'The Fits' Proves That Creativity in the Film Industry is Not Dead
In 2015, director Anna Rose Holmer was declared one of Filmmaker Magazine's "25 New Faces of Independent Film," and after watching her feature directorial debut, "The Fits," it's obvious to see why. Holmer doesn't only manage to capture the entire world of her story in a brisk 70-minute running time, she has the ability to evoke palpable emotion without the use of much dialogue, which culminates in a chills-inducing final scene (as this reviewer can attest to).
Eleven-year-old Toni (newcomer Royalty Hightower), a young girl of color, stands out from the rest of the youths around her. In a recreational boxing gym, with long boxer braids hanging off of her tiny frame, Toni stands apart from the rest of the boys, working through a set of sit-ups as her protective brother Jermaine (Da'Sean Minor) practices jabs.
Yet she also stands out from the other girls, a group of whom spend time just down the hall from the gym as part of a hip-hop dance troupe, which is where Toni, after hearing the transfixing reverb of deep bass music, is drawn to and sees an energetic, hypnotizing dance battle between them. Without telling Jermaine, Toni joins the girls, thrusting herself into a new world of forging female friendships and self-discovery in adulthood.
Things turn strange when some of the older girls on the team begin experiencing unexplained "fits," including loss of breath, convulsions, and passing out. This puts the fear of the unknown in all of the girls, Toni and her new friend Beezy (Alexis Neblett) can only explain it as "boyfriend disease." This is where the film turns unexpectedly dark, the score begins to reflect a psychological thriller and everyone, the audience included, is on the edge of our seat trying to figure out just what is wrong and how to stop it.
What captivated audiences in Sia's "Chandelier" music video has the potential to do the same thing here, the dancing mixed with the innocence of the girls and the art house feel of the film is a winning combination. Royalty Hightower puts on a tour de force performance, she carries the film on her back so effortlessly. Her strengths don't just come out in the pull ups she does, they are hidden within her face and explode during high-intensity scenes. Remember her name, Royalty Hightower is just getting started.
While she may be a first time director, Holmer definitely has behind the camera experience. Her past work in the industry includes camera department on films such as "Twilight" and "Tiny Furniture," two very different films tonally, but both standouts to me personally. It is no wonder then that some of the film's strongest qualities are the beautifully composed shots; from ethereal one takes of Toni practicing her dance routine outside on the stairs to the energized repetition of the group's call and answer moves, Holmer makes every frame look like a work of art. Not a lot of dialogue is spoken, nor does it need to be, because the visuals easily carry the film to great heights.
"The Fits" is equal parts dramatic and surreal, and on a larger scale, proves that creativity in the film industry is not dead. After seeing this film, how can one even stand the thought of another sequel or superhero blockbuster? If directors like Holmer are just given a chance, I believe the whole industry would be changed for the better. "The Fits" is an astounding job all around, stylistically composed with the substance and heart to back it up.
"The Fits" is not rated. Opens in select theatres tomorrow, 6/10.
Documentary 'Free CeCe!' Shows Fight for Justice Within LGBTQ Community
It's been a little over 5 years to the day (June 5, 2011) since the altercation took place. Walking with a group of friends and minding her own business, 23-year-old Chrishaun Reed “CeCe” McDonald was brutally attacked outside of a bar. In self-defense, she fatally stabbed her attacker, Dean Schmitz, in the heart. While a situation like this one may not typically warrant a full-length documentary, what makes CeCe's case stand out is the fact that she is a young trans woman of color and the way she was treated throughout her court case proves that the United States still has a long way to go in the fight for equality in the LGBTQ community as documented in the film "Free Cece!"
In what was perceived as a blatant hate crime to many, the judicial system didn't reflect the same opinions and therefore treated CeCe more like a perpetrator than a victim. She was ordered to serve time in a men's prison, a dangerous liability for any trans woman, after spending over three months in solitary confinement. This injustice inspired activists to rally to her defense and, with the help of acclaimed "Orange is the New Black" actress Laverne Cox, friends and family fought to bring awareness to Cece and to the larger issue of justice for all, despite one's gender identity, race, or ethnicity.
"Free CeCe!" is not only timely in a political sense, with the gender neutral bathrooms still a hot topic of conversation, but the style in which director Jacqueline Gares captures CeCe's story is reminiscent of the popular podcast Serial in which one is left to question the ruling of a convicted person in general. The majority of the film doesn't spend too much time talking specifically about the case, but is dedicated to CeCe's life after prison and how she has become a figurehead for trans women everywhere. This documentary and the work that both Laverne and CeCe have put into educating others is truly an inspiring watch. CeCe had struggled with identity issues throughout her childhood and grew up thinking that violence and aggression from others was to be expected, but now she proves that it is possible to overcome persecution. Even though at times, the hatred seems overwhelming, her story reminds us that if her story and stories like hers continue to be part of the conversation, it can and does get better.
Director Amber Sealey and Gemma Brockis of 'No Light and No Land Anywhere' Talk Working With a Predominantly Female Cast and Crew [LISTEN]
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I meet Amber Sealey and Gemma Brockis at the Culver Hotel a day after the world premiere of their film, "No Light and No Land Anywhere," showing at the 2016 L.A. Film Festival. These two women radiate confidence and creativity, and what I felt in that moment in person translates beautifully in their film. During our conversation, we talk about the difference for artists working in London vs Los Angeles, a majority of their cast and crew being made up of women, and the strong artists that inspire them. We begin:
When was the first time you met, and what drew you to each other?
Gemma Brockis: We met back in London, at an art space/museum.
Amber Sealey: We were 21 and we were working there. [The space] had these 21-year-old kids as ushers, basically supposed to be guarding this art, but instead we would just give each other backrubs!
(Laughter)
That's so funny–when I was in middle school my best friend and I would give each other hand massages, so I get it!
AS: We still do that. I'm always like, 'Can you please give me a back rub Gemma.'
GB: Haha! I also had a theater company, we were in a show together and became really good friends. We really wanted to do something together again, at least I did anyway! I didn't care what it was I just wanted to work with Amber!
"Here, in Hollywood particularly, there is this emphasis on fame and blockbusters. A lot of Brits I know that are doing really well are kind of embarrassed, 'Oh shit, I'm famous...that's really embarrassing.'" –Amber Sealey
What would you say is the difference between being an artist in LA vs London?
AS: I worked in London for seven years in what's called devised theater, although I did a lot of television, a little bit of film, and a lot of voice-over work over there too. I think the difference is, culturally, Britain's government supports the arts. There's just a lot more freedom to be flexible and try new things. There is not this pressure to succeed in the way we have it here.
Here, in Hollywood particularly, there is this emphasis on fame and blockbusters. A lot of Brits I know that are doing really well are kind of embarrassed, 'Oh shit, I'm famous...that's really embarrassing.' Here in Los Angeles, there are a lot of people where that's their only goal. Obviously, when you have a little bit of fame, you get a little bit more power and can get a little bit more money, so it does help you make the art you want to make. So I think people's heart desires come from a worthy place, but I think in LA it's easy to get really distracted by the celebrity side.
Let's talk "No Light and No Land Anywhere"; how was the script-writing process?
AS: Gemma's father died when she was young, and we are good friends, so over the course of our 20-year friendship we've had conversations. I know Gemma has mentioned what her life would've been like had her dad been around in her teens, so I took that teeny grain of an idea and ran with it.
GB: I had some involvement, but it was really on the floor acting more than the idea of the film or shaping the story.
"[Miranda July] is just a great friend and someone who really likes supporting art that she believes is worthy..." –Amber Sealey
Miranda July's name is attached to the film, what was her involvement?
AS: Miranda and I met in college, we were 18 and met working in theater. I can't even remember how I officially asked her to be apart of it, but she's just a great friend and someone who really likes supporting art that she believes is worthy and wants to help shine a brighter spotlight on.
I read a statistic that 83% of your cast and crew were women, was that intentional?
AS: It totally was, for sure. How can we miss the statistics that are coming out about women [in the industry], it's like–wow, we have to change that. We're still climbing up that hill, we're not quite at the top yet, but I think everybody has to do their part to think outside of the box on how to be more inclusive. We had an all-female camera crew. We had one male camera assistant that came on for one or two days.
GB: He was alright.. haha!
AS: I told him he couldn't speak!
(Laughter)
Did you entrust your cinematographer to capture the look and feel of LA, or did you have shots in mind prior to shooting?
AS: I actually framed the [B-roll] shots, sometimes I shot them! I was very specific about that. We don't have a shot list, but we'd have a discussion about what we want and our cinematographer Katie [Goldschmidt] and I would get it together.
"I think that's one of the great things about LA; there is so much beauty everywhere. I'm a huge fan of freeway shots, I think they're so beautiful. Then you've got gorgeous mountain ranges... I mean, it's so easy to just grab a camera and go out and shoot." –Amber Sealey
The camerawork is one of my favorite things about the film. It made everything feel so alive.
The Hollywood Boulevard stuff was very guerrilla style–I mean, as much as you can with an ARRI AMIRA camera. It's pretty big! I think that's one of the great things about LA, there is so much beauty everywhere. I'm a huge fan of freeway shots, I think they're so beautiful. Then you've got gorgeous mountain ranges... I mean, it's so easy to just grab a camera and go out and shoot.
The elderly people in the film were so great! Were they all actors?
AS: The person that plays Lexi's father is my real life dad. I was born in England and left when I was three, so I knew that my dad had the perfect accent of a British person who had been living in the United States for like, 37 years. The very old people who were in their 90s, that was a mix. I did put out a casting call. A friend of mine who I had known, that has nothing to do with film, wrote me saying 'My mother-in-law is 92 and she's always wanted to be an actor.' Apparently she had this fantasy life where she always wanted to study it but her parents refused to let her study it in college. So I drove to meet Phyllis Fisher at a Coco's diner, she's the one who goes up the stairs really fast in the film. She's such a character! What's actually really sad is that two of them have passed away since we shot the movie. Phyllis's husband Ben passed, he was over 90, and the guy who tells her to go to the beach, Bertram, also passed away. So it was bittersweet having the screening last night because their families were there.
"I love women that make weird, strong films." –Amber Sealey
So many aspects of this film are inspiring, including yourselves. Who do you each look to for inspiration, film-related or otherwise?
GB: Oh gosh...
AS: Well, me–right Gemma?
GB: Haha! It's really strange, my boyfriend actually asked me this question yesterday, and in all honesty, I would say a lot of the time it is my friends. I know that sounds like an easy answer,0 but it's true. A lot of the time, there are women I admire and want to work with and make them my friends. They are the people who inspire me. Amber is one of them.
AS: I agree, I think there is something really special about friends. You can see their process because you know them and they can talk about their work with you in a way that can inspire you more because it's not this crazy, unattainable thing. There are so many female filmmakers that I admire too: Lynne Ramsay, Kelly Reichardt, Miranda July, Andrea Arnold, Jane Campion. I love women that make weird, strong films.
'Girl Flu' is An Unabashedly Bold Look at Entering Womanhood
Having recently relocated from the valley to Echo Park, 6th grader Robin (Jade Pettyjohn), who also goes by the name "Bird," is very mature for her age as evident by the daily positive, handwritten affirmations flooding the walls of her room. Immediately, we see that she is way more responsible than her 30-year-old mother Jenny (Katee Sackhoff) who smokes pot in her daughter's presence, sleeps until noon, complains that she hates grocery shopping, and for no apparent reason at all, has Bird take a city bus to a school event while she literally eats breakfast in bed. Jenny's "free spirit" is like that of Gillian Jacobs' character, Mickey in Judd Apatow's TV show "LOVE," and her hipster-ness can be so over the top that at times, it is hard to relate to her.
It is during this school event when, what seems to be every girl's worst nightmare, comes true. Bird gets her first period– wearing white pants no less. What happens next, and for the remainder of the film, is cringe worthy, lingering awkwardness between the characters, the situation, and the film in general. Jenny laughs at her daughter and embarrasses her despite pleas to stop. Mom and daughter even attend a ritual to celebrate her first period, complete with flower crowns and glitter paint. While there are some moments of authenticity, mostly coming from Bird, one can only hear the phrase "blood gushing out of me" so many times.
Unfortunately, that is all this film offers- a girl gets her period and her mother doesn't know how to be a mother when she is most needed. The attempt Jenny makes to treat her daughter like a best friend comes off as extremely selfish, going so far as saying that Bird is ruining her life. Jenny does eventually semi-confront her carelessness but by this point, it's too little too late. She has dug a hole so deep that it's asking a lot of the audience to accept the apology and find any redeeming qualities in her.
We leave "Girl Flu" wondering what more the story could have been. Pettyjohn gives a good performance as a strong, independent young woman and it is with her where our trust in the film lies. Luckily, she delivers. Jenny's love interest Arlo (Jeremy Sisto) is another voice of reason that we hold onto to guide us through the chaos of female puberty. However, the script lacks the necessary elements to make "Girl Flu" an emotionally compelling story, therefore falling into our list of easily forgotten festival films.
In 'King Jack,' a Sensitive Misfit Comes of Age
Charlie Plummer is fantastic in his first major role as the titular Jack. His portrayal of a kid with a youthful innocence while simultaneously trying to be the tough guy is commendable. Despite his I-don't-care attitude, we see through that tough outer shell to a sweet interior, and this makes him extremely likeable. The supporting actors, including Yainis Ynoa and Cory Nichols who all give great, natural performances as well, make this narrative feel more like a documentary in the best way possible.
Thompson paints the small, lower class town with a bluish hue- giving it a muggy feeling. The cinematography alone elicits sensations of groggy days and mosquito-infested nights. It's the type of town where kids throw rocks for fun, smoke and drink before noon, and pick fights basically because there is nothing better to do. Displaying such a strong sense of the surroundings practically makes this unnamed town a character of its own.
"King Jack" won the Audience Award at the 2015 Tribeca Film Festival and it's not hard to see why. Jack is the type of hero we like and root for, his pure heart and sensitive soul make him a strong lead. The story is not groundbreaking and, certainly, this type of cliché, coming-of-age film has been told before and will be again, but this one makes for a great addition to the genre. Ultimately, this is a story about friendship and realizing that the best way to navigate through life is to value your connection with others.
"King Jack" is not rated. Opens in theaters at Laemmle's Music Hall 3 and on demand Friday, 6/10.
Loneliness Explored in L.A. Set 'No Light and No Land Anywhere'
Writer/Director Amber Sealey's third feature film "No Light and No Land Anywhere" is a poignant story of one woman's search for the truth while simultaneously trying not to lose herself in the process. Fresh off of a breakup, London native Lexi (Gemma Brockis) risks what little she has left to travel halfway across the world in hopes of finding her estranged father. Once she lands in Los Angeles, with a carefully curated suitcase of clothing in tow, our protagonist is immediately thrust into less than ideal circumstances, putting the city's underbelly of casual sexual hookups, revelations, and its realistic, less-than-glamorous image at the forefront.
Gemma Brockis has an indescribable, enchanting quality that makes Lexi's struggle one we can't turn away from. Her quirkiness is celebrated here, where emotion is not just portrayed through dialogue, but expressed through a version of performance art as well. In an abstract way, Gemma gives Lexi another outlet in which to channel her feelings of loneliness, longing, and love.
Amber Sealey solidifies herself as a director to watch, and not just because she is a woman (that's just the icing on top). Her ability to transcend cliché expectations of her characters and find a little light in otherwise dark situations is a refreshing take on the female-centric genre of "finding oneself." Her protagonists are confident women who do not apologize for being themselves, rather they go to show that one's self is enough.
For foreigners and natives alike, Los Angeles can feel like a lonely place. Despite its large population, endless amounts of distractions, and the everyday hustle and bustle of city life, one can feel so very alone. This is especially felt by Lexi as she searches for the missing link in her family tree. The vibrancy of the city is fully felt through the cinematography (shout out to cinematographer Catherine Goldschmidt); the foggy mornings and seedy free newspapers are captured through handheld camerawork and really make the viewer feels as if we are there. The film's all around authenticity, coupled with incredible performances and execution, makes "No Light and No Land Anywhere" feel both intimate and fearless.
"No Light and No Land Anywhere" is executive produced by indie film heavyweight Miranda July, and premiered at the LA Film Festival on Friday, June 3rd. A second screening on Jun 8 at 6:25 PM has been added by popular demand. Buy tickets here.
'As I Am' is a Touching Tribute to Mix Master DJ AM
I remember the moment like it was yesterday. I was in college when news broke that Blink-182 drummer Travis Barker and mix master DJ AM were involved in a deadly plane crash. Fortunately, they were going to survive, despite a long road to recovery ahead. However, four others, including the captain, died with the plane's harsh descent and fiery blaze. Despite the tragedy, fans rejoiced at the news that their heroes were safe. For DJ AM, however, the PTSD of surviving the crash, along with past issues stemming from a turbulent childhood and history of addiction, re-ignited that battle, which was ultimately lost. All of this and more is captured in the new documentary "As I AM: The Life and Time$ of DJ AM."
DJ AM, AKA Adam Goldstein, touched a lot of people in his short 36 years of life, both personally and through his music–so for a lot of his fans, this documentary was a long time coming. Director Kevin Kerslake, a successful music video and commercial director, purposefully paints Adam in a vulnerable light to show that despite his fame and fortune, he is just as relatable and human, and as susceptible to pain and insecurity, as are we. It is this ability to connect with him, to feel like we get to know the real Adam Goldstein in this short 110 minutes, that makes this film so hard to watch and yet so powerful.
The minute the film starts, it jolts you into that September day back in 2008. Police dash-cam footage of the plane crash plays to a woman's voice-over, presumably his mother, fondly remembering Adam's childhood love of music and arcade games.Friends and other notable electronic music artists, including DJ Jason Bentley of KCRW's 'Morning Becomes Eclectic,' DJ A-Trak, Steve Aoki, and more, guide the film with their anecdotes about Adam as a child, a rebellious teenager, and a paparazzi jackpot.
Quoted by many as "the best DJ in the world," "the Tony Hawk of DJing," and "the Bad One," the film takes the viewer on a journey through some of his darkest days. Having been sent to a corrupt rehabilitation program as a teenager due to drug addiction, Adam was subject to cruel and unusual punishment that ultimately shut the institution down. To further throw the young man's life into a spiral, while in rehab, his mother shocked him with news that his childhood father isn't his biological father. Through all of this, Adam found solace and relief in music. His work ethic and constant practice behind the turntables saw his fame increase until eventually he was earning $2 million contracts to perform in such destinations as Las Vegas nightclubs. Sadly, despite over 10 years of subsequent sobriety, DJ AM eventually relapsed due the pressures of his lifestyle and from his trauma-inducing plane crash. Personal friends, including Seth 'Shifty Shellshock' Binzer, are moved to tears when recalling his pure heart and spirit, reminiscing on his outwardly positive "can-do" attitude.
Being both one of electronic music's most popular artists as well as a regular guy with a troubled past, DJ AM was a juxtaposition of himself. Adam Goldstein's story is one of both tragedy and heartbreak while simultaneously being inspirational and fulfilled. Ultimately, though, his life's story serves to teach those to always work hard and in the direction of your goals–an inspiring message that reaches far from beyond just the turntables.
"As I AM: The Life and Time$ of DJ AM" is not rated. Showing for one week at the ArcLight Hollywood on Friday, 6/3, and available digitally via FilmBuff on all platforms 6/14.
THE 7 BEST THINGS HAPPENING AT LAFF 2016
Commence the countdown, we're only one day away from the 2016 LA Film Festival! In anticipation, we've made a list of the seven best things happening at this year's fest.
Courtesy of Edric Silla for ArcLight Cinemas
1. New Year, New Venue
So long Downtown, and hello Culver City! This year, the LA Film Festival takes place in the Westside's newly-built ArcLight Theatre, the eighth location for the Los Angeles-based company. The best part? $2 parking!
Kirby Dick in Sundance. Courtesy of Araya Diaz/WireImage
2. Coffee Talks: Documentarians
These talks are always a highlight for us, and this year we'll sip a flat white among some of our favorite documentary directors, including Kirby Dick (The Hunting Ground, The Invisible War) and Lucy Walker (The Crash Reel, Waste Land).
Ryan Coogler and Ludwig Göransson. Courtesy of Black Film
3. Ryan Coogler: Crafting the Sounds and Score of Creed
On Saturday, June 4th, LA Film Festival Guest Director Ryan Coogler will present clips from Creed and Fruitvale Station (a LA Film Fest alum) and talk with composer Ludwig Göransson and sound designer Steve Boeddeker about how the perfect soundscape can be achieved, no matter if it’s at the studio or the indie level.
Courtesy of Cambio
4. The After Party
After a full day of watching films, what better way to unwind than with a drink under the stars? The LA Film Fest after parties are always a great way to meet filmmakers and cinephiles alike, and with this year's venue change, I'm anticipating them more than ever.
Emily Robinson. Courtesy of Rogers and Cowen
5. Transparent Actress, Emily Robinson's directorial debut
At just seventeen-year-old, Robinson is already making a name for herself in Hollywood. She stole the screen in the Amazon award-winning series Transparent, and now Robinson is taking a turn in the director's seat. Her self-funded short film Virgin Territory, which she wrote, directed, produced and stars in, will have its world premiere on Thursday, June 2nd.
Topher Grace in 'Opening Night'. Courtesy of Film Independent
6. Opening Night
Director Isaac Rentz is a friend of ours, and we can't wait to see his feature film debut Opening Night hit the big screen on Friday, June 3rd. Starring Topher Grace and Lauren Lapkus, this comedy/musical is centered around a failed Broadway singer, working as a production manager, who must save the opening night of his new production by wrangling his eccentric cast and crew.
Gael García Bernal in 'Desierto'. Courtesy of Cinefila
7. The Closing Night Film: Desierto
From Jonás Cuarón and his dad Alfonso Cuarón, the acclaimed filmmakers of Gravity, comes a unique, modern vision of terror. Desierto is a visceral, heart-pounding suspense-thriller packed with tension from start to finish, starring Gael García Bernal (Mozart In the Jungle, The Motorcycle Diaries, and Y Tu Mamá También) and Jeffrey Dean Morgan (Watchmen). With music accompanied by Woodkid, this is sure to be the perfect way to end an awesome week.
To follow our LAFF adventures in real time, be sure to follow us on twitter (@cinemacyspeaks) and instagram (@cinemacy)!