Riley Stearns: "I want to earn my black belt in filmmaking too"
Director, baker, and Jiu Jitsu purple belt Riley Stearns once again proves he’s a talent to watch, bringing a unique voice to the black comedy genre. After the success of his last feature, Faults, Stearns is back with The Art of Self Defense, a violent, sad, and hilarious film about karate culture, in theaters this Friday (think Napoleon Dynamite meets The Lobster).
In our exclusive interview, we talk dachshund casting day, the unconventional way Jesse Eisenberg accepted the role, and his first day of Jiu Jitsu class 6 years ago. We begin:
I'd been doing Jiu Jitsu for a couple of years when I started writing The Art of Self-Defense. I was working on [another] idea for a script that I can only describe as forcing a square peg into a round hole– I was trying to make it work but it wasn't. I finally said, why am I not just doing something in the world of martial arts? So The Art of Self-Defense really came about by being a fan of Jiu Jitsu. Jiu Jitsu isn't as well known as karate, and people rolling around on the ground isn't as exciting, so I went with karate [in the film]. It's more cinematic too.
I trained at a gym in Paris and while we spoke a different language, we all understood the techniques. That's cool.
What was your first Jiu Jitsu class like?
I was a fan of MMA and would watch it at home but when my ex would come into the room, I'd change the channel. It felt like something I wasn't supposed to be watching, like that's what jocks watch or meatheads watch and I'm not that. But I was drawn to it, the element of Jiu Jitsu specifically. Like, the small guy's winning, how's that happening? It's because he was using leverage and technique over strength. I thought that was fascinating.
I was working at a production office in Glendale at the time and down the street, they were opening up a Gracie Barra Glendale. Every day I would drive by it and say I'm going to try a class. It took me three years to walk through those doors.
I was intimidated and nervous and worried about what the guys were going to be like. Would they want to kill me? I finally signed up, took my first class, and threw up after because I was out of shape and exhausted. But I was so excited by the stuff that I learned. I was just like, I'm learning how to choke somebody. They're letting me do this. I want to do this every day.
I look back on that first class and think, what was I afraid of? Everyone there is like a dad or a mom or a teacher or a doctor. Every walk of life, every body type, every age, every ethnicity. It is such a wonderful thing to walk into a place where we all come from different backgrounds, but we all want this one thing and we all get to do it. I trained at a gym in Paris and while we spoke a different language, we all understood the techniques. That's cool.
You and Jesse have a similar vibe, was casting him as Casey intentional to reflect your attachment to the film?
It's funny, Jesse is not a person who's threatened by information that other actors might be threatened by. The first time I had a meeting with him, he goes, "I'm really excited that you want me to be in this and I would love to. I'm curious, who did you offer the role to before me?" And I was like, really?
Laughter
So I mentioned one name, a guy that he's actually friends with, and he goes, "Oh, he would've been really good."
He's that kind of guy. It's a freeing feeling as director to not have to sugarcoat things with him. Jesse doesn't get worked up about little things that other actors might get worked up about. He gives what you give and if you give him shit, he can give it back to you.
He was also the most giving, engaged person on set. Jesse was talking with the crew in between takes and wanted to know who they were, their families... he never would go back to his trailer.
The first time I had a meeting with [Jesse], he goes, "I'm really excited that you want me to be in this and I would love to. I'm curious, who did you offer the role to before me?"
Interesting that Jesse wasn't your immediate go-to. He's perfect in this role.
Initially, I thought I wanted to cast somebody who was older. I wanted somebody in their forties. I felt like it would be sad and funny if somebody who is older felt like less of a man, training alongside teenagers.
This actor that Jesse knew I had offered the role to wrote me a super nice email, but it was like, "I can't play a weak character right now." I'm not exaggerating, that line is verbatim. I can't play a weak character right now. And I was like, I am making the right movie if this is scaring guys. And it's very cliche to say, but I cannot imagine anybody else in the role besides Jesse.
My favorite scene is when he has a total emotional breakdown in the car.
When we were shooting that scene, it was me and my cinematographer, Michael Ragen, in the car with him. We're setting up and starting to drive off and Jesse kind of takes a moment, there's a little silence, and he goes, "Alright so, no big deal I'm just gonna cry in front of my new best friends. Yeah, that's gonna be fine." Then he worked himself up and bawled, and ended up being so sweet and vulnerable at that moment.
...And now I've got a story about a pet psychic.
So, Mocha. I loved this dog.
I grew up with dachshunds. I have one, Didy, that my parents watch now. I've always loved the breed. But I also felt like it was the perfect companion and best friend for somebody like Casey. We were filming in Louisville, KY and there are not trained movie dogs in Louisville, so we had dachshund casting call one day, which was my favorite day I've ever had in my entire life. But none of the dogs behaved, even just sitting in one spot was hard.
I think I met five dogs that day and this dog, Mocha, was nervous and you can tell she couldn't really do what we wanted her to do. My producer, Cody Ryder, said she got an email from Mocha's owner and that she's a pet psychic, apparently. She said that she had a discussion with Mocha after the casting and said, 'I really know that you can do this and I think you need to be there to protect Riley. Mocha wants you guys to know that she can do it.' And we were like... Oh my God.
And now I've got a story about a pet psychic.
What was it like reaching out to Full of Hell?
I was writing the script and had been listening to Full of Hell on shuffle, specifically their collaboration with MERZBOW, a Japanese noise artist. It was abrasive and grindcore-y, and death metal-y, and kind of punky all mixed together. It feels like this exaggerated version of what metal is to people who don't listen to metal. I think people who don't listen to metal think Metallica is "metal."
I wanted to go really extreme, so I decided to reach out to Full of Hell and see if they would be willing to let us use their music. I sent the lead singer, Dylan, an email and a few minutes later I got an email back saying, 'Holy shit, my friend and I just watched Faults the other day. This is too weird. Yes, of course, you can use anything. We would be honored.'
Bleecker Street's been doing an incredible job with the way they've been incorporating some of our 'out of the box' ideas.
The display at the ArcLight Hollywood is incredible.
Bleecker Street asked what I wanted to be displayed and I said Jesse in his work clothes with the belt over it and Sensei with his sandals and ghee on. That's it. So I just thought that it was going to be two people standing there like all of the displays are. But the fact that Jesse's cowering in fear and Sensei is doing a karate stance – that was the surprise!
Bleecker Street seems to be treating you well.
Bleecker Street's been doing an incredible job with the way they've been incorporating some of our 'out of the box' ideas. I had this idea of doing a poster creative brief, so they partnered up with Poster Spy and we're going to have an alt poster, hopefully designed by a fan.
The creative direction goes out a little bit after the film is released so people will have a chance to see it and then create something. Just things like that, it's nice to think a little outside the box and have fun with the release.
On average, it takes 10 years to get your black belt in Jiu Jitsu.
Important question: When do you find the time to bake bread?
I'm finding it here and there, haha. The biggest thing right now is worrying about my starter while I'm gone because it's alive. So I've got it out and I'm feeding it. Tomorrow, I'll put it in the fridge and it'll live in the fridge for the two weeks that I'm gone.
Do you see Black Belt status in your future?
On average, it takes 10 years to get your black belt in Jiu Jitsu. I've been training for 6 years, 5 days a week, I compete and I'm a purple belt, which is a middle belt. I like that structure.
I want to earn my belt in filmmaking too. I want it to be because of the movie, not because of other circumstances. I'm just glad that people are responding to The Art of Self-Defense in a way that's positive and excited and hopefully it leads to the next one.
'The Art of Self-Defense' Kicks Ass – Pun Intended
THE ART OF SELF-DEFENSE (2019)
Starring Jesse Eisenberg, Alessandro Nivola, Imogen Poots
Directed by Riley Stearns
Written by Riley Stearns
Distributed by Bleecker Street. 104 minutes. Opens 7/12 at ArcLight Hollywood.
In 2014, writer/director Riley Stearns’ feature film debut, Faults, premiered at the SXSW film festival. The story of a cult intervention gone wrong, audiences gravitated towards the conceptually innovative film for its dry humor set upon serious subject matter. In his sophomore feature, The Art of Self-Defense (in theaters Friday), Stearns once again proves he's a talent to watch, bringing a unique voice to the black comedy genre with his universally appealing comedy.
The Art of Self Defense, which also premiered at this year's SXSW, is a darkly quirky film (think Napoleon Dynamite meets The Lobster). After a random attack leaves buttoned-up introvert Casey (Jesse Eisenberg) bruised both physically and mentally, he's left to examine his sad, victimized life he lives with his equally fragile dachshund. Deciding to empower himself through self-protection, Casey forgoes purchasing a firearm (in a hilariously awkward scene) and instead enlists in a local karate class under the leadership of the confident (if slightly delusional) Sensei (Alessandro Nivola).
From here, the film further examines (again, in comically deadpan fashion) the concepts of masculinity: Casey learns from Sensei that to be tough – to be "a man" – one must listen to heavy metal, own large dogs, and, essentially, be a jerk. Despite rising up the ranks through harsh training from both Sensei and Anna (Imogen Poots), the dojo's most qualified student, the still emotionally-sensitive Casey questions whether he's able to transform himself in this newly adopted lifestyle.
A smaller film with modest ambitions, The Art of Self-Defense is one of the funniest films I've seen this year. Eisenberg as Casey plays a version of his recognizably neurotic movie self, but adds many more intriguing layers here. As Sensei, Alessandro Nivola is unforgettable and wonderfully wacky in this supporting role.
Impressive stunts, exacted cinematography, and a fun visual style all combine like a skilled karate combo to create a fun balance between comedy and suspense. An entertainingly off-kilter look at toxic masculinity in today's world, The Art of Self-Defense is a striking knockout that should be sought out this summer movie season.
'Midsommar' Is Here to Scare the Daylights Out of You
Before I start writing any film review, I like to listen to music that reflects the tone of the film so I can reorient myself back into the fictional world of the movie. While I didn't find the official soundtrack for Midsommar anywhere online, I did find a Spotify playlist called "Midsommarmorgon," which felt like the universe wanted me specifically to listen to it ("morgon," phonetically similar to "Morgan," means "morning" in Swedish).
An innocent enough coincidence, undoubtedly. But after watching the visionary horror film Midsommar, you find that even unquestioned assumptions can hide dark and deadly truths.
A surrealist drama based on heartbreak and psychotic unraveling, Midsommar is edge of your seat horror at its best. After Dani (Florence Pugh) receives unexpected news of a family tragedy, she turns to her emotionally unavailable boyfriend Christian (Jack Reynor) for support. More so out of guilt than good intention, he haphazardly invites her to join his upcoming boys trip to rural Sweden, planned by their mutual friend, Pelle (Vilhelm Blomgren). Hesitant, but ultimately agreeing to go, Dani finds herself in a remote Swedish village celebrating "Midsommar," a week-long festival and tradition that brings together members of a small, off-the-grid community, who gather to reflect and pay homage to their ancestors.
The blonde-haired, blue-eyed Swedes welcome Dani, Christian, and their friends Josh (William Jackson Harper) and Mark (Will Poulter) with open arms. Like a scene from a folklore fairytale, the vibrancy of the natural surroundings and their matching ancestral garb, paired with the seasonal occurrence of 24-hour sunlight, squash most initial feelings of uneasiness. Not all, but most. Dani struggles to strengthen her connection with Christian during the trip, which seems to get better when they endure the rituals of the festival together. However, as the gatherings turn darker and alarmingly more deranged, the group soon discovers that the festival masks a much more harrowing and threatening experience.
Midsommar is another grand slam for the beloved A24 production company, as well as director Ari Aster & all involved. It's Florence Pugh as the terror-induced Dani who carries the weight of the film, and whose blood-curdling screams rival that of Toni Collette's in Aster's breakout directorial debut, Hereditary. Midsommar accomplishes great visual moments as well; the cinematography soars and glides so seamlessly that it feels like a VR experience, and psychedelic drug trips are so visceral that they feel like extended sequences of Gaspar Noé's recent horror-hallucination film, Climax.
Now, the question on everyone's mind: how does Midsommar compare to Hereditary? I'd say the answer is complicated. If you're looking for more subtle psychological torture, you may find Midsommar to be too grandiose (at 2 hours and 20 minutes, it's certainly a challenging amount of excessive violence to bear). However, the world Aster imagines in this isolated commune is achingly beautiful, only made better by empowering our young female heroine. So while Hereditary may have put indie director Ari Aster on the map, Midsommar solidifies him as the current king of horror.
Day or night, it doesn't matter when you watch Midsommar: the slow-building tension creates energy so palpable it will do more than give you chills, which I can attest to, as I actually had a nightmare the night after watching. So I'll probably need to wait to watch this one again, as well as pause on listening to that Spotify playlist – for now.
Stylized Sci-Fi is Backed by Flying Lotus in 'Perfect'
The last project we saw from director Eddie Alcazar can best be described as a mental mind f*ck, and that's a compliment. His 2016 short film and Vimeo staff pick, FUCKKKYOUUU, revels in elements of grindhouse horror and experimental absurdity. While Alcazar's first narrative feature, Perfect, may be toned down a notch or two by comparison, it still maintains its predecessor's ambitious and mesmerizing visuals and meditative look at reality.
Produced and scored by Flying Lotus and executive-produced by Steven Soderbergh, Perfect is stylized sci-fi at its wildest. After the murder of his girlfriend, a young man (Garrett Wareing) is sent to a clinic for the emotionally troubled and disturbed. His actions have become uncontrollable and, at the request of his mother (Abbie Cornish), he will be required to stay there until he is deemed "fixed." Once at the clinic, he is monitored and set to undergo conditioning that will strengthen his body & mind to ultimately reach perfection.
Sounds normal, right? Turns out, this is anything but your normal wellness retreat. At this futuristic clinic, perfection is achieved by literally cutting open one's body and planting plug-and-play characteristics directly into oneself. These implants will cure him, whose new name is Vessel 13, by using technology to mutate his current perception and free him from his "base animal programming." But Perfect begs the question, is "perfection" something this world needs?
This film isn't for the general audience, but neither was it made for them. There were brief moments when Perfect reminded me of Paradise Hills, but luckily that didn't make me like the film any less or take me out of the dynamic world Alcazar shows on screen. The music montages backed by Flying Lotus are incredibly fulfilling and the minutes-long one-take towards the end is practically, dare I say, perfect.
Takeaway
Perfect is a bold expression that will be best enjoyed with an open mind; if you choose to watch the film, enjoy the mind-bending visual trip.
Miraya Berke: "I knew rom com fest had to happen"
It seems that Romantic Comedies were the logical genre for Miraya Berke to add to her growing portfolio of curated, unique events. Having proven herself as a successful entrepreneur with the launch of Dessert Goals – a dessert festival with pop-ups in NY and LA (sign me up!) – Berke has now shifted her focus to another passion. After all, her main goal is to create experiences that "spark delight," and what better way to do that than with Rom Coms, especially when paired with desserts and rosé?
In my exclusive interview with Berke, we talk favorite romantic comedies, the festival's celebrity curators, and so much more.
The festival runs June 20th through 23rd, for more information on tickets and badges, click here.
A Rom-Com festival is a genius idea. Thank you for this. Where did the idea come from?
I am a huge Rom-Com fan, that's always been my favorite genre. Whenever I want the happy pick-me-up, rom-coms are what I turned to. My background is in event planning. I started Dessert Goals a few years ago in LA and New York, which showcases local dessert vendors and creates experiences for people to come together and spark joy. After Dessert Goals, I've been thinking of what else really makes me happy, which was a rom-coms!
With Rom Com Fest, I wanted to highlight both classic and new films and make it experience based. We're bringing in awesome dessert vendors, costumes, arts and crafts, and celebrating the genre and community.
I don't know if I should admit this, but my favorite film is The Wedding Singer. Total rom-com.
Oh, that's so great!
What was the first step you took to make this dream a reality?
It's been a whirlwind. I had this idea in October of 2018 and knew it had to happen. First I started thinking about the design, then started talking to people and building an advisory board, and then choosing a venue. I stumbled upon the Downtown Independent in LA and it's the perfect theater to house the festival. It's one cinema and it has a large lobby, so it felt like the perfect place to have these different events and experiences that I was imagining.
That was the first step. These last few months it's been posting the submissions information for new films on Film Freeway, watching films, and [building the lineup.] There've definitely been moments of extreme overwhelm, but I put myself through it because I know how much fun it's going to be. I like to visualize all the smiling faces at the end. It just feels really worth it.
As an entrepreneur, how do you relax or decompress at the end of a long day?
I feel like I'm always figuring that out. I think movies and TV are a big way of relaxing for me, usually with dessert or some wine and popcorn and cuddled up in PJ's. This feels like the easiest way to unplug.
I noticed Rachel Bloom of "Crazy Ex-Girlfriend" is curating a screening (Never Been Kissed). I actually went to a theater camp with Rachel years ago, it's cool to see her and other women doing great things in film/TV. How did that collaboration come about?
I'm a huge "Crazy Ex-Girlfriend" fan as well. My boyfriend and I were doing long distance for a while and that was the TV show that we would watch together all night by hitting "Play" at the same time. We watched all the seasons living across the state from each other. I feel like she has so cleverly tapped into the psyche of modern-day rom-coms, so when I was building my dream wishlist of the festival, I wanted her to be involved in some way. Her managers replied to one of my emails and said she was really excited about it and asked if she could curate her favorite rom-coms.
[Rachel] suggested Never Been Kissed, which feels like a perfect addition, and it's actually going to be the 20th-anniversary screening! Rachel will be doing a fireside chat afterward too. And we also have a craft project before the film, we'll be making these cute little conversational heart pins.
Another cool partnership is with Not Pot– I read you'll be passing out CBD gummies before one of the screenings?
Yeah! Similar to the talent, I made a dream wishlist of brands that I would love to team up with. CBD products are super trendy right now and their branding is so on point with the style of the fest, plus the founder is based in Los Angeles. We feel like this is the perfect collaboration with How Stella Got Her Groove Back because it's based in Jamaica and all about her relaxing. Having a CBD gummy while watching a film dressed in your PJ's felt like the perfect kind of mash up for film experience.
Final thoughts before the festival next weekend?
I usually set very high expectations for myself. It would be easier if I have fewer expectations, haha. I know that it's my first year and there are so many unknowns, but I feel very proud of what I've put together.
'The Proposal': Til Death Do Us Part?
THE PROPOSAL (2019)
Starring Jill Magid, Federica Zanco
Directed by Jill Magid
Distributed by Oscilloscope Laboratories. 86 minutes. Opening this Friday at the Laemmle Monica Film Center.
At first glance, the synopsis of The Proposal is difficult to decipher. The poster reflects a black and white image of a man in a diamond-shaped box with a large manicured hand gripping it's top. A woman, much smaller in scale and with her back turned, examines the bottom of the diamond. This image may seem open to interpretation, but the poster, like the film, is a deliberate and meaningful work of art in its own right.
The image's complexity is a reflection of the tumultuous relationship between the desire to share the work of deceased artist and architect Luis Barragán, propelled by director Jill Magid, and Federica Zanco, the woman who legally controls Barragán's archive. This documentary, which is executive produced by Laura Poitras, plays more like an upbeat mystery than a retrospective of the life and work of Barragán. Yes, those who are interested in the legacy of one of Mexico's most infamous artists, considered a poet among architects, will no doubt enjoy this visually abundant film. And those who are not yet familiar with him or his work will be exposed to some of the most breathtaking works of art.
Jill Magid makes it her personal mission to unlock Barragán's archives from their undeserved vaults by traveling from her home in NYC to Barragán's former home in Mexico to the Vitra Corporation in Switzerland where she eventually meets with Federica face to face. Barragán's work was sold to Federica and her husband years ago, so legally she can determine their future. But for Jill and other fans of the artist, keeping his work away from the public feels like a disregard for moral responsibility. The Swiss Corporation has been extremely secretive, holding Barragan's work hostage for enormous sums of money. As described in the film, it's "active censorship perpetuated through capitalism."
The film's title – The Proposal – refers to the unconventional way Jill bribes Federica to return the archived works to Mexico. Her proposition garnered national attention for it's controversial, yet creative, initiative and is something that must be seen to be believed. The Proposal, a stunning debut feature from Jill Magid, feels a little self-indulgent at times but is fully sincere in its execution, making this real-life art mystery a necessary addition to your "must see" list.
Mike Mills and The National Made a Short Film
On Tuesday, May 7th, the Ace Hotel in Downtown L.A. hosted the premiere screening of Mike Mills' latest work in conjunction with The National, I Am Easy To Find. The night was a celebration of all sorts; Mills (20th Century Women, Beginners) couldn't contain his excitement after admitting he had always dreamed of debuting a film in the iconic theatre, "the home of Charlie Chaplin." Directing following the screening and Q&A with Mills, (conversation below), The National's upcoming album was played for the audience in its entirety.
Running just 24 minutes long, I Am Easy To Find is a beautiful look at aging, isolation, and humanity through a breathtakingly grounding performance from Alicia Vikander. The evolution from infant to teenager to adult to elder is a journey we all take (some longer than others), but witnessing this simple yet profound miracle on the big screen feels like an otherworldly experience.
The film and The National's "I Am Easy To Find" album will be released on Friday, May 17th.
Pre-order album now at https://thenational.ffm.to/iaetf.oyd
Brainwashed by The Beatles, 'Charlie Says' Shows Life After Manson's Reign
CHARLIE SAYS (2019)
Starring Matt Smith, Hannah Murray, Sosie Bacon, Suki Waterhouse
Directed by Mary Harron
Screenplay by Guinevere Turner
104 minutes. Rated R. Opening this Friday in select theaters. On VOD May 17th.
What does it say about our culture that every time a new crime related film, TV show or podcast lands on our radar, it can so quickly become the latest sensation? Since the beginning of 2019, Netflix's Extremely Wicked, Shockingly Evil and Vile, HBO's The Case Against Adnan Syed, and Hulu's The Act, are just a few of these that have found a loyal fanbase among the curious and intrigued. Adding to this growing repertoire of fascinating evil acts made for public consumption is director Mary Harron's biopic Charlie Says, a film that chronicles how one teenager went from an innocent all-American girl to cold-blooded killer.
Charles Manson believed he was more popular than Jesus. He thought that when the apocalypse came, he would be responsible for starting a new community and life on Earth after cryptic messages from "Helter Skelter" on The Beatles' White Album directed him to. Clearly, Charles Manson was not mentally sound. So how did he convert so many men and women into believing in him, following him, and committing heinous crimes on his command? Charlie Says is an attempt to answer this question by infiltrating the minds of three of his "Earth Mothers": Leslie “Lulu” Van Houten (Hannah Murray), Patricia “Katie” Krenwinkle (Sosie Bacon), and Susan “Sadie” Atkins (Marianne Rendon).
This approach should have been enough to make Charlie Says a powerful and – dare I say – sympathetic look at how these impressionable women fell under the spell of a manipulative and maniacal demigod. Unfortunately, the dive doesn't feel quite deep enough to make an emotional impact. It's a lot to tackle in just 104 minutes, but Charlie Says, which is mostly told through flashbacks, unsatisfyingly skims the surface of what could have been a multi-part series about three women who can finally think for themselves and reflect on their actions as they sit in prison for life.
Matt Smith as Charles Manson is one of the film's stronger pillars, he completely transforms into the enthusiastic and arrogant, yet musically adept, cult leader. As an ensemble piece, Charlie Says is very impressive. Strong performances from Murray as the lead, as well as supporting actors Kayli Carter (Private Life), Chace Crawford, and Merritt Wever round out a solid cast. Another strong visual is the styling (many of the girls' outfits ended up on my Pinterest board).
Charlie Says has made its way through the festival circuit (Venice Intl Film Festival, Tribeca Film Festival), finally finding a home at IFC Films. It may not be the strongest biopic of a murderer and the heartbreaking aftermath, but it's definitely worth a watch... if you're into that sort of thing.
'Softness of Bodies' Review: A Portrait of a Narcissistic Poet
SOFTNESS OF BODIES (2018)
Starring Dasha Nekrasova, Morgan Krantz, Nadine Dubois
Directed by Jordan Blady
Screenplay by Jordan Blady
74 minutes. This film is not yet rated. Now available to stream on VOD sites including Amazon and Vimeo.
Art loosely imitates life in writer/director Jordan Blady's stylish feature film Softness of Bodies.
Starring real-life poet Dasha Nekrasova as a struggling artist trying to make a living in Berlin's competitive art scene, this dark comedy plays perfectly into the stereotype of the entitled millennial and the assumption that creative drive will equal monetary success. Unfortunately, like most people working in the arts, our protagonist learns the hard way that just because you want something, doesn't mean you are destined to have it.
Charlotte Parks (Nekrasova) is an American poet living in Berlin on a year-long arts grant. She pours coffee at a cafe during the day, steals clothing from the local mall in the afternoons, and attends poetry slams at night. Her routine is unconventional but stable. That is until a tidal wave of changes hit her, hard. First, Franz (Moritz Vierboom) the man she was having an affair with breaks up with her. Next, her ex-boyfriend Oliver (Morgan Krantz) unexpectedly shows up in town, along with resurfacing emotions and feelings. And then, Charlotte's kleptomaniac ways catch up with her, literally, when she is caught stealing and forced to pay 800 euro or risk jail time. All of this happens while she is struggling to make ends meet and can barely afford her next meal, let alone pay her way out of trouble, but a silver lining of hope appears when she learns that she is a finalist for a poetry grant in a major competition. The question is, can she overcome her personal baggage in order to fulfill her lifelong dream of becoming a recognized poet?
Softness of Bodies can be a frustrating watch when the script focuses on Charlotte's unrelenting sense of entitlement and narcissism, but its stylish vibe has a way of romanticizing being young in a foreign city. Chain-smoking in a Berlin bar while working through emotions from past lovers has a nostalgic attachment that feels whimsical. The Euro-electro synth score adds to the uncertainty of Charlotte's future and the volatile nature of her situation.
Dasha Nekrasova's performance is raw and untraditional, she plays the "victim" card well. Nekrasova ends every sentence with a downward inflection, giving off a vibe of arrogance and whininess, making it hard to sympathize or feel sorry for her. When things don't go her way, she complains without showing any true effort to right her wrongs, but that's not to say that Charlotte doesn't learn lessons, she just learns them the hard way.
A thrilling and engaging watch, Softness of Bodies is a solid debut from first-time narrative feature film director Jordan Blady. It will appeal to the viewer who can identify with the struggling artist existence, and this coupled with the original poetry from Dasha Nekrasova herself, makes Softness of Bodies a full artistic experience.
This review originally ran on September 27, 2018 during the LA Film Festival
Savannah Knoop: "I don't miss JT anymore"
It’s the scandal that shook the arts community. A literary wunderkind with a secret so big, his extravagant hats and large shades could barely conceal his true identity. There were only three people who knew the real JT Leroy when he burst onto the writing scene in 1999, and Savannah Knoop was one of them. She was so close to JT because, well, she was JT. In my exclusive interview, I chat with the New York-based artist about living as a fictional celebrity for six years, her relationship with Kristen Stewart, and what she misses most about her androgynous persona, JT LeRoy. We begin:
I was amazed the persona of JT was kept up for six years! Was anything "Hollywoodized" for the sake of the movie?
We did all those trips to Paris and Cannes, there was a lot of travel If anything, we paired it way, way down. Although one Hollywood flourish was the moment JT was on the jumbotron [at Cannes]. I was never on a jumbotron.
JT was also known for his outlandish style and hats. Did you have a favorite outfit?
I'm a big believer in personal style. I used to make clothes and I'm an avid thrifter. I'm really into what it means and the signifiers of it. So in terms of accessing this character, I would start with- what would he be wearing? It was always about a lot of layers.
One of my favorite looks that Avery, the costume designer, got spot on was JT wearing three hats and the wig all at once. It was very maximal to me. JT style.
Which is interesting because JT was such a reserved person. It's such a crazy cool contradiction of a character.
Right. It’s like a composition. One of the things that Laura [Albert] was always stressing was JT can be anyone. That was something that was always embedded in his interviews and when you go out in public. So the look of all these layers, it creates this composite of a layered person. Like, you could have 5 or 10 people in outfits with how many different outfits JT was putting on.
Meeting Kristen Stewart, knowing she would play you- did you instantly know she would keep this character safe for you?
That's such a nice way to say it. I did feel that way when I met her. I felt immediate trust. I met her briefly before the film started shooting and then we had a few days before we were on set to get to know each other more. She had read my book [Girl Boy Girl: The Story of JT Leroy] and did a lot of research beforehand. She's been amazing, she just has this presence.
My mom saw the film in New York and she said, “You know, she really gets you.” And my mom is the only other person that would know me as well as I do! My mom calls Kristen the James Dean of our time.
Being on set with Kristen and Laura Dern, watching this all play out again, must’ve felt like a very meta experience…
Yes! I’m just going to say yes. It was very meta haha.
Is that something you liked?
I was feeling many different things all at once, but I did feel really lucky. Being on set felt like a social experiment at first. It was this feeling that like, I was a holy cow. People were confused haha. It's that thing where you kind of feel like you can't be seen but also you’re seen too much, if that makes any sense? But that was just at first, we all got over it quickly.
The character is named Savannah in the script and so people on set would call me Sav, kind of a nice nickname. I don't go by that necessarily, but I think it was, unconsciously, a way to make a distinction between the character and myself. I am not the same person that is in the script, so it is a nice way of keeping it clean.
Do you miss JT?
[pause]
I don't miss JT anymore. I think at first, when the whole thing unraveled, I did. I’ve since found ways to sort the parts of JT that maybe I missed when it was first integrated into my life. Now I've found ways to find the parts of my own life that I missed. For example, making art after all these years- it's nice to know that I'm still obsessed with the same stuff. Like, I would be in the same place whether I'd had that experience as JT or not. I’m still doing what I'm really passionate about. I try to invest in the things that bring me joy.
It might be different if I was an accountant- nothing against accountants haha- but if I wasn’t in a creative field maybe I’d remember those days more. But I have to say, it's so lovely to not be young anymore. The older I get, the more I know myself.
'Body at Brighton Rock' Review: A "Campy" Camp Thriller
BODY AT BRIGHTON ROCK (2019)
Starring Karina Fontes, Casey Adams, Emily Althaus
Directed by Roxanne Benjamin
Distributed by Magnolia Pictures. 86 minutes. Rated R.
Director Roxanne Benjamin is quickly becoming the reigning queen of horror, with past films like Southbound and the Cherry Glazerr music video Nurse Ratched bringing thrills and blood by the bucketful. In the wonderfully campy camp thriller Body at Brighton Rock, Benjamin takes the audience on a tumultuous ride through the isolated backcountry where a lack of cell phone service is just as terrifying as a dead body.
A simple walk in the woods turns out to be anything but for "indoor kid" Wendy (Karina Fontes), whose natural instincts are not rooted in nature. Wendy isn't the stereotypical park ranger prototype, she is small in stature with a quiet presence, and frankly, just very unlucky. After a simple assignment turns into her losing her only map, and her way, in the woods, Wendy fears the worst, but she never expects to stumble upon a dead body. Which she does.
The thriller here isn't necessarily the bloody and bruised body, it's being in the middle of nowhere with poor wifi connection, alone. After frantic calls via an old walkie talkie to the command center, she is told to stay near the body overnight until the rescue team can get to her in the morning. Wendy is pushed to her emotional and physical limits as she struggles to survive and stay sane in the middle of nowhere.
What's equally impressive as the female presence onscreen from Fontes and actors Emily Althaus and Miranda Bailey is the powerhouse of women working behind the scenes. Aside from director Roxanne Benjamin, cinematographer Hannah Getz, co-editor Courtney Marcilliat, and production designers Courtney and Hillary Andujar combine talents to make Body at Brighton Rock a power anthem of female force. Original music by The Gifted, who has worked closely with Benjamin for years, accompanies the film and creates the perfectly eerie soundtrack for a restless night's sleep.
Body at Brighton Rock is a tight-knit film both in scope and execution. The story takes place in predominantly one location and all within 24 hours, making this a delightfully swift watch. It's not the type of film to give you nightmares, but it will leave you in anticipation of what director Roxanne Benjamin has up her sleeve next.
Body at Brighton Rock opens this Friday at Laemmle Glendale
'JT Leroy' Review: The Literary Wunderkind Who Never Existed
JT LEROY (2019)
Starring Kristen Stewart, Laura Dern, Jim Sturgess, Courtney Love, Diane Kruger
Directed by Justin Kelly
Distributed by Universal Pictures. 108 minutes. Rated R
It is perhaps one of the greatest celebrity hoaxes of all time within the literary and arts community. Here was a teenage author, an accidental wunderkind, who became a revered and respected talent for his powerful stories of abuse and misfortune. His words were so honest, no one ever thought to question whether JT Leroy even existed. Which he didn't.
JT Leroy is based on the memoir Girl Boy Girl: How I Became JT Leroy, in which Savannah Knoop details the unbelievable six years she spent as JT Leroy- an avatar of sorts for her sister-in-law Laura Albert, the real voice behind the fictional Leroy. In the film JT Leroy, directed by Justin Kelly, Savannah is played by Kristen Stewart in a role that feels tailor-made for her. Embodying Knoop's androgynous style and questioning gender identity, Stewart channels the struggle of living a double life- her own private one and the very public, yet completely fabricated public one.
Laura Dern plays the punky feminist Laura Albert, a gifted writer who found it easier to express her dark thoughts through the personas of other people. JT Leroy's success wasn't planned, but once Albert's debut book- which was "written" by Leroy- became a bestseller, she knew she wouldn't be able to keep his identity hidden forever. After enlisting the help of her sister-in-law, Knoop, to physically portray Leroy at book signings and special events, the two embark on a wild ride that wouldn't be believable if it wasn't true.
The last film that portrayed a bombshell literary forgery was the Melissa McCarthy-starring, Oscar-nominated biopic Can You Ever Forgive Me?. In it, washed up author Lee Isreal forged letters from literary greats and sold the "authentic" works for cash. It shocked the literary community, but not in the way JT Leroy's outing did in October of 2005. Thousands of people were deceived, lied to, and ultimately embarrassed for falling under the spell of JT Leroy's facade.
The story- and the film- is a fascinating examination of fame and the bizarre nature of celebrity. Solid performances from Stewart and Dern coupled with the fast-paced style of Justin Kelly's directorial choices makes JT Leroy completely enjoyable as well as being a cautionary tale of sorts. Long story short: don't believe everything you read.
JT Leroy opens in theaters and on demand this Friday.
Elisabeth Moss is a DGAF Punk Rocker in 'Her Smell'
HER SMELL (2019)
Starring Elisabeth Moss, Cara Delevingne, Dan Stevens
Directed by Alex Ross Perry
Distributed by Gunpowder & Sky. 134 minutes. Rated R
Picture Josie and the Pussycats laced with drugs, sweat, and glitter, and that's only scratching the surface of what to expect from this larger-than-life indie film. Screening at the AFI Film Festival, Her Smell is a wonderfully wicked portrayal of the pressures put on a rock star to keep up her trajectory of success. Phenomenal performances coupled with creativity behind the lens makes this one blood-pumping, unforgettable film.
The all-female punk rock band Something She is at the top of their game on stage but quickly unraveling behind the scenes. Lead singer Becky Something (Elisabeth Moss) is an out of control addict who indulges in selfish and self-destructive behavior. She alienates bandmates Marielle Hell (Agyness Deyn) and Ali van der Wolff (Gayle Rankin) with her outrageous demands and makes co-parenting with her ex (Dan Stevens) nearly impossible due to her unpredictable volatility. Nearing their 15 minutes of fame, Something She doesn't have time to waste, which becomes even more apparent when a new girl band shows up on the scene- the Akergirls. Comprised of the up and coming artists Cassie (Cara Delevigne), Dottie (Dylan Gelula), and Roxie (Ashley Benson), who look and sound like a newer Something She, Becky makes it apparently obvious, through hyperactive monologues that scale the emotional spectrum, that she will be damned if anyone tries to steal her crown.
Her Smell would be nothing without the mind-blowing performance from Elisabeth Moss. Like a coked-out version of the energizer bunny, Moss bounces around on-screen and changes personalities as if we were flipping through the channels on TV. She is clearly broken and struggling, grasping onto anything that makes her feel good in the moment. This display is mesmerizing for the audience as Becky works through all of her emotional baggage. In one of the film's most moving scenes, Moss sits down with her daughter and plays DJ Sammy's "Heaven" on the piano, in its entirety, in one take. Flexing her muscles as an actor and musician, this is Elisabeth Moss at her best. Supporting actors Agyness Deyn and Gayle Rankin also lend themselves to the film's pivotal scenes.
Equal praise goes to cinematographer Sean Price Williams (Good Time), whose camera work in keeping up with Moss can only be equated to something of an Olympic sport. Such explosive performances are confined to very tight spaces throughout the whole film, but Williams creatively maneuvers throughout the scene to keep everything feeling fresh and unexpected. Composer Keegan DeWitt – a Cinemacy favorite – expands his indie film repertoire by creating a score that can best be described as a combustion of sounds. It perfectly plays to Becky's personality without distracting from it.
Director Alex Ross Perry certainly had a vision for Her Smell, and what we have is a nuanced and niche exploration of an aging rock star. The film is only comprised of 5 scenes and 4 locations, and with a runtime of 135 minutes, that roughly equates to every scene being around 30 minutes long. These scenes, while exhausting at times, are all darkly hilarious and never dull. And because so much of the movie is go, go, go, Becky's moments of restraint - like the piano scene - feel so much more beautiful and well-earned. Her Smell will definitely not appeal to everyone, but there is no denying the pure artistic vision associated with it will make Her Smell a captivating watch for those who are drawn.
Opening this Friday at ArcLight Hollywood.
This review originally ran on November 14, 2018, during the AFI Film Festival
Vlogging the 2019 TCM Classic Film Festival
A behind-the-scenes look at the 2019 TCM Classic Film Festival.
On Camera: Morgan Rojas
Editing by: Morgan Rojas
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