Review by Sean Boelman

Nicolás Pereda’s film Fauna exists on a weird plane where it is not quite abstract enough to be considered avant garde, but certainly can’t be defined by traditional narrative standards. Boiling down to an interesting experiment in filmmaking but not much else, one is left to question if this movie really even has an audience, and if so, how will it serve them? 

The film takes place over the course of an awkward family reunion as tensions arise and some of the family members find themselves intrigued by the arrival of a newcomer into their unit. It is very loosely a dysfunctional family comedy, but Pereda’s script is not held back by the genre’s tropes, settling in a place that is vaguely familiar if not entirely comfortable.

Even though the runtime is only an hour and ten minutes, that brief length is packed from start to finish with dialogue. Whether it goes by quickly or slowly will depend on how much attention one is willing to pay to the intricacies and references of Pereda’s script, and whether they appreciate his dry sense of humor.

Perhaps the most frustrating thing about Pereda’s movie is that it is all over the place thematically. There are obviously some really interesting things going on in the script, like his commentary on the role of violence in the media, but then it heads off on a tangent that isn’t as profound or well-developed as the main matter at hand.

The character development in the film is also rather underwhelming. Pereda seems more interested in what the characters have to say instead of how their words reflect on them. As a result, Pereda’s profound observations on society turn into something shallow and distant that feels like it is offering insight without any real application.

Francisco Barreiro is clearly the highlight of this movie. Playing a character with some obvious meta-commentary ties to his popular role in the series Narcos: Mexico, Barreiro has the juiciest part with the meatiest dialogue. Luisa Pardo is also solid in her role, but she is given much less substantial material to work with than Barreiro.

On a technical level, the film is rather straightforward. It’s disappointing that Pereda didn’t go for more of a confined thriller style for his heavily dialogue-driven piece. Nothing looks bad — in fact, it is quite the opposite — everything almost looks too nicely polished for a movie that seemingly wants to be gritty and edgy.

Fauna doesn’t have enough of a conventional narrative to be satisfying in that regard, but is also not ambitious enough to work as an avant garde film. Despite a few things working in its favor, viewers will largely be left wanting more from this disappointing mash-up.

Fauna screened as a part of the 2020 Toronto International Film Festival which ran September 10-19. ​

Review: 3/5

Review by Sean Boelman

The adjective “timely” gets thrown around a lot in film criticism (this critic will even admit to sometimes overusing it), but there hasn’t really been a movie to be made about a moment in the moment and released while that moment is still happening. And while the documentary 76 Days shows some obvious signs of rushed production, it will be the time capsule of what it meant to live during the COVID-19 pandemic. 

The film follows the patients and medical workers dealing with the coronavirus in Wuhan, China, the original epicenter of the pandemic. Assembled from footage collected from the front lines, the movie puts audiences up close with those experiencing the effects of this virus firsthand, a much more personal experience than watching the same stock images that cycle through the news.

It’s really a miracle that this film was even made with the tight control over the media in China. The filmmakers and participants should be praised for their bravery in telling these stories that need to be told. It’s not an easy watch — some of the things presented here are truly horrifying, and others are terribly sad — but it’s one that needs to be seen nevertheless.

Admittedly, the movie does become repetitive at a certain point and one has to wonder whether this would have been more successful as a short than a full feature. Still, there is something to the general chaos of the film that is fitting. It’s an “unprecedented situation” (another buzz word), and these people have no idea what to do.

The frenetic run-and-gun style adopted by the filmmakers works at first because the viewer will know that this movie was made quickly and on-the-fly, but the anxiety it causes soon becomes very tiresome. Perhaps this is the point, especially given the fact that so many municipalities are beginning to ease their preventative measures, but the near-panic tone is a bit aggressive.

The film also falls short in giving the audience a particular subject to call the hero. And while this can partially be attributed to the safety of everyone involved and partially to the fact that this movie is very much made in haste, it still lacks the focus it needs to be more than general gloom and doom.

It’s clear that the filmmakers want this to be a work of activism. Made by filmmaker Hao Wu, journalist Weixi Chen, and another anonymous contributor, the film is meant to be seen by as many people as possible. And hopefully at some point in the near future it will be made available without the limitation of a paywall, as this is what is needed to ensure it reaches those who need to hear this message.

It would be safe to say that 76 Days is undoubtedly the single most urgent film of this year’s festival circuit. It’s not the first COVID-19 documentary, it certainly won’t be the last, and it may not be the best, but it’s what we have right now so people need to see it.

76 Days screened as a part of the 2020 Toronto International Film Festival which ran September 10-19.

​Rating: 3/5

Review by Sean Boelman

Frederick Wiseman is considered to be one of the most influential filmmakers in the direct cinema style of documentary filmmaking, and even as a nonagenarian, he’s still one of the most interesting voices working today. And while his newest film City Hall may be long, it’s powerful stuff and should be considered essential viewing.

The movie takes a look at the Boston city government, with the city used as a representation of American democracy at large. From City Council meetings that get surprisingly heated to public housing inspectors going on their checks, Wiseman turns his camera on all of it to show how these institutions work on even the most miniscule level.

Those viewers who are less adventurous may find themselves put off by the film’s four-and-a-half hour runtime, and honestly, it’s understandable. Watching government proceedings for nearly five hours probably isn’t anyone’s first choice of entertainment, but Wiseman is such a talented filmmaker that he manages to make it riveting.

The style that defines Wiseman’s movies is one that is as detached and objective as possible. Of course, there is something very clear that Wiseman wants viewers to get out of his film, but this is achieved through editing rather than narration or guided interviews. When done right, it can have very impactful results, and as expected, Wiseman’s movie succeeds.

Admittedly, the outlook the film has on the American government is pretty bleak. There are certainly people who want to do right by their people and their power, but American politics have become such a joke that those people can’t even do their job well. One of the most harrowing scenes in the movie features a public forum that is revealed to be entirely ineffective.

Boston Mayor Marty Walsh is the de facto hero of the film as he tries to keep the different moving parts in the government aligned and working. But in doing so, Wiseman loses track of the most compelling aspect of this story: the people of Boston, those who are affected most by the shortcomings of this local government.

The movie also encourages the viewer to take a more active role in their government at all levels. Of course, it is important to vote because that is the easiest and most basic thing a person can do to have their voice heard. But Wiseman purports that there are other simple ways to bring about change, and it is important for people to get invested in solutions as much as they are invested in problems.

City Hall is a pretty magnificent documentary, although it is obvious why it isn’t going to be for everyone. Hopefully this will be the film that finally gets Wiseman his long-due attention from the greater public.

City Hall screened as a part of the 2020 Toronto International Film Festival which ran September 10-19.

​Rating: 4.5/5

Review by Camden Ferrell

​Upon hearing the word “feminism”, many people will likely think of Gloria Steinem. She is a feminist icon, journalist, and one of the most revolutionary activists of the last few decades. The Glorias is the newest movie from Julie Taymor (Frida), and it is based on the book My Life on the Road by Steinem herself. While this movie has a great cast and subject, it often comes off as bloated and not as revolutionary as the Ms. Steinem.
 
In this film, we are taken on a reflective road trip through Steinem’s life. We see her childhood and how it eventually got shaped into her influential and radical adulthood. The movie portrays her efforts as a journalist, a feminist, and as a cultivator of change. She led and continues to lead a great life, and it’s a great foundation on which to build this movie.
 
The script is mostly adequate. Written by Sarah Ruhl and Taymor, a lot of it is standard biopic material. Not to say its inept, a lot of it is actually quite enjoyable, but it falls into the same traps as other films of this genre. It has its occasional great interaction and witty one liner, but it doesn’t do enough to inject energy into this film.
 
The most outstanding aspect of this film is its performances. Gloria is played by four actresses of different ages. While the child actors are great, the real show stealers are the two adult Glorias. Alicia Vikander (The Danish Girl) plays Gloria in her 20’s, and she perfectly embodies this role. She acts with such empathy and conviction, and she handles a wide range of scenes well. The latter half of the film rests primarily on the shoulders of Julianne Moore’s (Still Alice) Gloria. It doesn’t reach the heights of Vikander’s performance, but it’s another amazing performance to Moore’s already impressive career.

The most noticeable flaw of the film comes from its runtime. It’s a hefty movie that clocks in at nearly two and a half hours, and it doesn’t do enough to completely justify that distinction. There are plenty of scenes that could have been cut or reduced, and some parts feel far less consequential than others. It was slightly unorganized, and it could have benefit from some more edits.
 
While the movie has a retrospective and somewhat non-linear progression form the start, it makes some daring choices in the film’s final half. Taymor is no stranger to these artistically expressive and daring moments, but it’s an attribute that isn’t entirely consistent in this film. It’s a refreshing change of pace, but these moments stand out, and it disrupts the film’s natural rhythm.
 
Regardless of its flaws, this is still an informative film about the life of Gloria Steinem. There’s plenty to learn for all ages, and it’s an inspiring film that establishes its social relevance in today’s current social climate. It’s a film that tells the story of one leader as a vehicle to hopefully incite change and inspire a new generation of feminists.
 
The Glorias may be overly long, and it may blend in with other biopics, but it’s still a great showcase for its leading actresses. It is another decent movie from Taymor, and it’s an enjoyable film for a general audience despite its R rating.
 
The Glorias is available on Amazon Prime beginning September 30.
 
Rating: 3.5/5

Review by Dan Skip Allen

As someone who represents something, he stands for issues that many people can get behind. In a state full of Latinos, I can attest to the fact that this is a huge demographic in this country. More and more Latino leaders are popping up. Louis was doing this work decades before people realized it was important to do so. Latinos represent a huge part of the countries population now. Some states like Texas, Arizona, and Florida are a huge voting base for politicians to get on their side. 

Documentaries have to tell a story that is engaging and interesting. Of course, the talking heads are essential in documentaries. Louis's family is the main focus of this doc, but his history in video footage is the meat and potatoes of the film. Filmmaker John James achieves the goal of the film — to get the message of how important this man is in the Latino community and how important his work is. What he accomplished in New York and the country as a political consultant is beyond incredible. Added to what he did for Puerto Rico, he led an incredible life. Look no further than Siempre, Luis for a must-see for anybody looking for inspiration to go do something for your town, state, or country.

Siempre, Luis screened at the Urbanworld Film Festival which runs September 23-27.

Rating: 4.5/5

One of the writers from disappointment media worked on a film playing as part of the Dances with Films Festival, but they were not involved with the writing of this review.