomorrow.
The story of how Summertime came to be is just as impressive as the film itself. Together with López Estrada and Executive Producer Kelly Marie Tran, twenty seven youth poets workshopped their material over the course of one Summer in Los Angeles. The result is this feature film, a loose narrative structure comprised of intersecting stories from the poets themselves, all of whom make their feature film debut as co-writers and stars.
Depending on the scene (and therefore the dialogue), Summertime is a mix of emotional, comedic, and nostalgic instances that reflect the authenticity of the poets. One scene humorously calls out the prices at trendy Los Angeles eateries, and how a piece of avocado toast costs the same as basic livelihood necessities for lower income communities. Another scene shows an empowered queer woman giving a fierce monologue as she stands up for another same sex couple on a metro bus. Perhaps the most heart-wrenching scene comes in the form of a formally insecure woman finally standing up for herself to a manipulative ex-boyfriend.
I believe the success of Summertime comes from untraditional factors. The overall narrative and acting is fairly good, not outstanding, but what makes this film unforgettable is the outpouring of pure visual poetry (which outweighs any nitpicky criticism). Dave Harris, Mila Cuda, Olympia Miccio, Tyris Winter, Amaya Blankenship, Bene't Benton, Hanna Harris, Marco Bizio, Raul Herrera, Bryce Banks, Marquesha Babers, Walter Finnie Jr., Anna Osuna, Zach Perlmutter, Jason Alvarez, Austin Antoine, Maia Mayor, Madyson Park, Xochitl Morales, Paolina Acuña-González, Marcus James, Gordon IP, Cyrus Roberts, Pathum Madigapola, Nia Lewis, Daniel McKinley, Khamal Iwuanyanwu, and Lukas Lane: job well done. Thank you for sharing your stories with us.
Distributed by Good Deed Entertainment. Now playing in select theaters in Los Angeles and New York. Expanding nationwide Friday, July 16.
Max Aruj Shares His New Track From Gangster Film ‘Lansky’
Max Aruj reunites with writer-director Eytan Rockaway in Lansky, a crime drama starring Sam Worthington and Harvey Keitel as the legendary gangster Meyer Lansky.
After collaborating with Rockaway on the psychological thriller The Abandoned (2015), Aruj felt comfortable delving even deeper creatively with Lansky's score. The result is a beautifully intertwined sonic reflection of both the darkness and sentimentality of the complicated Meyer Lansky. But before we listen to the exclusive track, continue reading to learn more about the man behind the music.
Max Aruj was born to score. After taking to classical music at 6 years old, he went on to receive a Bachelor's in Music Composition at the USC Thornton School of Music. Since then, his contribution to the world of composition with a classical flare has brought him to both the indie music stage and the Hollywood silver screen. Aruj composed and conducted arrangements for DJ and producer Gryffin at Coachella 2019 (and co-produced his orchestral album 'Gravity (Deluxe)' in 2020), as well as composing additional music on Mission: Impossible - Fallout for Lorne Balfe and The Crown for Hans Zimmer and Rupert Gregson-Williams.
Cinemacy is thrilled to premiere the opening title track from Aruj's latest film, Lansky. Listen below.
"Working on Lansky really pushed me to dig deep to come up with a melody that encapsulates his whole life. He experienced both great triumph, and great sadness. He stopped at nothing to achieve his goals, but at great costs,” says Max Aruj.
The title track, which runs about five minutes long, starts slow with a quietly beautiful blend of strings and builds to an all-encompassing anthem that is both full and bold.
The soundtrack will be released on June 25 on Lakeshore Records — the same day of the U.S. theatrical release. You can now pre-save the album here.
'Rise Again: Tulsa and the Red Summer' Review: Bodies And Stories Were Buried–Until Now
Throughout history, the United States has been the home of dozens of racially-fueled massacres that were never brought to light. One of the most egregious atrocities is the 1921 Tulsa, Oklahoma race massacre which saw an entire community burned down by white mobs. Over 300 black men, women, and children were killed and dumped in unmarked mass graves, their possessions stolen, and dignity affected for generations. In the documentary Rise Again: Tulsa and the Red Summer, documentarian Dawn Porter sheds light on this horrific tragedy and challenges our idea of what justice looks like today. Make America great again? For a large majority of minorities, America was never great to them before.
Expression
Dawn Porter is one of the most important working filmmakers today. She has her finger on the pulse of culturally significant stories about strong figures who stand up for what they believe in, even if it's against the status quo. Rise Again's message compliments Porter's previous work, including The Way I See It and John Lewis: Good Trouble. She is a natural storyteller who elicits empathy but never weakness from her subjects. Her delicate approach to such a heavy topic is a natural skill. Despite the death and destruction that permeates the narrative, Rise Again leaves us with an activated sense of introspection about how we can create a more just tomorrow.
Expression: 4 out of 5 stars
Daring
For many people who lived through the 90s, the term "race riot" might bring to mind the horrific images of the Rodney King riots in Los Angeles. However, race riots have been around for decades, as documented in Rise Again's stark black and white photographs. The film centers around award-winning Washington Post journalist and Oklahoma native DeNeen Brown who, along with descendants of the Tulsa Massacre victims and current Tulsa state officials, speak to the reality of what happened 100 years ago and how it is still affecting the black population today. It's uncomfortable to see just how dehumanizing the black community was made to feel at the hands of white people, but Dawn Porter educates viewers in a way that doesn't feel shameful or spiteful, just hopeful for a better future for all.
Daring: 4 out of 5 stars
Craft
Like all of Porter's film, Rise Again is a finely-tuned cinematic achievement. The combination of compelling sit-down interviews interspersed with archival footage and photographs from 100 years ago humanizes the victims in a way that will leave anyone breathless. Every interviewee is given ample time to make sure their personal stories are heard and the result is a deeply felt tapestry of resilience and strength. Dawn Porter and crew really nailed this one.
Craft: 4 out of 5 stars
Impact
The term "Red Summer" was coined because the blood from black bodies flowed through the streets nonstop. Innocent black communities and individuals were targeted by white men who unjustly feared their jobs or lives were in danger, and were killed by the hundreds. Yet, these events have been historically left out of American history books because of shame and guilt. Pretending that these massacres never happened is equally offensive as the acts themselves, and that is why Rise Again: Tulsa and the Red Summer is so important to American cultural awareness. This film is an important piece of history.
Impact: 5 out of 5 stars
Conclusion
The ghosts of racial tension that were present in 1921 still haunt us today, 100 years later. Educating people about the truth of these events – however horrific and upsetting – will hopefully lead our nation towards collective healing and conscious change. Ignoring the stains on our past is not progress, we must acknowledging our wrongdoings to make sure history doesn't repeat itself.
Conclusion: 4 out of 5 stars
'Rise Again: Tulsa and the Red Summer' will premiere on National Geographic on Friday, June 18, and will air globally in 172 countries and 43 languages. It will also be available to stream on Hulu the same day, commemorating Juneteenth – a day that celebrates when the last enslaved Black people in Texas received news of their emancipation, marking the official end to slavery in the United States.