Pictured clockwise, from left to right: Troy Iwata, Frankie Grande, Travis Coles and Noah J. Ricketts in “Summoning Sylvia” (Photo courtesy of The Horror Collective)
Culture Representation: Taking place in an unnamed city in upstate New York, the horror comedy film “Summoning Sylvia” features a cast of predominantly white characters (with two African Americans and one Asian) representing the working-class and middle-class.
Culture Clash: Four gay male friends go to a remote house in the woods for a bachelor party, and they end up holding a séance to summon the spirit of the house’s original owner, who was accused of murdering her son in the early 20th century.
Culture Audience: “Summoning Sylvia” will appeal primarily to people who like watching horror comedies that skillfully blend campiness with raunchiness.
Troy Iwata, Noah J. Ricketts, Travis Coles and Frankie Grande in “Summoning Sylvia” (Photo courtesy of The Horror Collective)
“Summoning Sylvia” is a sassy and hilarious séance comedy, told from a gay male perspective. Travis Coles and Frankie Grande are scene-stealing delights. The unpredictable jokes and gags make this film appealing to people who like comedy made for adults. And at a brisk total running time of 75 minutes, “Summoning Sylvia” is just the right length to prevent the movie from getting stale and repetitive.
Written and directed by Wesley Taylor and Alex Wyse, “Summoning Sylvia” takes place in an unnamed city in upstate New York. (The movie was actually filmed in New Jersey.) Four gay male friends in their mid-to-late 30s have gathered for what they hope will be a fun-filled bachelor party at a remote house in the woods. Of course, since this a horror comedy, the house has a sinister history that will cause some terror for these visitors.
The house is owned by someone named Frank (voiced by Wyse), who is never seen but who is heard over the phone. Frank has rented out house for the weekend to Reggie (played by Troy Iwata), the person in the group who has organized this party. Reggie is very meticulous and gets very uptight if things don’t go according to his plans. The bachelor party is a surprise for the grooms-to-be who are expected at the party.
The first groom-to-be to arrive at this gathering is Larry (played by Coles), who is a high-strung people pleaser. When his friends start bickering with each other, Larry is the one who nervously tries to keep the peace. Larry’s fiancé Jamie (played by Michael Urie) is about five or six years older than Larry. Jamie was supposed to be there at the same time as the rest of the group, but he calls Larry from his car to say he is running late because work obligations prevented him from leaving sooner.
Nico (played by Grande) is the most flamboyant and outspoken friend in the group. His fashion choices range from dressing like a grungy club kid to wearing bold makeup and androgynous clothes. Out of all these friends, Nico is the most superstitious and the one who’s most likely to believe in ghosts. He is also very confrontational with anyone he thinks is homophobic.
Kevin (played by Noah J. Ricketts) is the most laid-back of the friends. Reggie and Kevin have a crush on each other and don’t really know how to handle it. Kevin keeps hinting that they should be more than friends, but Reggie awkwardly avoids talking about it. Reggie is a bit of a control freak and probably wants to plan out any relationship that he might have instead of letting it happen naturally. If anything sexual is going to happen between Kevin and Reggie, then Kevin is more likely to make the first move.
During the phone conversation between engaged couple Jamie and Larry, an awkward topic comes up: Jamie has a brother named Harrison (played by Nicholas Logan), a military veteran who recently spent time in Kuwait. Harrison has briefly met Larry before, but Jamie thinks Larry and Harrison should get to know each other better before the wedding. Larry doesn’t feel comfortable around Harrison, but he wants to please Jamie. And so, Larry tells Jamie that Harrison can go to the party.
It’s an invitation that Larry immediately regrets. When Harrison arrives (wearing military camouflage gear), he’s stereotypically macho and homophobic. At first, Nico and Kevin think that Harrison might be a surprise stripper. Reggie is annoyed about this unannounced visit from Harrison. Reggie quips about Harrison, “The crew cut. The camo. What is he? A lesbian?”
There’s another concern that these friends have besides Harrison. Shortly before Harrison’s arrival, Reggie told the other pals that the house they’re staying at has a reputation for being haunted. Back in the early 20th century, the house’s original owner was a woman named Sylvia Lawrence. According to a local legend, Sylvia driven insane and murdered he son Phillip Lawrence (her only child) and buried his body somewhere on the estate.
After some snooping around the house, the four pals find some of Sylvia’s possessions, including items and clothing and photographs. Throughout the movie, there are visions of Sylvia (played by Leanne Voss) and Phillip (played by Camden Garcia) that might or might not be real. These visions eventually reveal what happened between Sylvia and Phillip that resulted in her being accused of killing her son Phillip.
It doesn’t take long for Nico to come up with the idea to have a séance to try to contact Sylvia and ask her what really happened the night she supposedly murdered her Phillip. Reggie is very skeptical about this idea and is reluctant to go through with the séance. Nico snaps at Reggie: “Bitch, do you know how many times I’ve seen ‘Wicked’? Fourteen times! So, do not question my devotion to the dak arts!”
Harrison shows up after the séance has begun. Many hijinks ensue. Nico and Harrison immediately clash with each other the most. However, people with enough life experience can see that Harrison might be homophobic on the outside, but Harrison might be secretly attracted to Nico, whom he sometimes misgenders as “she” and “her.” Harrison tries to act like he’s disgusted by being around these gay men, but he also seems fascinated with them.
“Summoning Sylvia” has plenty of snappy banter and amusing slapstick comedy that enliven the film. However, this comedy also has some social commentary about the divides that can exist between homophobes and the LGBTQ people who are the targets of homophobic hate. “Summoning Sylvia” ultimately triumphs because it’s not a movie that makes gay people the “victims.” It’s a memorable movie that makes gay people the heroes of their own stories.
The Horror Collective released “Summoning Sylvia” in select U.S. cinemas on March 31, 2023. The movie was released on digital and VOD on April 7, 2023.
Culture Representation: Taking place in New York City and on New York state’s Long Island, the dramatic film “The Tutor” features a nearly all-white cast of characters (with a few people of Asian heritage) representing the working-class, middle-class and wealthy.
Culture Clash: A financially desperate tutor is hired by a mysterious billionaire to tutor the billionaire’s 17-year-old son, who becomes obsessed with the tutor, and dark secrets emerge that could be deadly.
Culture Audience: “The Tutor” will appeal primarily to people who don’t mind watching low-quality mystery thrillers that have muddled and disjointed stories.
Victoria Justice in “The Tutor” (Photo courtesy of Vertical)
After watching “The Tutor,” it’s obvious that the filmmakers need lessons on how to make a good movie. This flimsy drama about a tutor stalked by a student ends up falling apart with avoidable plot holes and a stupid ending. It looks like a movie that started out with a fairly good concept, but the filmmakers decided to just throw in a bunch of ludicrous ideas, and then tack on a very lazy ending that leaves many questions unanswered.
Directed by Jordan Ross and written by Ryan King, “The Tutor” could have had many clever and interesting things to say about the abuse of power and privilege from ultra-wealthy people. Instead, the movie rehashes many of the same storylines found in third-rate stalker thrillers that are throwaway, forgettable movies on TV. There are a few surprises in “The Tutor,” but they are badly mishandled and further damage what little credibility that “The Tutor” had.
In “The Tutor,” Garrett Hedlund portrays a tutor named Ethan, who works for an agency in New York City called Tutornym, which has many wealthy clients who hire the tutors to teach the clients’ underage children. (“The Tutor” was actually filmed in Alabama, mostly in the Birmingham area.) A montage in the beginning of the film shows that Ethan is a tutor to a variety of rich teenagers at their lavish homes. “The Tutor” immediately looks phony and outdated, because these kids aren’t shown doing any schoolwork on a computer. The movie makes it looks like Ethan mainly teaches his students by using flash cards to quiz them.
Ethan and his pregnant live-in girlfriend Annie (played by Victoria Justice) are expecting their first child together. Later in the movie, they find out the baby’s gender from a medical exam. It’s also mentioned in “The Tutor” that Annie and Ethan have been a couple for five years. They have some trust issues because Ethan apparently cheated on Annie in the past.
For now, Ethan’s tutoring salary is the couple’s only income. And they’re a little worried about how they’re going to be able to afford the expenses of raising a child. One day, Ethan gets a call at the Tutornym office from his hard-partying boss Chris (played by Joseph Castillo-Midyett), who is rarely at the office and spends a lot of time getting drunk in nightclubs. Chris tells Ethan about a summer job offer that has a salary that Ethan thinks is too high to refuse: a billionaire (whose name Chris refuses to tell Ethan) wants to hire Ethan to tutor the billionaire’s 17-year-old son for $2,500 a day.
Chris tells Ethan that the payments will be made “under the table” (not reported to the Internal Revenue Service) and that Ethan has to live at the family’s property on Long Island, for a one-week trial period. After that first week, the family will decide if they will hire Ethan for the rest of the summer. Ethan might be “book smart,” but time and time again, he shows that he’s not “street smart.”
But you don’t have to be “street smart” to have the common sense to know that a shady deal like this sounds too good to be true. The obvious red flags are that the employer doesn’t want Ethan to know his name and wants to secretly pay Ethan. (This deal also makes Chris corrupt too.) Ethan eagerly takes the job because he and Annie need the money. When he tells Annie about this new job, she doesn’t question the warning signs either, which is basically the movie’s way of showing that Annie is less-than-smart too.
When Ethan arrives at the Long Island estate for this new tutoring job, he is dazzled by all the first-class service he gets and the wealth on display at this estate. He is driven to the property by a chauffeur (played by Escalante Lundy), and he is given a private tour of some of the property by a butler (played by Kamran Shaikh), who are both polite and professional. How rich is this family? An awestruck Ethan tells Annie in a phone conversation that he saw 50 motorcycles on the property. Ethan also seems very impressed that his guest lodging has its own pool table.
The father who hired Ethan is nowhere to be seen during Ethan’s first few days on the job. Ethan has been hired to tutor Jackson (played by Noah Schnapp), who is highly intelligent but socially awkward. Jackson is apparently prepping to go to whatever elite university he is expected to attend. However, when Ethan asks Jackson what his SAT scores are, Jackson says he doesn’t know. Jackson tells Ethan, “I’ll have my dad’s assistant forward them.”
One of the many ways that “The Tutor” looks very fake is that this huge property has very few employees. It’s understandable that a low-budget independent film isn’t going to have a large number of people in its principal cast. However, it wouldn’t be that hard or expensive to get some background extras to portray a realistic number of servants that would be needed for the upkeep of this estate.
Ethan gives Jackson some initial tests in math and English. He finds that Jackson has perfect scores on these tests. The question somewhat crosses Ethan’s mind about why he’s even needed as a tutor, because apparently this kid is smarter than Ethan. However, Ethan (who’s mostly thinking about the money he’s getting paid for this job) tells Annie that he was probably hired to keep Jackson company. Ethan says to Annie that he suspects that Jackson is somewhere on the autism spectrum.
During Ethan’s first day on the job, he also meets Jackson’s creepy cousin Gavin (played by Jonny Weston) and his smirking girlfriend Jenny (played by Kabby Borders), who are both in their late 20s. Gavin and Jenny apparently don’t do anything but lounge around and party. Later, it’s explained to Ethan that Gavin doesn’t live there, but Gavin usually visits Jackson every summer.
One day, Ethan ends up riding in a car with Gavin as the driver, and the other passengers are Jenny and an attractive woman in her 20s named Teddi (played by Ekaterina Baker), who is a friend of Gavin and Jenny. Gavin makes a strange comment to Ethan that Ethan can have Teddi whenever he wants, as if Teddi is merely a plaything to be passed around. Ethan declines the offer and says he already has a girlfriend. It’s another red flag that Ethan doesn’t seem to notice or doesn’t care to notice. Another red flag that Ethan chooses to brush aside is how he gets conflicting information about why Jackson has an absentee mother.
The rest of “The Tutor” goes through the expected motions in showing Jackson’s obsession with Ethan, as well as the escalating danger involved. Hedlund and Schnapp try very hard to be convincing in their roles, but many of their melodramatic scenes are downright cringeworthy because of all of the over-acting. In other scenes, their acting is listless and hollow. All of the other cast members play two-dimensional characters and give unremarkable performances.
As more ominous things start happening to Ethan, viewers will be wondering why Ethan doesn’t do what most people would do in his situation: Find out exactly who hired him to tutor Jackson. He has a lot of information at his disposal, starting with the address of the mansion. But no, this dimwit doesn’t do any common-sense research, because there would be no idiotic “plot twists” in “The Tutor” if he found out this information earlier. Instead, Ethan wastes a lot of time whining to Annie and some other people about how he’s teaching a mentally ill student who’s become obsessed with him.
The plot twists in the “The Tutor” just further tangle this mess of a story. The movie has some atrocious film editing choices that add to the sloppy filmmaking. It’s ironic that one of the main characters of “The Tutor” is supposed to be highly intelligent, but the movie spends almost all of its time relentlessly insulting the intelligence of viewers.
Vertical released “The Tutor” in select U.S. cinemas on March 24, 2023.
Culture Representation: Taking place in 1830, in New York state’s Hudson Valley, the dramatic film “The Pale Blue Eye” features an all-white cast of characters representing the working-class,middle-class and wealthy.
Culture Clash: A widowed constable, who is grieving over the loss of wife and his teenage daughter, is hired to solve the grisly murder of a cadet at the United States Military Academy (also known as West Point Academy), where he teams up to solve the mystery with a cadet named Edgar Allan Poe.
Culture Audience: “The Pale Blue Eye” will appeal primarily to people who are fans of the book on which the movie is based; the stars of the movie; and well-acted and suspenseful thrillers.
Lucy Boynton, Fred Hechinger, Harry Melling, Toby Jones, Harry Lawtey (pictured in the back) and Gillian Anderson in “The Pale Blue Eye” (Photo by Scott Garfield/Netflix)
“The Pale Blue Eye” is an engaging and stylish murder mystery with a talented cast that can keep people interested when the movie’s pacing sometimes drags. A “reveal” scene looks clumsy, but the movie is an overall worthy version of Louis Bayard’s 2003 novel of the same name that is the basis of the movie. Yes, it’s another Christian Bale movie where he plays a brooding loner, but the acting is done well enough that it doesn’t feel like a rehash of his other movie roles.
Written and directed by Scott Cooper, “The Pale Blue Eye” is Bale’s third movie collaboration with Cooper. Bale and Cooper previously worked together on 2013’s “Out of the Furnace” and 2017’s “Hostiles.” In “The Pale Blue Eye” (which takes place in 1830 in New York’s Hudson Valley), Bale is protagonist Augustus Landor, a retired constable/detective who is recruited to solve an unusual murder case and finds himself investigating a possible serial killer.
Augustus, who lives alone in a remote cottage, is a widower whose wife died in 1827. He is also grieving over the more recent loss of his teenage daughter Mathilda, also known as Mattie (played by Hadley Robinson), who is shown in brief flashbacks. Augustus tells people that he hasn’t seen Mattie since she ran away with a boyfriend whom August briefly met. To cope with his grief, August has become a habitual drinker of alcohol. It’s not very clear if he’s a full-blown alcoholic, but his drinking habits have negatively affected his career and his reputation.
It’s under these circumstances that Augustus is visited in the movie’s opening scene by Captain Ethan Hitchcock (played by Simon McBurney), a no-nonsense and stern official from the United States Military Academy, also known as West Point Academy, because of its location in West Point, New York. Captain Hitchcock doesn’t waste any time in saying why he is visiting Augustus: A second-year cadet at the academy has been murdered, his body was found on the school’s campus, and the academy wants Augustus to solve the crime before it becomes a major scandal.
The murder victim, whose name was Leroy Fry (played by Steven Maier), was found hanging from a tree, with his feet touching the ground, indicating that it wasn’t a suicide. His heart was removed with the precision of someone with surgical knowledge to make a straight and orderly incision. This gruesome mutilation is something that the academy’s officials don’t want to be widely known when people find out about the murder. They also want to work with Augustus to keep the investigation as private as possible, instead of going to the local police department. Despite his drinking problem, August is considered one of the best detectives in the area.
At first, August seems hesitant to take the case, but he soon agrees to investigate the crime. Captain Hitchcock gives Augustus a ride to the academy, where August meets Superintendent Thayer (played by Timothy Spall), who isn’t as emotionally aloof as Captain Hitchcock, but he conducts himself with an air of impatient authority. Superintendent Thayer tells Augustus soon after meeting him: “I’m asking you to save the honor of the United States Military Academy.”
Augustus immediately begins by interviewing possible witnesses, as well as the academy’s doctor performing the autopsy. Dr. Daniel Marquis (played by Toby Jones) is wealthy and very good at his job, but he has the type of arrogance where he lets people know that he thinks he’s the smartst person in the room. In the medical exam room, Dr. Marquis tells Augustus that the murderer isn’t necessarily someone who’s a doctor but someone who needed good light and knew where to cut, in order to remove the heart without cutting or damaging the lungs.
While examining the body, Augustus finds a very important clue: The murder victim had a torn piece of paper clutched inside one of his hands. The paper is a hand-written note with most of the words missing. Augustus eventually gets some help in deciphering what the note says.
During the early part of this investigation, meets an eccentric cadet named Edgar Allan Poe (played by Harry Melling), who cryptically tells Augustus that the murderer is probably a poet. Another cadet tells Augustus that he saw a suspicious-looking man lurking near the crime scene. But the only description that this witness can give is that the man looked like he was wearing an officer’s jacket with the bars removed from the jacket arm.
Augustus finds out that Leroy and his roommate Cadet Loughborough (played by Charlie Tahan) came to dislike each other. Cadet Loughborough says in his interview with Augustus: “I wouldn’t call it a ‘falling out.’ It’s a matter of diverging paths. He fell in with a bad bunch.” However, Cadet Loughborough says he doesn’t know any details about any of Leroy’s new friends.
Captain Hitchcock has been tasked with putting pressure on Augustus to solve the crime as soon as possible and overseeing Augustus’ investigation. And so, Captain Hitchcock does some hovering during the investigation and sometimes shows up unexpectedly in places, in order to catch Augustus and other people off guard. Augustus is more of a freewheeling individual who doesn’t see life in such a rigid way. And you can easily predict what that means: Captain Hitchcock and August are going to clash with each other.
Captain Hitchcock has a low tolerance for people who don’t take things as seriously has he does. He sets three ground rules for Augustus that he says can’t be broken: (1) Report all findings to Captain Hitchcock; (2) Don’t tell anyone outside the academy about the investigation; and (3) No drinking alcohol during the course of the investigation.
What does Augustus do in reaction to these rules? He goes to a local pub to get drunk. As he says in a toast to the bartender, “Here’s to rules.” The pub is also where Augustus meets a bar maid named Pasty (played by Charlotte Gainsbourg), a friendly and soft-spoken employee who observes a great deal of what goes on in the pub. Quicker than you can say “lonely widower,” Augustus and Charlotte end up in bed together for a casual fling.
The pub is also where many of the cadets hang out in their free time. It’s here that Augustus sees Edgar, a highly intelligent oddball who is a social misfit at the academy. Augustus and Edgar strike up a conversation, where Augustus asks Edgar what he meant by the murderer being a poet.
Edgar explains that the heart is more than a body organ: It’s a symbol. Edgar says, “To remove a man’s heart is to traffic in symbol.” “The Pale Blue Eye” has several references to hearts removed from bodies. Of course, it’s a nod to the real Edgar Allan Poe, who became a famous horror/mystery novelist, with one of his most well-known works being the short story “The Tell-Tale Heart,” about a killer haunted by the sound of a murder victim’s beating heart.
“The Pale Blue Eye” is a fictional story, but it cleverly implies that if the real Edgar Allan Poe actually existed in this story, “The Tell-Tale Heart” would have been influenced by his experience working on this murder case. Later in the movie, Edgar recites a line from the real “Tell-Tale Heart,” which includes a description about the murderer being annoyed by his victim having an eye cataract: a “pale blue eye.”
Augustus is impressed enough by Edgar to secretly hire Edgar to assist Augustus in the investigation. Augustus tells Edgar that it’s a non-paying job, but Edgar doesn’t seem to mind, because he’s eager to be involved in helping solve a mystery. One of the first things that Augustus asks Edgar to do is help decipher the torn note that was found in Leroy’s hand. Augustus says he doesn’t like to read many books and isn’t as well-read as Edgar. But at the same time, Augustus doesn’t want Edgar to completely upstage him in this investigation.
It should come as no surprise that Leroy isn’t the only one who ends up dead in this story. Another cadet is killed in a similar manner. And it sends the academy officials into a panic that the killer is specifically targeting cadets at the academy. If so, why? It leads to even more pressure on Augustus to find the murderer.
Along the way, other people are introduced who might or might not have clues that could help solve this mystery. There is suspicion that the murderer is cutting out hearts as part of an occult ritual. And so, Augustus and Edgar meet with Professor Jean Pepe (played by Robert Duvall), an expert in symbols, rituals and the occult. Duvall’s screen time in the movie is less than 15 minutes, but his wise and jaded Jean Pepe character plays a pivotal role in the movie.
During the investigation, Augustus and Edgar also meet Dr. Marquis’ wife Julia Marquis (played by Gillian Anderson), who is very sensitive and high-strung. Dr. and Mrs. Marquis have two children: Artemus Marquis (played by Harry Lawtey), who is a popular cadet at the academy, and Lea Marquis (played by Lucy Boynton), who is a sought-after bachelorette with a talent for playing the piano. Artemus and Lea both sometimes act a little spoiled and entitled, but they look out for each other and have a strong family bond.
Edgar becomes smitten with Lea, and they start casually dating. Lea wants Edgar to be her platonic friend, but he is hoping that their relationship will develop into a romance. On one of their dates, Edgar is alarmed when Lea goes into a seizure but just as quickly recovers. Meanwhile, a cadet named Randolph “Randy” Ballinger (played by Fred Hechinger) also has a romantic interest in Lea, and he gets jealous of Edgar. Of course this would-be love triangle leads to problems.
“The Pale Blue Eye” has many of its best moments in showing the rapport between Augustus and Edgar, who are from different generations and have different personalities, but both characters have moments of emotional vulnerability. Their relationship is sometimes compatible and sometimes uneasy while working together in this very stressful murder investigation. Bale and Melling adeptly handle their respective roles, with Melling tending to be a little more melodramatic in portraying socially awkward Edgar. Augustus and Edgar (who became an orphan in his childhood) don’t have much in common, but they both sense that they are alone in the world and have an unspoken camaraderie of feeling like maverick outsiders.
“The Pale Blue Eye” takes place in an unnamed winter month with snow outside, so the cinematography by Masanobu Takayanagi is a gorgeous palette of icy blue in exterior scenes and gold/brown for interior scenes. The movie’s production design and costume design are also well-done. And the musical score by Howard Shore is very effective in how it builds the story’s tension.
Where “The Pale Blue Eye” falters is in how the movie’s tone and pacing can occasionally get a little dull. There’s also a crucial scene involving a blazing fire that doesn’t look completely genuine. Without giving away too many details, it’s enough to say that in real life, people would be running away from this fire a lot quicker than what’s shown in the movie. However, “The Pale Blue Eye” does not disappoint when it comes to the acting performances. Viewers who might be the most disappointed in the movie will be those expecting “The Pale Blue Eye” to be more of an action film.
For people who don’t know how the story is going to end, “The Pale Blue Eye” is a somber and thoughtful mystery that will keep viewers guessing about what will happen next. Just when it looks like the movie can end one way, there are more revelations. Because of a surprise twist which is handled a lot better than an earlier plot twist, “The Pale Blue” does not go down a predictable path and should satisfy fans of murder mysteries that don’t completely follow the usual formulas.
Netflix will release “The Pale Blue Eye” in select U.S. cinemas on December 23, 2022. The movie will premiere on Netflix on January 6, 2023.
Culture Representation: The documentary “Casa Susanna” features an all-white group of people discussing Jewett, New York-based Casa Susanna, a popular gathering place for transgender women and cross-dressing men from the late 1950s to the mid-1960s.
Culture Clash: The transgender women and cross-dressing men who frequented Casa Susanna had to hide their true selves during a time in America when trans women, drag queens and male transvestites could get arrested for dressing as women.
Culture Audience: “Casa Susanna” will appeal primarily to viewers who want to know more about a specific transgender community gathering place that most people are not widely aware of in LGBTQ history.
Diana Merry-Shapiro in “Casa Susanna” (Photo courtesy of PBS)
From the late 1950s to the mid-1960s, a bungalow camp/rural resort named Casa Susanna in the Catskills city of Jewett, New York, was a safe haven for members of the LGTBQ community who wanted to dress and live as women, regardless of the gender identities of the people who were at Casa Susanna. The documentary “Casa Susanna” tells the history of this resort from the perspectives of two transgender women, who frequented Casa Susanna, and two cisgender people, who had family members with strong connections to Casa Susanna. It brings a noteworthy spotlight to a meaningful community-gathering place for transgender women and cross-dressing men. There’s respect given in the documentary, but viewers will sense that more of Casa Susanna’s individual stories could have been told.
French filmmaker Sébastien Lifshitz, who has directed numerous LGBTQ-focused documentaries and narrative feature films, directed “Casa Susanna” with the tone of trying to make the movie as personal as possible, rather than being a comprehensive historical film. Lifshitz’s previous movies about transgender people include the narrative feature film “Wild Side” and the documentaries “Bambi, A French Woman,” “Little Girl” and “Bambi.” His previous movies have taken place in France or Algeria. “Casa Susanna” is his first movie that’s set entirely in the United States.
“Casa Susanna” had its world premiere at the 2022 Venice International Film Festival and has since made the rounds at other film festivals in 2022, such as the Toronto International Film Festival and DOC NYC. “Casa Susanna” won DOC NYC’s U.S. Competition Grand Jury Prize in 2022. In awarding the prize, DOC NYC’s 2022 U.S. Competition jury issued a statement that says, in part: “‘Casa Susanna’ is a beautifully crafted film featuring hauntingly exquisite archival footage. Both cinematic and intimate, it offers a unique way into the trans experience by contrasting nostalgic and past stories through contemporary characters. This approach allowed us to understand how laws and perspectives have changed over the years.”
It’s a great way to describe the movie, but “Casa Susanna” isn’t without some flaws, such as how the documentary doesn’t offer any perspectives on what transgender people of color experienced as guests at Casa Susanna. The documentary also doesn’t address why only two former Casa Susanna patrons were interviewed for the movie. Viewers can only speculate why. Many of Casa Susanna’s customers and patrons have no doubt passed away, but many were still alive at the time this documentary was filmed. It’s why having only two former Casa Susanna patrons interviewed in the documentary makes it look like the filmmakers didn’t do enough to include interviews with more former Casa Susanna patrons.
However, the good news is that the people who are interviewed in the documentary are thoroughly engaging and tell compelling stories that will give viewers an idea of what Casa Susanna was like from transgender and cisgender perspectives, even if the interviewees can’t tell the entire story of this special place. “Casa Susanna” also has some great scenes where the interviewees go back to the former site of Casa Susanna and have heart-to-heart conversations with each other that are exclusive to this documentary.
These are the four people who are interviewed in “Casa Susanna”:
Katherine Cummings, a transgender woman born in 1935, was a frequent patron of Casa Susanna from the late 1950s to the mid-1960s. Cummings was born in Scotland, was raised in Australia, and lived in Canada (mostly in Toronto) when she would go to Casa Susanna. During her previous life living as a man named John, Cummings was married to a woman and had three daughters during this marriage. (Cummings passed away in 2022. The documentary includes an end credit stating, “In memory of Katherine Cummings.”)
Diana Merry-Shapiro, a transgender woman born in 1939, grew up in a conservative farming community in Iowa but has spent much of her life as a resident of California or New York. She was a frequent patron of Casa Susanna in the early-to-mid 1960s. Just like Cummings, Merry-Shapiro previously lived her life as a cross-dressing man (she used the name David), was married to a woman, and had gender affirmation surgery after the marriage ended in divorce. After her gender-affirmation surgery, Merry-Shapiro married a man and became a homemaker, but that marriage also ended in divorce. Merry-Shapiro then became a computer programmer who had a long career at Xerox when she was living in California. She and her third spouse, a woman named Carol, live in New York City, and have been married since the early 1990s.
Betsy Wollheim, born in 1952, is president, co-publisher and co-editor-in-chief of Daw Books, a New York City publishing company whose specialty is science fiction. She is the cisgender daughter and only child of sci-fi author Donald Wollheim (also know as Doris Wollheim), who presented himself as a cross-dressing, cisgender man. Betsy says that her mother not only knew before the marriage that Donald wanting to dress as a woman but her mother also usually went with Donald to Casa Susanna. However, it was a family secret until Betsy’s widowed mother was on her deathbed and told her.
Gregory Bagarozy, born in 1951, is the cisgender grandson of Marie Tonell, the cisgender woman who co-owned Casa Susanna with her spouse. Bagarozy tells the story about how Tonell used to own a wig shop in New York City, where one of the shop’s customers was an immigrant from Chile named Tito Arriagada. Tonell quickly figured out that Arriagada was a cross-dresser, she completely accepted it with no hesitation, they fell in love, and they got married in 1958. For years, Arriagada (who was a radio announcer) lived separate lives as a man and as a woman named Susanna Valenti (Casa Susanna’s namesake), but eventually lived life openly full-time as a transgender woman. (Valenti and Tonell are now deceased. They sadly died a week apart from each other in November 1996.)
All of this background information unfolds throughout the documentary in memories and anecdotes shared by the interviewees. Not surprisingly, Cummings and Merry-Shapiro have the most interesting stories to tell, since they were actually part of the Casa Susanna community. Bagarozy and Betsy Wollheim were children when Casa Susanna existed, so they only have second-hand knowledge of what it was like to be in this adult environment. However, Bagarozy and Betsy Wollheim both say that they found out later in life that many of the Casa Susanna regulars were people they already knew as friends of their respective families.
Cummings says that she remembers Casa Susanna as a place of “total freedom” to be who she was at the time, which was someone figuring out which gender to live as permanently. In the documentary, Cummings says from as early as she could remember, she never felt quite right living as a male. Cummings remembers being 5 years old and loving the feeling when her older sister would let Cummings wear her clothes. Cummings says that going to Casa Susanna was a “necessity” because “I needed to know what it was like to live as a woman for an extended period.”
Merry-Shapiro talks about childhood memories of being in the third or fourth grade and praying that she would wake up as a girl. “It was a secret that I had,” Merry-Shapiro says of this feeling. “I kept thinking that I would grow out of it. It never did go away.” She also talks about being fascinated with news about actress Christine Jorgensen, who became America’s first famous transgender woman when she had gender affirmation surgery in 1952. However, Merry-Shapiro remembers being afraid to talk to anyone about it, because she knew people in her community would shun or bully her for being interested in transgender issues.
When Merry-Shapiro was an adult and eventually came out as a transgender woman, her mother (whom Merry-Shapiro describes as “a serious Lutheran”) was much less accepting than her father. One of the most poignant scenes in the documentary is when Merry-Shapiro tearfully describes what happened when she visited her parents for the first time after having her gender-affirmation surgery. Still, her father’s acceptance only went so far. Merry-Shapiro says of her parents’ overall attitude: “I was an embarrassment to them. It was just as well that I disappeared.”
“Casa Susanna” gives detailed descriptions of the secrecy involved in Casa Susanna’s history. Because of homophobic laws and beliefs in society, Casa Susanna (which was originally located on a 288-acre property and later relocated to a 188-acre property) started off being marketed as an entertainment destination where heterosexual couples could go to watch shows featuring “female impersonators.” In those days, being a transgender woman or a drag queen was acceptable as entertainment, but not as a way of life.
According to the documentary, these “female impersonators” were really transgender women, drag queens and transvestites who already considered Casa Susanna a community gathering place but went along with the idea that they could also be part of the Casa Susanna’s entertainment for paying customers. The bungalows were where visitors and semi-residents stayed at Casa Susanna. Although Casa Susanna publicly presented these entertainers and other cross-dressing guests as heterosexual men, Bagarozy says that it’s highly unlikely that most of the people at Casa Susanna were heterosexual men.
Bagarozy comments on the transgender women and cross-dressing men at Casa Susanna: “These people were major film directors, attorneys, airplane pilots—all sorts of professions where people reached the pinnacle of their careers. They risked a lot for doing what they wanted to do.” Bagarozy adds, “It’s not like they wanted to be [pinup model] Bettie Page, or someone like that. They wanted to be an acceptable person of the female persuasion in society.”
Back in the 1950s and 1960s, identifying as any sexuality that wasn’t heterosexual was dangerous and (in many places) illegal in the United States. And that’s why Casa Susanna could not advertise in mainstream media that it was a place for transgender women and cross-dressers. Therefore, the community that grew from Casa Susanna mainly heard about it through word of mouth.
However, a lot of credit for creating awareness about Casa Susanna is given to Tranvestia magazine, which was founded in 1960, by a scientist named Virginia Prince, who was a transgender activist. Prince also created the Foundation for Personality Expression (FPE) for transgender people. Cummings says in the documentary that Prince got the idea to launch FPE at Casa Susanna, where Prince was a regular visitor. After Casa Susanna relocated to a smaller 188-property, it stopped offering “female impersonator” shows and became only a business of resort lodging.
Bagarozy paints a rosy picture of Casa Susanna’s transgender and cross-dressing people, whom he remembers as being cheerful and friendly to him when he was a child. He also acknowledges how rare it was to have a grandmother who was immediately accepting of having a transgender spouse. By contrast, Bagarozy says his mother Yolanda, who was Tonell’s daughter, never approved of Tonell’s marriage and Casa Susanna.
Although Casa Susanna was a happy place where people could be themselves, the reality was much bleaker for people who had to hide their true selves in their everyday lives. Cummings and Merry-Shapiro say that they struggled for years with shame, confusion and indecision over whether or not to have gender affirmation surgery. Cummings says she came to the decision to have the surgery because too many of her transgender friends were committing suicide, she didn’t want to die that way, and she wanted to be happy as her authentic self.
Cummings and Merry-Shapiro both admit that the women they were married to during their Casa Susanna years were okay with cross-dressing (and often accompanied them to Casa Susanna), as long as Cummings and Merry-Shapiro identified as cisgender men who just happened to dress as women in secret. Merry-Shapiro’s first wife Julie knew about Merry-Shapiro’s fashion preferences before they got married, when they were college sweethearts. Cummings’ then-wife didn’t find out until about a year after they were married, and the wife eventually didn’t want to go to Casa Susanna anymore.
Cummings and Merry-Shapiro say that their respective marriages eventually fell apart when Cummings and Merry-Shapiro decided they wanted to live openly as women and eventually have gender affirmation surgery. Cummings says that while one of her daughters completely accepts her as a woman, her other two daughters chose to remain estranged from her. The documentary doesn’t mention if the two estranged daughters made peace with Cummings before she died. Merry-Shapiro does not have children.
Merry-Shapiro and Cummings both say in the documentary that they have no regrets about having gender affirmation surgery. “I felt marvelous,” Cummings says of how she felt after getting the operation. “I felt for the first time in my life, I was the real person, that I had discarded bits of me that weren’t necessary, and I had gained bits of me that were [necessary].”
Merry-Shapiro says that she got her surgery with the help of a friend/benefactor named Gloria, who offered to pay for this medical procedure and went on a road trip with her to Mexico, where the procedure was done, because it wasn’t legal in the U.S. at the time. Merry-Shapiro admits, “That is a very isolating experience for any human being, I think, when who you are is against the law. There’s still a little bit of anger in me, even now, that I had to leave the country to have the surgery done.”
Donald Wollheim and his wife stayed together until he died, but daughter Betsy isn’t so sure if it was a marriage that ever had romantic passion. She says in the documentary that she was very surprised to read in her father’s memoir that he was in love with his wife. Betsy comments, “I knew he loved my mother deeply, but I didn’t see the ‘in love’ part.” She says that her parents would send her away to summer camp as a child when the parents would take their secret trips to Casa Susanna.
Betsy also remembers that her father had a favorite women’s nightgown when she was a child, but it wasn’t until she was about 12 years old when she really began to understand that her father was a cross-dresser. She describes how on Halloween Eve in 1964, her father wanted to dress as his sister for a Halloween party. He spent about five hours in the bathroom getting ready. She recalls thinking that he looked “very ghoulish” with all the makeup on, but she was suddenly struck by being fully aware for the first time that her father was “really into this [cross-dressing]—I just didn’t know to what extent.”
As for Donald Wollheim’s sexuality, Betsy says that all she knows is that her father was a “very isolated introvert” who “had no relationship with women until he met my mother.” She adds, “His childhood was very complicated and gothic,” because Donald Wollheim’s urologist father, whose specialty was treating sexually transmitted diseases, taught his children to have a fear of the human body and spreading germs.
Betsy also shares painful memories of her father being verbally abusive to her, which she says got worse when she reached puberty. He would tell her she was ugly and wrongfully accuse her of being a liar and a fraud. She says it took her years to understand that her father was projecting a lot of his self-hatred onto her, considering how much he wanted to look like a woman. Betsy also says that even though her father could be cruel to a lot of people, she’s convinced that he was never cruel to his friends at Casa Susanna, which she believes is the only place where he was truly happy.
“Casa Susanna” has several photos of people at Casa Susanna in its heyday, but it’s also mentioned in the documentary that people at Casa Susanna were very cautious about who was taking photos and where these photos might end up. Cummings says, “We were all a little bit paranoid of: ‘Who’s going to find out? Am I going to lose my job? Am I going to lose my family?’ Which is what happened back then.” The documentary doesn’t mention Robert Swope and Michel Hurst’s 2005 photo book “Casa Susanna,” which inspired playwright Harvey Fierstein’s 2014 Broadway play “Casa Valentina.”
Even though “Casa Susanna” offers a very limited number of perspectives, it’s a documentary that still gives a vivid portrait of a community of people who found each other and thrived in a society that wanted this community to hide in shame or be punished. It’s an inspiring story about human connections and camaraderie that made a lasting and positive impact on people’s lives. But it’s also a sobering reminder that homophobia causes human rights violations that are still going on today and aren’t just history from a past century.
The PBS series “American Experience” will premiere “Casa Susanna” on a date to be announced.
Culture Representation: Taking place in upstate New York, the horror film “Resurrection” features a predominantly white cast of characters (with one Asian American) representing the working-class and middle-class.
Culture Clash: A business executive, who’s a single mother to a teenage daughter, experiences emotional turmoil when a man from her past comes back into her life.
Culture Audience: “Resurrection” will appeal primarily to people who are fans of stars Rebecca Hall and Tim Roth, and will appeal to viewers who are open to watching horror movies with unexpected and disturbing twists.
Tim Roth and Rebecca Hall in “Resurrection” (Photo courtesy of IFC Films)
Just like the 2021 horror film “Malignant,” the 2022 horror film “Resurrection” has an unsettling and shocking reveal that viewers will either love or hate. The movie isn’t perfect, but the surprise ending offers a bizarre twist that shows bold originality. “Resurrection” is better than the average horror movie, largely due to the suspenseful mystery at the center of the story, as well as the cast members’ convincing performances.
“Resurrection” is the second feature film from writer/director Andrew Semans, who previously directed the offbeat comedy/drama “Nancy, Please,” about a hellish experience with a roommate. “Nancy, Please” made the rounds at several film festivals in 2012, before getting a very limited release in the U.S. in 2013. “Resurrection” (which has its world premiere at the 2022 Sundance Film Festival) is a movie that is much darker in tone and will leave many viewers disturbed by some of the visuals and how the story concludes.
“Resurrection” takes place in an unnamed part of upstate New York (the movie was actually filmed in Albany, New York), where biotech executive Margaret Ballian (played by Rebecca Hall) thinks she has her entire life under control and in order. The movie’s opening scene shows Margaret having a private meeting in her office with her young intern/administrative assistant Gwyn (played by Angela Wong Carbone), with Margaret giving Gwyn some advice about Gwyn’s personal life. Apparently, Gwyn is in a very bad relationship with a love partner, because Margaret tells Gwyn that Gwyn’s belittling partner is a “sadist,” so Margaret advises Gwyn to end this toxic romance.
Because of the sensitive nature of this conversation, Gwyn asks Margaret not to tell anyone about what they discussed in this meeting. Gwyn doesn’t know it, but Margaret’s own love life isn’t exactly going so well either. She’s having a secret affair with a married man named Peter (played by Michael Esper), who is the father of a teenage daughter named Chloe. Margaret, who is not married, is also a parent to a teenage daughter. Margaret’s daughter Abbie (played by Grace Kaufman), who 17 or 18 years old, is a college-bound student in her last year of high school.
Although Peter and Margaret care about each other, they’re not in love with each other. They both know it’s a dead-end affair that came about from lust and a need for companionship. During one of their sexual trysts, Margaret gets an alarming phone call: Abbie is in a hospital after getting into a drunken biking accident with a friend named Lucy. Luckily, Abbie recovers from her injuries, but this health scare starts to trigger maternal feelings in Margaret that affect her for the rest of the story.
Margaret and Gwyn are then shown in another private meeting in Margaret’s office, where Gwyn confides in Margaret that she broke up with the abusive partner. Margaret congratulates Gwyn and praises her by saying, “You’re tougher than leather.” Although Margaret and Gwyn have not been working together for very long, it’s apparent that Margaret feels protective of Gwyn, almost like a mother is protective of a child.
Not long after this meeting, Margaret attends the Biotech Rising Conference and is shocked to see who someone who is one of the conference’s speakers: His name is David Moore (played by Tim Roth), who is a confident and intelligent scientific researcher. Margaret’s reaction to seeing David on stage is that of someone who suddenly physically ill from fear.
Margaret is so unnerved by seeing David, she rushes to her home and calls out for Abbie, who is at home, safe and sound. Margaret bursts into Abbie’s room and asks Abbie if she is okay. Abbie says yes. Margaret is immensely relieved to see that nothing has happened to Abbie, who is confused over why Margaret is acting so paranoid, and she asks Margaret why.
Margaret won’t tell Abbie anything, except to insist that everything is just fine. But when Margaret goes into a bathroom, she begins sobbing. What is it about David that’s caused Margaret to be so distressed? It should come as no surprise that David is someone from Margaret’s past whom she wants to forget. And he ends up making contact with her, much to her dread.
Most of “Resurrection” is about the unnerving cat-and-mouse game between David and Margaret. David takes pleasure in knowing that his presence is upsetting to Margaret. She starts having nightmares, including one where she finds a burned baby inside of a stove. It’s enough to say that much of the horror in “Resurrection” is about Margaret’s issues with motherhood and abuse.
The nightmare about the burned baby isn’t what most viewers will think it is, because the secrets about Margaret’s past, which are eventually revealed in the movie, have some unpredictable elements. Hall gives a very tormented performance as Margaret, whose mental health begins to unravel the more that she sees David. Roth gives an effective performance too, but he’s played creepy villains in many other movies, so there are no real surprises in how Roth portrays David in “Resurrection.”
The pacing of “Resurrection” sometime drags slowly, but Semans’ writing and directing are solid enough to maintain viewers’ curiosity about what will happen next. “Resurrection” has some horror imagery about children that might be too upsetting for sensitive viewers. As gruesome as “Resurrection” can be, it’s a horror movie that offers glimmers of hope and makes a memorable statement about the power of a mother’s love.
IFC Films released “Resurrection” in select U.S. cinemas on July 29, 2022. The movie was released on digital and VOD on August 5, 2022.
Culture Representation: Taking place in an unnamed city in New York state, the horror film “Bodies Bodies Bodies” has a racially diverse cast of characters (African American, white and one biracial Asian) representing the wealthy, upper-midde-class and working-class.
Culture Clash: During a hurricane, seven people partying in a mansion decide to play a murder mystery game, but then some people at this party really end up getting killed.
Culture Audience: “Bodies Bodies Bodies” will appeal primarily to people who are fans of horror movies that mix raunchy comedy with a suspenseful mystery.
Lee Pace and Pete Davidson in “Bodies Bodies Bodies” (Photo by Gwen Capistran/A24)
“Bodies Bodies Bodies” capably serves up suspense and social satire, despite a few plot holes and an overload of pop culture and slang that will inevitably make this horror movie look very dated. It’s a time capsule of Generation Z (people born between 1997 and 2012) in their 20s, and all the technology that affects their relationships and perceptions of each other. In other words, it’s not a throwback to slasher flicks from the 20th century. This is a horror movie about people who don’t know what it’s like to live life without the Internet, for better or worse. Except for one person, all of the characters in “Bodies Bodies Bodies” are supposed to be in their early-to-mid 20s.
Directed by Halina Reijn and written by Sarah DeLappe, “Bodies Bodies Bodies” had its world premiere at the 2022 SXSW Film Festival in Austin, Texas. The movie makes the most out of the relatively small number of people in the cast and the fact that “Bodies Bodies Bodies” primarily takes place in one location: a mansion in a remote, mountanous area somewhere in New York state. (“Bodies Bodies Bodies” was actually filmed in Chappaqua, New York.)
In many ways, “Bodies Bodies Bodies” follows the same formula of dozens of other horror movies where young people gather in an isolated area; indulge in sex, drugs and mind games; and are killed off, one by one. However, the movie’s snappy dialogue and a twist ending make “Bodies Bodies Bodies” slightly better than the average horror flick. It isn’t a movie where people are killed indiscriminately, because it’s shown exactly why each person was killed.
The opening scene of “Bodies Bodies Bodies” lets viewers know that this is a very queer-friendly movie, where the sexualities of the characters can be fluid, and if other people are uncomfortable about it, they don’t really care. The movie’s first scene is a close-up of new couple Sophie (played by Amandla Stenberg) and Bee (played by Maria Bakalova) passionately kissing each other. They also tell each other, “I love you.” It’s mentioned a little later in the movie that Sophie and Bee have been dating each other for the past six weeks.
Bee and Sophie have almost opposite personalities: Sophie is a risk-taking extrovert. Bee is a cautious introvert. Sophie and Bee are about to take a road trip to the aforementioned remote mansion to party with some of Sophie’s friends who were her schoolmates in high school. Sophie has known a few of these friends before they were teenagers. Bee is very nervous about this trip—and not because she will be meeting Sophie’s friends for the first time.
Bee has some other social anxieties. Bee is an immigrant from an unnamed Eastern European country and comes from a working-class background, while Sophie is an American whose family is rich. (Bakalova, the Oscar-nominated actress from 2020’s “Borat Subsequent Moviefilm,” is actually from Bulgaria.) Sophie is openly queer. However, Bee is also not completely “out of the closet” as a queer woman. Many of Bee’s family and friends don’t know yet that Bee is queer and dating Sophie.
Sophie’s got her own issues. Conversations in the movie reveal that Sophie is a recovering drug addict and alcoholic. When she was a student at New York University, Sophie had at least one overdose and mental breakdown. She has also spent time in drug rehab and psychiatric facilities. It’s never mentioned if Sophie graduated from NYU, but it’s implied she probably dropped out of college because of her personal problems. Sophie doesn’t appear to have any life goals at the moment except to try to stay clean and sober and enjoy life as much as possible.
The mansion is owned by the parents of spoiled and obnoxious David (played by Pete Davidson), who is yet another stereotypical stoner that Davidson seems to play in his most recent movies. Before Sophie and Bee go to the mansion, Sophie tells Bee that David was Sophie’s “pre-school boyfriend, before I realized I was a raging dyke.” No one’s parents are seen in this movie, but it’s mentioned that all of Sophie’s childhood friends come from affluent families.
Because of his abrasive personality, David is someone who has friends who don’t really like him, but they tolerate him because he’s generous when it comes to partying and sharing some of his wealth. Just like Sophie, David doesn’t seem to know what he wants to do with his life, and his family is rich enough to financially support him. David is the type of braggart who has to prove to everyone that whatever they can do, he can do better.
When Bee and Sophie arrive at the mansion, the small party is in full swing in and around the swimming pool. Sophie is warmly greeted by everyone, while Bee shyly offers a party gift: homemade zucchini bread. The other people at the party (except for Sophie) think this gift is very unsophisticated and old-fashioned, and they react with either rude haughtiness or amusement. Sophie tries to make Bee more comfortable, but Bee can immediately sense that she will have trouble fitting in with this group of bratty snobs.
The other people at the party are David’s insecure girlfriend Emma (played by Chase Sui Wonders), an actress who’s been in a relationship with David for the past six years; free-spirited but flaky Alice (played by Rachel Sennott), a podcast host who likes to wear glow sticks as jewelry; scruffily handsome and goofy Greg (played by Lee Pace), who is in his 40s and is having a fling with Alice; and brooding Jordan (played by Myha’la Herrold), who has unresolved romantic feelings for Sophie. Jordan is the only one in the group who is not part of a couple, so her “romantically unattached” status affects some of the tensions and jealousies that happen later in the story.
Some viewers might not like how long it takes for “Bodies Bodies Bodies” to actually get to any horror. The first third of the movie is really about showing the dynamics between these seven people when they’re partying and trying to prove to each other how “cool” they are. Alice met Greg on the dating app Tinder, and they’ve only known each other for less than a week. David is threatened by Greg’s physical attractiveness, so David attempts to demean Greg’s masculinity by trying to make Greg feel “old” and out-of-touch.
A hurricane quickly forces the party to go indoors, where there’s the inevitable electrical power outage, so that people can’t use their phones or WiFi service to communicate. No electricity also means that much of the movie is dark and shadowy, except for lights from candles, flashlights, cell phones or Alice’s ever-present glow sticks. Sophie notices that Jordan has been flirting with Bee. And so, as a distraction and in order to liven up the party, Sophie tells everyone that they should all play a game called Bodies Bodies Bodies.
Bodies Bodies Bodies is a murder mystery game, where slips of paper are distributed to all the players. The player who gets the paper slip marked with “x” is the designated murderer, who has to “kill” as many of the other players as possible. The potential victims can hide wherever they want to avoid being killed. Someone can win the game in one of two ways: By being the first potential victim to prove who the killer is, or by being the killer and getting away with all of the murders. And because “Bodies Bodies Bodies” is a horror movie, the killings turns out to be real.
A potential outlier in the story is a character named Max (played by Conner O’Malley), another friend in this clique, who was at the party the night before. However, no one really knows where Max is during the killings because he left the party the previous night, after getting into a fist fight with David. (It’s why David has a black eye.) The reasons for this altercation are later revealed in the movie. Max is not seen for most of the movie, but his name comes up multiple times in the increasingly paranoid and frantic conversations, and as the body count continues to pile up.
With a soundtrack that’s heavy on electronic dance music and hip-hop, “Bodies Bodies Bodies” wants to have a very “of the moment” vibe to convey a pulse-pounding nightclub of the early 2020s. But at this party, people’s pulses are pounding because they’re terrified that they’re trapped in this mansion with a serial killer on the loose. The hurricane outside won’t put off some people from trying to get away by car. But it should come as no surprise when “Bodies Bodies Bodies” has a horror movie cliché: a car that won’t start when people want it to start.
“Bodies Bodies Bodies,” which has good performances all around from the cast members, is at its best in revealing of some of the secrets and lies within this group of characters. The arguing can get a little tedious and annoying, but not so grating that it overtakes the movie’s horror angles. That’s because there’s enough comedy in the dialogue in the movie’s self-aware way of showing that these self-absorbed and sometimes-cruel characters mostly deserve to be mocked. Bee is the only one who seems to be immune to the group’s ridiculous ego posturing and whiny antics, but she’s no angel either.
Some of the plot developments in “Bodies Bodies Bodies” are a little on the implausible side. On the other hand, it is very believable that people in a panic can do a lot of things without thinking logically. People will either love or hate the ending of “Bodies Bodies Bodies.” Regardless of how viewers feel about how the movie ends, “Bodies Bodies Bodies” offers some sly commentary on some people’s preoccupation with creating lives and images on the Internet that are often quite different from reality. This preocupation can lead to misperceptions and manipulations that can be their own kinds of horror stories.
A24 released “Bodies Bodies Bodies” in select U.S. cinemas on August 5, 2022. The movie’s release expands to more U.S. cinemas on August 12, 2022.
Pictured clockwise, from left to right: Bowen Yang, Tomás Matos, Matt Rogers, Torian Miller, Margaret Cho and Joel Kim Booster in “Fire Island” (Photo by Jeong Park/Searchlight Pictures/Hulu)
Culture Representation: Taking place primarily on New York state’s Fire Island, the comedy film “Fire Island” features a racially diverse cast of LGBTQ characters (Asian, white, Latino and African American) representing the working-class, middle-class and wealthy.
Culture Clash: A group of gay male friends, with some help from their older lesbian friend, navigate issues related to social class and race in the dating scene of Fire Island, a longtime vacation destination for LGBTQ people.
Culture Audience: “Fire Island” will appeal primarily to people who are interested in LGBTQ romantic comedies that mix classic story themes with modern and adult-oriented sensibilities.
James Scully, Nick Adams and Conrad Ricamora in “Fire Island” (Photo by Jeong Park/Searchlight Pictures/Hulu)
The smart and sassy comedy “Fire Island” doesn’t hold back in portraying dating issues from the perspectives of gay men who are often racially underrepresented in mainstream American movies. “Fire Island” is loosely inspired by Jane Austen’s 1813 novel “Pride and Prejudice,” but the movie is bound to become its own kind of classic for how it vibrantly depicts the real Fire Island’s hookup culture and the families by choice who flock to the island for fun and pleasure-seeking. The movie’s talented and appealing cast—along with assured direction from Andrew Ahn and an engaging screenplay from “Fire Island” co-star Joel Kim Booster—will make instant fans of this hilarious adult-oriented comedy that serves up uncomfortable truths with some sentimentality about love and friendship.
People with even the most basic knowledge of “Pride and Prejudice” know that its protagonist character (Elizabeth Bennet) prides herself on being strong-willed and independent-minded. She isn’t looking for love, but she finds it with Mr. Darcy, whom she intensely dislikes when she first meets him, because she thinks Mr. Darcy is standoffish and rude. Meanwhile, wealth and social class affect how Elizabeth, Mr. Darcy and other people in their world go about looking for love or arranged relationships.
In “Fire Island,” the protagonist/narrator is Noah (played by Kim Booster), a strong-willed and independent-minded nurse who has a close-knit found family that he vacations with at New York state’s Fire Island, a well-known gathering place for LGBTQ people. Noah is single and not really looking for love, but he’s open to finding love. He’s also open about not believing in monogamy.
Noah and all of his closest friends are openly queer, and they go to Fire Island as an annual tradition. Noah’s Fire Island pals are in the same 30s age group as he is, except for Erin (played by Margaret Cho), an outspoken “lesbian queen” in her 50s, whom Noah and his gay male friends think of as “the closest thing we have to a mother.” Erin owns the house where they stay on Fire Island. All of the people in Noah’s Fire Island clique are also single and available.
The other men in the group include introverted Howie (played by Bowen Yang), who is a graphic designer at a tech startup company in San Francisco; fun-loving Luke (played by Matt Rogers); flamboyant Keegan (played by Tomás Matos); and easygoing Max (played by Torian Miller). Noah is closest to Howie, whom he’s known longer than anyone else in the group. Howie used to live in New York before moving to San Francisco for his current job. Noah mentions that he and Howie were once both kicked out of the same theater group. A flashback also shows that Howie and Noah also used to be servers at the same restaurant.
Howie is the only one in the group who doesn’t live in New York state, so Noah and Howie try to make the most of the times that they are able to see each other in person. Noah and Howie both talk openly about their experiences of being Asian in environments where there are mostly white people. As Noah says in a voiceover near the beginning of the movie, “race, money and abs” are what separate the classes of gay men—and he says that’s especially true for Fire Island.
Howie, who is 30 years old when this story takes place, is shy and inexperienced when it comes to dating. Howie (who rarely dates) often laments that he’s never had a serious boyfriend, and he often feels that he isn’t physically attractive enough to get any of the men he wants. By contrast, Noah considers himself to be a gay dating expert who’s confident about his dating skills and personality. During this vacation, Noah tells anyone who’ll listen that he will find a way to make sure that Howie “gets laid” during this Fire Island vacation. Noah advises Howie, “You don’t need a boyfriend. You just need to learn to protect yourself.”
Fire Island is home to many affluent people who throw big parties. When Noah and his friends travel by ferry to Fire Island, Noah mentions in a voiceover what the social constructs are at Fire Island and how he and his friends are perceived by certain people. Noah is well-aware that he and his group of friends would be considered “poor” by the standards of many Fire Island people, because Noah says that he and his friends have very little chance of owning property, based on their salaries.
And the race issue comes up many times in subtle and not-so-subtle ways when Noah and his friends go to parties where most of the people are white. The movie makes a point of showing how some white people at these parties stare at Noah and his friends as if they’re party crashers who don’t belong there. Some of the snobs snootily ask, “Can I help you?,” which Noah says is code for people really not wanting to help but wanting to know why you’re there.
And on the other end of the spectrum, there are “race queens,” which is a term for gay men who have a fetish for a certain race and chase after men of that race for these fetish reasons. An occasional joke in the movie is how a white guy, who’s fixated on Asian culture, keeps trying to pick up Howie, but Noah warns Howie to stay away from this “race queen.” Noah and Howie also talk about how being Asian affects who might be interested in them as partners.
Noah makes sarcastic jokes to himself and to other people about the racism at these social events, but it’s pretty obvious that many of these incidents are hurtful to him. He masks this emotional pain by appearing to be over-confident and ready to berate people whom he thinks are being snobbish to him and his friends. Noah is proud of who he is and doesn’t like to be judged on his race and social class, but his stubborn tendency to think that he’s always correct often leads to him misjudging other people.
Not long after Noah and his friends arrive at Erin’s house, she tells them some bad news. It will be the last Fire Island get-together they’ll have at the house. Erin is losing the house because she can no longer afford the mortgage due to being an “early investor in Quibi.” It’s an inside joke among the “Fire Island” filmmakers, because Kim Booster was originally going to make “Fire Island” for the Quibi streaming service, which went out of business in less than a year in 2020, after a high-profile launch. Kim Booster was also a co-host of Quibi’s reboot of the dating contest “Singled Out.”
One of the Fire Island rituals is a Tea Dance party, where Noah and his friends meet a doctor named Charlie (played by James Scully), who seems to be attracted to Howie, based on how Charlie is looking at Howie. Charlie’s closest friends during this Fire Island trip are a brand manager named Cooper (played by Nick Adams) and a lawyer named Will (played by Conrad Ricamora), who lives in Los Angeles. Cooper makes it clear to anyone he meets that he’s very status-conscious and elitist. Will is quiet, and his personality is very hard to read.
Noah notices almost immediately that Charlie is checking out Howie, who can’t believe that someone like Charlie would be interested in him. And just like in a teen rom com, some awkward introductions ensue. Noah is thrilled that Howie might find a Fire Island hookup, but arrogant and vain Cooper isn’t shy about expressing that he thinks Noah and Noah’s friends are “lower-class” and not fit to mingle with Charlie’s group. Because Will doesn’t say much when all of this snobbery is taking place, an offended Noah assumes that Will feels the same way as Cooper.
At one point, Noah tells Howie about Charlie and his clique: “These are not our people.” But it’s too late, because Howie becomes infatuated with Charlie. Howie doesn’t want a casual fling with Charlie though. Howie wants real romance that starts off chaste. And what does Charlie want? Noah begins to doubt that Charlie has good intentions for Howie. That suspicion causes more conflicts between these two groups of friends.
When Howie tells Noah about the platonic dates that Howie and Charlie have together, Noah can’t believe that Howie and Charlie haven’t even kissed each other on these dates. Noah lectures Howie by telling him that Howie needs to be more sexually forward, but Howie starts to resent Noah for these lectures. Viewers can easily predict that at some point, Noah and Howie will have a big argument about their different approaches to dating.
Meanwhile, Will (who is obviously Noah’s Mr. Darcy) continues to intrigue and frustrate Noah. A turning point comes when Noah and Will both find out that they both love to read literature, and they’re fans of author Alice Munro. However, other things happen in the story that cause misunderstandings, jealousies and rivalries among Noah’s clique and Charlie’s clique. One of them is the arrival of an ex-boyfriend of Charlie’s named Dex (played by Zane Phillips), who quickly shows that he’s sexually interested in Noah. Will intensely dislikes Dex for a reason that is eventually revealed in the movie.
“Fire Island” has a contrivance early on in the movie, when Noah’s cell phone (which isn’t waterproof) falls in Erin’s swimming pool when Max accidentally bumps into Noah. And so, for most of the movie, Noah doesn’t have use of his cell phone. It leads to a letter-writing part of the story that will be familiar to “Pride and Prejudice” fans.
Although much of “Fire Island” is about the pursuit of love and sex, the friendship between Noah and Howie is the soul of the story. As a result, the performances of Kim Booster and Yang are the standouts in a movie where all of stars in the cast give good performances. If there are any glaring flaws in “Fire Island,” it’s that Max is a little sidelined as an underwritten character, while Luke and Keegan come very close to being shallow caricatures of partiers.
One of the best things about “Fire Island” is how the movie doesn’t gloss over or water down its bittersweet subject matter. The movie covers a lot of issues that are not only universal to any singles dating scene but also specific to LGBTQ culture. Kim Booster’s talented screenwriting strikes the right balance of being lighthearted and serious with a great deal of authenticity. Ahn’s direction also skillfully calibrates the tones and moods in each scene, which is not an easy task when this comedy takes a few dark turns.
The intended viewers of “Fire Island” are adults who like snappy conversations and often-amusing scenarios with characters who have very identifiable personalities. As such, the movie doesn’t treat subjects such as sex and social prejudices as topics that need to be discussed in coy or cutesy language. There’s a lot of raw and raucous dialogue and scenes in “Fire Island” that are a reflection of why people go to Fire Island: to let it all hang out, unapologetically. If you’re up for this type of ride, “Fire Island” is a very memorable and entertaining experience with a lot of heart and emotional intelligence that open-minded adults can enjoy and want to watch again.
Legoland New York Resort Hotel’s grand opening (Photo courtesy of Legoland New York Resort)
The following is a press release from Legoland New York Resort:
After more than a year of anticipation, awesome is finally here! LEGOLAND® New York Resort (in Goshen, New York) officially opened on Friday, August 6, 2021, with the debut of LEGOLAND® Hotel as the ultimate family getaway destination.
Families can now spend multiple days exploring the Park’s seven themed lands and then conveniently retreat to the 250-room hotel, located just steps away from the theme park’s iconic entrance arch. The only LEGO® themed hotel in the Northeast, LEGOLAND Hotel at LEGOLAND New York Resort is built for kids, with guest rooms and suites that are designed for 5-9 people depending on room type, with four room themes: Pirates, Kingdom, LEGO® Friends and LEGO® NINJAGO®. Built to inspire all-day play and curiosity, the Hotel also features imaginative LEGO models and immersive play areas throughout the property.
“Welcoming overnight guests at LEGOLAND Hotel is a long-awaited milestone that marks the final step in our phased opening,” said LEGOLAND New York Resort Divisional Director Stephanie Johnson. “We’ve created an overnight experience that can’t be found anywhere else in the Northeast through thoughtful, creative, and educational hotel offerings that complement a day at our Park. At LEGOLAND Hotel, families can experience a fully-immersive multi-day getaway: they can fuel up for their day in the Park, take a break if they need it, and drift off to sleep with a bedtime story from their in-room Google Nest.”
Upon arrival, LEGOLAND Hotel guests receive a “warm” welcome from a smoke-breathing LEGO dragon – and that’s just the beginning of the overnight adventure! Additional highlights include a Castle play area for children, more than 2,000 interactive LEGO models created out of thousands of LEGO bricks, a heated resort-style pool, an arcade, and a “Little Big Shop” to stock up on everything you need for a bricktastic vacation. Every overnight stay comes with a complimentary buffet breakfast at Bricks Family Restaurant, which also serves a family-size dinner each night.
LEGOLAND Hotel also offers an endless array of creative experiences, including the chance for young builders to put their skills to the test alongside Master Model Builders at the on-site Creative Workshop. Daily children’s entertainment takes place throughout the property, complete with LEGO character meet-and-greets. Meanwhile, parents can enjoy light bites and drinks at the Skyline Bar as they watch their children explore aboard a pirate ship and castle play area in the Hotel lobby.
Back at the room, inventive in-room amenities take contactless programming to the next level. Children and parents will love the Hotel’s Next Generation Sleepover: a Google Nest that can do anything from place a room service order to tell children an immersive bedtime story or send them on an in-room scavenger hunt. Each themed guest room offers a separate sleeping area for children, equipped with a bunk bed, pull-out trundle bed, and an entertainment unit, with a separate space for adults with a king bed. Guest rooms also include a welcome treasure hunt activity with LEGO prizes, access to a LEGO play bin, two high-definition flat panel TVs with complimentary on-demand content, and more.
“Children will find themselves engaged from the moment they set foot in LEGOLAND Hotel, while parents can tap into their inner child in the heart of this family-friendly playground,” said LEGOLAND Hotel Director Scott Case. “The Hotel is so much more than a place for families to rest after a fun-filled day. From the wall of 5,000 LEGO Minifigures to the interactive disco elevator with pulsating lights, mirror ball and music, LEGOLAND Hotel is an extension of the theme park experience that can’t be missed.”
Just beyond the Hotel doors, LEGOLAND New York Resort features seven LEGO themed lands: Brick Street, Bricktopia, LEGO® NINJAGO® World, LEGO® Castle, LEGO® City, MINILAND and LEGO® Pirates. The Park features the global debut of the LEGO® Factory Adventure ride, which transforms riders into LEGO Minifigures, and signature rides such as the Dragon coaster and LEGO® NINJAGO® The Ride. Children can also earn their very own LEGOLAND Driver’s License at Driving School, team up to save the day at Fire Rescue Academy and catch LEGO movies in 4D at Palace Cinema.
LEGOLAND Hotel will be open year-round and is now accepting reservations online on its website: www.LEGOLAND.com/new-york. Room rates begin at $279/night. Packages are also available through LEGOLAND Vacations which include a stay at a LEGOLAND Vacations Hotel (nearby partner hotels) and two-day LEGOLAND Park tickets. Guests can also purchase single-day tickets ($79.99 for adults) or annual passes ($229 per person) with or without a hotel stay.
For more information about LEGOLAND New York Resort, visit our website or follow us on Facebook.
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About Merlin Entertainments Merlin Entertainments is a global leader in location-based, family entertainment. As Europe’s number one and the world’s second-largest visitor attraction operator, Merlin operates more than 135 attractions, 21 hotels and six holiday villages in 24 countries across four continents. Merlin’s purpose is to deliver memorable experiences to its millions of guests around the world, through its iconic brands and multiple attraction formats, and the commitment and passion of its employees.
“Justice League” stars Ezra Miller, Gal Gadot, Ray Fisher and Jason Momoa (Photo by Kevin Winter/Getty Images)
“Justice League” stars Henry Cavill, Gal Gadot, Jason Momoa, Ezra Miller, Ray Fisher and Ciarán Hinds are all confirmed to attend the inaugural ACE Comic Con Long Island, which is set to take place at Nassau Veterans Memorial Coliseum on Long Island in New York from December 8 to December 10, 2017. The event is produced by ACE Universe. In the superhero movie “Justice League” (which arrives in cinemas on November 17, 2017), Cavill is Superman, Gadot is Wonder Woman, Momoa is Aquaman, Miller is The Flash, Fisher is Cyborg and Hinds is the villain Steppenwolf.
According to an ACE Universe press release: “ACE Universe will be the first to provide free global live streaming to fans with wall-to-wall coverage of the entire Comic Con. Now, all fans can enjoy access to top-tier talent, breaking news and on-site programming as every aspect of the show will be fully streamed, social media friendly and available on mobile devices.”
“We revolutionized the Comic Con industry in the 90’s, and we’re thrilled to do it all over again in 2017,” says Gareb Shamus, ACE Universe Chairman & CEO. “We believe this is the optimal time to shake up the industry and recalibrate with a complete and total emphasis on the fan experience. Our new platform is centered on creating an unforgettable experience for fans by featuring meet-and-greets with stars from the latest hit superhero movies, quality vendors, professional creators, superior venues and immersive programming.”
“We can’t wait for seasoned Comic Con fans to experience our events, and we’re excited to introduce all new types of fans into this incredible world, many of whom have never enjoyed a Comic Con before,” says Stephen Shamus, President of ACE Universe. “Families can now enjoy a curated experience with access to top name Film and TV talent, artists, writers and other creative professionals.”
In addition to the Long Island event, there will be an ACE Comic Con Arizona at the Gila River Arena in Glendale, Arizona, from January 13 to January 15, 2017.
General Admission tickets for NYCB LIVE will go on sale Friday, September 22, all via www.aceuniverse.com on Ticketmaster.com, nycblive.com, or by calling 1-800-745-3000. Tickets can also be purchased at the Ticketmaster Box Office located at the Coliseum.
October 30, 2017 UPDATE: These celebrities have been added to the lineup of ACE Comic Con Long Island: Charlie Cox (star of Netflix’s “Daredevil”), Jon Bernthal (star of Netflix’s “The Punisher”), WWE Legend The Undertaker and WWE Superstars the Bella Twins and the Hardy Boyz
The 15th Annual Tribeca Film Festival—which takes place in New York City from April 19 to 30, 2017—has announced its N.O.W. (New Online Work) Showcase, Special Screenings, and the Creators Market participants.
The following is an excerpt from a Tribeca Film Festival press release:
The N.O.W. Showcase is a curated selection of 10 independent online creators’ latest work that is representative of the industry’s freshest voices and most original forms of storytelling. In addition to the world premieres of the new online work during Showcase Screenings on April 20, a piece of past work from each filmmaker will be showcased on TribecaFilm.com.
Rounding out the opportunities for online storytellers is the second annual Creators Market, which connects online creators with the industry, including buyers, producers and brands, and supports the creation, sale, and showcase of new online works. Showcase, and Creators Market participants follow:
N.O.W. SPECIAL SCREENINGS: A selection of high-profile content from the industry’s leading digital networks and online talent playing as official Special Screenings of TFF.
A still from “Awake, A Dream From Standing Rock” (Photo courtesy of Unicorn Riot)
Awake, A Dream from Standing Rock, directed by Josh Fox, James Spione, Myron Dewey, written by Floris White Bull, Josh Fox, Myron Dewey. (USA) – World Premiere, Documentary. Standing Rock North Dakota became one of the most watched places on earth. The Standing Rock Sioux Tribe captured world attention through their peaceful resistance. While many may know the details, “Awake, A Dream from Standing Rock,” executive produced by Shailene Woodley, captures the story of Native-led defiance that forever changed how we fight for clean water, our environment and the future of our planet.
DATE: April 22, 2017
After the Movie: A conversation with filmmakers Josh Fox, James Spione, Myron Dewey and special guests.
A still from the Crypt TV original short “The Birch” (Photo by Anthony Melton and Ben Franklin)
Crypt TV’s Monster Madness, directed by Ben Franklin & Anthony Melton, Alexander Babaev, Jon Kovel, Nicholas Mihm, John William Ross, Gabriel Younes and more. (USA) – World Premiere, Narrative and Non-Scripted. “Crypt TV’s Monster Madness” features some of the best and biggest character shorts from the digital brand’s scaremakers. From a stunningly terrifying protector of the bullied to a child’s toy that reveals horrors around every corner of a suburban home to the real life tale of a man whose body is stretched and pierced into a piece of daring art, Crypt shorts proudly embrace the horror lifestyle.
“The Birch” (directed by: Ben Franklin & Anthony Melton)
“My First Day” (directed by: Jon Kovel)
“Odd Jobs: Body Modification” (directed by: Nicholas Mihm)
“Stereoscope” (directed by: Alexander Babaev)
“Sunny Family Cult” (directed by: Gabriel Younes)
“The Thing in the Apartment” (directed by: John William Ross)
DATE: April 25, 2017
After the screening: A conversation with filmmaker Eli Roth, Crypt TV chief content officer Kate Krantz, and Crypt TV filmmakers Gabriel Younes, Anthony Melton, and Ben Franklin. Moderated by Crypt TV CEO and co-founder Jack Davis.
Out of This World: Female Filmmakers in Genre
Join us for an evening of three diverse works from female filmmakers working online in the genre sphere. From post-apocalyptic love and telekinetic mother/daughter relations to an unseen predator in a mining town, these stories from up-and-coming online studios DUST, Stage 13 and Adaptive Studios, artfully skew everyday travails into the bizarre and visually fantastic.
A still from “YOYO” (Photo by John Wakayama Carey)
YOYO, directed by Nicole Delaney. (USA) – World Premiere, Narrative. Caroline can’t stand that she is a virgin…And then the world ends. In post-apocalyptic Los Angeles, after a dust storm has wiped out humanity, she meets Francis and is convinced that he’s the man to pop her cherry. “YOYO” is a heartfelt, dark comedy about finding meaning in life, even when life ceases to exist. With: Martin Starr, Sophie von Haselberg. Presented by DUST and Gunpowder & Sky.
Two Sentence Horror Stories: MA, directed by Vera Miao. (USA) – World Premiere, Narrative. Like many traditional Chinese families, Mona still lives at home with her stern but loving Ma. When she meets cute Erica, their instant chemistry awakens something dormant inside. But Ma is not going to let her daughter go easily. Because nothing is allowed to come between a mother and daughter. With: Wei Yi Lin, Ayesha Harris, Mardy Ma. A Stage 13 production.
Pineapple (Episodes 1 & 2), directed by Arkasha Stevenson. (USA) – New York Premiere, Narrative. The local coal mine in the town of Black Rock becomes a crime scene when a miner’s daughter is assaulted in its tunnels. She utters only one word, which leaves the town baffled: “pineapple.” Tensions rise as the mine’s opportunistic owner uses the investigation as an excuse to shutter the dying operation indefinitely. With: Tyler Vickers, Kel Owens, Ron Gilbert, Gloria Vonn, Lucille Sharp, Brooklyn Robinson. An Adaptive Studios production.
DATE: April 29, 2017
After the Screening: The screening will be followed by a moderated conversation with filmmakers Nicole Delaney, Vera Miao and Arkasha Stevenson.
THE NEW YORK TIMES’ Op-Docs
Join Tribeca for a presentation of The New York Times’ Op-Docs that poignantly explore relatable struggles faced by everyday citizens. From immigrant families overwhelming first night in America, to women struggling with Louisiana mandated abortion waiting periods, to a Japanese man’s attempt to both parent his young child and provide palliative care for his mother, the short films provide a window into universal experiences and acutely relevant conversations.
A still from”Hotel U.S.A.” (Photo courtesy of Tribeca Film Festival)
Undue Burden, directed by Gina Pollack. (USA) – New York Premiere. When you live in a state with laws that restrict access to abortion, an unwanted pregnancy is only the start of your difficulties.
Taller Than the Trees, directed by Megan Mylan. (USA) – Special Screening. Japanese men haven’t traditionally been caregivers. But for Masami Hayata, it’s a crucial part of raising his family.
Hotel U.S.A., directed by Andrea Meller & Marisa Pearl. (USA) – New York Premiere. For refugee families, the very first night in the U.S. can be an exciting and bewildering experience.
DATE: April 30, 2017
After the Screening: The screening will be followed by a moderated conversation with filmmakers Andrea Meller, Megan Mylan, Marisa Pearl and Gina Pollack.
N.O.W. SHOWCASE (and Creators Market Participants) A curated selection of 10 independent, online creators invited to showcase their latest work on TribecaFilm.com and at two public screenings as official Tribeca selections.
A still from “The Holdouts” (Photo courtesy of Tribeca Film Festival)
SHOWCASE A DATE: April 20, 2017, 6:30 p.m.
The Holdouts, directed by Ramon Campos Iriarte (Colombia) – World Premiere. The Western hemisphere’s oldest civil war is still going strong in the jungles of Colombia. The National Liberation Army (ELN) —a Marxist military organization— has been fighting for revolution since 1964, and with the FARC having declared a ceasefire, the ELN is today the last active guerrilla army in the Americas. In Spanish, English with subtitles.
Midnight Service, directed by Dean Colin Marcial and produced by Brett Potter (USA) – World Premiere. Midnight Service is a true-crime series about urban legends, notorious criminals, occult pop culture, and first-hand accounts of the unknown.
New Deep South, created by Lauren Cioffi and Rosie Haber (USA) – World Premiere. This series explores the vibrant and multifaceted queer culture emerging in the American South. Playing against old stereotypes of Mississippi as a state of social conservatism and stagnation, we follow the lives of queer youth to explore the tangled and complex nature of sexual identity in the “New Deep South.”
New York is Dead, produced by Jenn Harris, Matthew Wilkas, and Randy Harrison and directed by Matthew Wilkas (USA) – World Premiere. A darkly hilarious webseries about two broke NYC artists who become hitmen to make ends meet.
Woman of a Certain Age, created, written by, and starring Kate Dearing, co-directed by Amanda Cowper and Sami Kriegstein and co-produced by Dearing, Cowper and Kriegstein- (USA) World Premiere. Kate confronts the daily challenges of being an adult, she is spontaneously visited by versions of herself at different ages – each offering their “best” advice. Like “A Christmas Carol” but without the pesky morals, “Woman of a Certain Age” explores what happens when we actually listen to the voices in our head.
A still from “Heroin” )Photo courtesy of Tribeca Film Festival)
SHOWCASE B DATE: April 20, 2017, 8:45 p.m.
HEROIN, directed by Jessica Beshir (USA) – World Premiere. For an artist, free will is just an illusion. “Heroin” explores the creative process, inspiration and alternative reality of an artist.
I LIVED: Brooklyn, directed by Jonathan Nelson and produced by Danielle Andersen (USA) – World Premiere. “I LIVED: Brooklyn” was created by director/cinematographer Jonathan Nelson and audio producer Danielle Andersen. Nelson and Andersen both live in Brooklyn and “I LIVED” was born from a desire to investigate the intricacies of place and identity in the borough’s distinct neighborhoods.
Phone Calls, co-directed by Bonnie Wright and Martin Cohn (USA) – World Premiere. “Phone Calls” is an anthology series of conversations exploring the way people speak to each other when not face to face. Free of physical proximity, a space is born in which personal truths and, often times, ugliness is unleashed by those closest to you as well as those most foreign.
Shiva, Bankrukt Productions (Jeff Seal, Shaina Feinberg, Chris Roberti, Chris Manley) (USA) – World Premiere. Improvised vignettes from an Upper West Side Shiva, exploring the absurd, mundane, sad and spiritual. There will be lox.
The Show About The Show, directed by Caveh Zahedi (USA) – World Premiere. “The Show About The Show” is Caveh Zahedi’s self-referential scripted meta-series about a Brooklyn filmmaker trying to make a TV show. Co-starring Alex Karpovsky, Eleonore Hendricks, Dustin Defa, and a who’s who of Brooklyn’s independent filmmaking community, it tells the story of everything that can and does go wrong in trying to get a television series funded, produced, and distributed.
N.O.W. CREATORS MARKET: A daylong, private industry market that brings together leading online creators/talent looking to pitch new projects with a curated group of industry (distributors, brands, MCNs) with particular interest in engaging up-and-coming online talent.
The following people have been selected for the program:
Passes and tickets for the 2017 Festival
Single ticket sales begin Tuesday, March 28 and cost $21.00 for evening and weekend screenings, $12.00 for weekday matinee screenings, $40.00 for Tribeca Talks panels and special screenings, $30.00 for Tribeca TV, and $40.00 for Tribeca Immersive. Tickets can be purchased online at tribecafilm.com/festival/tickets, or by telephone at (646) 502-5296 or toll free at (866) 941-FEST (3378) or at the ticket outlet located at Cinepolis Chelsea (260 W. 23rd Street).
Also available for purchase now is The Hudson Pass, an all access pass to screenings and talks taking place at BMCC, Regal, Cinepolis Chelsea, and SVA as well as full access to all events at the Festival Hub at Spring Studios, which includes VR and immersive projects, special screenings with music performances, and access to the lounges.
The 2017 Festival will offer ticket discounts on general screenings and Tribeca Talks panels for students, seniors and select downtown Manhattan residents. Discounted tickets are available at Ticket Outlet locations only.
Packages and passes are now available for purchase on the 2017 Tribeca Film Festival App on iTunes and Google Play.
Tickets for events at the Beacon Theatre and at Radio City Music Hall are available for purchase online only at Ticketmaster.
