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By Sean Boelman
2020 has been an unprecedented year for the film industry, with theaters forced to close as a result of the pandemic and the industry mostly grinding to a halt. Still, thanks to some new at-home viewing options (virtual cinema has proven particularly effective in maintaining some life in the indie market), and the lucky few releases that got their chance on the big screen before the shutdown, there were some pretty noteworthy titles released in the first half of the year. Without further ado, here are ten of the best films of 2020 so far, in alphabetical order.
Note: This list does not include films that have not received some sort of public release between January and June 2020, including festival showings, virtual or otherwise. The Assistant
Kitty Green’s quiet and meditative drama The Assistant, a direct reflection of the “TimesUp” era, came out right before Harvey Weinstein was convicted in February, and while there have been significant changes since the first allegations against him broke in 2017, there’s still room to go. This portrait of a young assistant facing sexual harassment in an unnamed production company is absolutely harrowing, using restraint as a tool to creep under the viewer’s skin. Julia Garner’s performance here is unforgettable, and Matthew Macfadyen also gives a memorable bit turn as the unwelcoming HR rep. This may be the most underseen pick on this list, and that needs to be fixed.
Babyteeth
While the initial premise of a terminally ill teenager falling in love with a drug dealer might sound messed up, Shannon Murphy’s darkly funny directorial debut Babyteeth is also surprisingly sweet. Although Murphy’s visual style and the script by Rita Kalnejais are both great, it is the performances here that make the film stand out the most. Hot off her star-making turn in Greta Gerwig’s Little Women, Eliza Scanlen proves that she is a force with which to be reckoned, bringing a lot of humanity to her role. Character actor Ben Mendelsohn is also as great as ever here, with one of the most demanding performances he has had to give to date.
Bad Education
The sophomore effort from Thoroughbreds director Cory Finley, the crime comedy Bad Education was bought by HBO out of TIFF last year and made its way to the pay network earlier this year. This story of public school embezzlement is almost so crazy that it’s hard to believe. Aided by great performances from Hugh Jackman and Allison Janney and vivid direction from Finley, the script by Mike Makowsky is the MVP here. With witty dialogue, killer pacing, and some surprisingly good characterization, expect this one to make a big splash at the Emmys when they are able to occur this year.
Jasper Mall
One may wonder why they should care about some random dying mall in Alabama, but Bradford Thomason and Brett Whitcomb’s documentary Jasper Mall makes an impressive statement with this seemingly local interest story. Exploring the shortcomings of the consumerist tendencies of America, this film has an unexpectedly human touch to it, especially as it explores the story of the endearing manager trying to keep his mall afloat. The film definitely cashes in on the nostalgia that a lot of people have for their days of shopping at the mall being a formative social activity during their youth, but it’s also very much a product of the moment.
Never Rarely Sometimes Always
Out of all of the films on this list, the one most likely to achieve year-end success (with critics and awards voters alike) is Eliza Hittman’s character drama Never Rarely Sometimes Always. A timely exploration of the issue of abortion, it’s an emotionally devastating watch, but an important one at that, and it has been connecting with audiences of all ages as a result. Sidney Flanagan’s leading performance is absolutely amazing, but the gorgeous visual style that Hittman brings to the film is probably the biggest highlight here. It’s a restrained and low-key film, something of which the film industry is constantly in need.
On the Record
Following up their groundbreaking film The Hunting Ground with another exposé on sexual abuse, Kirby Dick and Amy Ziering’s new documentary On the Record is one of the most hard-to-watch films of the year so far. After picking up some controversy when Oprah Winfrey and Apple TV+ dropped the film from their slate just prior to its Sundance debut, new streamer HBO Max gave this movie about the damning allegations against record producer Russell Simmons a new home. Incorporating elements of a music doc but packing a huge emotional punch, this doc isn’t one you’ll soon forget.
Sorry We Missed You
Although some would argue that British filmmaker Ken Loach may have peaked with his Palme d’Or winning The Wind That Shakes the Barley, this year’s Sorry We Missed You proves that he still has it as long as his writing partner Paul Laverty has something to say. This time, Loach and Laverty conquer the issues of the modern gig economy with the heartbreaking tale of a delivery driver father and his struggling family. Like much of Loach’s best work, this is an absolutely draining watch, but its examination of how the economy is taking advantage of the lower class couldn’t be more timely than it is now.
Swallow
Carlo Mirabella-Davis’s feature debut Swallow is the best horror film of the year, offering a socially-conscious entry into the body horror genre, Mirabella-Davis’s script is both disturbing and darkly funny. Following a young housewife with a (shockingly existent) condition that compels her to swallow increasingly dangerous objects, this is a bizarre film, but one that you can’t spare to look away from. Haley Bennett impresses here, finally being given the opportunity to do something other than to be eye candy. Mirabella-Davis’s visual style is also very idiosyncratic, particularly his use of color, cementing him as one of this year’s big talents to watch.
Weathering with You
Although his last film Your Name. got much more widespread acclaim, Makoto Shinkai’s newest anime feature Weathering with You is extremely impressive. Although it admittedly can be a bit of a tear-jerker at times, the tremendously beautiful animation and sense of fantasy and wonder that flows through it make up for its shortcomings. Even more shocking is the fact that this is the rare anime where the dubbed version almost works better than the subbed version, with an English voice cast including Allison Brie, Riz Ahmed, and Lee Pace (although the original language cast is great too). Sadly, the unusual release patterns of anime in the United States makes this the only entry on this list that is not currently available to watch in some form.
A White, White Day
Hlynur Palmason’s Icelandic thriller A White, White Day is very different from any entry on this list. It’s both a meditative drama about grief and a revenge thriller showing a man hunting down the person who has wronged him. Unlike most films of the genre, the violence is not the focus here, brutality only used in short bursts to accent the emotion, with more emphasis being placed on the characters and their feelings. Palmason challenges a lot of conventions, but his compelling story, cold but picturesque cinematography, and a brilliant performance from Ingvar Sigurdsson make this one of the best films of the year yet.
While some of the most anticipated films of 2020 were delayed as a result of the COVID-19 pandemic, with theaters hopefully reopening in August, many of them should make their way to the big (or small screen) by the end of the year. Still, one can expect some of these great pictures to repeat on that later list.
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By Sean Boelman
Greek filmmaker Yorgos Lanthimos received a great deal of attention as the director of the critical darling The Favourite, but even before that, he was an amazing filmmaker who defined an entire movement in Greek film. His first solo feature Kinetta is finally making its way to American audiences, so now seems to be the perfect time to trace the development of his unique and darkly comedic style of cinema.
The zany premises of Lanthimos’s movies are a big part of what has gained him such a big cult following. Over the course of his career, the concepts of his films have gotten more and more bizarre (and increasingly insightful, in effect), starting with Kinetta, his most grounded, all the way to The Killing of a Sacred Deer, which leans fully into fantasy. (The Favourite was not written by Lanthimos, hence its exclusion.) Much of the charm of these dark satires lies in the fact that they are so unabashedly odd that they are impossible to ignore. There may or may not be reason to be concerned about the filmmaker’s state of mental health given some of the more disturbing and demented elements of some of his movies, but there is something impressive about the fact that he can find the humor in these dark situations. Lanthimos’s solo debut Kinetta is undeniably his most subtle in terms of humor, but it still shows many of his hallmarks that would develop over the course of his filmography. The movie’s repeated use of purposefully rough film-within-a-film footage may be among the most disturbing moments of any of his movies (incest included), but there’s still something uncomfortably funny about it. 
This would soon be taken to the extreme in his follow-up Dogtooth, which has the most taboo subject matter that Lanthimos has tackled to this point. Still, Lanthimos doesn’t shy away from mining the hilarity out of the awkward atmosphere, delivering situational humor that will linger for a long time in the mind of the viewer.
Dogtooth also shows how Lanthimos would eventually master the art of dialogue. The filmmaker’s gift with words is never more evident than when he inserts common words and phrases into sentences out-of-context to make the characters lovably out-of-touch. This simple but inspired action on his part goes to show how much of a comedic genius he really is. When Lanthimos would truly become a master of dark absurdity is when he could translate it into topicality, and that happens in The Lobster. Although Kinetta, Dogtooth, and Alps all have something to say, The Lobster is his first film that feels urgent. It is the perfect culmination of all the humor he has been working up to build, all of it having started with three people in a Greek hotel. It is interesting to see how Lanthimos evolved as a filmmaker from Kinetta through his English-language masterpieces. Each movie builds upon its predecessor, forming Yorgos Lanthimos into one of the most prolific voices working in film today, and hopefully, he has plenty more to say. Yorgos Lanthimos’s solo directorial debut, Kinetta, is now streaming on Criterion Channel.
By Sean Boelman
Although the 2020 SXSW Film Festival was cancelled as a result of the global pandemic we are facing right now, that didn’t stop some of the filmmakers from sharing their films with critics in the hopes of building buzz for their eventual premiere when things blow over. While it’s sad that these filmmakers didn’t get to see their films premiere to packed houses in Austin, TX, they still have the honor of getting the recognition of being selected, and most of them won’t have a hard time finding another place to screen. Although there are plenty of great films in the lineup that already have distribution deals in place, those films have a list of their own. Instead, these are the films that would have had their world premiere at this year’s SXSW and need your help in driving up attention to get a distribution deal and/or a new festival home!
Best Summer Ever
Directed by Michael Parks Randa and Lauren Smitelli, Best Summer Ever is arguably the film that had the most to lose from the cancellation of the festival. A low-budget independent musical featuring an integrated cast of people with and without disabilities, this film is just an absolute ball of happiness and joy. Think Grease, but way more inclusive and wholesome, and that’s Best Summer Ever. The eight songs on the soundtrack are bright and catchy, and the script offers a tongue-in-cheek riff on teen comedy tropes (which won it the Final Draft Screenwriters’ Award). The film was set for a pretty prolific festival tour, but unfortunately, all of its screenings have been postponed for the time being. Still, it’s the type of crowd-pleasing movie that demands to be seen with an audience.
For Madmen Only
Heather Ross’s documentary For Madmen Only takes a look at the life and career of comedic mastermind Del Close. Although it is one of the safer and more conventional films to appear on this list, it earns its spot because of its entertaining and heartwarming approach to its story. Fans of the comedic medium will undoubtedly delight in getting to see footage of Close workshopping his magnum opus, the “Harold”, and interviews with various high-profile comedians who were inspired or mentored by the man himself. Because of how well-known the film’s subject and interviewees are, you can expect this film to find a home soon, as it is a good crowd-pleasing documentary.
Critical Thinking
The directorial debut of actor-turned-filmmaker John Leguizamo, Critical Thinking is an uplifting and inspiring tale of youth banding together to make the most of their situation. Although the film leans a bit too heavily on genre tropes at times, the phenomenal true story at the center of the film will allow it to connect with audiences of all ages and cultures. Even though the film doesn’t reinvent the wheel, it offers plenty of laughs and an uplifting message. Leguizamo is at his career best as the teacher who serves as the mentor to these kids, and the cast also features some strong performances from the young actors in the chess team. Because of the crowd-pleasing nature of the film, and the star-power attached, this won’t have a hard time getting distribution, so you’ll get to see this film sooner rather than later.
Tomboy
Lindsay Lindenbaum’s music documentary Tomboy is probably one of the most refreshing films that audiences would have gotten the chance to see at this year’s SXSW had it been able to occur. Giving viewers an intimate look into the lives and work of four female drummers, the film presents an important perspective on a genre of music that is often male-dominated (or at least the men get a majority of the attention). Although the film does feature stories from well-known bands, the more effective portion of the film is arguably that which follows an extremely talented young woman as she forms a band of her own. With this, Lindenbaum is able to create a film that is a passionate love letter to music and creativity.
Shithouse
Having gotten the support of indie filmmaker Jay Duplass, young writer-director-star Cooper Raiff’s directorial debut Shithouse earned the Grand Jury Award in the Narrative Feature Competition (via virtual judging) at this year’s festival. With a unique and brutally honest perspective on a common genre, Raiff’s film is both a ton of fun to watch and surprisingly emotionally resonant. This lo-fi dramedy is a little rough around the edges, but that is part of its charm. The script is charming and often hilarious, thanks in part to excellent performances from Raiff and his co-star Dylan Gelula. Thanks to the names that have given their support to the film, and the acclaim it has been getting, expect this one to make its way to audiences pretty quickly.
Dark City Beneath the Beat
Baltimore musician TT the Artist shows that her talents also expand to a visual medium in her hybrid documentary Dark City Beneath the Beat. Part performance film, part visual essay on the history of Baltimore club music, and completely a love letter to the city that inspired her work (both this film and her music), this is one of the most interesting sensory experiences that viewers would have had at this year’s festival. The performances are intricately choreographed and beautifully-shot, and the interviews that stitch them together provide some great insight into the creative process. This isn’t an average documentary, but it sure is an enjoyable one, especially for any fans of music.
The Surrogate
Jeremy Hersh’s directorial debut The Surrogate may be one of the least traditionally cinematic films that was set to debut at this year’s festival, that doesn’t prevent it from being one of the most riveting. An intense and emotional examination of its central ethical dilemma, this film is as thought-provoking as it comes. Although it’s overtly political nature may cause it to be divisive among closed-minded audiences, the film does a good job of addressing both sides of the very important discussion around which it is built. The film is also notable because its lead actress, Jasmine Batchelor, gives one of the best performances of the year so far. Though the challenging nature of this film means it will be hard for it to find a fitting home that can market it properly, it will be more than worth the wait.
Crestone
Experimental filmmaker Marnie Ellen Hertzler has finally made the transition into long-form filmmaking with her ambitious avant garde documentary Crestone. Exploring the lives of a group of SoundCloud rappers as they go about their daily routine in the eponymous town, making music and smoking weed, Hertzler transports the viewer into the fantasy-like world the subjects have created for themselves with some surreal visuals and an unreal sound design. No one would’ve thought that a documentary about pot-smoking rappers would have been as profound as this, but here we are. This film will undoubtedly challenge audiences and their narrative expectations, but if viewers are able to get in tune with Hertzler and her film’s subjects early on, this film will have a surprising impact.
Lapsis
Another directorial debut, Noah Hutton’s film Lapsis was one of the more idiosyncratic films in this year’s festival lineup. Combining sci-fi with deadpan comedy and social commentary, the film feels like a cousin of Sorry to Bother You and other great works of sci-fi satire. Hutton’s film is one that will stick with viewers long after the credits roll, as its message about the modern economy, particularly when it comes to gig workers, is very profound. This is the type of smart and creative genre picture that festivals like SXSW were made to discover, and Hutton’s voice is that which festivals in general were made to project. Of any of the films that screened for press out of the lineup, Lapsis is the one that most screams that it will achieve a cult following if distributors will take a chance on it.
The Donut King
The first film in which cinematographer Alice Gu steps into the director’s chair, The Donut King is without a doubt the most impressive documentary that was supposed to debut at this year’s SXSW festival. Although the film is certainly admirable as a foodie movie (it features some gorgeous shots of the eponymous delicacy, coupled with some phenomenal editing), it is even more effective as a story of the American Dream. The film traces its subject as he goes from a Cambodian immigrant fleeing the oppression of the Khmer Rouge to the owner of an empire of donut shops in California. Executive produced by Ridley Scott, this is an entertaining and endearing documentary unlike any other in the lineup this year. If this film goes to the right home, expect it to become a sensation when it gets released.
All ten of these great films were set to debut at the cancelled 2020 SXSW Film Festival and are currently seeking distribution.
By Sean Boelman  SUMMER WHITE The hustle and bustle in Park City is finally coming to a close as the two concurrent film festivals, Slamdance and Sundance, have wrapped up their 2020 editions. Both festivals were home to plenty of great films, some of which came out of the fest with distribution deals and many of which are still looking for homes to bring them out into the public. Although there were also some great films to have shown at Slamdance and Sundance that had already debuted elsewhere (Pablo Larraín’s Ema is arguably the single best film to have shown in Park City), those films don’t appear on this list. Instead, this is the top four films that held their premieres at the Slamdance Film Festival or Sundance Film Festival. 4. Summer WhiteA Mexican coming-of-age tale written and directed by Rodrigo Ruiz Patterson, Summer White is a slow burn, but it is an effective one at that. Drawing the viewer into the world of the protagonist, Patterson is able to create a thoroughly immersive environment that allows the film to be absolutely shocking at times. Although the story is a tad predictable, the themes which Patterson explores are interesting enough to make the film stand out. 3. Acasa, My HomeA verite-style documentary following a Romanian family as they are displaced from their longtime home, Acasa, My Home may not be the most urgent documentary to play at this year’s festivals, but it is certainly one of the most affecting. Thanks to the film’s largely human-oriented approach, the film is packed with emotion. Even though some of the things that happen may not seem like they would be particularly cinematic on paper, they make for a fascinating documentary nevertheless. 2. JumboAlthough it was met with mixed reviews by many, Jumbo earns a spot high on this list thanks to its charm and wit. While it is true that the film follows the beats of the genre to the tee, writer-director Zoé Wittock brings a unique visual style to the film that is undeniably impressive. Containing some absolutely gorgeous cinematography, and a performance from Noémie Merlant that is not to be missed, this is the type of quirky indie film that these festivals are meant to discover. 1. Jasper MallHowever surprising it may be, a documentary about a dying mall of all things was one of the best films to play at either festival, and ultimately the best film to make its premiere in Park City. Bradford Thomason and Brett Whitcomb’s fly-on-the-wall Jasper Mall may have a simple set-up, but it uses it in an extremely interesting way to deliver commentary on the American economy. This thought-provoking documentary absolutely demands to be seen, and immediately. The Slamdance Film Festival ran January 23-30 in Park City, UT and the Sundance Film Festival ran January 24 through February 2 in Park City, UT.
By Sean Boelman  Dembanger horror-thriller film still. Credit: Jonathan Pope. On February 5, the SXSW Film Festival announced the remainder of the programming that will be screening at the 2020 SXSW Film Festival, which runs March 13-21 in Austin, TX. Among the films announced are those that will be screening as "Midnighters", "Festival Favorites", and "Special Events", in addition to other late-addition features and the shorts, title design, and virtual reality cinema competitions.
The "Midnighters" section is home to those films best seen after dark (and with a little bit of liquid fun, if you're lucky enough to be attending a screening at the Alamo Drafthouse), from horror features to bizarre and surreal comedies. This section always contains some of the lineup's most intriguing films, if only because they are usually the weirdest, and this year is no exception. Highlights include the social-media-inspired thriller Dembanger and the Blumhouse thriller Run Sweetheart Run. In the "Festival Favorites" section, attendees will be able to see great films that have been gaining steady buzz on the festival circuit, including some from this year's Sundance Film Festival, which just ended. Arguably one of the most exciting films in the section is Charm City KIngs, a new coming-of-age tale with story by Moonlight writer-director Barry Jenkins. Festival-goers also won't want to miss deadpan buddy comedy The Climb, which has been nominated for Indie Spirit Awards. The "Special Events" section features special screenings of films in a unique environment that only a festival like SXSW can provide. Festival-goers will be treated to screenings of films with new restorations or live score performances. Although these don't fall within the realm of traditional film screenings, attendees should definitely check these events out if they get the chance, because they certainly provide a unique experience. As anyone who has been to SXSW will tell you, the announcement of the program is just the beginning. Now, attendees must get to work scheduling their stay at SXSW. Whether you are staying for the whole festival or only coming for part, it is nearly impossible to squeeze in everything because of the wealth of great films that will be showing. And of course, you have to leave room for some buzz screenings! Still, with plenty to choose from, this year's festival is sure to be a fun and cinema-packed week! The 2020 SXSW Film Festival runs from March 12-21 in Austin, TX. By Sean Boelman For the fifteenth year, ShortsTV is releasing the Oscar-nominated short films in all three categories in theaters, allowing audiences across the country and world the unique experience of getting to see these short films in a setting unlike that in which they are usually shown. This also gives the filmmakers of these shorts the opportunity to see their work playing on the big screen, which is often a dream come true. This year’s batch of documentary shorts going for the title is much stronger than usual, each of the films feeling unique in their own way. Perhaps the most intriguing thing about this group of nominees, though, is the fact that they are much more uplifting than is typical for the category. More often than not, multiple tear-jerking (and sometimes even outright depressing) docs dominate the group, but this year, the nominees are much more pleasant as a whole. 5. In the Absence Every year, there is one documentary short that stands out as less deserving of the accolade than the rest, and this year, that is In the Absence. Although the story is certainly very strong and inspiring, the way in which the filmmakers go about approaching it is not particularly effective. Feeling more like an extended news story than a true documentary, this film is messily assembled from haphazardly-captured footage shot on the scene. This film undoubtedly has a ton of potential, but it doesn’t ever pan out into anything particularly compelling. 4. St. Louis Superman Telling the story of an extraordinary subject in such a short period of time, St. Louis Superman feels like it could and should have been expanded into a feature. There are so many sides to this story, but not all of them can be explored to their full depth with a minimal runtime like this. Ultimately, the charisma of the film’s subject makes it naturally entertaining, and the film does address some very timely themes, though this short easily could have been significantly better had it been even just ten or twenty minutes longer. 3. Learning to Skateboard in a Warzone (If You're a Girl) In any other year, Learning to Skateboard in a Warzone (If You’re a Girl) likely would’ve been the best in show, but that only goes to show how strong the crop is this year. Inspiring and well-shot, this film encourages viewers to find time for compassion, even in what seems to be the most difficult of situations. Although the film does lean a bit too heavily into its sentimentality at times (a few overused documentary tropes do make an appearance), it is consistently heartwarming and manages to hold the attention of the viewer for all of its forty-minute runtime. 2. Life Overtakes Me One of the more subtly resonant of the nominees this year, Life Overtakes Me balances its human-oriented story with its political message quite effectively. Out of all of the shorts, this is arguably the one that feels the most cohesive. The story doesn’t feel like it demands a feature-length narrative, but it commands the viewer’s interest for the entirety of the forty-minute runtime. If there is an issue with the film, it is that it doesn’t explore all of the subjects equally. Perhaps the film would have been better off focusing on one of these people’s stories. 1. Walk Run Cha-Cha With a seemingly small-scale but ultimately very important story, Walk Run Cha-Cha is a simple but truly effective documentary short. Functioning as both an inspiring story of two immigrants overcoming the obstacles they have faced and a statement as to how art unites all of us, the film is poetic and beautiful. Culminating in a final sequence that is immensely satisfying, Walk Run Cha-Cha is certainly one of the most moving nominees of this year’s batch. However, unlike many of the recent winners, this isn’t an absolute tear-jerker, so that may not be working in its favor. The 2020 Oscar Nominated Short Films are now playing in theaters.
By Sean Boelman For the fifteenth year, ShortsTV is releasing the Oscar-nominated short films in all three categories in theaters, allowing audiences across the country and world the unique experience of getting to see these short films in a setting unlike that in which they are usually shown. This also gives the filmmakers of these shorts the opportunity to see their work playing on the big screen, which is often a dream come true. After a particularly weak batch last year, the Academy has redeemed themselves with a mostly strong group of nominees for the live action award. As always, the category has a focus on harder-hitting topics and themes, although none are as outright depressing as some of the ones that have won in the past. Still, viewers shouldn’t expect to watch the nominees feeling uplifted. 5. The Neighbors' Window The only English-language short nominated in this category and perhaps the most widely agreeable of the group, The Neighbors’ Window ultimately suffers from feeling too direct and to the point. The entirety of the film’s message is summed up a bit too nicely in a brief monologue at the end of the film, leaving the viewer feeling like the previous fifteen minutes were somewhat meaningless. There is some merit in this short, but because of this, it feels like the least substantial of any of the nominees. 4. Brotherhood Arguably the most socially relevant nominee, but also the least satisfying short nominated, Brotherhood can’t be faulted for lack of ambition, though it feels like its premise would have been better-suited to a feature-length runtime. There is a lot happening in the narrative in this short, and while the themes the film addresses are certainly important and some of the commentary insightful, there simply isn’t enough time in the film for all of the threads to be developed. However, the film is absolutely gorgeous, particularly in terms of its cinematography, so despite its narrative shortcomings, it earns its spot on this list. 3. Nefta Football Club The only nominee out of the five films that isn’t emotionally draining, Nefta Football Club is a (relatively) feel-good comedy about the joys of childhood friendship. Although there is a bit of a bittersweet edge to the film — the sense of humor is extremely dark — it is a welcome relief when put against the stressful and/or depressing nature of the other four shorts. The chemistry between the two child actors is great, developing naturally over such a short period of time, and is likely the main reason why this short works so well. 2. A Sister Without a doubt the most intense nominee out of this year’s batch, A Sister takes advantage of its confined setting and minimal premise to deliver a lean and suspenseful thriller. Although there was a feature-length film (The Guilty) that did something similar, A Sister still feels fresh and necessary thanks to the timely themes it addresses and the exquisite craftsmanship with which it is told. Ultimately, this short feels a lot more low-key than some of the other contenders, and likely won’t get as much attention as a result, but it is probably the best-shot of the bunch. 1. Saria Admittedly a bit rough around the edges, Saria nonetheless proves itself to be the short most worthy of this award thanks to its timely themes and character-driven approach to its true story. In just over twenty minutes, the film is able to connect the audience to this group of girls to a point that the film becomes absolutely heartbreaking. Unfortunately, the film will likely be passed up in favor of one of the ones dealing with a more hot-topic issue, but this exploration of the failures of the orphanage system is undeniably riveting. The 2020 Oscar Nominated Short Films open in theaters on January 29.
By Sean Boelman For the fifteenth year, ShortsTV is releasing the Oscar-nominated short films in all three categories in theaters, allowing audiences across the country and world the unique experience of getting to see these short films in a setting unlike that in which they are usually shown. This also gives the filmmakers of these shorts the opportunity to see their work playing on the big screen, which is often a dream come true. This year’s batch of animated shorts nominated for the award is about as one would expect, as the Academy has become relatively predictable in the films they nominate in this category. As always, the category will likely be won by the contender from the mainstream studio, but some of the indie shorts are very wonderful as well. The animated shorts program shown in theaters also contains three other films that were not nominated for the award, but those are not ranked in this article. 5. Daughter As is always the case with this category, there is one film in the mix that is a depressing tear-jerker, and this year, that is Daughter. Although there is a lot of merit in this film, and it is understandable why it earned a nomination, it doesn’t quite seem to hit all of its intended beats. Yes, it does have some absolutely stunning sequences, but the visuals aren’t able to compensate for a narrative that feels overly safe. Unlike some of the other contenders nominated for this award, this film doesn’t earn the emotional reaction it elicits. 4. Sister Inarguably the most unusual contender on this list, the highly personal (and surprisingly political) short Sister packs quite a bit of material into its brief runtime but also packs quite the punch. Ultimately, the film’s third act twist feels a bit manipulative, but it does a good job of driving the film’s message home. Still, one can’t help but feel like there is more to be told from this story, and that an animated short like this may not have been the method to do so. Thankfully, there are more resources available on the issue, including a well-made documentary that was also released in 2019. 3. Kitbull Released by Disney/Pixar under their SparkShorts label, Kitbull likely would have been the favorite to win this award if only it had been released theatrically alongside one of their features. Alas, the Disney+ release for this cute, if somewhat insubstantial short will likely cement its position as one of the long shots, even despite the brand name. Certainly adorable, with admirable character design and a sweet story, Kitbull is an admirable film, but it arguably isn’t the best to have been released under the label. With the era of Pixar shorts accompanying their features in theaters coming to an end, so too it seems that the company’s usual reign in this category is over. 2. Hair Love From Sony Pictures Animation (the film received a theatrical release along with The Angry Birds Movie 2), Hair Love is the obvious favorite to win the title as this year’s best animated short film. With a touching story and some extremely creative animation, the talent in the visual storytelling that is present here is undeniably very impressive. Though the film’s narrative is a bit safe, it is packed with emotion, and it is unlikely to leave any viewer unmoved. Additionally, there is a ton of personality in the visual style, with some excellent character designs and some unique effects. This is the type of all-around well-made and crowd-pleasing short that usually triumphs in this category, so don’t expect the Academy to bring any surprises. 1. Memorable Although it is unlikely to receive the award (as mentioned before, the Academy tends to recognize the higher-profile contenders in this category), Memorable is arguably the most deserving nominee of the bunch. Featuring a beautiful story that deals with an absolutely heartbreaking topic, this film is heartbreaking in all the right ways. Furthermore, the film features a truly gorgeous and thoroughly creative visual style. The amount of detail present in this short is extremely impressive, from the texture of the characters to the design of the sets. In terms of both style and content, this is reminiscent of the recent animated masterpiece Anomalisa, and as such, it will have plenty of fans of its own. The 2020 Oscar Nominated Short Films open in theaters on January 29.
By Sean Boelman It’s January, and in the film industry that means two things: film festivals and lackluster mainstream releases. In the snowy paradise that is Park City, Utah, the annual tradition of coming together to watch as many films as possible has begun. However, what is unique about Park City this time of year is that there are two film festivals taking place concurrently! The Sundance Film Festival features higher profile releases and the Slamdance Film Festival showcases some wonderful up-and-coming or underground talents. Although disappointment media won’t have any staff writers on the ground this year, we are providing remote coverage to help guide you through some of the most interesting films coming out of both festivals. In this article, we highlight four films (two from each festival) that we have already gotten to see from this year’s lineups and explain why we think that you should give them a shot too! Ema (Sundance) Mariana DiGirolamo appears in Ema by Pablo Larraín, an official selection of the Spotlight program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute. After making waves at its debut at the 2019 Venice Film Festival and subsequent showings at TIFF and the London Film Festival (among others), director Pablo Larraín’s (Jackie, Neruda) eighth feature Ema was selected to screen as a part of Sundance’s Spotlight program. Telling the story of a family in crisis after a tragedy forces them to make a controversial decision, Ema shows Larraín at his best, blending intricate character work with the hypnotic artistry of a dance film. Almost like the even more gut-wrenching and emotional cousin of Gaspar Noé’s Climax, Larraín’s film is a visual feast, but it also contains plenty of substance in the script. And to top it off, actors Gael García Bernal and Mariana Di Girolamo both give phenomenal performances. This is the film not to miss at this year’s festival. Jasper Mall (Slamdance) Although a film about a dying mall might not immediately strike one as essential viewing, the feature documentary by Bradford Thomason (in his directorial debut) and Brett Whitcomb is arguably one of the most successful fly-on-the-wall documentaries to come out in a very long time. Exploring the demise of a shopping center in small town Alabama as a representation of the greater issues faced in the modern American economy, the Slamdance Documentary Competition entry Jasper Mall is an admittedly simple film, but it is an effective one at that. With their minimalistic and character-driven approach, Thomason and Whitcomb take this story even further, crafting an eye-opening tale of the struggle of the middle class. Anyone who grew up going to the mall will leave this film heartbroken about the death of small business in America. Jumbo (Sundance) Having gotten a lot of attention upon its announcement in the lineup for Sundance’s World Cinema Dramatic Competition for its bizarre premise, Zoé Wittock’s film Jumbo is a brilliant, surreal, and unforgettable romantic fantasy. Telling the story of an amusement park worker who falls in love with a tilt-a-whirl ride, this is the type of weird vision that film festivals are meant to discover. While the premise may be off-putting to mainstream audiences, Wittock handles the absurd story in a way that feels both witty and heartfelt. Additionally, lead actress Noémie Merlant (of Portrait of a Lady on Fire fame) gives a wonderful performance and will likely be the main draw of the film. This film will satisfy any festival goer’s craving for weird and whimsy. Animation Outlaws (Slamdance) Featuring many high-profile interviewees, the Slamdance special screening Animation Outlaws is tailor-made for any fan of animation. Detailing the history of Spike & Mike’s Festival of Animation, a roadshow of animated shorts that originated before the internet made the medium more widely available, the film includes clips from many of the films that played in the showcase, along with interviews with some recognizable faces from the industry including Pete Docter (Inside Out), Nick Park (Wallace and Gromit), and Weird Al Yankovic. Also notable about the film is director Kat Aloshin’s unique style, using an animated background behind the talking head interviews and many animated sequences to bridge the gap. This is truly a crowd-pleasing treat. That is just a sampling of the many wonderful offerings held at the 2020 Sundance and Slamdance film festivals. If you are in Park City experiencing either festival, it is worth the time checking out the other one too, as each features plenty of unique films that you may not get to see anywhere else, or at least not in the same way.
The 2020 Slamdance Film Festival runs January 24-30 in Park City, UT. The 2020 Sundance Film Festival runs January 23 through February 2 in Park City, UT. By Sean Boelman  This January, Blue Underground is releasing a new limited edition 3-disc 4K restoration of Lucio Fulci’s classic Italian horror flick The House by the Cemetery. The film is one of the most well-known by Fulci, the Godfather of Gore, whose other work includes Zombi 2, an unofficial Italian sequel to George A. Romero’s Night of the Living Dead.
The movie follows a family in a New England home as they are terrorized by a malevolent presence living in the basement remaining from the previous homeowner, a deranged doctor who conducted unimaginable experiments. Like many other imports from the era (the film was originally released in 1981), The House by the Cemetery is rather ridiculous, but herein lies a majority of the movie’s charm. Italian horror films don’t spend too much time on logic or plot, with an increased focus on atmosphere. Viewers who come into this movie expecting a tight, neatly-wrapped chiller aren’t the ones for whom this re-issue is intended. Rather, it is the genre fans who will love the film in all its messiness and absurdity that are most likely to find value out of this purchase. If Fulci’s movie does have one significant flaw, it is that it isn’t quite as fun as some of the genre’s most iconic films. Although there are plenty of memorable deaths, the movie ultimately peaks early, with the first killing arguably being the most gruesome and memorable. After getting off to a very strong start, the film does lose some of its steam, but it does regain some of it heading into the final act. As with any great movie like this, the main strengths of The House By the Cemetery are in its visuals. The practical effects and production design are both unreal, but that will certainly be expected by those who have already been initiated into the ways of the genre. As Fulci’s endearing nickname would suggest, some of the imagery in this is very gnarly, and admirably so. The new 4K restoration of the film does it quite a few favors. Restored from the original and uncut camera negative, this release of the movie is absolutely gorgeous to watch. The level of detail in the image really allows the colors in the film to pop, as is so important with this type of horror movie. Additionally, the ability to blast the wonderful score from a Blu-Ray disc is welcome. This release comes with plenty of bonus features, both new and archival. Some highlights from the bonus features include interviews with the stars and crew members (including new ones with the film’s co-writer and lead actress) and commentary from leading scholars in the horror community. Also included are a copy of the Original Motion Picture Soundtrack and a collectible booklet. A gorgeous restoration of an iconic slasher movie, this new release of The House by the Cemetery should make its way to the top of every horror fan’s wishlist. This film will almost certainly satisfy even the most gore-hungry viewer’s craving for carnage and mayhem. The new restoration of The House by the Cemetery arrives on Blu-Ray on January 21. |