The Criterion Voyages (Spine #1190): DRYLONGSO -- A Hidden Gem of Black Independent Cinema8/28/2023 By Sean Boelman Drylongso is the type of smaller, independent film that might go under-the-radar among the month’s higher-profile Criterion releases, but must absolutely not be ignored. Cauleen Smith’s film is an exceptional work of independent filmmaking, with wonderful visuals and a challenging exploration of its themes. The movie follows a woman who takes up an unorthodox project in her photography class: photographing Black men in the belief that they will soon become extinct. As one would expect from the premise, it’s a film that feels quite politically charged, but not in a way that is overbearing or unpalatable — simply thought-provoking. Perhaps the most exciting reason for Drylongso to be added to the Criterion Collection is the fact that it is yet another piece of independent Black American cinema from a unique and distinctive voice. Between Drylongso and The Watermelon Woman, it’s nice to see this underseen corner of cinematic history getting the representation it deserves. Smith and Salim Akil’s exploration of Black identity is fascinating and compelling, pulling no punches when it comes to the systemic issues the community faced at the time — some of which still reverberate through society today. All of this is set against the backdrop of a murder mystery. However, this is not a murder mystery in the Agatha Christie whodunit sort of way, nor even a procedural way, but one that interrogates the system that continues to perpetuate violence against Black people and cause so many senseless and unjust deaths. The thread that ties the movie together is its tender character work, as well as a beautiful leading performance from Toby Smith. The film has a great deal of nuance in its emotion — even during the romantic plot that hits a few familiar beats — and it allows the movie to feel extraordinarily personal and lived-in.
The film is shot with exquisite 16mm cinematography from Andrew Black, which is lovingly and gorgeously restored in 4K by the folks at Janus Films for this release (as well as a theatrical run that has toured the art house circuit for much of the year). Considering that much of Smith’s work is in multimedia installation art — Drylongso is her first and only feature — it makes sense that this is so exquisitely beautiful. When it comes to bonus features, the main draw of the Drylongso Criterion Collection edition is a smattering of Smith’s short films: Chronicles of a Lying Spirit by Kelly Gabron, Songs for Earth & Folk, Lessons in Semaphore, Egungun (Ancestor Can’t Find Me), Remote Viewing, and Suffolk. The disc also boasts a new conversation between Smith and scholar Michael B. Gillespie, as well as an essay by scholar Yasmina Price. Drylongso is the type of Criterion Collection addition whose purpose is to showcase and preserve an important and underseen part of cinema history. Cinephiles should certainly pick this one up and discover an extraordinary piece of independent cinema. The Criterion Collection edition of Drylongso releases on August 29.
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By Sean Boelman
Every year, the Fantasia International Film Festival is a showcase of some of the most exciting genre cinema of the year. From horror to action to thriller and other films that are just downright weird, Fantasia is where genre cinephiles go to make their next big discovery.
We at disappointment media again had the pleasure of covering Fantasia remotely. Here are some quick thoughts on some of the films we saw as part of the lineup. The Childe
Korean filmmaker Park Hoon-jung has become something of a mainstay in the Fantasia lineup, best known for his duology of action horror films, The Witch: Part 1 - The Subversion and The Witch: Part 2 - The Other One. His latest work, The Childe, doesn’t have as much of a horror influence, opting instead for more of a gritty crime thriller approach — albeit with Park’s penchant for shocking brutality. Although the action sequences are a ton of fun, the story that surrounds them is overly convoluted and, worse yet, not all that interesting. There are some moments that are inspired and shine very brightly, but it just doesn’t all come together.
Femme
Sam H. Freeman and Ng Choon Ping’s Femme is the type of movie that is extremely difficult to watch, but in a way that feels necessary and thought-provoking. Following a drag artist who finds a way to get revenge against his assailant after a brutal homophobic attack, this is definitely not your standard revenge thriller. The film creeps under your skin, thanks in part to strong direction by Freeman and Ping, but also from a wonderfully vulnerable performance by Nathan Stewart-Jarrett and a truly chilling turn by George MacKay. Although it might be too much for some to stomach, it’s quite effective.
Mad Cats
Reiki Tsuno’s Mad Cats is the type of movie where its success will depend heavily on the viewer’s willingness to get onto its absurd wavelength. The film follows an unlikely hero as he goes on a bizarre quest to rescue his missing brother, bringing him up against a group of ferocious warriors who may or may not be cats. It’s a wild concept that has the potential for plenty of wacky, fun moments, but its aggressive quirkiness gets overwhelming at times. The martial arts action sequences are also quite enjoyable. However, despite a bunch of individual elements that work well, the film never congeals as well as it needed to.
Mad Fate
Soi Cheang’s Mad Fate is a literal manifestation of the description “your mileage may vary.” The film is a vile cacophony of superstition and violence. It’s extremely unpleasant, but that’s exactly what some audiences will be looking for with a film like this. This story of a fortune teller and the man he foretells to be destined to murder simply doesn’t make a ton of sense. However, regardless of if one connects with the film’s weirdness and brutality, there’s no denying that the film boasts an impressive visual style, as well as more than a few moments that will be etched into your memory — for better or worse.
Stay Online
Stay Online is meritorious in the fact that it’s impressive that it was even able to be made, and its heart is in the right place. As the first Ukrainian fiction film shot during the Russian invasion of Ukraine, the film shows the importance of the Ukrainian resistance movement. Unfortunately, the film’s story of a volunteer trying to reunite a young boy with his missing father feels like too much of a tear-jerker to really work. Add in some less-than-impressive performances, and the fact that the director often breaks the film’s Screenlife conceit, and you have a film that is thoroughly frustrating despite its noble intentions.
The 2023 Fantasia Film Festival runs from July 20 to August 9.
By Sean Boelman
Outfest is one of the most important LGBTQIA+ organizations in film, and their annual festival in Los Angeles is one of the most exciting events of the year. A showcase of some of the year’s best LGBTQIA+ films — from both established and up-and-coming talent — the film is a great place for the community and allies to see stories that represent the LGBTQIA+ experience.
Many of the film’s playing at this year’s festival have been touring the festival circuit to great acclaim. Here are just a few recommendations of films that we think you shouldn’t miss if you’re attending this year’s Outfest in-person or online. Chasing Chasing Amy
Chasing Chasing Amy is the closing night film of this year’s Outfest, fresh off its warmly-received Tribeca premiere. There truly have not been many documentaries that feel this intimate in a very long time. In the film, director Sav Rodgers explores his complex relationship with Kevin Smith’s controversial romance Chasing Amy, and how the film helped him in his journey of coming out as a trans man. It’s a great LGBTQIA+ film, but it’s also an exceptional dive into what it means to appreciate problematic art.
Egghead and Twinkie
Adapted from her award-winning short of the same name, Sarah Kambe Holland makes her debut with the ridiculously charming Egghead and Twinkie. Although the film’s a little bit scrappy, being a low-budget feature debut and all, what it has no shortage of is personality. It’s consistently funny and cute, telling a story that has undeniably familiar beats from a perspective that feels refreshing and honest. This is a film made for the younger attendees of festivals like Outfest, thus filling a worthy niche in the lineup.
Kokomo City
D. Smith’s documentary Kokomo City took home both the Audience and NEXT Innovator awards at this year’s Sundance Film Festival, showing how much it resonated with viewers and the industry alike. Telling the story of four transgender sex workers in their own words, this is not the type of documentary that’s polished and slick — instead opting for production values that could almost be described as amateurish. However, the storytelling on display here is so captivating that it’s hard to deny the power of the film.
Rotting in the Sun
When Rotting in the Sun played at Sundance, we called it “audacious” and expected it to never be seen again because of its edgy, explicit, and dick-filled gay dark comedy. Thankfully, Mubi picked it up for a release later this year and is making a stop at Outfest to build up some buzz. If you are able to see one movie at this year’s festival, make it this. Sebastian Silva’s film remains one of the most idiosyncratic and singular to come out this year, and while some viewers may be put off by the film’s aggressive nature, it’s the type of film that you just have to see.
Outfest runs in-person in Los Angeles from July 13-23, and online from July 17-30.
Review by Sean Boelman
Filmmaker Joseph Losey’s The Servant is a product of a time where it’s stunning that a movie this transgressive was even able to exist. Although the film suffers from some issues with pacing, its historical context and beautiful visuals make it more than a worthy addition to any cinephile’s Criterion shelf.
The movie follows an upper-class man who hires a new servant, whose intentions may not be as altruistic as they seem. The film’s commentary on class relations is quite interesting, and made even more so when one realizes the context of the director having been blacklisted from Hollywood during the height of the Red Scare. In many ways, the movie is an extremely slow burn. And given how bleak so much of the story is, the combination of the dark tone and slow pacing can start to feel somewhat oppressive at times. By the end of the nearly two-hour runtime, viewers will be absolutely exhausted, and not necessarily in a way that feels rewarding. Although the film is effective in developing characters that are morally ambiguous, this can also end up being somewhat frustrating. We are presented with protagonists who, for lack of a better word, simply aren’t very likable. And while the purpose is clearly to challenge and provoke audiences, it’s not always effective.
That being said, the movie is brilliant as an exercise in formalism. The visuals are fantastic, as is the score. Even when the story and its power dynamics aren’t able to keep the viewer engaged in the film, the brilliant aesthetics will keep their eyes glued to the screen. The atmosphere that Losey is able to correct is fantastic.
The new 4K restoration of the movie included on the Blu-Ray edition is perhaps one of the finest restorations the Criterion Collection has put out in recent years. It’s absolutely stunning — a sight to behold, making the crisp black-and-white cinematography by Douglas Slocombe pop in ways one would never expect. The bonus features are much stronger than recent output from the Criterion Collection, with some new documentary materials as well as interviews, including a rare one with director Losey that cinephiles might not be able to find anywhere else. Additionally, author Colm Tóibín contributed an essay for the booklet. The Servant is an interesting product of its time, and while the story might not be the most captivating, the beautiful 4K restoration offered by the Criterion Collection accentuates its gorgeous visuals. The fact that the Criterion Collection is giving a platform to such challenging films as this is why cinephiles love them. The Criterion Collection edition of The Servant is now available.
By Sean Boelman
The Tribeca Festival is one of the largest gatherings for film and media in New York City, and represents the transition from the spring to the fall festival circuit. Before film festivals become all about predicting who are going to be the next big awards contenders, we get another opportunity to see some great premieres and encores of other films that have been lighting up other festivals.
We at disappointment media are covering the 2023 Tribeca Film Festival — in person for the first time ever, as we have only covered previous editions virtually. We have already gotten the chance to sneak a peek at certain films in the lineup, and here are some we think you shouldn’t miss out on. The Adults
Dustin Guy Defa’s dramedy The Adults debuted earlier this year at Berlinale and is making a stop at Tribeca before its theatrical release later this summer. Starring Michael Cera as an awkward guy who finds his short trip home extended by an addiction to a local poker game, this is the type of comedy that gets most of its humor from putting its characters in increasingly uncomfortable situations. The characters are purposefully grating at times, but excellent performances from Michael Cera, Hannah Gross, and Sophia Lillis are more than worth the price of admission.
Our Son
One of the biggest world premieres at this year’s Tribeca Festival is the LGBTQIA+ drama Our Son, which plays out almost as a gay version of Marriage Story. The film stars Luke Evans and Billy Porter as a long married couple who decide to separate suddenly to one of their dismay, setting off a devastating custody battle. It would be difficult to find a more emotionally harrowing film than this in the lineup this year, and Evans and Porter’s performances are the icing on the exceptional cake.
Richland
Irene Lusztig’s documentary Richland is the type of film that is hard to recommend in that it is not a particularly pleasant watch, but it is essential viewing despite its often depressing nature. The film tells the story of a town in Washington state that was created to house the workers of a nearby nuclear site, but has since grown to be a microcosm of the generational conflict happening in America right now. The points that Lusztig is able to make with her verité footage are shockingly profound and harrowingly effective.
Rule of Two Walls
This year’s Tribeca Festival lineup includes several documentaries about the war in Ukraine, but there’s unlikely to be one as innovative and unique as David Gutnik’s Rule of Two Walls. What makes this documentary stand out is its hopeful approach to the topic. Although the film pulls no punches when it comes to depicting the aftermath of this conflict on the Ukrainian people, its focus is on a group of artists who have decided to remain in their country and continue to create their art despite the circumstances. The result is a surprisingly hopeful reminder of how the human will can overcome, and how perseverance is necessary in the face of adversity — a perspective that needs to be heard right now.
Suitable Flesh
With its 2023 edition, Tribeca is introducing a new “psychotronic” sidebar called “Escape From Tribeca,” which features a much weirder and wilder set of midnight movies than festival-goers may be used to seeing in the festival’s usual Midnight lineup. One of the highlights of that group of films this year is Suitable Flesh, directed by Joe Lynch (Mayhem) from a story by H. P. Lovecraft. As one would expect, it’s a fittingly unhinged, campy throwback — with tons of gore and sex. You really couldn’t ask for more from a midnight movie.
The 2023 Tribeca Festival screens at the 2023 Tribeca Festival, which runs June 7-18 in NYC and June 19 through July 2 online.
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