'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...
Wondering What Trauma Healing Performed by Jodorowsky Looks Like? 'Psychomagic, A Healing Art' Reveals
Quick Take: I want to believe but Jodorowsky's method of healing deep-rooted trauma through provocative performance art therapy brings out my inner skeptic.
91-year-old Alejandro Jodorowsky–surrealist filmmaker and "Father of the Midnight Movie"–is here to prove that you can heal deep-rooted trauma through performative art therapy. Let's get one thing clear, Jodorowsky is definitely not your typical therapist. On the surface, his method can look a bit questionable, like painting self-portraits with menstruation blood and smashing pumpkins that represent problematic people with sledgehammers. If you think this sounds a bit "Burning Man woohoo," well you're not wrong, but for those who are willing to trust Jodorowsky's intentions as a healer and surrender to the process, his provocative challenges can change your life.
In the fascinating documentary Psychomagic, A Healing Art, also directed by Jodorowsky, he puts patients through a myriad of different simulations by stoking the subconscious to unlock their deepest thoughts and achieve enlightenment. This process we witness was created by Jodorowsky and inspired by his life-long study of philosophy, psychology, ethnology, and world religions. Patients confront traumas head-on by re-enacting them quite literally, from burials to re-births (and lots of nudity in between). The documentary is also intercut with scenes from some of his most famous films, which further demonstrates Psychomagic’s principles.
If you believe in the transformative power of the mind and the unconscious, Psychomagic, A Healing Art will be a fascinating watch. Plus it's cheaper than a therapy session.
Distributed by ABKCO Films, Psychomagic, A Healing Art is available on VOD this Friday.
'She Dies Tomorrow' Pretty Much Nails the Anxiety You'd Feel When Facing Your Impending Doom
Quick Take: This high-concept art house thriller imagines a reality where there is no escaping tomorrow's impending death.
Amy Seimetz has death on her mind. In the writer/director's second feature film, a young woman is–without a doubt–convinced that she is dying tomorrow. There is no context to assume why she believes this, it's an easy guess that Amy (Kate Lyn Sheil), who struggles with alcohol dependency, is suicidal and severely depressed. However, as She Dies Tomorrow progresses, we realize that Amy's self-imposed death sentence isn't of her own volition, rather a mysterious power has overcome her. And the worst part is, the self-fulfilling premonition is contagious and passes to everyone she comes into contact with.
From Amy (Sheil) to her friend Jane (Jane Adams) to Jane's brother (Chris Messina) and sister-in-law (Katie Aselton), the paranoia and then ultimate acceptance of death rapidly spreads. Despite its heavy subject matter, She Dies Tomorrow is a dark comedy in every sense of the word. The absurdist humor is rampant, much like the Greek weird wave films of Yorgos Lanthimos. The film also feels like a nod to the psychological thrill of David Robert Mitchell's 2014 It Follows, as both films rely heavily on the imaginary superhuman power that torments the protagonists.
Seimetz is a fan of the long take, which works extremely well in adding suspense to the story. The naturalness of the long takes plus the restrained performances from the cast make the supernatural moments even more unexpected and shocking, leading us to question how far-fetched is this, really? By the film's end, we're left with a head-scratcher: We all have to die at some point. Why not tomorrow?
Distributed by NEON, She Dies Tomorrow is available on VOD this Friday.