[Tribeca 2023] THE GRADUATES -- An Extraordinary, Subtle, and Essential Discussion of Gun Violence6/16/2023
Review by Sean Boelman
Gun violence in schools is worse than ever before, and as young artists are rising the ranks, they are creating their artistic responses to this epidemic. The Graduates is one of the best films about gun violence there has been in the era of school shootings — eschewing the traditionally shocking approach for something much more quiet and meditative, and inarguably much sadder.
Taking place over a year after a tragic school shooting, the movie follows the survivors of the tragedy as they attempt to continue on with their lives and adjust to their trauma. Peterson’s approach to the topic is fantastic and unique, because it lingers not on the event itself, but the aftermath — allowing it to feel much more authentic and less manipulative. The pacing of the film is certainly slow, as it focuses on how these teenagers’ mundane lives — and in some instances, that of their parents — were fundamentally altered by this violent incident. However, it is poetic and beautiful in its approach. The dialogue may feel a bit stilted at first, but it soon becomes obvious that Peterson perfectly captured the feeling and personality of a clueless and grieving teenager. There are certainly some moments in the movie in which the discussion pivots overtly to the epidemic of gun violence and the conditions in our society that have allowed this to become such a pervasive problem in our culture. However, the more pointedly poignant moments are the characters going through what should be a joyous event without those who were taken by the violence. For example, a scene of a basketball championship played in honor of one of their lost teammates is absolutely crushing. With films that cast such a wide net with their ensemble, it can often be a challenge to have all of the characters feel fully fleshed out. While some of the characters’ arcs in The Graduates are more pronounced than others, Peterson succeeds in making each and every one feel like a real human being, and that’s all that this story calls for. Peterson has also assembled a phenomenal cast of young actors for the movie. Lead actress Mina Sundwall is fantastic, as is supporting actor Alex R. Hibbert (Moonlight). And although his role is quite small in nature — probably only around 10 or 15 minutes worth of screen time in total — John Cho is exceptional here. He gets more than a few “supporting actor moment” speeches, but is just as powerful in his quiet moments of restrained sadness. On a technical level, the film isn’t particularly flashy, opting for a lot of close-ups that maximize the movie’s ability to capture the profound levels of emotion in the actors’ expressions. The sound design is also very effective, particularly when it comes to the use of quiet and silence — as the lack of sound in some scenes is what makes them truly exceptional. The Graduates is a truly stunning directorial debut — it’s no wonder that Chloe Zhaó put her support behind the film as an executive producer. Few movies have managed to capture the effects of violence on grief and anxiety as honestly as this film did, and for that, Hannah Peterson deserves massive kudos. The Graduates screens at the 2023 Tribeca Festival, which runs June 7-18 in NYC and June 19 through July 2 online. Rating: 4.5/5
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Review by Sean Boelman
Esteemed character actor Michael Shannon made his directorial debut this year with Eric LaRue, which may be one of the most fascinating debuts in recent memory, even if it’s hardly one of the best. Eric LaRue is maybe the weirdest film you’ll ever see about the topic of school shootings — too funny to be taken completely seriously, but too weighty to really be a comedy — in a way that will leave viewers feeling mostly confused by the time the credits roll.
The movie follows the mother of a school shooter as she struggles to reconcile with the community her son has destroyed, as well as her own feelings of guilt and remorse. Although the critically acclaimed Mass dealt with a similar topic in the past, Neveu and Shannon’s approach couldn’t be more different, for better or worse. Presenting this story through the lens of a crisis-of-faith arc is an intriguing idea, and feels like a genuine reaction that people could have to a tragedy like this. However, the approach that Neveu’s script is almost too satirical — bordering on outright comedic at times — for the film to have its full emotional impact. The movie’s message when it comes to school violence could also be easily misconstrued in a way that could prove off-putting (or even offensive) to some viewers. The characters in the film are clearly looking for someone to blame — whether it be themselves, someone else, or even God — but it seems to be going with the message that there are no easy answers. Unfortunately, the conclusion of the movie is frustratingly and perhaps unfairly definitive in pointing its finger. The parts of the film that deal with the protagonist, the mother of a school shooter, as she attempts to come to reckoning with her own culpability (or lack thereof) in the atrocities committed by her son, are fascinating. However, when it comes to the supporting characters and their subplots — like a “will-they-or-won’t-they” infidelity storyline led by her husband — the movie feels quite unfocused. Eric LaRue is most effective as an acting showcase for lead actress Judy Greer, who is downright exceptional in the leading role. She oozes so much emotion as the character that it is genuinely soul-crushing. Interestingly, Shannon directs the supporting cast to give performances much like he would — somewhat cold, with a slight deadpan sensibility. It’s definitely most noticeable in the turns of Alexander Skarsgård, Allison Pill, and Paul Sparks. From a technical level, this is certainly a very accomplished debut for Shannon. The visuals of the film, particularly in a few moments that lean into surrealism, are strikingly shot and thought-provoking. And the needle drops, consisting mostly of folk pop music, are inspired and accentuate the slightly askew nature of the movie. Eric LaRue is likely to get as many people who hate it as love it. Its unorthodox approach (it would even be fair to call the film downright weird) may leave some viewers feeling uncomfortable. However, as a movie about this topic, it’s clearly intentional to leave the audience feeling unsettled, so it should be praised for that. Eric LaRue screens at the 2023 Tribeca Festival, which runs June 7-18 in NYC and June 19 through July 2 online. Rating: 3.5/5
Review by Sean Boelman
There’s often no greater setting for a fish-out-of-water comedy than a small town, as this formula has created some iconic films throughout the years. Downtown Owl is the directorial debut of husband and wife duo Hamish Linklater and Lily Rabe, whose idiosyncratic and energetic voices save a script that is, ultimately, a bit all over the place.
The movie follows a teacher who travels to a rural town in North Dakota for a temporary position, only to find herself swept away by the simple charms of a small town lifestyle while getting embroiled in a local scandal. Based on the novel by Chuck Klosterman, there is a lot going on in the movie, but it (perhaps shockingly) manages to bring everything together into a satisfying, cohesive 90-minute package. If Downtown Owl does struggle with one thing, it is finding a consistent tone. For much of the first two acts, the film is bright and buoyant, with a lot of energy. However, the constant threat of danger looms over the story, exemplified by an occasionally dark sense of humor and a dark twist in the third act. With this major tonal shift in the final minutes also comes a bit of confusion regarding what the movie actually has to say. For much of the runtime, it seems to be a hopeful story about people making the most of what they have in life, but the finale makes it seem like its purpose might be something more nihilistic. That being said, the movie thrives where all small town comedies must: providing the audience with an entertaining and compelling band of misfits to follow. Although we get a lot of archetypes — the city girl who learns to break out of her shell, the wise old man who wants to inspire others so he can live vicariously through them, and the mysterious (yet attractive loner) — Linklater’s script manages to make this world created by Klosterman feel entirely lived in. It definitely helps that the movie boasts an extraordinary cast. Ed Harris shines in a supporting role with a kind and impassioned spirit. Vanessa Hudgens, Finn Wittrock, and Jack Dylan Grazer, on the other hand, play more comedic side roles and lend the film an appreciated bit of brevity. The only person who feels wasted in the cast is Henry Golding, whose turn as the love interest feels like it does not take advantage of his talents. From a technical level, Rabe and Linklater should certainly be praised for their ambition, but it often comes across as throwing a lot of ideas to the wall to see what sticks. It also doesn’t help that the movie lacks consistency. For example, there are some animated sequences and scenes in which the character breaks the fourth wall, but these devices are not used frequently enough to feel natural. Downtown Owl is extremely entertaining, and it should be praised for being a breezy entry into a genre that all too often takes itself too seriously. Still, the movie is not without its flaws, and a confusing tonal shift in the final act may leave viewers scratching their heads in confusion. Downtown Owl screens at the 2023 Tribeca Festival, which runs June 7-18 in NYC and June 19 through July 2 online. Rating: 4/5
Review by Sean Boelman
Sometimes, the films with the simplest premises end up being some of the most well-executed. Cold Copy is an intense and very entertaining movie, and while it may not be as challenging as it clearly had the potential to be, there is little denying how effective it is.
The film follows a young and ambitious journalism student who seizes the opportunity of a lifetime while in the class of a high-profile television anchor, being forced to resort to cutthroat methods to make a name for herself. Although the movie follows a familiar formula, its familiarity is hardly distracting, as everything about the film is so well done. One of the biggest weaknesses of the movie is that it doesn’t explore the full potential of its themes. There is obviously a lot that could be said here about the ethics of journalism, but the film’s commentary on this is limited to the basic questions that anyone with basic media literacy would be able to answer. That said, what the movie lacks in substance, it makes up for in gripping, sleek style. For all intents and purposes, it’s best to think of this as a Whiplash for journalism students. It’s an extremely stressful film, cramming in a lot of story in just about an hour and a half, but effectively maintaining tension throughout its entirety.
The editing and soundtrack go a long way in giving the movie the sense of kineticism and dynamism it needs to keep viewers glued to the screen. Although the cinematography isn’t anything extraordinarily impressive on a formal level, the film’s overall gray aesthetic is effective considering that the whole movie is about moral and ethical ambiguity.
Helberg’s script does a great job of giving the audience characters towards which we can feel utterly ambivalent. Almost all of the characters are doing awful things and constantly backstabbing each other, yet one can’t help but admire the grit and persistence they show in paving a path forward for themselves, no matter the cost. The film also boasts an impressive cast who makes the most of their somewhat shallow roles. Bel Powley is very compelling as the scrappy young protagonist, and Jacob Tremblay plays the mysterious young subject of Powley’s investigation with surprising subtlety. However, it is Tracee Ellis Ross who stands out the most, playing the larger-than-life TV personality whose specter-like presence hangs over the movie’s conflict. Cold Copy is a gripping thriller with tense pacing, excellent performances, and solid filmmaking. If her ability to create something absolutely anxiety-inducing is any indication, Roxine Helberg is poised for a bright future as a filmmaker. Cold Copy screens at the 2023 Tribeca Festival, which runs June 7-18 in NYC and June 19 through July 2 online. Rating: 4/5
Review by Sean Boelman
Given U2’s history of giving things to people unsolicited, some might be wondering who asked for another documentary about them. However, Kiss the Future is not your average music documentary. Although it is about U2 to an extent, the film does an exceptional job of telling their story within the greater context of this historically significant conflict.
The movie tells the unlikely story of U2’s concert in Sarajevo, as musicians and journalists in the country of Bosnia rallied to get the famously socially-conscious band to show their support for them in the war. Given the global conflicts that our world faces today, Kiss the Future is an essential and inspiring message of love and peace. Before we get into U2’s advocacy in the war, we are given a rundown of about 30 minutes of the conflict and its background. Although this “history lesson” portion of the film can feel a bit dry, it provides essential context for us to understand the meaning and significance of the rest of the story. One of the biggest risks when it comes to documentaries about high-profile individuals and their advocacy is that they can quickly start to feel like white saviorism, but Cicin-Sain thankfully mostly avoids this. Although U2’s concert celebrating the end of the war, as well as their broadcasts from the war zone during their tour are the focus of the movie, it takes care to give a platform and voice to those who were actually on the front lines.
What is surprising about the film is that it actually interrogates some of the criticisms that people levied against U2 for their role in this story. In the movie, Bono and his bandmates address the claims that what they did to bring attention to the war in Sarajevo was exploitative and performative, leading to a discussion of performative activism in general.
The access that the filmmakers had for interviews and archive materials are nothing short of extraordinary, but that should come as no surprise considering how passionate Bono and U2 are about the social causes they put their support behind. From the band members to the people who were on the front lines of the conflict, we get to hear from some amazing individuals. Some of the more fascinating aspects of the film are those which discuss not U2, but the artists from Bosnia who continued to create and perform in underground locations despite the conflict raging on around them. In fact, there is enough fascinating material here to create an entire feature-length documentary about these brave and inspiring individuals. With Kiss the Future, filmmaker Nenad Cicin-Sain has made a moving tribute to what can happen if we all come together. One of the most powerful moments in the movie is an interview with Bono in which he says, “being united is a great thing, but respecting differences is an even greater thing.” If watching Kiss the Future can inspire people to respect each other’s differences, it will have done its job. Kiss the Future screens at the 2023 Tribeca Festival, which runs June 7-18 in NYC and June 19 through July 2 online. Rating: 3.5/5
Review by Sean Boelman
One would be hard-pressed to find a film with as bizarre of a story this year as He Went That Way — both in terms of its inspiration and as the victim of a troubled production. Despite showing promise, the jarring tonal shifts and unfocused script prevent the movie from being particularly effective.
The film follows two drifters — an entertainer transporting his trained chimpanzee and a murderer — who find themselves paired together in an unlikely journey across America. If this sounds like a strange story, fret not, because it is absolutely true (albeit dramatized for cinematic effect, of course). There are several different directions that this movie could have taken, and it seems that they chose to go with them all. It is worth noting that director Jeffrey Darling passed away in an accident during production, so some of this inconsistency can likely be forgiven due to the undeniably scrambled nature of the post-production process. However, a finger can also be pointed at writer Evan M. Wiener. It’s also really hard to tell precisely what the film is trying to say. The characters get into far too many comedic antics for this to be a cautionary tale, but it’s also too dark for it to be some jovial adventure. The result is a movie that’s not quite nihilistic but certainly not optimistic, and just off-putting as a whole. Even the cast’s performances feel wildly uneven. There is hardly a better word to describe Jacob Elordi’s performance than “unhinged,” but this isn’t always effective. Even when the film calls for him to be a bit more subtle, he’s dialed up to 11, feeling like an exaggerated version of a Thunderbird from Grease. As for Zachary Quinto, he’s playing the same type of character he has been recently — a quirky loner with straight-faced delivery. The character development in the movie is not very good either. Of course, we open the film by seeing Elordi’s character torture and murder a (seemingly) innocent man, so we immediately are not rooting for him. And Quinto’s character frequently comes across as a whiny coward, so it’s hard to care much about him too. The movie does thankfully boast some amazing cinematography from Sean Bagley, although that should be a given for any road movie. That said, the style of the film could have done a better job of periodizing the movie. It’s clear that this is set in the past, but the production design is vague in a way that doesn’t totally imply when. He Went That Way is not a terrible film, but it's certainly off-putting in all its tonal inconsistencies. There’s definitely a good movie in here with another edit and perhaps some reshoots, but the product as-is is kinda confusingly bad. He Went That Way screens at the 2023 Tribeca Festival, which runs June 7-18 in NYC and June 19 through July 2 online. Rating: 2.5/5 Review by Dan Skip Allen I've been a fan of Westerns since I was a little kid. Films like High Noon, Unforgiven, and Once Upon a Time in the West showed me what great filmmaking, acting, and writing can do for this genre that has had better days. Recently, some newer voices have put their stamp on the Western genre. None have made a film like Surrounded, though. It is one of the best Westerns I've seen that uses the female gaze as a plot device. Mo Washington (Letitia Wright) is a young woman who disguised herself as a man and joined the Union to fight in the Civil War. She learned a lot while fighting for her life and the country that didn't care about her, gaining some gunfighter skills in the process. Five years later, she got her claim to a parcel of land in Colorado and plans to go there via Brushwood Gulch, New Mexico. She buys a ticket for a seat on a stagecoach before a ruthless killer, Tommy Walsh (Jamie Bell), and his crew hijack the coach. She is again in a fight for survival from all sides. The director Anthony Mandler uses a story by Andrew Papgana and Justin Thomas, who wrote the screenplay. He creates a battle of wills between the Wright and Bell characters for most of the film, sending them into a game of cat-and-mouse. Who can outdo the other? It's a classic Western trope used to perfection in this movie. This confrontation between these two is why this film is worth seeing. One of the other reasons why this movie is so good is how it's filmed and lit. Mandler, his director of photography Max Goldman, uses natural light to film this movie. The sunlight is used fifty percent of the time, and it's glorious. Yes, there is the occasional lens flare, but the terrain looks gorgeous. The mountains, streams, hills, trees, and everything in between are brought to vivid life. I love how good this movie looks. Besides Wright and Bell, there is a nice supporting cast that compliments the two leads. Brett Gelman, Jeffrey Donovan, and Michael K. Williams (in his last role before he died in 2022) all give good performances. They add an element to the story that keeps it interesting. This is a spotlight for Wright and Bell, though. They both bring their A-game that accentuates their abilities as actors.
Mandler, the writers, and especially Wright use this story and role to show young girls that there are roles out there that show Black women in a dominating and powerful role. She is a woman with a past, but has a future. She is determined to make it in a world that hates her. As revenge films or female gaze movies go, this one does a great job of showing a strong woman with good skills and puts them to work well. MGM has been on a winning streak lately, with several films that have done well with critics and fans. In a packed summer full of blockbusters, Surrounded will have a hard time finding an audience. If I had my way, everybody would see this film. It's a movie that deserves everyone to see, not just women and girls. Fans of revenge films and Westerns will surely love this movie. Surrounded hits VOD on June 20. Rating: 4/5 Review by Cole Groth It’s been over four years since the fifth season of the sci-fi phenomenon Black Mirror had its fifth season. Writer and series creator Charlie Brooker took plenty of time off to release the latest season of the acclaimed series after deeming things to be too dark after the COVID-19 pandemic and general disarray in the world. Netflix’s sixth season brings some of the most wild episodes yet, but a generally unfamiliar feeling and an uneven style keeps this from being one of the best seasons. Due to the anthological style of the series, each episode will be reviewed individually. Joan is Awful - 4/5 "Joan is Awful" is awesome. The sixth season of Black Mirror kicks off with a bang. This episode, starring Annie Murphy as the titular Joan, touches on generative content, digital likenesses, and the streaming world. This feels like a topic particularly suited for the series, because it's a plausible nightmare of technology that's also wildly entertaining. The story follows a bland and weak woman, Joan, as her world is turned upside down after her turbulent life is into a TV show on a large streaming service starring Salma Hayek. There are plenty of moments that hit on the recent debate around AI art (which isn't art at all) and the future of content creation. Charlie Booker's script puts a lot of humor into it but makes sure to focus on the threat that content faces as corporations soullessly churn out garbage. Annie Murphy and Salma Hayek are a phenomenal pairing, with a few celebrity cameos being very welcome surprises. My biggest issue with this is that it just isn't long enough. Sometimes, Booker's script should've gone deeper into the problems he's trying to get at, and more moments to explore the concept would've been wanted. At the end of it all, this stands out as one of the show's best episodes and starts the season with a ton of promise. Loch Henry - 3/5 "Loch Henry" is far from a standard Black Mirror episode. The premise for this one follows a young couple in a quiet Scottish town beginning work on a simple documentary, only to find that the town harbors a sinister secret. Unlike other episodes of this series, there's almost no focus on a technological dystopia we could soon face, with the only true satire or social commentary being found toward the very end. In an impossibly tense 54 minutes, Sam Miller directs phenomenal performances from Samuel Blenkin and Myha'la Herrold. The two are a perfectly cast boyfriend-girlfriend pairing that bring tons of life to their characters. It's also shot and edited brilliantly. This episode is terrifying as hell, but Brooker's script is noticeably predictable. While the twists and turns that follow are still pretty great, the ending fizzles out before making a slight recovery. Viewers will undoubtedly find themselves divided on the conclusion to this episode, but a well-earned feeling of dread keeps it from being a large disappointment. Beyond the Sea - 1/5 "Beyond the Sea" is both the longest and weakest episode of Black Mirror's sixth season. The premise follows two astronauts, played by Josh Hartnett and Aaron Paul, who are able to access replicas of themselves on Earth while on their mission in space. After an event leaves one of the astronauts devastated, the two feel their tensions rise over the course of several weeks. This episode stinks because of how obvious it is. There are plenty of routes that could've been explored with events that take place at the beginning, but Brooker's script is quite frankly garbage. Netflix will not let me discuss any of the details of this episode, but needless to say, the conflict is lame. Viewers of the show might find something endearing about how terrible this episode will make you feel, but the lack of any social commentary is sorely missed in this installment. Mazey Day - 3.5/5 Like "Loch Henry," "Mazey Day" takes a step away from the traditional sci-fi focus of the show for a dramatic tonal shift which'll keep eager fans of Black Mirror on their toes. In the second episode, Zazie Beetz leads as a disillusioned paparazzi who goes on a wild trip for a large payday. The fourth installment in this season is one of the wildest episodes yet. It's best to go blind and spend forty minutes guessing which twists and turns this episode will take next. Great performances, a strong sense of style, and excellent pacing make this consistently enjoyable. Brooker's script could've been a lot more effective, though. It doesn't feel like it has much commentary and does feel largely disconnected from Black Mirror's overall theme, making this potentially a fan favorite or a maligned entry in the series. Demon 79 - 3/5 "Demon 79" closes out Black Mirror's return with a demon, murder, and a whole lot of terrible people. This finale follows a timid woman (Anjana Vasan) and a demon (Paapa Essiedu) as she is told to commit certain violent acts to prevent imminent disaster. Like previous episodes this season, there's little focus on technology, with this episode featuring no technology whatsoever. While the journey Brooker takes us on is certainly fun, it can't help but feel largely disconnected from the show as a whole. While this is a theme with the entirety of series 6, this episode in particular will alienate many viewers, like "Mazey Day" did. However, for those a fan of other anthology series, this is an ambitious turn that has a lot of fun moments. The ending isn't great, but it's at least an interesting one to end the season with a bang. Overall, Black Mirror’s sixth season features enough twists and turns to bring in both new viewers and to keep veterans of the series entertained. There are plenty of elements that have never been explored by Brooker before, and many of them work very well. Hopefully, this represents a bright start for the future of this series. While it’s a bumpy ride, it’s undeniably a fun time and shows some of the best of Netflix’s lead anthological series.
Black Mirror is now streaming on Netflix. All five episodes reviewed. Rating: 3.5/5 [Tribeca 2023] STAN LEE -- Unchallenging Documentary is Nevertheless Nostalgic and Emotional6/14/2023
Review by Sean Boelman
When a biographical documentary is produced by the company that employed an individual, it’s unlikely that it will be especially challenging or groundbreaking. That rule is not broken by the Marvel Studios-backed Stan Lee, but filmmaker David Gelb (Jiro Dreams of Sushi) has still made a worthy love letter to an iconic figure in pop culture.
In honor of what would have been the comic book creator’s 100th birthday last December, the documentary Stan Lee takes a look back at Lee’s life and career as one of the main creative forces behind Marvel Comics and one of the most influential artists in all of comics history. While the documentary may not be particularly prying, it’s a compelling watch nonetheless. Although it is understandable why this decision was made — the documentary is, first and foremost, a tribute to Lee — the film does disappointingly gloss over some of the contributions that other artists made to the success of Lee and Marvel. The movie does have a brief discussion of the sometimes contentious relationship between Lee and Jack Kirby, but apart from that, the focus is almost entirely on Lee’s contributions. And to that matter, there are plenty of contributions that Lee made — not just to Marvel but the comics industry as a whole. However, with a sub-90-minute runtime, it feels like we are getting the Wikipedia version of Lee’s life. We touch on some of his most important creations — Spider-Man, the Incredible Hulk, the Fantastic Four, and more — but these are the stories that comic fans already know well. Hell, people with a basic knowledge of pop culture history probably already know these stories. That said, where the film thrives is allowing the audience to hear Lee talk about his work in his own words. Even though the archive materials talk about familiar topics, it will be such a joy for comic fans to hear Lee’s voice again. Some viewers may even find themselves getting a bit choked up with nostalgia from some of the moments. Gelb’s editing in the movie is very kinetic, weaving between different methods of storytelling in a way that will keep viewers engaged. Lee talked quite a bit about his work, so Gelb had a wealth of archive materials to pull from. Throw in a strong score by Michael Dean Parsons and Scott Michael Smith, and you have an effectively cinematic documentary. The parts of the film that will likely stand out the most to viewers are those which utilize miniatures to recreate portions of Lee’s childhood and early life. Although this could be seen as a gimmick by some, it’s an effective device nonetheless. These sequences infuse the move with a feeling of child-like joy, much like action figures of Lee’s creations have for children throughout the years. Although Stan Lee is hardly a revealing documentary, it will nonetheless delight comic fans. The merits of the film are summed up pretty well by a quote Lee himself says in an interview: “Maybe entertaining is one of the most important things because there are so many bad things in the world that if you can entertain someone for a while, it’s a good thing” Stan Lee screens at the 2023 Tribeca Festival, which runs June 7-18 in NYC and June 19 through July 2 online. Rating: 3/5
Review by Sean Boelman
Concert documentaries are a tricky subgenre for a filmmaker to pull off, because it’s extremely difficult to capture the lightning in a bottle that is a live event, and that difficulty is only amplified when the event is one-of-a-kind. Taylor Mac’s 24-Decade History of Popular Music is thoroughly impressive as a work on the stage, and it translates surprisingly well to the screen thanks to deft direction by accomplished documentarians Rob Epstein and Jeffrey Friedman.
The movie is a presentation of Taylor Mac’s award-winning and acclaimed stage show — a 24-hour journey through the history of popular music and how these songs reflect the society in which they rose to fame — or, in some cases, notoriety. Even if one is not a fan of this type of exuberant drag performance, it would be hard not to be impressed by the sheer ambition of Mac’s feat. Throughout the course of the show, Mac sings a series of songs that represent the types of songs that were popular from 1776 to the then-present of 2016. Yet, even though it has taken seven years for the film version of this show to be made, the message still remains eerily relevant to this day. Filmmakers Rob Epstein and Jeffrey Friedman had nothing short of a monumental task to accomplish when it came to capturing this stage show for the small screen. Of course, it’s a 24-hour “performance art concert” that was as much about the experience of being there as it was about the music being presented and stories being told.
The performance footage by Epstein and Friedman does an extraordinary job of capturing and communicating the energy that filled the auditorium during Mac’s live performances. It’s a kinetically edited mixture of close-ups of Mac performing, wide shots showcasing the entire ensemble on the stage, and cutaways to the audience’s reaction — or participation, when relevant.
However, Epstein and Friedman make the wise choice of not simply presenting a condensed recording of the show. In between clips of the performance, there is behind-the-scenes footage in which Mac and the backstage crew explain the logistics — and sometimes even the meaning — of a portion of the performance. Some of the discussions with the show’s costume designer provide fascinating moments. Mac is also not afraid to challenge the audience — both the live audience and viewers of the film version — to reflect on the more challenging parts of the history being discussed. One of the most impactful moments in the movie comes when Mac sings a minstrel song before instructing the audience not to applaud, explaining the dark historical context of the piece. It’s a somber moment that encourages us to reflect on the significance that art can have, both positive and negative. Mac’s show is already impressive in its own right, but the film that Rob Epstein and Jeffrey Friedman have made is an extraordinary music documentary that will hopefully give the performance a much-deserved second light. Taylor Mac’s 24-Decade History of Popular Music is absolutely essential viewing for fans of music history and queer history. Taylor Mac’s 24-Decade History of Popular Music screens at the 2023 Tribeca Festival, which runs June 7-18 in NYC and June 19 through July 2 online. Rating: 5/5 |
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