'Sweat' Review: An Influencer's Need for Attention Comes at a Dangerous Cost
This review originally ran on during the 2019 Chicago International Film Festival
Sweat is an inside look into the life of a social media influencer and fitness guru Sylwia Zajac (Magdalena Kolesnik). She is self-made, driven, and a high energy overachiever wrapped up in neon pink leggings with a polished blonde ponytail.
Beloved by 600,000 followers, Sylwia’s life seems perfect from the outside. However, tension builds when her manager confronts her about a vulnerable post gone viral. It is speculated that it may have sullied her peppy image potentially costing her sponsorships. Sylwia seems to be more comfortable alone talking to her camera than she is with actual relationships with family or friends.
Behind all of the unboxings, smoothie tutorials, and extravagant influencer parties is the dark underbelly of fame. To add to mounting stress, a stalker enters her life, waiting outside her building exposing himself to her. After their confrontation goes violent, Sylwia takes pity on the stalker; and one might wonder why she made this choice? Perhaps it is because she relates to putting herself on display for all to see in a desperate need for attention?
The film concludes with Sylwia making an appearance on a popular morning talk show. When pressed about being too vulnerable she seems to finally have a paradigm shift. We see that she truly loves her fans and admires people who can be completely open with their feelings...no matter how they may be judged.
Director Magnus Von Horn paints a portrait of a modern creator: The social media influencer. The storytelling is so relevant and fascinating that the audience might even forget they are reading subtitles. Loneliness and insecurities run rampant in the age of image crafting on social media. Like so many of us, Sylwia craves connection and attention. But how much is too much? Does it come with the price of sacrificing true intimacy?
Streaming on MUBI this Friday, July 23.
CIFF: 'Sweat,' 'Becoming Mona' and 'Charlatan' Reviews
How does a film festival operate when movie theatres have been closed for the past 6 months? Pre-COVID, the Chicago International Film Festival was an eleven-day extravaganza located in the heart of downtown Chicago at the AMC River East 21. However, this year CIFF had to get creative to meet the challenges presented by the pandemic. They succeeded in this endeavor by offering safe options for viewers such as Virtual Screenings to stream from the safety of their home, as well as partnering with ChiTown Movies for a drive-in movie experience. According to CIFF Artistic Director Mimi Plauché, “This year, everything about the festival experience is new, fresh, and reimagined…”.
Pandemic or not, once again CIFF expertly curated a dynamic selection of 50 feature films and nine short film programs from around the world. The festival notably includes competitive categories highlighting Black Perspectives, Cinemas of the Americas, International Comedy, Women in Cinema, Out-Look (LGBTQIA+), After Dark, and the City & State program (showcasing films made in Chicago and Illinois.)
Here are a few noteworthy international selections from this year’s festival.
Polish drama Sweat paints a portrait of a modern creator whose need for attention comes at a dangerous cost.
Sweat is an inside look into the life of a social media influencer and fitness guru Sylwia Zajac (Magdalena Kolesnik). She is self-made, driven, and a high energy overachiever wrapped up in neon pink leggings with a polished blonde ponytail. Beloved by 600,000 followers, Sylwia’s life seems perfect from the outside. However, tension builds when her manager confronts her about a vulnerable post gone viral. It is speculated that it may have sullied her peppy image potentially costing her sponsorships. Sylwia seems to be more comfortable alone talking to her camera than she is with actual relationships with family or friends. Behind all of the unboxings, smoothie tutorials, and extravagant influencer parties is the dark underbelly of fame. To add to mounting stress, a stalker enters her life, waiting outside her building exposing himself to her. After their confrontation goes violent, Sylwia takes pity on the stalker; and one might wonder why she made this choice? Perhaps it is because she relates to putting herself on display for all to see in a desperate need for attention? The film concludes with Sylwia making an appearance on a popular morning talk show. When pressed about being too vulnerable she seems to finally have a paradigm shift. We see that she truly loves her fans and admires people who can be completely open with their feelings...no matter how they may be judged.
Director Magnus Von Horn paints a portrait of a modern creator. The social media influencer. The storytelling is so relevant and fascinating that the audience might even forget they are reading subtitles. Loneliness and insecurities run rampant in the age of image crafting on social media. Like so many of us, Sylwia craves connection and attention. But how much is too much? Does it come with the price of sacrificing true intimacy?
Becoming Mona shows how the roles and expectations we take on as children can perpetuate patterns that stifle our truest self well into adulthood.
Mona (Tanya Zabarylo) has lived her entire life as a doormat and a peacekeeper. When she was a young girl she lost her mother in a tragic car accident, and her father quickly remarried a woman named Marie. Marie is lovely at first but it soon becomes apparent that her moods are quite unstable. Along comes a new baby sister. At such a young age, Mona learns that to keep everyone happy she must stay small and sacrifice her happiness. This theme followers her into adulthood both in her professional life, as well as her love life. She surrounds herself with narcissists eventually becoming emotionally stunted. However, the death of her father shakes up everything and Mona finally manages to rise above her circumstances. She finally dares to fight for herself.
Becoming Mona (co-directed by Sabine Lubbe Bakker and Niels van Koevorden) is based on the book KOM HIER DAT IK U KUS by Griet op de Beeck. The title translates to “come here that I kiss you” which sounds endearing, however, it's actually a cruel concept which the film takes on. “I’m not coming to you, but if you come to me you can get a kiss.” Affection and approval are elusive concepts to Mona. They are something that must be earned and not given freely. In the end, Mona must ultimately learn to love herself.
Based on the true story of the man who gave aid to Nazi officials, Charlatan balances the delicate duality of how a person can both be a generous healer and a cruel sadist.
Charlatan tells the story of the rise and fall of Czech healer Jan Mikolášek. He was a man who dedicated his life to an unconventional process of “urinary diagnosis” and healing the sick using medicinal plants. In Czechoslovakia, just before World War II, he became renowned for his healing abilities. Mikolášek went on to gain further fame and fortune during the German occupation as he was able to preserve his prestige by treating high ranking Nazi officials. This decision would haunt him and would ultimately lead to his demise.
This true story balances the delicate duality of how a person can both be a generous healer and a cruel sadist. Mikolášek’s love for his work was only matched by his affection and love for his assistant, František. As we all know, this type of relationship was highly illegal and was yet another secret that Mikolášek had the burden of bearing.
Director Agnieszka Holland tackles this epic story spanning dozens of years covering three different regimes and two World Wars with a quiet intimacy. Scenes are static with minimal dialogue driven by hidden emotions. The gorgeous cinematography by Martin Strba, coupled with the score by Antoni Komasa Lazarkiewicz, elevates the story masterfully. Charlatan has all the makings of an Academy Award-winning film: A period piece with elements of forbidden love. A World War II narrative whose hero is tormented by inner demons. What’s not to love? However–viewer be warned–the scenes of simulated animal cruelty (although brief) could make it unbearable for some to watch. Mikolášek’s sadistic tendencies could be conveyed in a more nuanced way.
'Pamela & Ivy' Explores the Roots of Iconic Comic Book Supervillain
Comic book origin stories are so hot right now. We have recently seen Joker and Harley Quinn get their moment in the limelight. Catwoman has always been a fan favorite. But where is the love for Poison Ivy?
For those of you who are unfamiliar with Poison Ivy, she is a Gotham City misanthropic botanist and villainess extraordinaire from the Batman comic book series. In Pamela & Ivy, writer/director Leah McKendrick (writer/producer/actor in revenge thriller M.F.A.) explores the childhood traumatic events of Pamela Isley in a story of abuse and survival that generated this iconic supervillain.
The film begins with young Pamela Isley (captivatingly portrayed by Aria Lyric Leabu) trapped with an abuser (played by Eric Roberts). Locked in a basement by her menacing captor, Pamela forms a bond with a small plant that is sprouting from a seemingly uninhabitable and bleak environment. However, the plant is not the only one keeping her company, as "Ivy" sprouts as a manifestation of Dissociative Identity Disorder. Even though Pamela is eventually rescued and returned to her normal life - the damage is done and Ivy never leaves her. We flash forward to adult Pamela. She is a shy yet enthusiastic scientist. We see how she gained her plant powers and eventually transforms into Poison Ivy on her way to Gotham to claim her stake as the next Supervillain.
Triple threat McKendrick seamlessly blossoms from the meek botanist into the charismatic and intoxicatingly confident Poison Ivy. McKendrick skillfully weaves a full-fledged narrative into only 16 minutes and does not skimp on the heart of the character. Pamela & Ivy could easily be a feature-length film or a series. There is so much to unpack and explore in this compelling character. In addition, it shows how powerful it is to see female comic book characters through a female lens. Poison Ivy is more than a seductive, plant-obsessed villain in botanical lingerie. She is complex, smart, strong, sexy, and has a killer sense of humor. Who knew we would be rooting for a villain?
The 16-minute short can be viewed here.
The Best of the 2019 Chicago International Film Festival
The 55th Chicago International Film Festival is a festival celebrating cinema from the far reaches of the world to films made right here in Chicago.
Located in the heart of downtown Chicago at the AMC River East 21, the festival is an eleven-day extravaganza highlighting not only special presentations with A-list names attached but also curating a beautiful selection of independent films, shorts, animation, in addition to paying special tribute to films from Black and LGBTQ+ perspectives.
According to CIFF Artistic Director Mimi Plauché, “the festival is a celebration of our shared human experience.” As an actor myself, I couldn’t agree more with this statement, as I felt overwhelmingly grateful to be a part of a universal community of storytellers upon attending this festival.
Clemency
Director: Chinonye Chukwu
U.S.
English. 112 min.
Bernadine Williams (Alfre Woodard) is committed to her career as a prison warden. She is tough yet dutiful. She believes she has a responsibility to bring respect and dignity to the inmates. After a botched execution procedure, we see her tough exterior crack, as the weight of her responsibility haunts her. Mounting pressure in her personal life, as well as, her professional career comes to a head as she questions the innocence of a death row inmate.
Director Chinonye Chukwu paints a powerful character study of a strong woman trying to remain steadfast to her duties but poses the question: will she lose her soul in the process?
The Truth (La Verite)
Director: Hirokazu Kore-eda
France/Japan
French, English with subtitles. 106 min.
Fabienne (Catherine Deneuve) is an iconic French actress and admired by many. However, she has a problematic relationship with her screenwriter daughter Lumir (Juliette Binoche) not to mention almost everyone who has ever been close with her. Tensions rise when Lumir returns to Paris with daughter and husband (Ethan Hawke) soon after Fabienne has published her controversial memoir. The reunion quickly turns confrontational as the truth about past accounts are told and old resentments resurface. As Fabienne is shooting her newest film, Memories of My Mother, parallels of the on-screen world and real-life become intertwined.
Director Hirokazu Kore-eda (Shoplifters) masterfully showcases the nuances of a complicated mother-daughter relationship. He captures both the painful resentment as well as love, laughter, and forgiveness in this charming and moving film.
Digitalkarma
Directors: Francesca Scalisi, Mark Olexa
Switzerland
Bengali, English with subtitles. 78 min
Rupa is an ambitious, hard-working Bangladeshi teen who aspires to have her own career as an entrepreneur. She is recruited to join a women’s tech-training program and begins to see the possibilities that her future could hold as she experiences new freedoms such as riding a bicycle and owning a cell phone. However, with an unfortunate decline in her father’s health, Rupa’s dreams are abruptly halted as she has to abandon her program to appease her family’s wishes for her to have an arranged marriage.
Digitalkarama follows Rupa’s journey over four years in an intimate, raw and heartbreaking portrayal of a rural community that is trapped somewhere between tradition and emerging into the modern-day.
To Live To Sing (Huo Zhe Chang Zhe)
Director: Johnny Ma
China/France
Mandarin with subtitles. 100 min.
To Live to Sing is a bittersweet musical drama that highlights the struggling Jinli Sichuan Opera Group (played by the troupe’s actual performers). The opera troupe is the only remaining pleasure for the elderly villagers. As the traditional art form struggles to captivate new and younger audiences, the community is also facing demolition. Company leader Zhao searches for a way to keep the building and to maintain the troupe’s morale. When her niece and leading starlet DanDan begin to seek opportunities elsewhere, Zhao goes on a journey of her own, dipping in and out of fantasy.
Director Johnny Ma captures both the raw unglamorous side of theatre, as well as the grand spectacle of it while focusing on the tension between tradition and the rapidly changing world of technology and progress.
And Then We Danced (Da Cven Vicekvet)
Director: Levan Akin
Georgia, Sweden, France
Georgian with subtitles. 106 min
And Then We Danced is a coming of age drama featuring a young man who struggles to break free of his circumstances. Merab (Levan Gelbakhiani) lives in poverty with his single mother, grandmother and troubled brother. His passion for Georgian dance is challenged by an instructor who continually berates and critiques him. When a new gifted dancer joins the company, Merab’s disposition increasingly goes from melancholy to giddy as the two explore their desires for each other. However, Merab is aware of the dangers of this new romance as same-sex relationships are frowned upon in Georgian society. He soon begins to question if there is anything left for him in Georgia.
Levan Gelbakhiani gives a dynamic and captivating performance as Merab. Subtitles are almost unnecessary as he is able to convey defeat, outrage, jealousy, ecstasy, and defiance all with a glance.
Leah McKendrick: "I don't get in my own way"
In her Instagram bio, Leah McKendrick describes herself as an "Actress ???????????? Moviemaker ???? Brunch lover ???? Horror buff ????"
Getting through the emotionally dark times as the writer, producer, and actress was physically draining.
As a producer, getting the "shit beat out of you" is part of the job.
It can be tough. As a writer, I feel emotional and thoughtful, and sensitive. Similar to being an actor. To me, these roles go hand in hand.
As a producer, you've gotta lead with a calm, level-head. It's two parts of yourself battling. The biggest jump for me is from actor to producer. My other producers knew that on my big acting days they needed to hold down the fort. They let me have that space. But I would still freak out about things. Especially on a tiny indie film like M.F.A. - my mentor and friend JB (John Benitz, my mentor and close friend and consulting producer on M.F.A.) told me this- as a producer, it's your job to get the shit beat out of you every day. Yep. Something gets broken, it doesn't matter who did it- you step up and apologize profusely and fix it. Someone's not happy, you work it out so that they are. Cops show up- you go out there and beg and plead. As an actor, it can be freeing to let your emotions lead you. To follow impulses. That is not a strength as a producer! I don't know that it gets easier from project to project to wear all the hats, but I have a better understanding of what is required of me, and where I draw the line. I'm learning. I can't do it all. Delegating can be hard for me, and I'm figuring it out. You gotta suffer for your first one sometimes! And believe me - I did. On the next one, I won't be boots on the ground as much as I had to be on M.F.A. On the next one I will hand over more of my producing duties. I say that now, but we shall see!
Gaining confidence as an artist and a woman at Chapman University.
Chapman is, in many ways, responsible for me becoming a filmmaker. I never really wanted to go to college. I just wanted to go to Hollywood and be a pop star and an actress. At Chapman I began writing plays and scripts, directing, producing, starring in things I'd written... I was very experimental. I wasn't afraid of failing because there was this very safe space where it was encouraged to take risks. My professors always praised the qualities I never knew I had. Michael Nehring always told me I'd make a great director from the notes I gave other actors in class. Directing had never even occurred to me. JB was the one who got me screenwriting. When I wanted to double minor in Women's Studies and Sociology the school let me build my own minor. Barney McGrane, my sociology professor was always so encouraging. He made me feel that my thoughts were valid and intelligent. It sounds simple, but looking back, I think it gave me a lot of confidence, not only as an artist but as a woman. It's interesting that I write very feminist, female-driven work and many of the biggest champions in my life and career have been men. I love men! If you look deeper, you see that in my films, too.
M.F.A. was called too risky or too feminist or too man-hating in pitch meetings.
Making M.F.A. was easily the most difficult experience of my life. Many of the challenges were typical of any indie film: never enough money or time. Everything that can possibly go wrong always goes wrong!
But for me personally, the greatest challenge was how much the film evolved from my original vision - and that's not necessarily a bad thing. But a film begins as this very intimate, very solitary experience. It was a concept, then it was me getting up early every morning to go to the coffee shop as though I was going to a day job. I felt that I needed to take it seriously or no one would ever take me seriously. I chipped away at it, for many months and then I sat in meetings where people would tell me it was too risky or too feminist or too man-hating or blah blah -whatever. You write hundreds of emails begging people to believe in nothing but you and a PDF. There are a lot of steps that you fight tooth and nail through. And what you have to hold on to is the vision in your head. The love that you have for that vision. So when it starts to come to fruition and that vision starts to change, it can be really hard. When things get thrown out or aren't working or get cut- MAN. It can feel like a part of you is dying! And I wish I had been more prepared for that. I wish I could have been less precious about it all because it would have saved me a lot of heartaches. But I think it's just something you go through on your first feature. And I love our film. It's not exactly the film I originally envisioned- and that's ok. Film is a collaboration of many artists. That's what makes it great.
Greenlight your own script.
I would say don't wait for permission. And don't use a lack of resources as an excuse. Start small. Write it. Make stuff with friends. Collaborate. But just be constantly creating and developing your voice and your sense of taste. I'd say the biggest killer of creativity is getting in your own way. A strength that I have is that I am hungry and foolish. I always assume something is going to be easier than it is and it's always a rude awakening and I'm crying in the shower. But I don't get in my own way. I don't always succeed, but I make a lot of attempts. All of the attempts have made me braver and smarter. I love the filmmakers out there shooting a short or sketch a week or making a feature for 20 grand. That's inspiring. They're not waiting for anyone's permission and that's how you have to do it. Too many people are waiting for someone to greenlight their million-dollar script. Greenlight your own script. If you don't have a million, rewrite it so you can make it for less. I've learned that you've gotta give yourself the opportunity before anyone else will. But if you build it, they will come.
Francesca Eastwood Mesmerizes in Timely Revenge-Thriller 'M.F.A.'
Taking into consideration the very recent Harvey Weinstein sexual assault controversy, as well as the horrific Brock Turner case of 2016, the revenge-thriller M.F.A. is not only timely but also necessary.
Much like how Get Out stemmed a conversation on race relations in the United States, M.F.A. creates a dialogue on the epidemic of sexual assault on college campuses.
Directed by Natalia Leite and written by Leah McKendrick, the film focuses on a timid art student, Noelle (Francesca Eastwood), who struggles to express herself through her work. One night while attending a party, Noelle is viciously raped by a fellow classmate. When her attempts to report the trauma are received with suspicion and victim-blaming, Noelle decides to take matters into her own hands and confront her attacker– a decision that results in a grave conclusion. This incident becomes a catalyst for her inner vigilante to emerge as Noelle seeks to avenge other college women whose attackers have walked free, reclaiming her power and blossoming creatively.
M.F.A. offers so much to unpack. Star on the rise, Francesca Eastwood, delivers a dynamic performance. Her expressive eyes are haunting and her emotional range is nothing short of astonishing. Eastwood takes a flawed anti-heroine and makes the audience want to root for her. There is a certain catharsis achieved as her character takes out the attackers one by one. However, as we watch Eastwood’s metamorphosis into a black widow avenger, she brings an added depth to the role as her character gets sloppy and drunk with power.
Simultaneously, writer/producer Leah McKendrick is cast in the film in a pivotal supporting role as Skye, Noelle’s neighbor and close friend. Leah’s character is anything but your typical quirky best friend nor is she merely a vapid party girl. Rather, McKendrick creates a three-dimensional woman who is not only sexy and confident on the surface but displays complex vulnerability as she secretly battles her own demons.
As a thriller, M.F.A. has twists and turns that are heart-racing and gut-wrenching. While there are plenty of moments of levity, the film deals with rape which can be hard to stomach, if not triggering. However, director Natalia Leite and McKendrick approach the subject with sensitivity. Pulling from both personal experience and a female perspective, the more graphic scenes are not fetishized, as we often see in other films. That being said, the film does not water it down, rather it faces the uncomfortable reality and aftermath of sexual assault head-on. Unfortunately, the scariest thing about this thriller is that the horror is all too real for many women.
The unnerving topic that M.F.A. explores will hopefully serve a platform for dialogue. Perhaps, it will bring awareness to some and encourage others to speak out about their own personal trauma courageously. If so, M.F.A. may very well be one of the most relevant and compelling films of 2017.
'Alive and Kicking' Review: Swing Dance is Still Jumpin’ & Jivin’
The documentary highlights this phenomenon that is more than a hobby for people who dream of yesteryear.
Alive and Kicking is a feature-length documentary film about swing dancing, including its Harlem origin, its rebirth in the 1990s, and ongoing presence today. Film executive (and Lindy Hopper) Susan Glatzer makes her directorial debut with Alive and Kicking, giving audiences an inside look into the modern-day sensation of the international swing dance community. The film highlights this phenomenon which is clearly more than a hobby for a niche group of people who dream of yesteryear. And we are shown that swing dancing, in fact, offers one solution to the repercussions of technology as well as other issues of modern day society.
The film celebrates the origins of swing dance and its legends: Frankie Manning and Norma Miller (who were pioneers in the early days of jive and continued to teach and dance well into their nineties). In addition to paying homage to these icons of swing, Glatzer follows a handful of enthusiasts who are currently cutting a rug on the international competition circuit.
As a swing dance fanatic myself, I can safely say this film accurately portrays the exhilaration to a tee.
Through segmented interviews of dancers coupled with glimpses of the competitions, it’s clear to see that the dance that was born out of the Great Depression still resonates today. The audience is able to gain insight into how this genre of dance can specifically affect people from all cultures, generations, occupations, and walks of life. The filmmaker demonstrates that in stepping away from technology and engaging in “pure joy set to music” can alleviate isolation and bring not only a tight-knit sense of community but healing, freedom, and joy.
As a swing dance fanatic myself, I can safely say that this film accurately portrays the exhilaration and community, as well as depicts the changing demographic of its devotees, to a tee. The passion of the dancers is nothing short of magnetic. The enthusiasm and zest of Alive and Kicking are downright contagious.
"Alive and Kicking" is not rated. 88 minutes. Opens today at Laemmle's Ahrya Fine Arts Theater in Beverly Hills and VOD.
'Nutcracker' Review: Validation at the Cost of Self Worth
It is extremely relevant in our current hyper-sexualized and often misogynistic culture where sexual assault is excused as “twenty minutes of action” and “locker room talk”. Watch the short film below.
Michael Aronson’s "Nutcracker" is a short film adaptation of the short story by Tia Clark that tells a coming of age story of Shelly, an introverted but imaginative good girl, who longs to fit in and be noticed at any cost.
Set predominantly in a sporting goods store just outside of New York City, the film opens with a scene of what appears to be a graphic rape in the stockroom of the store. However, it is soon revealed that is a hazing “game” where the male workers pounce on the female coworkers and simulate rape. Although extremely disturbing, the girls seem to welcome this attention and go as far as to ridicule the reserved and seemingly prudish Shelly for not being chosen as prey by the other boys.
Often losing herself to the fantasies in her rich inner life, Shelly escapes the mundane day to day of her retail job by imagining she is the recipient of affection from Miles, a slightly older boy at the store. As many teens often do, Shelly desperately seeks the validation from her peers and cannot understand why she is the only one excluded from the “rape game.” Inching closer and closer into dangerous territory during a night out with a few coworkers, Shelly gives into the toxic atmosphere, but unfortunately, learns that the cost of validation is the loss of her self-worth.
If you can look past the gritty realness, "Nutcracker" is a catalyst to create a dialogue around rape culture, as well as, our own personal compromises.
Director Michael Aronson shows a great skill at storytelling through using both heightened realism and fantasy coupled with great attention to detail. The use of visually striking close-ups that range from dripping sweat, the obnoxious noise of a microwave's beeping, condensation on their drinks, fingers touching et cetera, creates a visceral sense of tension. The scenes displaying Shelly’s fantasies are an effective tool to help the audience see the world of the film through her perspective. In addition, the sound design (Thomas Ouziel) and original score (Jacob Yoffee) add an extra layer to the storytelling that truly immerses the audience into the film.
The heavy subject matter of “Nutcracker” is a hard pill to swallow. That being said, it is extremely relevant in our current hyper-sexualized and often misogynistic culture where sexual assault is excused as “twenty minutes of action” and “locker room talk”. It holds a mirror up to the viewer and compels them to take a good hard look at what we have individually compromised in exchange for validation.
If you can look past the gritty realness, "Nutcracker" is a catalyst to create a dialogue around rape culture, as well as our own personal compromises. This is the type of film that sticks with you long after the end credits roll. It makes you think and want to unpack what you just experienced. Taking into consideration the current cultural climate around these issues, I anticipate more thought provoking art and filmmaking as Aronson has displayed with "Nutcracker."
'Nutcracker' is now streaming on Vimeo.
John Krasinski Talks "Lottery Ticket Life" in Directorial Debut 'The Hollars' [LISTEN]
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Soon after a select group of journalists file into their seats for “The Hollars” press day at the London West Hollywood Hotel, award-winning actress Margo Martindale enters the room with such a warm presence while engaging in small talk with the intimate group, making everyone more at ease. A few moments later, the director and lead protagonist of the film, John Krasinski, makes his way to his chair with a warm smile, twinkling eyes, and perfectly coiffed hair. Despite having just flown in from San Francisco the night before and holding interviews all day for varying websites and publications, the duo seemed relaxed and eager to share the heart and soul that went into the making of this film. Krasinski answers questions with sincerity and humor while Martindale discusses her process with such fondness that we know the relationships we see in this film were not forced or phony... but the result of the cast really bonding and connecting to the universal themes of the film. We begin:
I've never laughed and cried so much in one movie.
John Krasinski: Thank you, that's such a great compliment!
John, did you always plan to both act and direct?
JK: I signed on as an actor about six or seven years ago, and I don't think I've ever signed on to anything so fast. There are a lot of "family movies" out there and I had no intention of being in a "family movie" until I read Jim [Strouse's] script and realized that's the way to tell a family story. I signed on immediately. Four years later, as often happens with these smaller movies, the financier at the time couldn't get it made and asked if I'd buy the script outright. It was a big undertaking but I didn't hesitate with this one because the script was so good.
What have you learned from other directors over the years?
JK: I was a waiter when I got cast in "The Office." I truly believe I got a "lottery ticket life," I don't feel that I deserve it, I feel like I'm trying to deserve staying here. In order to do that, every second of every day I was trying to learn and get better. I'd watch those writers and see how the writer's room worked, watch those directors. As far as the film, I learned from everybody. I remember George Clooney telling me two things: one, you can always make a bad movie out of a good script but you can never make a good movie out of a bad script. Two, the best idea ends up on screen, no matter whose it is. It doesn't matter if it's the person closing up the studio at night, making a film is a team effort.
Margo, what was it like having a director that also spoke the actor's language?
Margo Martindale: He was a dream as a director, the [transition from] actor to director was very seamless. John gave lots of time between takes, he never called "Cut." He's terrific, he knew the movie he wanted to make.
"Margo is one of those people that if you can be anywhere near her in a movie, you'll get better." - John Krasinski
What was the biggest challenge for you, John, taking on the role of actor and director on this project?
JK: This one was really easy to be honest! And I don't mean that to sound obnoxious or anything. It was actually vital for me to be an actor in my opinion. The most important thing in this movie is that you have to feel like you're a family, it had to feel like your hometown. I think there's something that was universally connecting about this script, and I don't know how it happened, but we just became that family. I've had as deep of conversations with Margo and Richard [Jenkins] than I've had with my real family. It was a beautiful thing. To be the actor not having to call cut, like Margo was saying, we'd have small intimate conversations. The beauty of having great actors is, they're the first person to tell you, 'I didn't hit that,' or 'Let's go again.' If I just right now called 'Cut' walked out of the room and came back 10 minutes later, this interview would be weird.
Laughter
JK: I felt the same way about those scenes. I wanted them intimate, in a bubble. That was the beauty of being the actor and director in this situation.
Margo what drew you to this project?
MM: The script, it was honest, surprising and edgy... a messy look at life and family. John asked me if I'd do it, and I was there!
JK: Margo is one of those people that if you can be anywhere near her in a movie, you'll get better. She makes you better because you don't act, you only react. In one of the most emotional scenes of the movie when she finally breaks down, I tell people all the time that was the first and only take we did of that. What she did was so personal, vulnerable, and primal in a way that I don't think any of us were prepared for. So when you go back and watch the movie again, because let's be honest, of course you will...
Laughter
JK: ... You'll see all the actors in that scene have no idea what to do with the performance she gave us. It was more honest than any of us could have understood.
"In all of my scenes, behind every acting performance, I was thanking her through my eyes for doing this." - John Krasinski
How did you get along with Anna Kendrick, acting alongside and directing?
JK: Anna is a true professional. I think something people don't know about Anna is that she was shooting "Pitch Perfect 2" every single day that we were shooting, so on her only day off, she drove from New Orleans to Jackson, Mississippi to be in our movie. That says two things: one, she is dedicated to her job. Two, she supports films like this, and that's a very important thing for her. That essence comes out in everything you do with her. In all of my scenes, behind every acting performance, I was thanking her through my eyes for doing this.
You were making this film while you were becoming a father. Does any of your character's feelings of not wanting to be a failure to another person affect you personally, and vice versa?
JK: 100%. The only other scene that I wrote is between me and Anna in the hospital. When I signed on to act six or seven years ago, I obviously didn't have kids. When I started shooting as a director, my daughter was four and a half months old. So to say that my understanding of the script was vastly different was the biggest understatement of the century. Yes, I understood the idea of a man at the doorstep of being a father, but more than that, I understood the sort of magic, existential connection between family. I understood my parents better after having a baby. I started thinking about having a family name, lineage, big things like that. My dad is my hero in every single way, and if I can be a quarter of the guy he is, then I win.
"I try to spend every single second I can with my kids, and I mean every single second." - John Krasinski
As a working dad, actor, and director, has this film taught you anything about being present for your own family?
JK: One of the sacrifices and there are very few– but let's be honest, this is like fantasy camp, this life is not real, to say I have complaints about it is insane– when you do go away [for work] you go away for awhile. I'm not the first actor who's raised a family so I know there are other people who have done it before me. I'm not unique or special to this situation, so I try to spend every single second I can with my kids, and I mean every single second. When I'm not working, I'm at home and it's the best!
What's next for the both of you?
JK: I'm doing the "Jack Ryan" TV series for Amazon, which I'm really excited about taking on a character that I loved my whole life!
MM: I'm doing a series for Amazon right now call "Sneaky Pete," a Bryan Cranston creation with Giovanni Ribisi...
JK: This press conference is sponsored by Amazon, haha.
'The Hollars' Showcases Family Dysfunction With Humor and Sincerity
John Krasinski takes on the role of both actor and director with genuine sincerity in his second directorial endeavor, "The Hollars." Honest performances from a critically acclaimed cast, coupled with an earnest script from James C. Strouse, make "The Hollars" one hilarious and bittersweet film that will pull at your heart-strings.
John Hollar (John Krasinski), a struggling NYC graphic novel artist, is told by his pregnant girlfriend Becca (Anna Kendrick) that he needs to fly home because his mother Sally (Margo Martindale) has been diagnosed with a brain tumor. Upon John’s return home, he finds that all the drama and dysfunction he left behind are not only still present, but have increased exponentially. We meet John’s screw-up, unemployed divorcee brother Ron (Sharlto Copley) and his overly emotional and soon-to-be bankrupt father, Don (Richard Jenkins). Jason (Charlie Day), the feisty nurse treating his mother, happens to be married John’s high school girlfriend Gwen (Mary Elizabeth Winstead) who is still very much in love with him. Throughout the rollercoaster of each family member’s own personal crisis, Sally remains the anchor of her family in spite of her own regrets and fears.
Ok, real talk 2016. I read a few reviews before seeing this film. Why all the hate? (I’m looking at you Variety). I found this film to be DE-LIGHT-FUL! I laughed. I cried. I never looked at my watch. (yeah I know it’s 2016, we have clocks on our phones and no one wears watches… YOU KNOW WHAT I MEAN). Sure, one could argue that a situational family dramedy has been done before, and perhaps some of the plot lines could be perceived as weak or superfluous. And yes, it reminded me of a less pretentious/sulky "Garden State" minus the obnoxious manic-pixie-dream-girl trope. BUT I DIGRESS… Let’s get to why this movie is legit.
Number one– John Krasinski is extremely charming. Number two– The ensemble cast is an absolute revelation. They navigate the challenging comedy-to-drama hairpin turns of Jim Strouse’s script with style and grace. They are never a caricature or overly archetypal, but rather, they approach their characters with sincerity and a realness that only true professionals can bring to the table. Number three (and most importantly)– This film does such a superb job of showcasing a truly sad but very real situation and combining it with the absurdity of family dysfunction. It is so relatable. We all can relate to having weird, messed-up families. We can all sympathize with loved ones getting sick. We have all dealt with getting the wind knocked out of us when life GETS REAL, whether it’s a failed business or relationship or a dream that just never came true and NOW it’s time to grow up.
Krasinski successfully tells a story that surpasses the trope of just another generic family dramedy and brings us a wacky but heartfelt film. "The Hollars" will strike a personal chord with the audience by resonating as authentic, funny, and tragic, and these realistic aspects are something that we have all experienced in some capacity in our own lives.
"The Hollars" is rated PG-13 for brief language and some thematic material. 105 minutes. Opens Friday, 8/26, at The Landmark.
'Women He's Undressed' is Bursting at the Seams With Style, Scandal, and Old Hollywood Glamour
Inspired by the recently published posthumous, long-lost memoir of the prolific Hollywood costume designer, Orry-Kelly, Australian director Gillian Armstrong (My Brilliant Career,” “Charlotte Grey”) sews together a historically informative and whimsical documentary in “Women He’s Undressed.”
The film follows the life of Australian-born Orry George Kelly, from his humble beginnings as an aspiring artist and failed bank clerk to the rise of his prolific career in costume design. Orry-Kelly dressed the biggest stars in 282 Hollywood films. The designer went on to become a three-time Academy Award winner for his ingenious work in “An American in Paris,” “Les Girls,” and “Some Like It Hot.”
The gowns that Orry-Kelly designed are so breathtakingly beautiful, it makes one want to absolutely bathe in them. More impressive than the glamour was his ability to structure clothes in a way that complimented even the most challenging figures. As costume historian Deborah Nadoolman Landis says, he was simply “a master of silhouette and nuance.” Kelly worked closely with the actors and created costumes that not only made them look their best, but also truly brought the character to life. Jane Fonda noted that Kelly “built clothes specifically for this character. For you.”
The film does not go without highlighting a fair share of scandal that followed this brilliant designer. Notorious for being outspoken, Kelly was unashamed to be himself and quite open about his sexuality in a time when homophobia ran rampant and being gay was not only taboo but also illegal. In addition, the film spends some time focusing on Kelly’s intimate relationship with his former “roommate” and aspiring actor Archibald Leach, who we later discover turns out to be leading man, Cary Grant.
Armstrong makes a bold choice in this documentary by combining a mixture of traditional talking head interviews and a series of highly stylized re-enactment scenes. This could be perceived as a distracting, campy misstep or as a unique and engaging way to enhance the subject matter. Personally, I would love to see those reenactments turned into a stage play.
Many of Orry-Kelly’s peers and clients are now deceased. However, Armstrong has tailored the film to a wonderful group of interviewees ranging from film historians (Leonard Maltin and David Chierichetti), designers (Ann Roth, Colleen Atwood, and Catherine Murray), and Hollywood royalty (including the scene-stealing Jane Fonda).
“Women He’s Undressed” is playful and thought-provoking, packed with historical tidbits. Armstrong expertly weaves together the life of the designer with the context of the Hollywood film industry spanning from the 1930s to the time of Orry-Kelly’s death in the early 1960s. Gillian Armstrong has created a film that is a must-see for fashionistas and film buffs alike.
“Women He’s Undressed” is not rated. 95 minutes. Now playing at the Arena Cinema in Los Angeles and will be released on DVD / VOD on Tuesday, August 9th.
'Therapy for A Vampire' is a Comedy Worth Sinking Your Teeth Into
Living in eternal darkness can get anyone down, especially for an undead blood-sucking Count in David Rühm's "Therapy for a Vampire." Following in the footsteps of films such as "What We Do in The Shadows", "Therapy" is a quirky but fresh take on a subject that normally presents itself as self-serious and macabre.
The story is set in Vienna, 1932. Count von Közsnöm (Tobias Moretti) has lost his thirst for life and the ability of self-reflection. After making a generous donation to the analyst’s society, the Count convinces the acclaimed psychoanalyst, Dr. Sigmund Freud (Karl Fischer), to take him on as a new patient. The Count is bored with a 500-year long marriage to his vicious, blood-thirsty wife, Countess Gräfin Elsa von Közsnöm (Jeanette Hain), whose own vanity drives her obsession to once again see her reflection. To distract his wife, the Count suggests the Countess commissions a portrait of herself by Freud’s assistant Viktor (Dominic Oley). Coincidentally, this aspiring painter’s headstrong girlfriend, Lucy (Cornelia Ivancan) catches the eye of the Count and he becomes convinced that she is a reincarnation of his long lost muse, Nadilla. Although Lucy and Viktor appear to be the solution to their problems, only jealousy and shenanigans ensue for the cursed couple.
The campy theatrics and jabs at familiar vampire lore provide plenty of belly laughs as the characters tumble through this mortal-on-immortal love triangle - er- love hexagon? Writer/Director David Rühm has an imaginative take on the vampire legend, in addition to, crafting his characters as three dimensional and charmingly flawed. A prime example is our leading lady Lucy. She is no damsel in distress or prize to be won. There is a reoccurring theme of the men pining over her and trying to make her conform to their ideal fantasy girl. However, this spunky waitress is having none of it. The story flows smoothly with enough twists and turns to keep the audience wondering what will happen next.
Additionally, did we mention this film is completely in German? Never fear, with the energetic pace and expressive performances by the talented cast, one completely forgets that they are reading subtitles. In fact, the foreign language adds to the delightfully stylized Baz Luhrmann meets Tim Burton aesthetic and vibrant yet gothic tones. The gorgeous costumes, set-pieces, and blood baths completely immerse the viewer into this 1930s Viennese vampire world. "Therapy for a Vampire" proves to be a hilarious and wildly entertaining take on vampire lore and undead love.
"Therapy for a Vampire" is unrated. Playing at the Nuart Theatre Los Angeles on Friday, 6/10.
'Already Tomorrow In Hong Kong' Plays Like a Two-Hour OKCupid Date
Already Tomorrow In Hong Kong plays less like a will-they-won’t they romance and more like a two-hour OKCupid date with small talk and minimal chemistry.
The film opens with Ruby (Jamie Chung), an Angeleno visiting Hong Kong for the first time sans GPS, unable to locate her friends. As fate would have it, Josh (Bryan Greenberg), an expat New Yorker who has been living in Hong Kong for nearly a decade, offers to guide her to meet her friends.
As they walk, they talk about where they are from, their respective disconnect to their heritage, what they do for a living, and what they wish they were doing instead. Not exactly gripping. As they are about to reach their destination, Ruby decides to bail on her friends and asks Josh to join her for a drink. Perhaps this is where the sparks will really fly. However, the evening ends abruptly when Ruby realizes Josh has not been forthcoming with certain details of his life.
Exclusive Clip:
One year later, by chance, the two cross paths again in Hong Kong on a ferry to Kowloon. After the two make amends for the unpleasantness of their previous parting, they take an extremely long walk and catch up on how their lives have changed over the course of the year. Ruby is now living in Hong Kong full time. Josh who had followed Ruby’s advice a year prior has left his cushy job in finance to write a novel. Both are in complicated relationships. The attraction is still there. The film ends leaving us in suspense, will they follow their hearts or will they be mature and just be Facebook friends?
The most charming performance of the film is delivered by a cameo from a local street fortune-teller they encounter. The audience does not learn much about the characters, except perhaps that Josh is a 35-year-old man-child who quit his job and now orders Red Bull vodkas and Ruby thinks she is unique and sassy because she enjoys watching reruns of Seinfeld.
Emily Ting makes her directorial debut by creating an enchanting homage to the urban nightlife of Hong Kong while simultaneously tips her hat to the acclaimed film, Before Sunrise. Ting has written dialogue that seems very real, however, nothing about the characters’ relationship suggests it is a once in a lifetime attraction worth derailing the characters’ current paths.
Review: 'The Benefactor'
It is always refreshing when a new storyteller is on the rise in Hollywood. The Benefactor comes as a feature-length directorial debut by newcomer writer/director Andrew Renzi. Well received by film festivals and critics alike, The Benefactor is a suspenseful and intriguing character study of a charming yet overbearing philanthropist who meddles in the lives of a newly married couple in an attempt to relive his past.
The film opens with Franny (Richard Gere) discussing design plans for a children’s hospital project on which he is collaborating with his married college friends Mia and Bobby (Cheryl Hines, Dylan Baker). Unfortunately, Franny's horsing around while driving (with his previously mentioned friends) leads to a fatal car accident.
Five years later, we see Franny sitting alone in a lavish hotel surrounded by bottles of medication and sporting a cane along with an appearance resembling an elderly Howard Hughes. Out of the blue, he receives a call from his late best friends’ daughter, Olivia (Dakota Fanning), whom he lovingly calls “Poodles”. She is pregnant and newly married to Luke (Theo James) a young, handsome doctor who is in need of employment. Franny is revitalized and beyond excited to help out in any way he can.
Without prompting, in addition to securing Luke a job at the children’s hospital he supports, Franny showers the young couple with lavish gifts. Olivia and James quickly learn that all of the expensive gestures come with a price. Franny shows little regard for personal boundaries; the red flags surrounding his shifting intentions begin to alarm Luke.
It becomes more and more clear that Franny is addicted to morphine, which he uses to medicate not only his pain but also his guilty conscience. We watch his descent from charming philanthropist to an erratic and desperate addict.
The film creates an uncomfortable level of tension for the viewer. Along with the rising suspense, The Benefactor almost takes on the direction of a psychological thriller before pulling back in the last scenes- perhaps in an attempt to appeal to a wider audience.
Writer/director Andrew Renzi loosely based the character of Franny on the famed Philadelphia philanthropist, John Dupont, who we all know from Bennett Miller's 2014 critically-acclaimed film Foxcatcher. However in this film, Renzi offers little to no history of Franny- the origins of his wealth remain a mystery. On a similar note, Olivia’s character could have been more fleshed out and interesting if given a backstory. If expanded upon, she could have reflected an opposing extreme to Franny’s approach to coping with the loss of her parents. In comparison to Franny’s isolation and self-destruction, Olivia’s reaction to the sudden tragedy is bottled up emotion paired with a cold exterior. She attempts to fill the void by rushing to adulthood, creating her own family and a sense of stability. It is all there, but would be more compelling if explored further.
The Benefactor premiered at the Tribeca Film Festival last April and has been gaining momentum ever since, going on to win "Best U.S. Narrative Feature Film" at the Catalina Film Festival in 2015. The film proves to be an entertaining and suspenseful watch with engaging performances by the all-star cast, and Renzi is a promising director worth remembering. As he grows and develops as a director, I look forward to what the future has in store for this talented filmmaker.
The Benefactor is out in theatres January 15, 2016. Unrated.
Review: 'Dolly Parton’s Coat of Many Colors'
- I listened to Blue Grass Hymns while writing this review
- It took everything in me to NOT write this in the first person
- I literally cried multiple times while watching the movie
- Dolly and I have apparently both written an essay about why we love Dolly
- Dolly's middle name is Rebecca
- We both sang solos at church
- We were both raised poor but managed to be fabulous and gaudy
- My version of my "coat of many colors" ... and yes that is a cotton field behind me
Considering the seemingly dark state in the world’s current events, Dolly Parton’s Coat of Many Colors comes as a sigh of relief just in time for the holidays. The faith-based “Hallmark-esque” film is not a biopic spanning the entirety of Parton’s performing career, rather it captures a narrow slice of Parton’s childhood during a time when her tight-knit family faced a tragedy that rocked life as they knew it. However, upon discovering the true healing power of faith and love, the Partons’ stitched their family back together like the raggedy coat that Dolly’s mama made for her.
For those of you who are not familiar, Coat of Many Colors is based off of Dolly Parton’s 1971 hit of the same name. The film is set in the gorgeous Great Smoky Mountains of Tennessee in 1955. Before the rhinestones and wigs, little nine-year-old Dolly Parton (Alyvia Alyn Lind) was painting her face with “borrowed” watercolor paints and singing solos in her grandfather’s church on Sundays. Dolly, one of eight children (with one on the way), is precocious, ornery, yet every bit delightful. With a family tradition of the older siblings caring for the younger ones, the young songbird is beyond eager for the arrival of Baby Larry. When Dolly’s mother (Jennifer Nettles), loses the baby and begins to withdraw from the family, Dolly stops singing. Dolly’s faith is tested, as well as the relationship between her parents, who always “had more love than money”.
Quotable one-liners matched with earnest performances truly tug at one’s heartstrings.
Pamela K. Long’s script has various subplots that could easily be interpreted as campy and formulaic. However, the quotable one-liners matched with earnest performances, truly tug at one’s heartstrings. Plus, with over 12 million viewers, the two-hour special based on Parton's autobiographical song was the most-watched film on broadcast networks in nearly four years. If you do not feel ALL the feels, then you might be a heartless sociopath.
Dolly Parton’s Coat of Many Colors will be re-airing on Christmas night and stream for 25 days following its broadcast on NBC.com, NBC apps and Set-Top Box on Demand.
https://www.youtube.com/watch?v=BAtz9x4OfCo