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By Sean Boelman
After a bizarre year, 2021 saw the cinematic landscape return to a bit of normalcy, as we had the return of big-budget blockbusters (Spider-Man: No Way Home is breaking records, both for the pandemic and in general) and in-person festivals to debut the big prestige pictures. As a result, cinephiles have had no shortage of options to feast on, including the return of some beloved auteurs and a stronger-than-average year for international cinema. Although narrowing a list down to 10 films was difficult — it was hard to leave out films like Antlers, Bo Burnham: Inside, and The Nowhere Inn — here are our favorite films of the year!
10. The Lost Daughter
Olivia Colman as Leda. Credit: Yannis Drakoulidis/Netflix © 2021.
It often takes an actor-turned-director a few attempts before they are able to confidently fall into their style, but Maggie Gyllenhaal is the newest in a recent line who have hit a home run on their first time up to bat. The Lost Daughter is a complex, quiet character study that weaves its tale of motherhood and regret in a way that is profound and moving. And it is clear that Gyllenhaal knew how to get the best out of her collaborators, as the work from lead actress Olivia Colman and cinematographer Hélène Louvart is exceptional.
9. A Cop Movie
Alonso Ruizpalacios has made the best documentary of 2021, even if it doesn’t stick to the established conventions of nonfiction filmmaking. Following two actors who go deep into character in an investigation of the Mexican police system, A Cop Movie utilizes the tropes of cop action movies to make the audience question their preconceived notions of real-life law enforcement. The way the film dissects these timely issues is quite harrowing, making Ruizpalacios’s technique much more than just a gimmick.
8. The Green Knight
The COVID-19 pandemic wreaked havoc on the film industry in 2020, and it resulted in a lot of films being delayed to this year. The best of those is David Lowery’s fantasy epic The Green Knight, which used the extra fifteen months from when it had been scheduled to premiere to be re-edited to its director’s satisfaction. The result is a unique take on Arthurian folklore that is both very atmospheric and an effective parable about honor. It’s a high spot on Lowery’s already impressive filmography, which is saying a lot.
7. Mass
If in 2013, you had told me that the guy who played the stoner in The Cabin in the Woods would make one of the finest films of the year of its release, and that it would be a serious drama about mass shootings, I would have had you committed to an insane asylum. But Fran Kranz’s Mass is a truly astounding film, with a stagey but powerful screenplay that will leave audiences shaken. And the ensemble is phenomenal all-around, especially with career-best work from Jason Isaacs and Ann Dowd.
6. What Do We See When We Look at the Sky?
It’s a shame that Georgia did not select What Do We See When We Look at the Sky? as its Oscar submission, as this is an extraordinary romance. The two-and-a-half-hour runtime is a bit off-putting at first, but filmmaker Aleksandre Koberidze absolutely enchants the audience with his storytelling. It’s essentially a more complicated body swap romance, but the uncommon empathy with which Koberidze approaches it, as well as some creative camerawork, which makes this stand out.
5. Cryptozoo
A scene from CRYPTOZOO, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.
Graphic novel artist Dash Shaw made his cinematic debut in 2016 with My Entire High School Sinking Into the Sea, a quirky and fun coming-of-age comedy, but his sophomore feature Cryptozoo (co-directed with his wife Jane Samborski) is a whole different level. An ambitious, painstakingly-crafted adventure with shades of real-life mythology, Indiana Jones and Wes Anderson — it’s enjoyable, inspired, and hypnotic, making it one of the greatest independent animated films of all time.
4. Licorice Pizza
After one of his more serious outings in Phantom Thread, it was nice to see acclaimed filmmaker Paul Thomas Anderson embrace his funny side once again with Licorice Pizza, an ode to Los Angeles in the 1970s. It’s not one of the more substantial films of the year, but the vibes that Anderson deals in here are absolutely amazing. Cooper Hoffman (the son of the late Anderson collaborator Philip Seymour Hoffman) and Alana Haim make for some charismatic leads, and Bradley Cooper is a scene-stealer in his small but memorable supporting role.
3. The Tragedy of Macbeth
The Coen Brothers are some of the most iconic filmmakers of their generation, but Joel went solo for the first time (although Ethan isn’t credited on their early films) with his Shakespeare adaptation The Tragedy of Macbeth. It’s a distinctive vision of well-known material, taking “The Scottish Play” and turning it into a moody horror film of sorts. Strong performances all-around with unexpected casting, crisp black-and-white cinematography, and a faithful but interpretively directed script make this one of the best Shakespeare adaptations ever.
2. A Hero
Asghar Farhadi is a skilled filmmaker, often taking small-scale melodramas and turning them into a riveting, human story, and his latest film is one of his finest. A Hero tells the story of a man who does a good deed while out on leave from debtor’s prison, setting off an unexpected whirlwind of consequences. It’s not a film that reveals its hand early, instead taking its time to build to a climax that is entirely soul-crushing.
1. Drive My Car
Japanese filmmaker Ryûsuke Hamaguchi is without a doubt the MVP of cinema in 2021, having delivered not one but two strong films. But Drive My Car, his three-hour adaptation of Haruki Murakami’s short story, is the one that is truly unforgettable, having an emotional impact that no one would expect. It’s not going to be everyone’s cup of tea — it’s a very talky film with long sections that are just recitations of Chekov’s play Uncle Vanya — but what Hamaguchi does with it is absolutely profound.
What were some of your favorite films of 2021? Let us know in the comments below!
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Review by Sean Boelman
In the thick of autumn, film festivals start to become a showcase of some of the biggest and best cinema that the year has to offer. However, the spotlight is all too often taken by the A-list narrative films competing for above-the-line prizes, leaving some great nonfiction films in the dust. DOC NYC sets out to remedy that, with a program that is both a showcase for some of the films which will be racking up prizes in the months ahead and a platform for exciting new films to be discovered.
For the second year in a row, disappointment media will be remotely covering the DOC NYC film festival which runs November 10-28. Make sure to check out this article in the weeks ahead, as we will be sharing our thoughts on some of the films we get to screen as part of the festival. Faya Dayi
There is an undeniable beauty to Jessica Beshir’s Faya Dayi, but it takes observation to the extreme, basically forsaking traditional narrative altogether. That isn’t to say that the film is entirely meaningless — there are a lot of powerful moments spread throughout — but Beshir’s portrait of this community is perhaps a bit too sprawling for its own good. That said, the gorgeous black-and-white cinematography is a sight to behold, and is worth watching the film for on its own.
Krimes
The story of artist Jesse Krimes is undeniably extraordinary, as he persevered through extraordinary adversity to create some powerful work, but filmmaker Alysa Nahmias doesn’t know what to do with it. This is a pretty standard documentary, and while it hits all of the beats to get a reaction from the viewer, the storytelling is so rushed that it doesn’t have much of a lasting impact. This is definitely a case of a film where the subject is what carries the film.
Mr. Bachmann and His Class
The observational documentary Mr. Bachmann and His Class took the Silver Bear award at the 2021 Berlin International Film Festival, and the reason why is likely its powerful impact. Following a German teacher who approaches education with an uncommon level of empathy, the film is both an examination of the educational system and a portrait of today’s youth and the way they are being shaped by society. And even though watching a bunch of kids go to school may not sound like the most exciting way to spend three-and-a-half hours, it’s unexpectedly absorbing.
Dean Martin: King of Cool
Dean Martin: King of Cool is exactly what one would expect from a documentary that was made to air on TCM: a not too deep, infotainment dive into Hollywood history. And while there are some fascinating tidbits and anecdotes, there’s just not enough going on to make it memorable. Fans of Martin will undeniably find this to be a pleasant nostalgia trip down memory lane, but then again, anyone who has an intimate familiarity with his career won’t find anything new here.
The Silence of the Mole
Anaïs Taracena’s The Silence of the Mole tells a fascinating story, but in a way that is so extraordinarily dry that it loses all of its impact. Although the subject of the film is an exceptional man who showed great bravery in infiltrating and fighting back against the corruption in his government, the film doesn’t really do anything to communicate the power of what he has done. Instead, it misguidedly tries to be poetic, and in the process ends up being quite empty.
Adrienne
Adrienne Shelly’s story is quite tragic but also very hopeful at the same time, and her widower Andy Ostroy’s documentary Adrienne does an amazing job of paying tribute to her while recounting her life in a meaningful way. Part true crime documentary and part biography about an artist with a passion for creating her work, it’s a riveting watch in every sense. Featuring extensive interviews with Shelly’s friends and family, the emotional section of the film dominates even though it’s somewhat uneven.
Torn
There have been quite a few documentaries in recent years that have explored the dangerous sport of climbing, but Max Lowe’s Torn stands out because of its highly emotional nature. Although there are definitely some sporting elements here, the film is more about the grieving process that Lowe faced after his father unfortunately passed while on a climb. It’s a devastating story, and the film is quite effective, but it would have been much more efficient had it been a short rather than a feature.
Mr. Saturday Night
The first half of Mr. Saturday Night, a documentary telling the story of disco pioneer Robert Stigwood, plays out like any other music doc about the history of disco that you have ever seen, but with one damning difference: it has absolutely no energy. However, when it starts talking about the behind-the-scenes drama that surrounded the production of the unexpected smash hit Saturday Night Fever, it becomes a ton of fun to watch and offers some really interesting anecdotes which viewers may not have heard before. It just takes a bit for the film to get there.
DMX: Don't Try to Understand
We have seen plenty of documentaries about late rappers which turn their tragic stories into cautionary parables, but that is not the intention with DMX: Don’t Try to Understand. Although the film does explore the (very public) struggles that Earl “DMX” Simmons had with addiction, it does so in a way that feels extremely empathetic, rather than trying to teach the audience a message through his misfortune. Fans hoping for a documentary heavy on his music may not be fully satisfied, but this is a much more personal film, and is arguably better for it.
Three Minutes: A Lengthening
One would think that the premise of Three Minutes: A Lengthening wouldn’t make for that compelling of a feature documentary, but Bianca Stigter’s work is unexpectedly intriguing. Diving into a single, three-minute home movie of a Jewish community in a Polish village soon before WWII would have devastating effects on them, this film shows the amount of power and information there is in even the briefest of glimpses into the past. It can definitely feel like a film school lecture at times, but the presentation and information is strong enough to hold the viewer’s interest.
Jagged
Alanis Morissette performing on stage during the Jagged Little Pill tour (circa 1996). Photograph by Epiphany Music/Alanis Morissette/Courtesy HBO.
After its premiere at TIFF, the Music Box documentary Jagged picked up some controversy when its subject turned against the film, claiming that the filmmaker violated her trust. It’s easy to understand why, as like many of the other films in this series, this is a no holds barred look into the life of Alanis Morissette. Although filmmaker Alison Klayman, a self-proclaimed fan, is quick to (deservedly) praise Morissette for the brilliant work she has done as a musician, she also doesn’t shy away from the disparity between the words in her lyrics and what she (and he band) did in their private lives. It’s a fascinating, insightful watch.
Nothing But the Sun
Every year, a few documentaries are submitted by their countries of origin as the representative for Best International Feature, but few earn the honor of a spot on the shortlist, much less a nomination. The Paraguayan film Nothing But the Sun is unlikely to buck that trend, but it’s quite good nevertheless, and it’s totally understandable why this was chosen as a submission. A moving exploration of identity and colonialism, Arami Ullon’s film dissects a very important issue that most people are privileged to not have to think about. The result is poetic and often quite captivating.
The 2021 DOC NYC Festival runs November 10-28.
By Sean Boelman
After an astounding virtual edition in 2020 that ended up having a surprisingly strong influence on awards season, AFI FEST is back in 2021 with a hybrid edition featuring a ton of exciting in-person premieres and some great online screenings. Although a majority of the higher-profile titles will only be available to audiences able to attend the screenings in-person in Los Angeles, there are some virtual offerings that are worth checking out too!
We at disappointment media are again excited to be covering the festival remotely, checking out some of the virtual screenings in addition to some other selections which we were able to see. Check out this article throughout the entire run, as we will be adding more capsule reviews with our quick thoughts as we are able to check out more of the films in the lineup! Întregalde
Virtually unclassifiable into a particular genre, the Romanian film Întregalde is nothing if not intriguing. Following a group of aid workers who get stuck in a remote area while on a humanitarian mission, this plays out most akin to a thriller, but the stakes are never made particularly high. The central arc of the script is a pretty average “no good deed goes unpunished” story, and while there are some interesting questions asked about the ethics of interventionism, it isn’t as eventful as expected.
The Tsugua Diaries
A lot of metafiction films tend to be rather pretentious, and this has also been an issue with a lot of films made about the pandemic, but despite these factors working against it, The Tsugua Diaries is surprisingly subtle. It’s a film that explores routine and finding joy in the safety of daily life, a reminder that would have been quite welcome earlier in the pandemic. However, even more intriguing is when the film explores the role of creativity in the times of COVID-19 in a way that is more accurate and honest than has been done before.
Holy Emy
There are a lot of really fascinating things happening in the second half of Holy Emy, but it takes getting through a rather standard first hour to get to the juicy parts. Following two Filipino sisters who are living alone in Greece as one discovers that there may be something unusual about her, this is like a blend of a family drama with some light horror elements, and the tone is compelling, even if it doesn’t have the substance one hopes for.
The First Wave
Last year’s fall festival circuit featured a bunch of documentaries about the beginning of the COVID-19 pandemic, some of which were quite good. One would think that the extra time for which Matthew Heineman’s The First Wave has been gestating would make it even more effective, but that is not the case. Although the film isn’t necessarily poorly-made, there are a lot of things that should rub viewers the wrong way. It’s willing to do anything to get a reaction from the viewer, and that is frustrating.
Casablanca Beats
The Moroccan entry for Best International Feature, Casablanca Beats was one of the less-acclaimed entries in competition at this year’s Cannes. It’s not bad by any means, but there’s also nothing exceptional about this Dead Poets Society by way of rap music. Some of the art being created by the characters in the film is quite good, offering some interesting commentary on Moroccan society, but the film doesn’t give it a chance to have a lingering impact.
Simple as Water
The Syrian refugee crisis is a very important issue in the realm of global politics, and filmmaker Megan Mylan attempts to explore the intimacies of the situation in her film Simple as Water via the perspectives of four individuals. And while there are definitely some resonant moments, the presentation is so dull that it doesn’t pack as much of an emotional punch as it could have. Mylan attempts to create a feeling of perceived neutrality, but that is entirely unnecessary (and even worse, ineffective) here, only making the viewer feel distant from the subjects.
Juice WRLD: Into the Abyss
SoundCloud rappers are definitely a unique breed, and they don’t always make for the most compelling documentary subjects. In fact, their characteristically flamboyant and artificial personalities tend to be annoying, and Juice WRLD: Into the Abyss is not able to escape that curse. In fact, much of the overlong runtime consists of young people saying empty things that they think are profound. And perhaps even worse, the film doesn’t work particularly well as a music documentary, as the concert footage is extremely repetitive. There’s a reason why Juice WRLD gathered such a passionate fanbase so quickly, but this film did not communicate it.
The Worst Person in the World
A romantic comedy told in twelve chapters, the title of The Worst Person in the World is a bit deceiving, as it’s actually quite charming. The complexity in the film is not so much in the story itself, but how it’s told. There is an extraordinary amount of nuance in this film that keeps it from ever reaching melodramatic territory. Lead actress Renate Reinsve does an excellent job in her role, and the film is just excellent as a whole from a technical standpoint.
Cinema Sabaya
Orit Fouks Rotem’s film Cinema Sabaya is as ambitious of a cinematic experiment as the one it depicts, tackling some of the foremost issues that plague the Middle East right now. It definitely bites off a bit more than it can chew at times, but its messages about the patriarchy and the political division that separates the region are really fascinating. That said, an absolutely glacial pace and a relaxed structure keep this film from ever being truly exceptional.
The 2021 AFI FEST runs November 10-14.
By Sean Boelman
After a successful virtual edition in 2020, the Chicago International Film Festival returns with a hybrid edition in 2021, offering in-person, drive-in, and virtual screenings. And as always, the festival has an impressive lineup boasting many North American and U.S. premieres of some of the greatest films to screen on the Fall festival circuit, in addition to some exciting world premieres.
With such an extensive and wide-reaching slate, it can be easy to be overwhelmed by the many great films playing at CIFF. However, we at disappointment media have gotten the chance to see some of the films that will be playing at the festival in advance. Here are a few that we think you shouldn’t miss! A Cop Movie
Alonso Ruizpalacios’s A Cop Movie is perhaps one of the most interesting blends of fictional and nonfiction elements in recent memory. It’s also eerily timely given its relation to the theme of police brutality. Although the commentary mainly applies to the police system in Mexico, a lot of the message rings true around the world. It’s such a fascinating and thought-provoking watch, and it’s best left unspoiled — all that viewers need to know is that it’s a documentary about issues of police brutality told through the lens of cop thriller tropes.
Drive My Car
Recently announced as Japan’s official submission for the Academy Award for Best International Feature, Ryusuke Hamaguchi’s Drive My Car is one of the finest films of the year. An adaptation of a short story by Haruki Murakami, this is a slow-moving but profound and poetic character study about a theater director grieving his late wife. Its pacing won’t be for everyone, but those willing to go along for this scenic ride will find themselves moved by this journey and wowed by the destination.
Flee
Having made a splash upon its debut at Sundance earlier this year, Jonas Poher Rasmussen’s Flee is not only one of the most amazing documentaries of 2021, it’s also one of the best animated films of the year. Telling the story of a refugee who also goes through an identity crisis related to his sexuality, this is a moving and heartbreaking tale. The level of storytelling that this is able to achieve in a mere eighty-three minutes is absolutely astounding.
Lingui, The Sacred Bonds
Mahamat-Saleh Haroun’s Lingui, The Sacred Bonds follows in the same vein as a lot of other films that have come out in the past few years, but the level of nuance and subtlety it brings to the table allows it to stand out. It’s a slow burn of a film, but the character work here is exceptional and the payoff at the end is absolutely worth it. Without a doubt, it’s one of the most restrainedly powerful films at the festival.
Punch 9 for Harold Washington
Mayor Harold Washington in PUNCH 9 FOR HAROLD WASHINGTON, photo credit Marc PoKempner.
Every festival has those selections in their lineup that are chosen predominantly for their local interest, and while Punch 9 for Harold Washington is certainly one of those cases, it’s also a surprisingly strong film in its own right. Exploring the campaign and political career of Chicago’s first African-American mayor, this story has a much wider impact than one would think. This is perhaps one of the most effective arguments for the importance of local politics, which makes it an important watch.
The 2021 Chicago International Film Festival runs October 13-23 in-person and virtually.
By Sean Boelman
It is that time of year again for the Fall festival season, in which some of the most exciting films of the year debut and screen, from acclaimed international pictures to soon-to-be awards contenders. One of the most prestigious of these festivals, the Toronto International Film Festival, returns again this year with another hybrid edition, offering both in-person and virtual screenings to Canadian audiences.
For the second year in a row, we at disappointment media have gotten the opportunity to cover the festival remotely. Although we are having to wait to see some of the biggest films to screen at the festival in a theatrical setting when they are released here in the States, we have gotten to watch plenty of great films from around the world. Here are some of our thoughts on the films we have screened! Dionne Warwick: Don't Make Me Over
Image Courtesy of TIFF.
Dionne Warwick has been in the spotlight in recent months for her hilarious online presence, but before that, she was one of the brightest musical stars in all of history. Dionne Warwick: Don’t Make Me Over is a very by-the-book biographical documentary, but it does justice to its absolutely legendary subject and of course, has plenty of great music. Those looking for an in-depth dive into Warwick’s life story will be disappointed, but it’s a pretty satisfying watch overall.
Becoming Cousteau
Image Courtesy of TIFF.
Jacques Cousteau is undeniably one of the most influential explorers of all time, so it’s surprising that it took this long for there to be a major biographical documentary about him. Liz Garbus’s Becoming Cousteau is a pretty standard affair, but the charm of its subject is what allows it to stand out. Additionally, the film features some pretty extensive use of newly restored materials from Cousteau’s archives, and it’s always a joy to see that.
One Second
Image Courtesy of TIFF.
Zhang Yimou is one of the best and most versatile directors working today, having made everything from intimate dramas to martial arts epics. After a years-long delay (presumably due to censorship), his newest film One Second is a beautiful love letter to the cinema. Although there definitely seems to have been a political message cut out of the film, this story of an escaped convict inspiring a community to come together so that he can watch a film to get a glimpse of his daughter is absolutely wonderful.
Silent Night
Image Courtesy of TIFF.
Cynical holiday movies are a pretty unique breed in that a majority of films set around the festive season tend to be more lighthearted in nature. That said, Camille Griffin’s Silent Night has a definite dark edge to it that works quite well. Although it can sometimes feel like the film bites off a bit more than it can chew thematically, this apocalyptic comedy has a wicked sense of humor that keeps things moving nicely. And the ensemble cast, led by Keira Knightley, Matthew Goode, and Roman Griffin Davis, is exceptional.
The Survivor
Image Courtesy of TIFF.
In terms of production quality, Barry Levinson’s The Survivor is one of the most accomplished films to play at this year’s TIFF. It’s a flashy, awards-quality Holocaust drama with a great deal of emotion. The cast is great all-around, but Ben Foster’s performance is without a doubt the highlight. It may be a little bit overstuffed, trying to juggle both its sports and war movie elements, but the level of success it has in every other regard more than makes up for it.
DASHCAM
Image Courtesy of TIFF.
Rob Savage made a splash on the scene with his debut Host, shot during the COVID-19 pandemic over Zoom, but his newest film DASHCAM will prove to be much more divisive. Following an obnoxious online personality who finds herself in over her head during a trip to England, the film has some really strong horror elements in the second half. The first half is funny in what seems to be a satirical way, but upon further research, it’s obvious that Annie Hardy isn’t exaggerating herself that much, and the film becomes much more problematic as a result.
Sundown
Image Courtesy of TIFF.
Michel Franco’s previous film, New Order, screened on the 2020 festival circuit and split audiences with its enormously angry nature. His newest, Sundown, is a more restrained character study, but its pacing will be off-putting to some. The cinematography showing the Mexican beaches is gorgeous, and of course, Tim Roth gives what is perhaps the best performance in his already accomplished career as a disillusioned member of the upper-class who takes refuge in Acapulco.
The Rescue
Image Courtesy of TIFF.
Jimmy Chin and Elizabeth Chai Vasarhelyi made one of the best documentaries of the last decade in Free Solo, so their newest film The Rescue was obviously highly anticipated. Although the film isn’t as extraordinarily compelling or gorgeous as their last one, it’s still undeniably well-made. Chen and Vasarhelyi clearly have an eye for capturing extraordinary feats such as this on film and telling the stories of the people who achieved them in a moving way.
Encounter
Image Courtesy of TIFF.
Hot off his Academy Award-nominated performance in Sound of Metal, Riz Ahmed is delivering yet another demanding performance in Encounter. This time around, he is much better than the movie he is in, following a veteran taking his children on a road trip to protect them from an extraterrestrial threat. The first hour or so of the film is really strong, blending thriller and family drama elements quite well, but once the film reveals its hand, it loses a lot of its steam.
Murina
Image Courtesy of TIFF.
Antoneta Alamat Kusijanovic’s Murina is perhaps one of the most impressive feature debuts of the year. Although this is a story we have seen done many times before, Kusijanovic’s execution is quite strong in a way that makes it feel refreshing. The three central performances — from Gracija Filipovic, Leon Lucev, and Cliff Curtis — are all great, as is the gorgeous cinematography showing the European beachside. Although nothing comes unexpectedly, the charm of the film lies elsewhere.
Earwig
Image Courtesy of TIFF.
Lucile Hadzihalilovic’s fantasy film Earwig definitely had one of the more unique premises of this year’s TIFF lineup. While it isn’t exactly what one would call a midnight movie, it has some of the same unabashedly weird characteristics that define that type of film. Following a young girl who has ice cubes for teeth and her caretaker, this is definitely a slow burn. Admittedly, the film does confuse ambiguity for subtlety at times, but the atmosphere is so well-built that it is a hypnotic watch.
The Electrical Life of Louis Wain
Image Courtesy of TIFF.
Benedict Cumberbatch is no stranger to biopics, but The Electrical Life of Louis Wain is certainly the most unique one he’s been in to date. Following an artist and inventor who specializes in painting pictures of cats, it’s the type of film that benefits from its unabashed quirkiness. Will Sharpe’s visual style is very distinct, with an energy that is… dare I say it… electric. Although Cumberbatch’s performance falls in line much with what he has done in the past, he is great at it, so it’s worth watching.
The Story of My Wife
Image Courtesy of TIFF.
Ildikó Enyedi’s The Story of My Wife was one of the lowest-rated films at this year’s Cannes, so only the bravest of critics took a chance on the film at TIFF and were rewarded with a surprisingly pleasant watch. Although the almost three-hour runtime is unwarranted, especially given the fact that its story is so simple and straightforward, it’s a charming little romance. The chemistry between Gijs Naber and Léa Seydoux is absolutely electric and what sells the film.
The Eyes of Tammy Faye
Image Courtesy of TIFF.
Michael Showalter’s The Eyes of Tammy Faye is a would-be prestige picture that hopes to be a comedic biopic, but Abe Sylvia’s script is far too indecisive on its subject to work. For much of the film, it’s hard to tell whether we are supposed to root for, pity, or laugh at the eponymous televangelist, and that creates a lot of really jarring tonal shifts. Jessica Chastain overacts as usual and is very annoying, but it fits here. It’s a shame, because Andrew Garfield’s performance is genuinely great, and Showalter’s direction is solid, but the film is nearly insufferable.
The Good House
Image Courtesy of TIFF.
Sigourney Weaver is overdue for a strong starring role, but The Good House was not it. Following an alcoholic realtor who reunites with an old flame, the film is an absolute mess tonally. There’s just too much going on in the film, from the main storylines to a subplot about some of her clients, resulting in an ending that is almost laughable. Weaver’s performance is strong as always, serving as the glue to hold the whole thing together, but even she struggles to pull it off.
Three Floors
Image Courtesy of TIFF.
Italian filmmaker Nanni Moretti has made plenty of acclaimed films, so it was a shock when Three Floors debuted at the 2021 Cannes Film Festival and was mostly panned. And if one wonders if the film is actually that bad, the answer is a firm yes. However, there is something alluringly watchable about this ridiculous melodrama in the same way that it’s hard to look away from a horrible car crash (which is fitting because of the film’s supposedly shocking but nearly laughable opening scene).
The Falls
Image Courtesy of TIFF.
Plenty of filmmakers have taken on the challenge of telling the story of the COVID-19 pandemic to varying degrees of success. Chung Mong-Hong (whose film A Sun was shortlisted for Best International Feature last year) manages to do so in a way that is surprisingly touching in The Falls. The thing about Chung’s film that works so well is that it isn’t about the pandemic itself, but rather, how people reacted to it, and that results in a film with even more resonant themes.
Snakehead
Image Courtesy of TIFF.
Director Evan Jackson Leong’s Snakehead is meant to be a crime thriller with a deeper message, but it doesn’t live up to its potential. There is some commentary to be found here about immigration in the United States, but the film gets far too caught up in the tropes of the genre to be anything more than passive entertainment. While predictable, the story has enough in terms of excitement to make up for largely uninspired action and less than impressive performances.
Where Is Anne Frank
Image Courtesy of TIFF.
Ari Folman’s animated documentary Waltz with Bashir is an absolutely phenomenal film, hence why his family parable Where Is Anne Frank is such a disappointment. The animation is just as strong as one would expect, but from a narrative standpoint, it is absolutely insufficient. Beyond the problem of making Anne Frank a side character in her own story, the film is nearly offensive in how it uses the Holocaust as a metaphor for the modern refugee crisis. It’s undeniably well-intentioned, but misfire after misfire make it nearly unbearable.
You Are Not My Mother
Image Courtesy of TIFF.
You Are Not My Mother is the type of film that seeks to build horror more through dread than simple scares, but it isn’t terribly effective in doing so. Kate Dolan’s film is based on Irish folklore, but doesn’t explore it in much depth. Instead, what we get is a mostly psychological piece, with slow pacing and much of the suspense coming from not knowing what is true. It manages to be both too straightforward and ambiguous to be even unnerving.
True Things
Image Courtesy of TIFF.
Harry Wootliff’s True Things is a romance like many we have seen before, but the bleak realism of what it depicts is effectively heartbreaking. Tom Burke and Ruth Wilson create a tremendous dynamic between them, capturing the ups and downs in the relationship. Burke is especially impressive in his role, giving a performance that is equal parts charming and unhinged. The story is at times frustrating, as the psychological cycle the protagonist is experiencing causes a lot of repetition, but it fits the themes well.
Ali & Ava
Image Courtesy of TIFF.
Much of the charm of the romantic dramedy Ali & Ava is in its simplicity. Following a landlord going through a divorce and a single mother struggling to stay afloat as they form an unexpected connection, the film is sweet in all the right ways, even if it struggles to do anything particularly profound with its themes. The film shows the potential to explore the plight of the British working class, but gets caught up in the basic humanity and empathy of the story. That isn’t necessarily a bad thing, because it’s refreshingly light, but it is unexpected.
Charlotte
Image Courtesy of TIFF.
One of many Holocaust films to play at this year’s TIFF (and perhaps more surprisingly, one of two animated Holocaust features), Charlotte is a good idea that is executed poorly. From an artistic standpoint, the film is solid, with a strong animation style, even if it does play it safe a bit often. That said, it is almost entirely insufficient from a narrative standpoint. The story is rushed to wrap it all up into an hour-and-a-half runtime, and as a result, any thematic nuance is lost in favor of a bunch of WWII tropes.
Benediction
Image Courtesy of TIFF.
The new Terence Davies film Benediction is a film that is undeniably good, but will alienate a lot of audiences with its style. Those who have seen Davies’s previous work will know that his films are slow, dry, and meditative, and while that approach works in telling the story of poet Siegfried Sassoon, it’s also not a particularly enjoyable watch as a result. Attempts at a type of acerbic wit throughout are enough to keep the viewer from being totally disinterested, and a phenomenal performance from Jack Lowden is nearly captivating, but it’s a bit too dull to work.
Montana Story
Image Courtesy of TIFF.
Scott McGehee and David Siegel’s Montana Story is, not unexpectedly, a gorgeous film to behold, but from a narrative standpoint, it isn’t all that impressive. Following two estranged siblings who reunite as their father nears the end of his life, the film offers a lot of genuine emotion but nothing that we haven’t seen before. That said, the two central performances from Owen Teague and Haley Lu Richardson are both great, bringing a lot of empathy to make the quiet, somber nature of the film work.
Lakewood
Image Courtesy of TIFF.
Many jokes have been made about the fact that every year’s TIFF lineup seems to feature a film starring Naomi Watts, and this year’s selection proves that trend to be absolutely dire. Phillip Noyce’s Lakewood is without a doubt the single worst film that screened at this year’s festival, a borderline insensitive school shooting thriller that milks genuine tragedies for the sake of supposed thrills. Shot during the pandemic, this is effectively a one-woman show for Watts, and while she gives it her all, it isn’t enough to boost an aggressively bad film.
Night Raiders
Image Courtesy of TIFF.
The Canadian sci-fi film Night Raiders is a massive disappointment, not because it’s bad (because it isn’t), but because the glimpses of brilliance are so obvious that one can’t help but think about what this could have been. Transporting the historical atrocity of residential schools to a dystopian setting, the film follows a mother who tries to break her daughter out of a state-run camp. It’s such an intriguing concept, but the dialogue is frequently mediocre and the performances consistently underwhelming. That said, filmmaker Danis Goulet shows a lot of potential here in her debut, and hopefully she will live up to it with her future work.
Compartment No. 6
Juho Kuosmanen’s Compartment No. 6 is a refreshingly light film that is a wonderful reminder of how important it is for us to connect with one another. Following two very different strangers who befriend each other when they are forced to share a cabin on a long train journey across Europe. It’s a lot more subtle than most films which explore a union between two people from very different walks of life thanks to some brilliant dialogue and excellent character work. It isn’t the weightiest film in this year’s lineup, but it has lots of good observations.
All My Puny Sorrows
Image Courtesy of TIFF.
Based on the novel by Miriam Toews, the drama All My Puny Sorrows is destined to be one of the biggest misfires of the festival. Following two sisters who are going through mental health crises, it’s clear that writer-director Michael McGowan had the best of intentions when exploring these themes, but he absolutely fumbles them. Allison Pill and Sarah Gadon try their hardest to salvage the script but end up overacting, likely due to poor direction, and all of the technical elements are overdone. It’s the type of film that wants to be a tear-jerker, but it doesn’t even succeed in that.
Hellbound
Image Courtesy of TIFF.
A new supernatural procedural series from South Korean filmmaker Yeon Sang-ho, Hellbound is set in a world where people receive visions of a spirit telling them when they will be condemned to Hell, with a demon later fulfilling the prophecy. It’s an intriguing premise with shades of Final Destination, but it’s executed poorly in a way that isn’t all that compelling. The three (out of six) episodes that screened at TIFF were fine, but filled with fluff, making it clear that this might have been more suited for a feature film format.
Mothering Sunday
Eva Husson’s film Mothering Sunday is a steamy period drama that will be overwhelmingly familiar, but is a very well-executed entry into its genre. The film follows a maid sharing one final, passionate day with the wealthy man she loves before he leaves to marry for status, and there really isn’t much more to this film than a bunch of sex. That said, the cinematography is gorgeous, the costumes are exquisite (when the characters are even clothed, which isn’t very often), and the performances by Odessa Young and Josh O’Connor are great. It’s a film that delivers exactly on its promises, which makes it hard to complain about.
Neptune Frost
Image Courtesy of TIFF.
Saul Williams’s output as a musician is certainly very interesting, so one should expect no less of his first effort as a filmmaker (co-directed with Anisia Uzeyman). Neptune Frost is an independent, low-budget musical about an intersex hacker and anti-colonialism. If that sounds like a lot to handle in one movie, that’s because it is, but Williams and Uzeyman pull it off gracefully. And as for the soundtrack, it’s weird and creative, a soundscape mixing traditional African beats with electronic and hip-hop sounds. It’s not quite like anything you will have seen before, and that’s a good thing.
Petite Maman
Image Courtesy of TIFF.
As the follow-up to her widely-acclaimed period romance Portrait of a Lady on Fire, filmmaker Céline Sciamma has made an equally restrained family film in Petite Maman. Following a young girl who discovers an unexpected friendship after her grandmother passes away, this is a lovely little film about the innocence of childhood. The visuals of the film are just as gorgeous as one would expect, and young actress Joséphine Sanz is absolutely wonderful, but the film is just too low-key to be anything more than merely adorable.
The Girl and the Spider
Image Courtesy of TIFF.
Ramon and Silvan Zürcher’s The Girl and the Spider is the type of talky international drama that makes up a lot of festival lineups. Following a woman as she prepares to move out, causing her to reflect on her connection with her roommate, this is interesting as a relationship drama that isn’t about romance. It’s occasionally poetic, and the things it has to say about how interactions leave a lingering impact on both ourselves and others are somewhat profound, but the character development is far too thin for the film to resonate.
The 2021 Toronto International Film Festival runs September 9-18.
Review by Sean Boelman
One of the world’s longest-running festivals, the Locarno Film Festival is back in 2021 with a hybrid edition featuring films from around the world. From exciting premieres of the newest films from established filmmakers to some intriguing debuts from new voices, the lineup this year features plenty of movies that festival-goers won’t want to miss.
We at disappointment media are excited to be providing remote coverage for the 2021 Locarno Film Festival. Below you can find our thoughts on some of the films we have been able to check out that are playing as a part of the lineup. Although the festival is coming to a close, the press and industry online library continues until August 31, so we will add more capsule reviews to this article as we check out more films! The Legionnaire
There have been plenty of films to pose the question of what the oppressed would do if they became the oppressor, but filmmaker Hleb Papou’s unexpectedly tender approach for The Legionnaire is welcome and refreshing. On paper, this story of an African-Italian police officer who is torn between his duty and his obligation to family sounds like it is going to be a race-against-the-clock thriller when in reality, it is something much more nuanced, a restrained and intimate character study. Germano Gentile’s leading performance is absolutely brilliant, nailing every bit of emotion in the story.
The River
Festivals are designed to discover all sorts of films, including work that would likely never have been seen if not for the platform and prestige that the festival provides. For better or worse, Ghassan Salhab’s The River is one of those films, with a slow and frequently meandering script but solid production values. There is definitely something interesting to be found in this story of two people wandering the landscape contemplating an impending war, but it will test the viewer’s patience as the interactions start to blend together. It’s worth watching for some gorgeous scenery and strong chemistry between Ali Suliman and Yumna Marwan, but it won’t be for everyone.
Mad God
Phil Tippet is an absolute legend in the film community for having worked on the visual effects teams on such classics as RoboCop, Jurassic Park, and The Empire Strikes Back, so his feature-length stop-motion animation project Mad God was obviously high on the list of most-anticipated films of the Locarno lineup. While it’s certainly a bit on the heavy-handed side when it comes to its message, the love and craft that went into this project absolutely leap off the screen. The world which Tippet has created for his film is so immersive, and will have viewers transfixed for the entirety of the eighty-plus minute runtime.
The 2021 Locarno Film Festival runs August 4-14.
Review by Sean Boelman
The Cannes Film Festival is back for its 74th edition after having to take a break for a year due to the COVID-19 pandemic. Filled with some highly anticipated premieres of both auteur-driven films and new discoveries, the lineup should have any cinephile excited for the state of film for the rest of the year. Unfortunately, we at disappointment media were unable to attend the festival in person, but we are providing remote coverage where possible. Here are some of our thoughts! We will be updating this article with more capsule reviews as we screen additional films.
Small Body
The Italian period piece Small Body starts out very interestingly and loses steam over the course of its hour and a half runtime. Laura Samani’s film, about a woman who sets out on a journey to save the soul of her stillborn child, is a visually stunning exploration of spirituality for much of its first act. However, after about thirty or so minutes, it settles into a much more conventional rhythm resembling a traditional road movie. It’s still good by all means, just not as great as the opening shows the potential to be.
Aya
Simon Coulibaly Gillard’s coming-of-age drama Aya certainly has some emotionally affecting moments, but it falls victim to convention a bit too often for its own good. Following a young woman who faces an identity crisis as her home is threatened, there is obviously a very important message here, although the pacing does detract from it a bit. The visuals are frequently gorgeous, and Gillard is clearly very talented, but from a narrative standpoint, it feels a bit too much like things we have already seen.
The Heroics
Sometimes, an inspirational crowd-pleasing drama is what is called for, and the Maxime Roy film The Heroics fits that bill wonderfully. It’s a pretty simple film about a former junkie who is trying to make himself into a better person for the sake of both himself and his kids. At times, it feels like it’s a bit too self-serious, but there are plenty of absolutely heart-wrenching moments sprinkled throughout. François Creton’s leading performance is brilliant as well, bringing a lot of emotion to the role.
Babi Yar. Context
In terms of documentaries composed solely of archive footage, Sergey Loznitsa’s Babi Yar. Context is pretty brilliant. It’s simple yet effective in what it hopes to depict, the tragic massacre of thousands of Jewish people in the Ukraine. It’s undoubtedly a difficult film to watch because of how brutal some of the footage it utilizes is. At two hours in length, it’s perhaps a bit longer than it needs to be, but it achieves the point it is trying to make quite effectively.
Returning to Reims (Fragments)
Based on Didier Eribon’s novel, Jean-Gabriel Périot’s documentary Returning to Reims (Fragments) offers a very compelling portrait of the French working class. However, despite some excellent archive footage and great narration from Adèle Haenel, this feels more like an essay and less like a film, for better or worse. It argues its point quite effectively, but it may not connect with viewers in a way that will allow its message to be entirely resonant. There are a lot of really good things going on here, but it won’t expand beyond the audience that is already interested in it.
A Radiant Girl
Sandrine Kimberlain’s coming-of-age drama A Radiant Girl joins the tradition of the great Holocaust comedies that have a sense of optimism to them which one wouldn’t expect from a film like this, even if it doesn’t live up to the same level. Rebecca Marder’s performance is absolutely exceptional, bringing a lot of personality to a character archetype that has been done many times before. Yet even though the film might struggle with a genre that is overstuffed, it sticks the landing in a way that won’t soon be forgotten.
Zero Fucks Given
Almost entirely dependent on the success of the lead performance from Adèle Exarchopoulos, Julie Lecoustre and Emmanuel Marre’s dramedy Zero Fucks Given doesn’t live up to the enormous amount of potential it has. The first half of the film, following the protagonist as her world falls down around her, is really compelling, but the second half struggles to keep up the strong momentum. There are a lot of really good things going on in the film, but it’s a bit too meandering for its own good.
Little Palestine (Diary of a Siege)
The ACID-selected documentary Little Palestine (Diary of a Siege) makes an expectedly compelling and emotional watch. A verité look at the residents of a Palestinian refugee camp in Syria, the narrative through-line in the film isn’t the strongest, but the footage that director Abdallah Al-Khatib utilizes to depict this political crisis is absolutely astounding. The film inspires in how it showcases the members of this community creating art and enjoying life despite all the turmoil that surrounds them, but it also calls attention to the important issues at hand.
Tom Medina
One of the selections from the cancelled 2020 edition that were invited back to screen at the 2021 festival, Tony Gatlin’s film Tom Medina is gorgeous, but it features a very wandering narrative. There is a point to all of the antics that the eponymous protagonist gets into, but it’s really conventional in a way that isn’t entirely satisfying. The highlight here is the performance from David Murgia, who gives a turn that is far better than everything that surrounds it.
A Corsican Summer
Pascal Tagnati’s film A Corsican Summer screened in the ACID sidebar to the Cannes Film Festival, a parallel section devoted to finding distribution for independent films from across the world, and it is definitely a very independent production. This very specific slice-of-life film about a group of people going about their routines one summer is completely stagnant in a narrative sense. The visuals are frequently gorgeous, and there are definitely some compelling vignettes, but they don’t amount to a compelling enough film to justify a two-hour-plus runtime.
The 2021 Cannes Film Festival runs from July 7-17.
By Sean Boelman
The first half of 2021 has seen a return to (somewhat) normal moviegoing, as we have already had two $100 million+ blockbusters in theaters (Godzilla vs. Kong and A Quiet Place Part II) with a third well on its way (F9) and plenty of indie darlings debuting on the festival circuit, both online and in-person. Now that six months of the year are over, it is time to reflect back upon some of the best films we have seen in that time. Here are our top 10 films of 2020 so far, in alphabetical order:
Bo Burnham: Inside
Bo Burnham’s comedy special Inside is perhaps the best portrait of what it felt like to live during the COVID-19 pandemic. Hilarious, insightful, and poignant, the special features all of the brilliant comedy that one would expect and some catchy songs too. Everyone will have their own favorite part, but some clear highlights include “How the World Works” and “Welcome to the Internet”. It’s perhaps the most purely entertaining eighty-seven minutes of content released this year so far, and it will be hard to find anything funnier in the next six months.
Cruella
Unlike most of Disney’s live-action reimaginings of their classic animated properties, Cruella feels less like a cash-grab and more like a legitimate attempt to tell a story. Director Craig Gillespie (I, Tonya) was able to make a film that is stylish and fun, featuring the best costumes and soundtrack of the year so far. Of course, the performances are also exceptional, with Emma Stone and Emma Thompson having a competition to see who is better, and the audience being the only winner.
Derek DelGaudio's In & Of Itself
Directed by Frank Oz, Derek DelGaudio’s In & Of Itself is a performance film capturing the mind-blowing stage show by magician DelGaudio. And while this magic show, which is very heavily rooted in audience participation, may not sound on paper like it would make for a great film, the power of the performance is absolutely undeniable. It’s an experience that is best left unspoiled, but there are plenty of absolutely awe-inspiring moments that will have audiences glued to the screen even though they are watching this from the comfort of their own home.
Judas and the Black Messiah
One of the films to take advantage of the extended Oscar eligibility window, Judas and the Black Messiah was honored in the most recent Academy Awards ceremony but is still a 2021 film nonetheless. And no halfway list would be complete without mentioning this emotionally-charged and unorthodox biopic following Black Panther chairman Fred Hampton. Daniel Kaluuya’s award-winning performance as Hampton is obviously the highlight, but it’s an all-around exceptional film that people will hopefully be talking about for years to come.
Love Spreads
Jamie Adams’s comedy Love Spreads is ultimately just a hangout movie about a group of musicians trying to make an album, but it’s exceptional at what it does and offers some surprisingly insightful commentary. Alia Shawkat and Eiza González are great in the film as the two creative forces in the band, giving performances that are uncharacteristically low-key for both of them. The thing that impresses most about Adams’s film, though, is how lived-in it feels, something which so many films in this genre struggle and fail to pull off.
Profile
Timur Bekmambetov’s Screenlife format of filmmaking has resulted in some really bad and gimmicky films, but his terrorism thriller Profile is not one of them. Having debuted on the festival circuit three years ago but not receiving a release until now, the film definitely isn’t as timely as it would have been had it been released when it was made, but that doesn’t keep it from being an entertaining and anxiety-inducing thriller.
Raya and the Last Dragon
The output of Walt Disney Animation Studios has been very inconsistent in recent years, but Raya and the Last Dragon is absolutely exceptional. It’s an energetic and emotional adventure with some really strong action and plenty of laughs for both kids and adults. The voice cast — including Kelly Marie Tran, Awkwafina, Daniel Dae Kim, Benedict Wong, and more — is great, but the true standout of the film is the gorgeous animation which builds this intricate world of Kumandra so wonderfully.
The Sparks Brothers
Somehow cult-favorite filmmaker Edgar Wright’s first foray into nonfiction filmmaking, The Sparks Brothers is undoubtedly one of the most fun and energetic music documentaries in recent memory. Telling the story of the groundbreaking and underappreciated duo Sparks (who will definitely receive their due when their musical Annette is released in August), Wright’s documentary has great interviews, wonderful archive footage, and of course, plenty of great music, and what else could someone want from a documentary like this?
Supernova
Harry Macqueen’s gay love story Supernova is a brilliant film that got the short end of the stick in awards season because of the level of competition. However, this film features career-best performances from Colin Firth and Stanley Tucci that deserve plenty of recognition, especially the latter. The other thing that allows this film to stand out is that it is an LGBTQ film that isn’t about homophobia or being gay. It’s nice to see love between two men treated as love between two men, not as an obstacle.
There Is No Evil
The Iranian film There Is No Evil is hard to watch, but fittingly so, as it deals with the very difficult theme of capital punishment in Iran. The first two out of four segments of this anthology are riveting, containing some of the most harrowing moments of the film, and the latter two serve to reinforce the point. The fact that this film exists is extraordinary, and cinemagoers should take advantage of that to inform themselves on this issue.
This list only included films that received a regular release between January and June of 2021. Films such as Cryptozoo (releasing in August), We Need to Do Something (releasing in September), A Cop Movie, and Mass (both releasing later this year) might pop up on our end-of-year list.
By Sean Boelman
Note: We at disappointment media do not support many of the decisions that the Tribeca Film Festival has made in regards to its treatment of the media during the 2021 edition. However, we also recognize the fact that the festival is an important launchpad for many films seeking distribution. As such, we will continue to cover films in the lineup, but will focus on the films themselves rather than the festival as a whole.
Wu Hai
Wu Hai is a film with a ridiculously intriguing premise that ultimately ends up being another entry in the slow cinema movement. Following a man whose world comes crumbling down around him, this would work much better as a race-against-the-clock thriller than the meditative character study that it is. There are definitely some compelling moments, but more often than not, this feels like a redo of emotional beats that have been done better so many times before. The only thing that there is to really recommend about this film is the absolutely stunning visuals.
Wu Hai is currently seeking distribution. Ultrasound
Rob Schroeder’s sci-fi movie Ultrasound is one of those movies that is extremely complicated to the point of feeling really intelligent, even if it isn’t as profound as it seems to think it is. Yet even though the film is a bit hard to follow at times, it’s generally entertaining thanks to the way in which Schroeder creates the atmosphere. Ultimately, it works best as an exercise in eeriness rather than a horror film in its own right, and as such, it will appeal to hardcore genre fans.
Ultrasound is currently seeking distribution. Paper & Glue
Street artist JR has always been known for being very socially conscious, but his new documentary Paper & Glue takes his activism to the forefront. Following JR as he uses his art to give a voice to regular people who are underrepresented, it has some pretty powerful aspirations but never manages to reach them. A lot of the issues that JR sets his eyes on are very important, but the focus here seems to be more on the art and less on the issues. It’s a noble step, but it isn’t as great as it should have been.
Paper & Glue is currently seeking distribution. Clean
Adrien Brody is clearly a very talented actor, but his skills when it comes to writing screenplays have yet to be proven. If the revenge thriller Clean is any indication, he definitely needs a bit more work in that department. As a starring vehicle for himself, it works well enough, as it allows him to give a performance that is predictably strong. However, the script is painfully dull and generic, rehashing the beats of any other movie in the genre in a way that can be hard to get through.
Clean is currently seeking distribution. Ballad of a White Cow
The Iranian film Ballad of a White Cow is perhaps one of the most haunting films on the festival circuit right now, a slow-burn melodrama that escalates into something more sinister with its expertly-crafted tension. Following a woman who learns that her husband was executed for a crime of which he was innocent, this is a bleak film that can be very hard to watch at times, but it’s consistently stirring and very thoughtful. Great direction from Maryam Moghadam and Behtash Sanaeeha and a fabulous performance from Moghadam make this an absolute stand-out.
Ballad of a White Cow is currently seeking distribution. With/In Vol. 1
Pandemic films are certainly going to be a mainstay in the industry for the next year or so, and so audiences need to get prepared for both good ones and bad ones. Thanks to the talent involved, With/In Vol. 1, an anthology film composed of shorts from notable talent including Sanaa Lathan, Rosie Perez, Morgan Spector, and Bart Freundlich trends towards the positive side, with Spector’s segment “Mother” being a particular highlight. However, even though the intentions are good, filmmakers using the same, widely-available equipment to create a film, the fact that all of these creators are well off is a little suspect.
With/In Vol. 1 is currently seeking distribution. The Novice
Having earned several comparisons to Whiplash, Lauren Hadaway’s thriller The Novice is an enthralling glimpse into obsession. In terms of the script, it’s on the conventional side, hitting all of the beats in a predictable manner, but the execution is so stylish that it works nevertheless. The visuals in Hadaway’s film are effectively nightmarish, drawing the viewer into the tense world of the protagonist, and Isabelle Fuhrman gives an amazing performance that was clearly very demanding, both physically and emotionally.
The Novice is currently seeking distribution. Catch the Fair One
Executive produced by Darren Aronofsky, Catch the Fair One, the sophomore feature of filmmaker Josef Kubota Wladyka may be a bit conventional in terms of its script, but it’s certainly confident in its style. A lean, entertaining revenge thriller, even if it plays it a bit too safe, this story of a boxer trying to find her missing sister packs quite the emotional punch. The lead performance from real-life boxer Kali Reis is also worthy of note, as she manages to pull a lot of nuance out of a character that is somewhat by-the-book.
Catch the Fair One is currently seeking distribution. Claydream
A must-see for anyone who is interested in film history, the documentary Claydream tells the story of one of the originators of the claymation style of filmmaking. Documentarian Marq Evans profiles filmmaker Will Vinton in a way that is somewhat formulaic, but the film does a good job of playing out in a way that is cinematic and entertaining. The incorporation of clips from Vinton’s work will undoubtedly leave viewers in awe of his craft, but the real appeal of this film comes in when the story takes a crazy turn in the third act.
Claydream is currently seeking distribution. Italian Studies
From the looks of it, Italian Studies would have been a huge breakout because it features a rising star in Vanessa Kirby, but this film is way too abstract to connect with a majority of audiences. Following an amnesiac writer who wanders the streets of New York City, possibly or possibly not having conversations with teenagers, this is basically a series of metaphorical and philosophical ramblings. Sometimes they are insightful, and other times they feel empty and pretentious. But there’s no doubt that the film is gorgeous to look at, and Kirby’s performance is quite good.
Italian Studies is currently seeking distribution. Mark, Mary + Some Other People
Mark, Mary & Some Other People is a hilarious romantic comedy exploring the somewhat taboo idea of polyamorous relationships. It’s the type of comedy that deals heavily in secondhand embarrassment, as we watch the characters make the wrong decision time after time, but it’s very funny at what it does. Lead actors Ben Rosenfield and Hayley Law have exceptional chemistry together and pull off both the romantic and comedic aspects of the script. From previous outings, it was clear that writer-director Hannah Marks was talented, but this proves that she is great at comedy.
Mark, Mary & Some Other People will release later this year. Blind Ambition
Offering a compelling blend of underdog story, food porn, and a political documentary, Robert Coe and Warwick Ross’s film Blind Ambition seems like an unlikely candidate for success, but much like the team of sommeliers it follows, there is much more to this film than it initially lets on. Audiences can expect to be pulled into the story of the Zimbabwean Wine Tasting Olympics team, and the film also does a very good job of diving deep into the stories of these four men who are fighting against the odds.
Blind Ambition is currently seeking distribution. False Positive
False Positive is a deeply unoriginal film with a script that borrows heavily from, if not entirely ripping off, better films. Anyone with even a passing knowledge of classic horror will be able to predict where the story is going from a mile away, and the fact that the film seems to think it is smart and subversive is, quite frankly, insulting. A decently eerie style from director John Lee and a devilishly fun performance from Pierce Brosnan are nowhere near enough to make up for this joyless attempt at atmospheric horror, especially with the ending being so outright laughable.
False Positive streams on Hulu beginning June 25. Creation Stories
Creation Stories is clearly meant to exist in the same vein as the much better 24 Hour Party People, a comedy-tinged biopic about someone whose hand guided the evolution of British pop. However, despite having plenty of interesting stories to pull from, the script by Dean Cavanagh and Irvine Welsh is so messy that it’s nearly impossible to make anything out of it. Ewen Bremner is solid as music mogul Alan McGee, and the soundtrack is obviously great, but the writing is just horrid, and director Nick Moran’s failed and cheap-looking attempts to infuse the film with a sleek style don’t help.
Creation Stories will be released later this year. The Justice of Bunny King
Gaysorn Thavat’s tear-jerking drama The Justice of Bunny King offers some genuinely heartbreaking commentary on the failures of the system which it critiques, but its emotional beats are too predictable and artificial for it to be especially resonant. The performances by Essie Davis and Thomasin McKenzie are fabulous, but this story of a mother struggling to provide for her children has a script that is less than impressive. The first two thirds are sentimental but bearable, but the final act goes way overboard, nearly to the point of being unwatchable.
The Justice of Bunny King is currently seeking distribution. Larry Flynt for President
The story of Hustler founder and unlikely Presidential candidate Larry Flynt is so insane that it got the biopic treatment in 1996, but the charm of Nadia Szold’s new documentary Larry Flynt for President is that it features lots of unearthed, never-before-seen footage from the Flynt campaign. Clocking in at a lean ninety minutes, the film is definitely very entertaining thanks to its subject’s larger-than-life personality and the often absurd antics in which he involved himself. But beyond that, it’s an interesting exploration of the issue of freedom of speech and the press, which has always been a hot-button topic.
Larry Flynt for President is currently seeking distribution. a-ha: The Movie
Norwegian pop band a-ha has a large, passionate fanbase, so one would think that a documentary about their rise to fame would be absolutely delightful. However, director Thomas Robsahm’s approach to telling the story is very straightforward, to the point of it becoming dull. There are some interesting moments that feature animation in the style of a-ha’s iconic music videos, but other than that, it’s mostly a compilation of interviews and archival performance footage. It’s good enough to be worth watching, but there’s also no doubt that fans and the group deserve something better.
a-ha: The Movie is currently seeking distribution. Bernstein's Wall
Perhaps the most influential American composer in all of history, Leonard Bernstein lived an absolutely fascinating life and the documentary Bernstein’s Wall allows audiences to hear about it in his own words. It’s a bit traditional in how it’s presented — mostly archive footage with the interviews used as voiceover — but Bernstein is such an exceptional subject that flashiness isn’t necessary. Admittedly, it’s a film that’s going to appeal more to those who are already interested in classical music, but it could also win over some fans for Bernstein’s impressive body of work.
Bernstein's Wall is currently seeking distribution. We Need to Do Something
Vinessa Shaw as ‘Diane,’ John James Cronin as ‘Bobby,’ Pat Healy as ‘Robert,’ and Sierra McCormick as ‘Melissa’ in Sean King O’Grady’s WE NEED TO DO SOMETHING. Courtesy of IFC Midnight. An IFC Midnight release.
Sean King O’Grady’s film We Need to Do Something is an absolute masterclass in tense horror filmmaking. Following a family who find themselves trapped in a bathroom after a devastating storm, this starts out as a lean slow-burn thriller before going absolutely off the rails around the thirty-minute mark. The things that O’Grady is able to do with sound and set design are thoroughly impressive and succeed in capturing the feeling of anxiety that the film requires, and Pat Healy’s unhinged performance as the family’s patriarch is a scene-stealer. Genre fans definitely need to check this one out.
We Need to Do Something hits theaters and VOD on September 3. Shapeless
Kelly Murtaugh wrote and stars in Shapeless, which is clearly a very personal film, but personal and compelling aren’t always synonymous. Following a lounge singer with an eating disorder that turns her life into a waking nightmare, the film does some interesting things with body horror, but for the most part, is just dull and repetitive. It gets its point across early on, and the rest of the runtime feels like we are trapped in an endless loop of misery. Of course, this seems to be the point, but that doesn’t change the fact that it’s an altogether unpleasant film to stomach.
Shapeless is currently seeking distribution. Fathom
Dr. Michelle Fournet and Natalie Mastick Jensen in “Fathom,” premiering globally on Apple TV+ on June 25, 2021.
No matter how many are made, there is a seemingly eternal demand for nature documentaries, and the streaming services are often the ones who provide the supply. The newest film from Apple TV+, Fathom, follows two scientists who set out to decode the language behind humpback whale songs. The mission that these researchers are undertaking is pretty fascinating, even if the sound of these whale calls is so soothing to almost lull the viewer to sleep. Still, director/cinematographer Drew Xanthopoulos has a tremendous eye, shooting the film in a breathtakingly gorgeous way that will make this a crowd-pleaser.
Fathom streams on Apple TV+ beginning June 25. Brian Wilson: Long Promised Road
If one is discussing the best albums made of all time, at least one by the Beach Boys should undoubtedly come up — Pet Sounds — but the documentary Brian Wilson: Long Promised Road seeks to remind audiences of just how prolific Wilson’s entire discography is. In terms of how filmmaker Brent Wilson (no relation) presents the eponymous musician’s story, this is a pretty standard biographical documentary, but it’s an entertaining watch nevertheless, especially for those who are already fans. And of course, the best part of the documentary is getting the chance to hear about the origins of some of the best songs ever straight from the mouth of their creator.
Brian Wilson: Long Promised Road is currently seeking distribution. The Beta Test
Jim Cummings as “Jordan’ in Jim Cummings’ and PJ McCabe’s THE BETA TEST. Courtesy of IFC Films. An IFC Films release.
Jim Cummings has become quite the indie superstar since his feature debut Thunder Road, and his newest film, The Beta Test (co-written and co-directed with PJ McCabe), is his best and most ambitious yet. Although the film is a tad busy, biting off a bit more than it can chew in terms of themes, it is a mind-blowing satire of Hollywood and social media. Many films have tried and failed to do this same thing before, but Cummings and McCabe have pulled it off in a way that is thoroughly stylish, entertaining, and anxiety-inducing, making for one of the best thrillers of the year so far.
The Beta Test will be released in theaters and on VOD this fall. Wild Men
The Danish dark comedy Wild Men starts off strong, with some excellent situational humor and the promise of a twisty storyline, but after a while, one begins to wonder why it all matters. Entertaining moments are sprinkled throughout, but the film peaks early and plateaus for much of the rest of the runtime. Perhaps the best thing in play here is a great performance from Rasmus Bjerg, who does a great job with both the comedy and the action. Still, viewers will largely be left unfulfilled, wishing that the film had lived up to the untapped potential of the set-up.
Wild Men is currently seeking distribution. Roaring 20's
Although the adjective gets thrown around a lot more frequently than it needs to be used, there is no better word to describe Elisabeth Vogler’s film Roaring 20’s than “pretentious”. Although the execution of the film as a one-take ensemble drama shot on the streets of Paris during the COVID-19 pandemic is certainly impressive, it often feels like the purpose of this film is merely to prove what Vogler was able to do. It’s gimmicky in all the wrong ways, with minimal story or character development and themes that are scattered at best. It’s a shame that Vogler couldn’t put her obvious talent to use on something more profound.
Roaring 20's is currently seeking distribution. No Man of God
As long as audiences aren’t able to get enough true crime content, filmmakers will keep putting it out, and No Man of God is the latest film that will come and go in the genre. Strong performances from Luke Kirby and Elijah Wood keep this chamber piece about conversations between serial killer Ted Bundy and an FBI psychoanalyst from being entirely forgettable, but the whole affair is frighteningly one-note. The first two thirds are competent but largely dull, but once it gets to the climax, it starts to get outright bad with hokey and forced emotional beats.
No Man of God will be released in theaters and on VOD on August 27. No Running
Recent years have seen an uptick in the amount of socially conscious genre films, and Delmar Washington’s feature debut No Running hopes to put a timely spin on the sci-fi mystery genre. However, the fundamental issue with the film is that first-time writer Tucker Morgan’s script has next to no suspense. There are a lot of genuinely great ideas at play within the story, but an unsubtle hand and a failure to take advantage of the intriguing premise keep the film from elevating beyond competent B-movie level.
No Running is currently seeking distribution. The Last Film Show
A coming-of-age story set against the backdrop of the cinema should be an immediate hook for any cinephile, but The Last Film Show is far too familiar for its own good. Pam Nalin’s film is impeccably shot, and it sticks the landing tremendously well, paying off with an unsurprisingly resonant finale, but the abundance of tropes (particularly in the first two acts) make this more sentimental than genuinely emotional. It clearly wants to recapture the magic of Cinema Paradiso, but it just doesn’t have the same level of oomph as that classic.
The Last Film Show is currently seeking distribution. See For Me
Many horror movies capitalize on the very common fear of the unknown to create a sense of terror. Randall Okita’s film See For Me attempts to double down on that by having a blind protagonist, but fails to translate that to an experience that is particularly tense for the audience. It’s an entertaining and lean thriller, but a very basic one at that, and there have been plenty of movies that have done this same thing much more effectively in the past (just watch Wait Until Dark instead).
See For Me is currently seeking distribution. My Heart Can't Beat Unless You Tell It To
Although the magnificent title is one of the best in the horror genre since the days of giallo, My Heart Can’t Beat Unless You Tell It To is a disappointingly dull affair. Following a brother and sister who begin to clash over the care of their sickly younger brother, this film is far more interested in mood and tone than anything else. Filmmaker Jonathan Cuartas is playing with some interesting ideas here, but the slow burn it takes to the minimal payoff isn’t worth suffering through in the name of an occasionally distinctive take on genre tropes.
My Heart Can't Beat Unless You Tell It To will hit theaters and VOD on June 25.
By Sean Boelman
The Hot Docs Film Festival is one of the biggest markets for documentary filmmaking in the world, and this year, there are plenty of great films that appeared in the lineup. We at disappointment media got the opportunity to see some of the films that screened there, and here are our thoughts:
Bank Job
There is no denying that finance is one of the most confusing industries there is, and Daniel Edelstyn and Hilary Powell’s documentary Bank Job makes that abundantly clear. Following a community who sets out to defeat predatory economic institutions, the film explores how the success of our society is fundamentally tied to the concept of debt. However, there’s something really inspiring about seeing people come together to support their community like this. It’s a really interesting watch, even if it fails to make these principles make any more sense to the average person.
Cannon Arm and the Arcade Quest
One wouldn’t normally think of watching a man stand at an arcade cabinet for hours upon hours as riveting cinema, but Mads Hedegaard’s documentary Cannon Arm and the Arcade Quest is surprisingly compelling. Following a professional gamer who sets out to play a record-breaking one-hundred-hour session on his favorite game, this is an ode to everyone who has set their eyes on a dream and won’t give up. And in exploring the friendship that exists between the subject and his best friends, the audience will endear the audience to the story with an unexpected authenticity.
The Gig Is Up
In the past decade, the gig economy has been booming significantly, but few people recognize the extent to which we rely on gig workers for many aspects of our lives. Generally, we think of gig workers as the delivery and rideshare drivers or odd job workers from services we commonly utilize, but Shannon Walsh’s documentary The Gig Is Up shows just how much bigger it is. It’s an eye-opening film that explores how both the system and consumers are exploiting this form of labor, with some very emotional interviews that bring home the urgency of this issue.
Playing with Sharks
Acquired by National Geographic out of the 2021 Sundance Film Festival, Playing with Sharks is the type of documentary that seems destined to have quite the following when it makes its broadcast debut. Telling the story of scuba diver Valerie Taylor, the film offers an interesting examination of the relationship that people have with sharks. It offers a little bit for everyone, with some gorgeous underwater footage for animal lovers and some interesting behind-the-scenes Jaws facts for cinephiles. It’s an all-around crowd-pleaser, and we need more nonfiction films like that.
Rockfield: The Studio on the Farm
Rockfield: The Studio on the Farm is yet another music documentary that promises to offer the untold stories behind some of your favorite songs. And while there is no denying of the importance of Rockfield as an institution, fans will ultimately be familiar with many of these stories. As a result, this is basically a music history lesson for people who are already versed in music history. A few interesting interviews aside, there’s really nothing to make this stand out from all of the other similar documentaries that have come out like this in the past.
The Spokeswoman
Luciana Kaplan’s documentary The Spokeswoman tells the story of an amazing woman whose story needs to be heard. Following the first Indigenous woman to pursue the office of President of Mexico, this isn’t your typical rags-to-riches tale. Instead, it’s about someone who has embarked on a mission of advocacy that is nothing short of extraordinary. Admittedly, the storytelling here is pretty simple, but the film is just so powerful that viewers will be drawn in nevertheless.
The 2021 Hot Docs Film Festival ran virtually April 29 through May 9.
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