'The Serena Variations' Review: Exploring the High-Stakes World of Music
A musical prodigy faces insurmountable pressure from her idol in the Warren Fischer-directed short film, The Serena Variations. The film weaves through the overlapping inner thoughts of a young violin player who tries to win the adoration of her favorite orchestra conductor. Set to a sharp and dynamic soundtrack, composed by Fischer, The Serena Variations tells a story about power imbalance in the arts, the downside of desire, and the dangerous lengths one may go to achieve one's dreams.
The Unraveling of a Tortured Artist
A voiceover proclaims that The Serena Variations tells a story of love. However, it's easy to see this won't be a traditional love story. The first time we see Serena (Dylan Brown), she is in the throes of a vigorous rehearsal. On stage with her violin, she repeats the teachings of her childhood, "strong elbow, loose wrist." Clearly, Serena is a perfectionist and isn't satisfied with anything less than her best.
Serena's self-confidence starts to unravel as she spends more time with her idol, Ann (Renata Friedman). A revered classical music composer, Ann sees potential in Serena but doesn't think she has what it takes to join her company. One night at a dinner party, Ann, Serena, and a few fellow musicians indulge in an elixir during an unconventional ritual, not unlike an ayahuasca ritual. This act pushes Serena toward her psychological breaking point, as she quotes the Greek tragedy Daphnis and Chloe and Italian violinist Niccolò Paganini during her spiral. From here, the film narrows in on themes of loneliness, selfishness, and the act of selling your soul to get what you want.
Experimental-Leaning Art Film
The Serena Variations is broken up into chapters, each title implying what the next scene will bring. Within this structure, director Warren Fischer explores a loose, experimental-leaning narrative constantly in flux. The film's melodramatic moments are successfully channeled into an artful release and uniquely captured through rhythmic editing and pacing.
The performances are equally mysterious and engaging. Dylan Brown embodies Serena as a tortured artist with rousing tenacity, especially given the musical demand. For a film centered around music, the score is equally impressive. The inclusion of "Spring 1" recomposed by Max Richter: Vivaldi, The Four Seasons perfectly complements the film's edginess.
Takeaway
Fans of Todd Field's Tar and Damien Chazelle's Whiplash will find a lot to enjoy in The Serena Variations. Here, the high-stakes world of the music industry is explored in riveting ways. The film has been selected to screen at the 2024 Raindance Film Festival.
'Rally Caps' Review: A Feel-Good Family Film That Shows It's OK to Cry in Baseball
Summertime in America means seemingly endless days of no school, backyard BBQs, and, most importantly, baseball. The anticipation of the upcoming season is captured through the eyes of a young boy in the heartwarming film Rally Caps, where the game of baseball acts as the catalyst for the young protagonist to learn some valuable life lessons. Based on the children's book of the same name, written by father-daughter team, Stephen J. Cutler and Jodi Michelle Cutler, director Lee Cipolla adapts the book's pages and transforms them into a charming coming-of-age tale.
Life Lessons on the Baseball Field
Academy Award nominee Judd Hirsch (The Fabelmans) has a small but memorable supporting role as Pop, a baseball enthusiast, and proud grandpa of pre-teen, Jordy (Carson Minniear). Jordy and his widowed single mom (Amy Smart) are equally obsessed baseball fans with Jordy's bedroom resembling that of a Baltimore Orioles memorabilia shop more than a functional bedroom. The film opens on the morning of the big baseball tryout, the first time Jordy will be attempting to play Little League. His excitement quickly turns into dread when he gets injured at the pitcher's mound, derailing his plans of playing on a team that summer. Discouraged and depressed, his mom and Pop believe that spending the summer with his older brother at a baseball camp will cure Jordy's blues.
Once Jordy arrives at camp, he immediately feels out of his element. The older boys sense his weakness and begin to bully him, which only makes Jordy feel more insecure. However, it's a budding friendship with his deaf bunkmate Lucas (Colten Pride) that encourages Jordy to stand strong and confident. Lucas, a catcher, is similar to Jordy in the sense that he is also recovering from Cochlear Implant surgery to address his hearing loss. Together, Jordy and Lucas form a special bond that is inclusive of other misfit kids. Jordy's new friendships and team camaraderie extend far beyond the baseball field, as he learns how to face his bullies and rediscover confidence on the baseball field and in life.
Liked The Sand Lot? Then Rally Caps is for You
Rally Caps is an independent coming-of-age story that will resonate most with kids and pre-teens, but adults will equally enjoy the film's uplifting message. Reminiscent of The Sand Lot and Field of Dreams, director Lee Cipolla incorporates a wonderful sense of nostalgia into this family-friendly story. The music montages also aid in setting the tone, which can best be described as warm, sun-soaked summer days. As familiar as the film feels in its aesthetic and structure, it also includes serious modern-day themes such as child anxiety and mental health. These key messages are incredibly sincere in their delivery and make Rally Caps not only a source of entertainment but a learning opportunity too.
Takeaway
Full of heart and supported by emotionally rich performances, Rally Caps may be the next big classic sports story. A perfect balance of comedy, sincerity, drama, and musical moments, Rally Caps may be a small indie film but it feels destined to be a much bigger experience on screen.
'Death After Dusk' Review: A Wildly Imaginative Western Whodunit
Director Chandler Balli took a modest $10,000 production budget and created a wildly imaginative Western whodunit in his latest feature, Death After Dusk. Set in a small town in Texas at the turn of the 19th Century, Death After Dusk tells the story of a gang of bounty hunters tasked with capturing a local serial killer. Tensions rise within the group as they narrow in on their target, second-guessing friend for foe. When everyone has a gun, and everyone is a suspect, it's hard to know who to trust.
Best Friends VS Bounty Hunters
The unlucky few who have had run-ins with Short (Addison Chapman) and Skinny (Chandler Balli)–those who had survived to tell their tale, that is–would consider the duo angels of death. Short and Skinny are experienced bounty hunters who answer the call whenever justice is to be served or, a cash reward is offered. Recently, though, Skinny experiences a sort of existential crisis and considers quitting bounty-hunting for good. His internal struggle centers around conflicting beliefs about religion, mortality, and death. Short, being the understanding friend he is, accepts Skinny's resignation. For a time, they move on with their life. Skinny gets married and enjoys a quiet life away from death's doorstep. However, his peace doesn't last long. Skinny's wife faces an untimely death which leaves Skinny heartbroken, mourning, and vengeful. He now puts his morals aside and vows to return to bounty hunting again.
Skinny's return to the business couldn't have come at a better time, as the desolate town of Buck Creek urgently needs his services. There is a murderer on the loose and he needs to be stopped. The Mayor of Buck Creek assembles a super pack of nine bounty hunters, Short and Skinny included, to capture this evil and elusive serial killer who has been tormenting residents of the town for weeks. The promise of a reward of $10k dead, and $25k alive is a huge incentive. The intention is for all the bounty hunters to work together to capture the killer, but with a life-changing amount of money on the line, it ends up being every man and woman for themselves.
If Quentin Tarantino directed Knives Out
Death After Dusk has the same energy as if Quentin Tarantino had directed Knives Out. There is no shortage of possibilities regarding motive and suspect, which makes for an interactive and fun viewing experience. Paying homage to the look of classic Western films, Death After Dusk has a distinct sepia tone and familiar cowboy-inspired score. Visually, the film excels in setting up the universe of Buck Creek, with the set design, art direction, locations, and VFX all solidly fine-tuned. The film's slick script includes comedic zingers and self-aware camera movements that set Death After Dusk apart from other modern Westerns.
Takeaway
Death After Dusk is a large-scale production that director Chandler Balli tackles with confidence and grit. From its large cast of actors to battling 100-degree heat throughout their two-week shoot, this film was no small feat. "It's a deeply personal journey," he says. "A testament to my love for filmmaking." Running nearly two hours and twenty minutes long, Death After Dusk is an action-packed murder mystery that will leave you guessing until the very end.
'Anywhere the Wind Blows' Review: A Second Chance at Life & Love
Jay Liu draws inspiration from his community to tell the story of an exiled, young political refugee in his directorial debut, Anywhere the Wind Blows. The writer/director, who is of Hong Kong descent and living in the United States, delicately weaves themes of oppression, queerness, and heartfelt dilemmas into the neatly packaged 18-minute short film. Anywhere the Wind Blows is a timely film that reflects the current political environment we all find ourselves in today. Using a visual medium to make a statement, Jay Liu gives audiences another perspective on the effects of political persecution.
Fleeing Hong Kong for Los Angeles
Images of frontline political conflict in Hong Kong flood Alex's (Glen Wong) mind as he walks down a busy street in Los Angeles. Hong Kong is constantly in the political activist's thoughts ever since he moved to the United States from Hong Kong two years ago to avoid political persecution. His relocation was sudden and, despite success at rebuilding his life in a new city, Alex can't help but still feel like a sense of closure is missing.
On this particular day, Alex has plans to reunite with his ex-boyfriend (Ray Kam) from Hong Kong who happened to be in town on a business trip. Two years since their breakup and Alex's move across the globe, their initial meeting is, understandably, a bit awkward. However, after a couple of vodka martinis, Alex wonders if it's possible to rewrite the past and start anew. But even if it was possible, does he dare settle for the comfort of his familiar past, or should he follow his instincts and push forward toward an uncertain yet hopeful future?
Rich Visual Storytelling
Anywhere the Wind Blows offers audiences a rich cinematic aesthetic with its strong color grade and confident cinematography. The film really comes alive during its more theatrical moments, such as the dance club that transforms into a street protest. The dreamlike sequence plays with a trancelike fluidity and feels wise beyond its years. All around, from story to execution, Anywhere the Wind Blows is an impressive output.
Takeaway
One of the film's most powerful takeaways is the graceful acceptance of second chances. Alex initially made a rushed decision to leave Hong Kong out of fear. Now, staring his ex-boyfriend in the face, Alex is confident enough to make future decisions from a place of strength. It's a good reminder that it's never too late to follow your intuition, no matter the situation.
Anywhere the Wind Blows is produced through the USC School of Cinematic Arts. The film was selected to screen at this year's American Pavilion Emerging Filmmaker Showcase at the 2024 Cannes Film Festival.
'What Remains' Review: The Harrowing Story of Sweden's Most Notorious Serial Killer
Inspired by true events, What Remains tells the harrowing story of a mentally ill Scandinavian man who confessed to, and was convicted of, more than 30 murders of young boys. Based on the life of Sweden's most notorious serial killer Thomas Quick, filmmaker Ran Huang avoids turning this emotionally fraught story into a showy spectacle. It can be argued that the true crime genre, as a whole, has become "Netflix-ified," catering to audiences who crave easily digestible, pop culture content over the more mundane reality of police investigations. What Remains is not an easy watch in any sense. It is dark, voyeuristic, and devastating. It is also an interesting meditative study of the effect trauma has on memory, and how the body keeps the score.
An Unsolved Disappearance Threatens a Massive Unraveling
Mads Lake (Gustaf Skarsgård) has been held in a Scandinavian psychiatric hospital for years after being convicted of molesting multiple young boys. Recently, though, his chance to start over and rejoin society is actually within reach. The thought both excites and terrifies him. Mads currently exists in the world as a shell of a human. He has hollow eyes and a shaky voice that barely registers above a whisper. His long, stringy hair and unkempt appearance show obvious signs of depression and defeat. His look is the epitome of a guilty man.
This is also the impression he gives his therapist Anna Rudebeck (Academy Award-nominated Andrea Riseborough) upon their first meeting. However, she can see through Mads' physical appearance as she gently digs into his past in search of the canon event that altered his life. It's not long before she discovers that Mads was sexually abused as a child by his father. Hearing this, Anna stays neutral and non-judgemental, offering patience and grace. However, Officer Soren Rank (Stellan Skarsgård) has a less lenient approach. His only goal is to get to the truth of the unsolved disappearance of a six-year-old boy that Mads may have been involved in.
Anna and Soren's opposing viewpoints sometimes lead to tense conversations, which only makes Mads' memory murky. Did he kill this boy, and the others he abused? At first, Mads is adamant he had nothing to do with this boy's disappearance. But as evidence is produced that seems to claim otherwise, Mads begins to question everything he thought he knew about himself.
A Skarsgård Family Affair
What Remains is a bold directorial debut for Ran Huang, whose only previous credit includes the 2014 short The Administration of Glory. Most notable is the deliberately slow pacing, almost leaning into director Apichatpong Weerasethakul's territory. For a high-intensity, high-stakes thriller, Ran Huang unfolds the narrative beats in What Remains with almost too much restraint. Running two hours and six minutes, a tighter edit could have offered a stronger thrill component to the story. As it currently plays, the abundance of silence dilutes the tension.
The darkness of the subject matter equally matches the film's visual aesthetic. The score, composed by Ben Frost, includes limited cues. But when the intensity of the music starts to creep in, it effectively shifts the whole mood. It's also worth pointing out that What Remains is a family affair for Sweden's royal family, the Skarsgårds. Not only does Stellan and his son Gustaf star in the film but Megan Everett-Skarsgard (Stellan's second wife and Gustaf's stepmother) co-wrote the screenplay.
Takeaway
Again, What Remains is not an easy watch, but it does offer a fascinating look at procedural psychology in action. The performances are steadfast and strong, which is to be expected with the Skarsgård family. Its darkness may be a tough sell but if you're interested in a unique approach to the overdone serial killer story, What Remains may be for you.
'A Two Hearted Tale' Review: The Craft Beer Revolution is Coming and it Starts With the Label
When discussing craft beer, most of the time the conversation centers around the taste and quality of the beverage. In co-directors Bret Miller and Rory McHarg's short documentary A Two Hearted Tale, they ponder a more philosophical question: What makes a good beer label? The answer, they come to, is escapism. Featuring Ladislav Hanka, the eccentric artist behind Bell's Brewery's famous label the "Two Hearted Ale", for which the documentary's name is inspired, A Two Hearted Tale explores how beer can be more than just an adult beverage but a fascinating story.
Dave Chappell famously asked for a Bell's Beer during a comedy set and pointed out its unusual label. “Why the hell did you put a fish on the label?”, he exclaimed aloud to much laughter from the crowd. It is a good question, why a fish? For the answer, the label's artist Ladislav Hanka goes into colorful detail about his storied career in animation and the early lessons from childhood that shape his art today. He also speaks to drawing–pun intended– inspiration from John Voelker, author of Trout Madness and Anatomy of a Murder, a former Supreme Court Justice who quit his job in order to live a simpler life. A running theme in his work centers around the simplicity of life, a vibe that Bell's Brewery and their signature beer label, the "Two Hearted Ale", want to align with.
Watch A Two Hearted Tale trailer here.
A Fascinating Peek into the Advertising Industry
Bell's Brewery is considered the pioneer of commissioning artists to create labels for their bottles. Unlike traditional beers like Coors or Budweiser, the "Two Hearted Ale" takes the drinker on a journey. Additional interviews with craft beer connoisseurs go into further detail about the history of the label and their plans for the future of Bell's Brewery.
A Two Hearted Tale has an edgy, contemporary feel to it, almost playing more like a piece of branded content than a traditional film. It is engaging from start to finish, both visually and narratively. Due to the abundant and intricate discussions surrounding the themes of art and design, A Two Hearted Tale also offers a fascinating peek into the advertising industry.
Takeaway
Made with compassion and genuine curiosity for the art of design, A Two Hearted Tale is a wonderful story about discovery and self-actualization. This is the start of the craft beer revolution, and Bell's Brewery is leading the charge by showing the world what a beer label is capable of.
'Kinds of Kindness' Review: A Twisted Anthology of Artful Mayhem
Despite its weird and oftentimes head-scratching moments, one thing is clear: Kinds of Kindness is made by a man who absolutely loves cinema. Yorgos Lanthimos, director of my favorite film The Lobster–as well as Academy Award-winning Poor Things and The Favourite–cooks up a smorgasbord of eccentricity and kookiness in his latest work, Kinds of Kindness. It does have a lengthy runtime of 2 hours and 45 minutes but the film surprisingly breezes by with uncompromising energy. Kinds of Kindness is a film you may not completely understand, but it's surely one you will not forget.
The Less You Know, The Better
Like a gothic Wes Anderson anthology on ketamine, Kinds of Kindness is a very different movie for Lanthimos. Instead of following a traditional narrative structure, the film is broken up into three distinct short films that seem to have no correlation to each other. The cast includes Emma Stone, Jesse Plemons, Willem Dafoe, Margaret Qualley, Hong Chau, Mamoudou Athie, and Joe Alwyn (with a brief appearance by Hunter Schafer). The actors appear in each film but play different characters, completely unrelated to each other. It's quite engaging and often hilarious, much like how the cast of SNL fluidly jumps in and out of different scenes and personas.
The first in the anthology, "The Death of R.M.F.," tells the story of a wayward man (Plemons) who struggles to regain control of his life, ultimately facing the mercy of his unsympathetic boss (DaFoe). In the second film, "R.M.F. is Flying", a police officer (Plemons) is reunited with his wife (Stone) but questions whether the woman really is who she claims to be. The third film, "R.M.F. Eats a Sandwich", stars Plemons and Stone again, this time as brainwashed cult followers who are on a mission to find the next spiritual prodigy. Of all three films, the second one stands out as most in line with Lanthimos' earlier Greek "weird wave" classics. Emma Stone's physical comedy shines here, proving that her partnership with Yorgos Lanthimos continues to strike gold.
Despite the seemingly incompatible narratives, some common themes and symbols are present. The purpose of dreams, fragility of identity, sexual exploration, and vulnerability in the form of walking barefoot appear in various ways throughout the film.
Riding the Greek Weird Wave
Lanthimos and co-screenwriter Efthimis Filippou re-team with many familiar faces from their recent Oscar-winning Poor Things (I can't imagine how everyone had time to make this movie in between production and awards campaigning!). In addition to Emma Stone and Willem Dafoe, he notably enlists cinematographer Robbie Ryan, editor Yorgos Mavropsaridis, composer Jerskin Fendrix, and sound designer Johnnie Burn to help bring Kinds of Kindness to aesthetic perfection. It's worth pointing out that, unlike the sonically flamboyant score in Poor Things, Jerskin Fendrix takes a much more restrained approach here. All three films embody the same off-key, eerie piano melody, akin to if your cat started walking across a keyboard.
Yorgos Lanthimos' love affair with the craft is on full display, enough to make every cinephile giddy with excitement. There is enough of his classic styling, like signature angular framing and intense closeups, to allow fans to find comfort in the familiarity and just enough disruption to push boundaries. All that to say, Kinds of Kindness isn't exactly an "enjoyable" movie to watch, rather, it's wholly fascinating. The distinction here is specific; it's not a film I'm rushing to rewatch soon but that might be because I still can't stop thinking about it.
It's worth sharing a quote from Yorgos that opens the press notes: "Sometimes you just need to be ridiculous in order to achieve what we're trying to achieve."
Takeaway
If you take away anything from my review, let it be this: It is a long movie but don't make the mistake of leaving before the credits! While I admit that the surprise final scene didn't answer all of my lingering questions about how everything ties together, it did offer a very crucial nugget of information that made me nod my head in appreciation of the long game that Lanthimos plays all throughout Kinds of Kindness. Checkmate, Yorgos.
'Janet Planet' Review: A Charming Meditation on Mother (and Child) hood
Julianne Nicholson is one of those actors who, anytime you see her name in the credits, you can trust that you're likely to witness a truly great film. Janet Planet, the impressive feature debut from writer/director Annie Baker, doesn't just meet this expectation, it surpasses it. Distributed by A24, Janet Planet is a tenderly told, slice-of-life film about a middle-aged single woman and her inquisitive 11-year-old daughter who show up for each other in different ways.
Summertime and the Living's Easy
It's the summer of 1991 in rural America. Western Massachusetts to be exact. Janet (Julianne Nicholson) and her boyfriend of the moment have just picked up her daughter Lacy (Zoe Ziegler) from summer camp, weeks earlier than intended. Lacy is a self-aware, quiet kid who–anticipating that she wouldn't make friends quickly enough–drastically calls home in an attempt to avoid the embarrassment of summer camp isolation. On their way back to the family home, Lacy stares out of the backseat car window. The warm breeze blows down the highway while the radio plays a distinguishable tune. Lacy feels settled once again, knowing she is back with her mom for the rest of the summer.
The summer months play out onscreen through various relationships Janet engages in, both romantic as well as friendships. When three visitors enter Janet's orbit, and by proxy Lacy's as well, they bring out different sides of the mother/daughter duo. The way each person affects Janet and Lacy is captured with slow and steady precision. Janet camouflages into a caretaker, a lovesick romantic, and a loyal disciple depending on who she spends her time with. It becomes clear that despite lacking unwavering confidence, Janet is always just trying to do what she thinks is right. Lacy is reactionary to her mother's personality shifts, as any child would be. By the end of the summer, Lacy realizes that she is morphing into her own unique existence, independent of her mother's adult world.
The Organic World and Sound of Janet Planet
Encapsulated in warmth and earnestness, the film's best moments come as we observe Lacy letting her imagination run wild. Interpreting the world through her eyes as she attends hippie dance performances and eavesdrops on grown-up conversations, Lacy's childlike wonder and unassuming naivety hit the right sweet notes. I have a feeling Lacy and Olive from Little Miss Sunshine would have become best friends forever.
Contrary to the assumption, Janet Planet moreso follows the character development of Lacy than Janet. However, it's Julianne Nicholson who anchors the film with her quietly commanding presence. She can tell a full story through facial expressions alone. Her charisma and authenticity ring true with fierce tenacity.
The world of Janet Planet is unlike anything I've seen this year. Baker's vision for an organic, immersive experience is almost trancelike in its ability to transport audiences into the scene. Notable factors include the production design of their house in the woods, overseen by production designer Teresa Mastropierro, art director Thomas Slattery, and set designer Danica Chipman. Forgoing a traditional score in favor of mostly diegetic sounds and field recordings, the sound of Janet Planet reflects the loneliness and purity of the central characters. It's a genius choice, helmed by sound designer Paul Hsu, that tips the film into greatness.
Takeaway
Janet Planet is a deliberately slow-paced film about evolving into one's own person. The mother/daughter bond is sacred for so many, the process of finding individuality within this relationship is a universal experience. Through beautiful performances, a sensitive script, and breathtaking design, director Annie Baker crafts one of the most tender and unifying films of the summer-yet alone, the year.