2023 South by Southwest: What to expect at this year’s SXSW event

Febuary 1, 2023

Updated February 14, 2023

by Carla Hay

After changes made because of the COVID-19 pandemic, South by Southwest (SXSW) Conference & Festivals has switched from being the hybrid in-person/online event that it was in 2022, to being primarily in-person-only event for the 2023 edition of the event, which takes place from March 10 to March 19 in Austin, Texas. SXSW is arguably the best-known event in the U.S. that combines music, film, interactive and convergence programming. Before the COVID-19 pandemic, SXSW was an in-person-only event. In 2020, SXSW was cancelled because of the pandemic. In 2021, SXSW was a virtual-only event.

Here are some of the anticipated highlights of the festival:

The lineup of SXSW keynote speakers includes:

  • Patagonia CEO Ryan Gellert
  • Actor/producer/author Priyanka Chopra Jonas with Amazon and MGM head of studios Jennifer Salke
  • Grammy Award-nominated artist Margo Price with Rolling Stone associate managing editor Angie Martoccio
  • Oscar-winning actress Tilda Swinton with Sundance Film Festival director Eugene Hernandez 
  • Unfold The Universe: NASA’s Webb Space Telescope: NASA’s James Webb Space Telescope, a partnership with ESA (European Space Agency) and the Canadian Space Agency (CSA), released its first full-color images and spectroscopic data on July 12, 2022. As the largest and most complex observatory ever launched into space, Webb went through a six-month period of preparation before it began science operations with 50 major deployments, careful alignment of the mirrors, and calibrating the instruments. In this session, join NASA Goddard Communications Team Lead for the James Webb Space Telescope Laura Betz, Astrophysicist and James Webb Space Telescope Deputy Project Scientist for Exoplanet Science Dr. Knicole Colón, Planetary Scientist and James Webb Space Telescope Deputy Project Scientist for Planetary Science Dr. Stefanie Milam and Astrophysicist and Deputy Project Scientist for James Webb Space Telescope Science Communications Dr. Amber Straughn as they review Webb’s latest scientific discoveries, discuss how this observatory will continue to explore the uncharted territories of our cosmos, and share a never before seen image from the James Webb Space Telescope.
RZA (Photo courtesy of RZA)

Featured speakers include:

  • Signal And Cipher CEO/chief futurist Ian Beacraft
  • University of Texas at Austin chemistry professor Dr. Kate Biberdorf
  • Founder of Royal/DJ Justin Blau, aka 3LAU
  • Voices of VR podcast founder/host Kent Bye
  • Gonzo journalist and Channel 5 creator Andrew Callaghan
  • New York University’s Stern School of Business professor/author Dolly Chugh
  • CURRAN founder Tommy Dorfman
  • Director and screenwriter Julia Ducournau
  • Harvard Business Review contribtor Amy Gallo
  • Indeed CEO Chris Hyams
  • New York University’s Stern School of Business professor/author/podcaster Scott Galloway
  • Get Lifted Film Co. co-founder/partner Mike Jackson
  • Luminate CEO Rob Jonas
  • Grammy Award-nominated artist Valerie June
  • Wired co-founder/senior maverick Kevin Kelly
  • KORA Organics founder/CEO and supermodel Miranda Kerr
  • Grammy-award winning rapper Killer Mike
  • Actress/director/activist Eva Longoria
  • Starts With Us and KIND Snacks founder Daniel Lubetzky
  • Multi-talented entertainer Cheech Marin
  • Author Heather McGhee
  • Warner Chappell Music co-chair/CEO Guy Moot
  • Psychotherapist/author/podcasterauthor Esther Perel
  • Filmmaker/musician Boots Riley
  • James Beard Award-winning chef Sophia Roe
  • Author and former IBM chairman/president/CEO Ginni Rometty
  • Author/professor/Team Human podcast host Douglas Rushkoff
  • Rapper/filmmaker RZA
  • Religion & Society Program at the Aspen Institute executive director Simran Jeet Singh
  • The Ocean Cleanupfounder/CEO Boyan Slat
  • Mycologist/author/inventor Paul Stamets
  • University of California, Santa Barbara associate professor of environmental politics Leah Stokes
  • Kickstarter CEO Everette Taylor
  • Chobani founder/CEO Hamdi Ulukaya
  • Author/professor Aldora.io founder/CEO Joost Van Druenen
  • Future Today Institute CEO Amy Webb
  • Software engineer/writer/Web3 is Going Just Great founder Molly White
  • Strangeworks founder/CEO whurley
  • 23andMe co-founder/CEO Anne Wojcicki
  • Reddit COO Jen Wong
  • Athleta chief brand officer Kyle Andrew in conversation track and field Olympian Allyson Felix and podcast host Gloria Riviera
  • CALLEN founder/CEO Craig Allen in conversation with Marketing Manager at Athletes First Bryan Burney, running back for the Texas Longhorns Bijan Robinson, and Director of the School of Advertising and Public Relations, Moody College of Communication at the University of Texas at Austin Natalie Tindal, Ph.D., APR
  • Futurist authors Rohit Bhargava and Henry Coutinho-Mason
  • Sextech School founder/Future of Sex podcaster Bryony Cole in conversation with Josephmark executive creative director Alex Naghavi
  • Exectuive producers Tara Hernandez and Damon Lindelof (Peacock’s “Mrs. Davis”)
  • Variety Intelligence Platform executives Gavin Bridge, Heidi Chung and Andrew Wallenstein
  • Former “Scandal” co-stars/Unpacking the Toolbox podcasters Guillermo Diaz and Katie Lowes
  • Seven Seven Six founder and former Reddit executive chair Alexis Ohanian in
    conversation with 776 Foundation and Fellowship Program director Lissie Garvin, Upenndo! Productions founder Maya Penn, and Hydrova Inc co-founder CTO Rostam Reifschneider
  • Author Cheryl Strayed (“Tiny Beautiful Things”) with showrunner Liz Tigelaar
  • Bernard Sumner, Stephen Morris, and Gillian Gilbert of New Order in conversation with The Times rock & pop critic Will Hodgkinson 
  • General Motors chair/CEO Mary Barra withCEO, CTO, President, and co-founder of Cruise and co-founder of Twitch Kyle Vogt
  • Actress/Hello bello co-founder Kristen Bell, Hello Bello CEO Erica Buxton, andactor/comedian/Hello Bello co-founder Dax Shepard
  • TBWA\North America chief diversity officer Aliah Berman with#MeToo Movement founder Tarana Burke
  • Joby Aviation founder/CEO JoeBen Bevirt withChief Sustainability Officer at Delta Air Lines Pam Fletcher
  • Unilever chief digital and commercial officer Conny Braams, Netflix president of worldwide advertising Jeremi Gorman,MediaLink founder/CEO Michael Kassan, and Delta Air Lines senior vice president and chief marketing and communications Tim Mapes
  • OpenAI co-founder and president Greg Brockman with Dot Dot Dot Media founder/CEO Laurie Segall
  • United States Secretary of Energy Jennifer M. Granholm
  • General Partner at Benchmark Bill Gurley withinvestor/author Tim Ferriss
  • Comedian/author Chelsea Handler withMSNBC host and former White House Press Secretary Jen Psaki
  • Colossal CEO/co-founder Ben Lamm
  • Activist/DJ Chelsea Manning
  • DJ J.ROCC with DJ/Stones Throw Records founder Peanut Butter Wolf
  • Golden Globe Award-winning actor/author  William Shatner
  • Formula 1 global director of race promotion Chloe Targett-Adams

Featured Sessions

David Chang (Photo courtesy of Netflix)

Descriptions courtesy of SXSW:

2050: Digital Identity is a Human Right: As we become more and more digital as a
species, it’s critical that we don’t forget about our human rights. Something as simple as
owning your identity becomes a complicated issue in the digital realm of the metaverse,
web3 and web5. But in an interconnected digital world, how can we be sure that our
Digital Identities won’t be data mined, duplicated, or stolen? In this session, join Senior
Vice President at Unstoppable Domains Sandy Carter as she draws on her decades of
experience being on the cutting edge to imagine a future where Digital Identity is seen
as a Human Right.

The Art of Creating Influence 101: In this crash course, join female trailblazers such as Executive Vice President and General Manager at Young Money Records Karen Civil, rhythm and blues singer Savannah Ré, DJ, producer, and creative curator DJ Rosegold, on-camera host, music journalist, publicist, and founder of Remixd Magazine Tallie Spencer, and founder of Socially Loud Randa Quraan as they offer real and fresh viewpoints on how to navigate a career in entertainment, media, and marketing while building your own brand. Whether you’re looking to work in these fields, or you’re an artist wondering how to market yourself, this panel will discuss tips for getting yourself noticed and marketing your skills in order to grow your brand, and most importantly your influence. 

Autonomous Driving: More Time to Do What You Love: The future of mobility will be
electric, autonomous, entertaining and above all: exciting. There is a paradigm shift
happening as the automotive industry transitions gradually to a safe autonomous driving
future and a new sense of freedom is coming for both drivers and passengers sooner
than you might think. In this session, join founder and CEO of ZYNC Rana June,
founder and CEO of Luminar Austin Russell and Member of the Board of Management
of Mercedes-Benz Group AG and CTO Markus Schäfer as they discuss how the
software-defined car, autonomous technology and embedded entertainment content aim
to give you back your most valuable resource — time — and how this lets you
experience your car like never before.

Bijan Mustardson & the Future of NIL Partnerships: In 2022, creative agency CALLEN
and Bijan Robinson launched the dijon mustard brand Bijan Mustardson, a partnership
made possible by recent changes with NIL rules for college athletes. In this session, join
founder and Chief Creative Officer of CALLEN Craig Allen, Marketing Manager at
Athletes First Bryan Burney, running back for the Texas Longhorns Bijan Robinson,
and Director of the School of Advertising and Public Relations, Moody College of
Communication at the University of Texas at Austin Natalie Tindal, Ph.D., APR as they
discuss how creative agencies can invest in more than a campaign and build a true
business partnership for long-term success, developing a product and growing a brand
with a celebrity business partner, and how to adapt to and anticipate where the NIL
market is headed.

The Blog Era: Hip-Hop’s Wild Wild West: The Blog Era was the intersection where hip-hop really met the internet. Thanks to a handful of nobodies behind keyboards, the careers of Drake, J. Cole, Nicki Minaj, Kid Cudi and hundreds of cultural centerpieces were launched, entire industries were brought to their knees, and the course of pop culture was changed forever. In this session, ItsTheReal, together known as creators Eric Rosenthal and Jeff Rosenthal, will sit down in a live setting for the first time with artists and insiders of the time and run back the highs, the lows, and the lawsuits ahead of the April premiere of their new podcast series: The Blog Era

Build the Damn Thing with Kathryn Finney: Founder and Managing Partner of Genius
Guild and Wall Street Journal bestselling author Kathryn Finney’s book, Build the Damn
Thing: How to Start a Successful Business if You’re Not a Rich White Guy, is a
hard-won, battle-tested guide for every entrepreneur who the establishment has left out.
In this session, join Finney for a conversation where she will share her storied career as
an entrepreneur, inclusion champion, and investor who funds Black founders and
women entrepreneurs in pursuit of their entrepreneurial dreams.

Building an Open Metaverse: As it stands today, a sole metaverse does not exist. What
does exist are thousands of virtual worlds, many of which are connected through Ready
Player Me’s network; an avatar system used by over 3,000 app and game developers. It
is this interoperable network that has earned their reputation as a default avatar platform
for the metaverse. In this session, join co-founder and CEO of Ready Player Me Timmu
as he focuses on the importance of collaboration and building out partnerships in
order to create an open metaverse and what brands need to do in order to make this

Building a Sustainable Economy in the Metaverse: As the metaverse is being created, it
is our responsibility to build a sustainable foundation. But, how sustainable is the journey
to this virtual landscape? In this session, join co-founder and CEO of VNTANA Ashley
, founder and CEO of Emblematic Group and Director of Arizona State
University’s Narrative and Emerging Media program Nonny de la Peña, and founder of
Friends With Holograms Cortney Harding, as they discuss what the metaverse is today
and explore how to build an inclusive environment, drive a shared value for businesses
and creators, empower consumers, and enable ways to measure impact to create digital

Creating Happiness: The Art & Science of Disney Parks Storytelling: For nearly 70
years, Disney Parks has created happiness for millions through experiences that bring
Disney’s beloved stories to life. Across its theme parks, hotels, cruises and adventures,
Disney Parks has curated magical places around the world where a simple moment can
become a treasured lifelong memory. The ‘Art & Science’ of storytelling is the secret to
how Disney amazes its Guests and delivers memorable experiences. In this session,
Disney Parks, Experiences and Products Chairman Josh D’Amaro will share how
Disney’s storytelling techniques will build on its legacy of creativity and innovation for a
world that can always use just a little more happiness.

Crushing: The Burden of Diabetes on Patients: 1 in 10 Americans live with diabetes,
making millions of tiny decisions to keep themselves alive. For the most resourced
patients in America, the burden of diabetes still looms large over their heads — so what
does that mean for patients without access to the best of the best in tools and
treatments? In this session, join Colorado State Representative Leslie Herod, singer,
songwriter, actor and member of the Grammy Award-nominated band Jonas Brothers
Nick Jonas, Executive Vice President and COO of Dexcom Jake Leach and the Pastor
of the Pattison United Methodist Church in Pattison, TX, Rev. Mireya Martínez as they
share their perspectives that span the diabetic ecosystem to answer the question: are
we doing enough?

Troy Kotsur (Photo courtesy of the Academy of Motion Picture Arts and Sciences)

Daddy Issues in Film: Frank Rossi. Jonathan Kent. Jack Byrnes. Darth Vader. All of these characters add layers of complexity and emotion to their respective films as the stories unfold—and the connective tissue between them is their shared role as father. In this session, join Academy Award-winning actor Troy Kotsur and filmmaker, founder of the Emergent Order Foundation (EOF), and host of the Dad Saves America podcast John Papola as they explore fatherhood in film, the evolution of fathers as integral characters, and how family, in all of its varied forms, remains an important part of how we tell stories on the screen. Emergent Order Foundation will also screen an exclusive clip from their upcoming short documentary about Troy Kotsur’s relationship with his dad.

Data Privacy After Roe v. Wade: The overturning of Roe v. Wade is a watershed moment
for the privacy of people seeking reproductive care. A person’s browser history, search
history, location, and private messages can now be used by law enforcement or private
citizens to pursue people who are suspected of having or aiding an abortion. When
people’s most private digital information can be used against them, can tech companies
change their practices to better protect their users’ privacy? Plus, as some states try to
outlaw websites that tell people how to access abortion care, can advocates ensure that
reliable health information remains online? In this session, join co-founder of
Supermajority, New York Times bestselling author, and former President and CEO of the
Planned Parenthood Federation of America and the Planned Parenthood Action Fund
Cecile Richards, President and CEO of the Center for Democracy & Technology
Alexandra Reeve Givens, and CEO of The Markup Nabiha Syed for a discussion on
ways advocates are working to protect users’ privacy and access to information at this
critical moment for reproductive rights.

Dateline 24/7: How the True Crime Powerhouse Became a Podcast Empire: In this session, join Executive Producer of Dateline NBC Elizabeth Cole, Senior Executive Producer of Dateline NBCDavid Corvo, Correspondent for Dateline NBC Josh Mankiewicz, Correspondent for Dateline NBC Keith Morrison, and actress, comedian, screenwriter, and producer June Diane Raphael for a conversation about how NBC’s longest running primetime program evolved into a true crime powerhouse with a mega podcast hub. With numerous #1 podcasts, including The Thing About PamMotive for MurderDateline: Missing in America & Mommy Doomsday, along with a Dateline 24/7 streaming channel on Peacock, the team will discuss how the true crime juggernaut is reaching a new generation of fans with its signature storytelling.

Design for a Better Future: In this session, dare to imagine a future where we can hack
our bodies, make energy available to every human, create schools for lifelong learning,
feed astronauts on their way to Mars, and make disabilities a thing of the past. Through
unexpected designs and storytelling, co-founder and Owner of Nonfiction Mardis Bagley
and Partner and Creative Director at Nonfiction Phnam Bagley will walk you through the
possibilities of unbound imagination, and what it really takes to turn science fiction into

Don’t be a Drag, Just Be a Queen: 2022 saw a record number of anti-LGBTQ bills
introduced across the country, and we’ve already seen one Texas lawmaker announce
that he will introduce a bill to ban youth from attending drag shows next year. The heated
political discourse has led to threats against Pride celebrations and drag shows around
the world. We know these debates are negatively impacting LGBTQ youth — and that
access to affirming spaces and representation is crucial to mental health. In this session,
join drag queen, makeup artist, author and trans rights activist Gottmik, drag queen
Jaida Essence Hall, attorney, activist, Adjunct Professor of Law at American University
Washington College of Law and Director of Advocacy and Government Affairs for The
Trevor Project Preston Mitchum and drag queen and model Symone as they discuss
drag’s historical roots and cultural significance today, why promoting self-expression is
so important, and how we can all help create a more accepting world.

Driving Personal Health Forward: The Role of Apple Watch and iPhone: Since the release of the Health app in 2014 and Apple Watch in 2015, Apple has introduced a wide array of powerful and innovative features, across areas like heart health, mobility, sleep, mindfulness and menstrual health. In this session, Vice President of Health at Apple Dr. Sumbul Desai and Women’s Health Editor-in-Chief Liz Plosser will discuss Apple’s approach to creating tools that empower people to lead healthier lives and examine how science-based technology can act as an intelligent guardian for health, moving people from being passengers on their own health journey into the driver’s seat.

Evil Dead Rise: Flesh-Possessing Demons Come Home: Join writer/director Lee Cronin, series creator and horror icon Sam Raimi, cult legend and “Ash” himself Bruce Campbell, and stars Lily Sullivan and Alyssa Sutherland for a look at the new film that moves the action out of the woods and into the city…. The panel will discuss how the film not only pays homage to the beloved franchise, it also expands the Evil Dead universe, turning a crumbling apartment building into an urban “cabin in the woods” and putting the action squarely in the hands of two chainsaw-wielding women. Deadites will never be the same again… Evil Dead Rise tells the tale of two estranged sisters, whose reunion is cut short by the rise of flesh-possessing demons, thrusting them into a primal battle for survival as they face the most nightmarish version of family imaginable.

An Imminent Shift In The Plant Based Ecosystem: Consumers are finding themselves at
a long-awaited intersection: diets are shifting to prioritize nutrition and environmental
impact at a time when food innovation is booming and new brands hoping to address
consumer’s fluctuating priorities emerge daily on grocery shelves. However, when food
culture drives buying decisions in a sea of indistinguishable plant-based options, how do
emerging products bust the paradigm of what people can expect from alt-meat? Where
will consumer behavior go and how will the industry keep up? In this session, join
founder of Momofuku and Majordomo Media, James Beard Award-winning chef, host of
The Dave Chang Show and Recipe Club podcasts, and New York Times bestselling
author David Chang, co-founder and CEO of Meati Foods Tyler Huggins, co-founder, Chief Concept Officer of Sweetgreen Nicolas Jammet, and Head of Content
at SutherlandGold and lecturer at the Wharton School of the University of Pennsylvania
Aditi Roy as they discuss this shift and what the implications are for buyers and the food
industry, ending with a hands-on activation where attendees will experience and taste
mushroom root.

An Inside Look at “Blindspotting” Season 2 with Rafael Casal and Daveed Diggs: In this session, writer, director, actor, poet, musician, and Co-Creator, Executive Producer and Showrunner of Blindspotting Rafael Casal joins Tony and Grammy Award-winning actor, rapper, co-Creator and Executive Producer of Blindspotting Daveed Diggs for a preview of the second season of the critically acclaimed-comedy series Blindspotting, coming to STARZ in April, and to celebrate its world premiere at SXSW.

Have a Good Trip: Psychedelics in Film and TV: Psychedelics are easy to stigmatize and
criminalize. Case Study: the last 50 years. Enter GOOD TRIP STUDIOS, the
psychedelic company with a mission to destigmatize psychedelics through entertainment
and pop culture. Their movie Have a Good Trip: Adventures in Psychedelics was an
official 2020 SXSW selection and launched as the #1 Netflix movie worldwide
accumulating tens of millions of views in the first month. The documentary features A-list
celebrities and artists discussing their personal psychedelic experiences and helped
spark the current psychedelic renaissance. In this session, join comedian, actor and
Creator and Host of The Eric Andre Show Eric André, Emmy Award-winning writer,
producer and director Donick Cary (Have a Good Trip, The Simpsons), Global Impact
Officer at MAPS (the Multidisciplinary Association for Psychedelic Studies) Natalie
and Executive Producer and Showrunner of The Eric Andre Show Mike
as they discuss how psychedelics are portrayed in media and how they
have inspired artists and pop culture. They will also share exclusive clips and stories
from other planets!

How Music, Entrepreneurship & Independence Intersect: How can artists build careers
off their music, own their intellectual property, and transcend into new ventures to build a
multi-faceted company? Just ask the team behind EVGLE, a company that brings all
verticals in-house spanning records, publishing, media, fashion and ventures. In this
session, hear from Billboard R&B / Hip-Hop Rookie of the Year and multi-platinum artist,
producer and co-founder and CEO of EVGLE Blxst, co-founder and President of EVGLE
Victor Burnett, co-founder and COO of EVGLE Karl Fowlkes and R&B/Hip Hop
Reporter at Billboard Heran Mamo on how to take the necessary steps to build a
successful entertainment company that transcends cultural boundaries.

The J Dilla Effect: Breaking Barriers Through Beats: James Yancey, aka J Dilla, is one
of the greatest all-time hip-hop producers, a musical genius and visionary that inspired
artists like A Tribe Called Quest, Pharrell Williams, Erykah Badu, and many others. Dilla
made ultimate sacrifices to build opportunities for young, diverse creators to continue
breaking down societal and cultural barriers. Curated by Save The Music, this session
will feature founder and Chairman of the James Dewitt Yancey Foundation and J Dilla’s
mother Ma Dukes and Grammy Award-winning DJ and music producer DJ Jazzy Jeff
as they share personal stories of Dilla’s life and how his work changed hip-hop culture,
while exploring how to carry on his legacy by investing in culturally rich communities to
provide equitable resources for young creators to achieve economic stability and
success through music and technology.

José Andrés: The Stories We Tell Can Change the World: Chef and Humanitarian José Andrés founded World Central Kitchen (WCK) with the simple belief that a plate of food is more than a meal—it’s hope and comfort in times of crisis. Since 2010, WCK has provided more than 250 million nourishing meals in response to disasters around the world, most recently the wildfires in Chile, earthquakes in Türkiye, and the ongoing conflict in Ukraine. In the face of unthinkable tragedy, the WCK team sees the best of humanity in the people who show up for their community. This keynote will dive into the responsibility that comes with hearing these stories and the power of storytelling to move people to act. 

The Kids Are (Not) Alright: Gun Violence Terrorizing Youth of America: Gun violence is now the leading cause of death for American kids. In 2021, there were 1,572 youths killed in gun violence with an 80% increase in Black youth and 46% in Hispanic youth. February 14th marks the 5th anniversary of the Parkland school shooting that took 17 lives and inspired a global youth movement. Last May, the Uvalde school shooting surpassed Parkland as the deadliest to date with 21 lives lost. In the same month, a manifesto by the shooter of 10 Black victims at a supermarket in Buffalo self identified as a known supporter of white supremacy, voicing support for the far-right “Great Replacement” conspiracy theory in the context of a “white genocide”. For the first time, mass shootings have been described as acts of domestic terrorism. In this session, join co-Founder of Lives Robbed Jazmin Cazares, human rights activist and founder and CEO of Life Camp Erica Ford, first Gen-Z Member of Congress Representative Maxwell Frost, Parkland survivor/activist Samantha Fuentes, and Peabody Award-winning director and producer Kim A. Snyder as theyaddress youth trauma, activism, and what justice looks like in a time of rising hate crimes involving firearms.

John Leguizamo (Photo by Timothy Greenfield-Sanders)

Leguizamo Does America: Next Stop – Austin: In this session, join Director Ben DeJesus, Emmy Award-winning Senior National Correspondent at NBC News Tom Llamas, Emmy Award-winning actor, comedian, and film producer John Leguizamo, and Executive Producer and Showrunner Carolina Saavedra as they preview the upcoming MSNBC Films and NBC News Studios series Leguizamo Does America. Llamas will moderate an in-depth discussion with Leguizamo, DeJesus and Saavedra on Leguizamo’s storied career and the groundbreaking new series that focuses on the unmistakable influence and contributions of U.S. Latinos. 

More Than a Joke: The Road from Sitcom Success to iHeartPodcasts Powerhouse: Daytime Emmy Award-winning actor and New York Times bestselling author Brian Baumgartner and SAG & WGA Award-winning actor, writer, producer, and comedian Ed Helms are known as TV and film funny men, but they’ve branched out into podcasting with iHeartPodcasts – in surprising ways. Ed’s show SNAFU tackles the stories of history’s epic screw ups, and Brian’s show Off the Beat gets guests to talk about their favorite jobs. In this session, join the moderator, co-Host of the podcast Stuff You Missed in History Class Holly Frey, as she finds out what led these comedians to seek out meaningful stories in the audio medium, and how they manage to still keep it humorous.

Online Crime: An American Crisis: Cybercriminals, con artists, digital spies. We call them many things, but they all have the same motive – to steal your data, information and ultimately, your money. Last year, Americans lost nearly $7 billion dollars to online crime. There’s no denying that tech has enabled incredible progress, but our increased connectivity comes with great risk. It’s time to take the best of technology and put it to work for protection vs. exploitation and battle back against the relentless onslaught from hackers. In this session, join Academy Award-nominated actor and producer Robert Downey Jr.,New York Times bestselling author Maria Konnikova,former FBI counterintelligence operative, cybersecurity consultant, attorney and authorsecurity consultant, author, attorney, and public speaker Eric O’Neill, and founder and CEO of Aura Hari Ravichandran for a riveting discussion about the true scope of the crisis Americans are facing, a look inside the minds of cybercriminals and how they are able to manipulate our families and wallets, and thoughtful solutions on what can really be done to fight back. 

Onyx Collective Presents “UnPrisoned”: Inspired by Tracy McMillan’s Life, UnPrisoned is a half-hour comedy about a messy, but perfectionist relationship therapist and single mom whose life is turned right-side-up when her dad gets out of prison and moves in with her and her teenage son. In this session, join writer and Creator of UnPrisoned Tracy McMillan, actor Marque Richardson, actor Faly Rakotohavana, actress Jordyn McIntosh, and Primetime Emmy Award-winning actress and Executive Producer of UnPrisoned Kerry Washington for an intimate discussion on the new Hulu series produced by ABC Signature. 

Open Minds: Innovations in Consciousness, Psychedelics & Mental Health: Psychedelic-based therapies continue to influence the evolving landscape of mental health. As humanity begins to understand the complexity of consciousness and its impact on mental health, these worlds will become increasingly intertwined. In this session, join founder of The Chopra Foundation and Chopra Global, Clinical Professor of Family Medicine and Public Health at the University of California, San Diego, and New York Times bestselling author Deepak Chopra and guests from the upcoming mini-series Open Minds CEO of Cybin Inc. Doug Drysdale, M.D., Psychotherapist at the Multidisciplinary Association for Psychedelic Studies Cristie Strongman MA, Ed.M., and actress, activist, and co-founder of the Never Alone Initiative Gabriella Wright as they explore the connection between consciousness, mental health, and psychedelic therapeutics and the need for humanity to focus on the internal work required to heal.

Own Your Data: Empowering Our Digital Future: In this session, co-founder of the Own
Your Data Foundation and author Brittany Kaiser will explain how she decided to
become a whistleblower to protect our human rights in the digital space and discuss the
issues that Big Tech has presented us with (lack of transparency, uninformed consent,
no tracking or traceability, monetization of our data without any value going to us, etc),
as well as the solutions she believes are essential to making technology more ethical
and congruent with rights protection.

Paul Giamatti’s CHINWAG with Stephen Asma: In this session, Academy Award-nominated actor, comedian and film producer Paul Giamatti and Professor of Philosophy at Columbia College Chicago Stephen Asma will record a special episode of their forthcoming weekly podcast CHINWAG. In front of a live studio audience, Paul and Stephen will dive into one of their favorite topics of conversation — MONSTERS. They will explore the fears and fascinations we share about some of Western culture’s worst nightmares in an unexpected, and maybe even hilarious chat.

Reigniting Fan Engagement at Live Events: The importance of community and human
connection was more prevalent than ever when World Wrestling Entertainment (WWE)
returned with its biggest event of the year, WrestleMania, in April 2021. This historic
event featured the first Black female Superstars to main event WrestleMania, celebrity
appearances, live music performances and the unveiling of WWE’s new signature,
“Then. Now. Forever. Together.” to recognize and celebrate WWE fans, their community
and the message of inclusivity. As WWE prepares to host WrestleMania 39 at SoFi
Stadium in Los Angeles this coming April, Chief Content Officer of WWE Paul “Triple H”
will discuss in this session the road to WrestleMania, the importance of the
WWE Universe and how this community has evolved.

Social Media Town Hall: In the early to mid 2000s, many of the pioneers of social media gathered at SXSW to brainstorm about the potentials and possibilities of these new platforms for communication. 15 years later, so much of the optimism of those early discussions has fallen by the wayside. So where do we go from here? Is it possible to build a new kind of social media that emphasizes our shared humanity as opposed to our divisions? In this interactive session featuring co-founder and Executive Director of the Sustainable Media Center Steve Rosenbaum and Tech Culture Reporter for The Washington Post Nitasha Tiku, attendees are invited to come to the microphone and offer their one minute solution on what a more functional system of scalable networked communication looks like.

To Trip or Not to Trip: The psychedelic science torch is getting passed to the next
generation, with fresh perspectives on both ancient and future medicines. In this session,
join Writer and Director of Hamilton’s Pharmacopeia, chemist, and science journalist
Hamilton Morris, professor of Pharmacology at Louisiana State University Health
Sciences Center Charles Nichols, adjunct professor at the University of North Carolina,
Chapel Hill and Professor Emeritus at the Purdue University College of Pharmacy David
E. Nichols
, co-founder and Partner at Palo Santo Tim Schlidt, and endowed professor
of Psychiatry and Neuroscience of Trauma and Director of the Center for Psychedelic
Psychotherapy and Trauma Research at the Icahn School of Medicine at Mount Sinai
and Director of Mental Health at the James J. Peters Veterans Affairs Medical Center
Rachel Yehuda as they explore the future of psychedelic science and answer questions
such as, can we take the “trip” out of psychedelics, do we want to, and will “next gen”
psychedelic compounds have an advantage over today’s medicines?

True Grit: 3 Stories of Overcoming Life’s Challenges To Make It In The Music Business: In this session, join Executive Vice President, General Counsel at Fender Aarash Darroodi, singer-songwriter, producer, activist, writer, orator, model, visual artist, and actress Kam Franklin, Music Writer at the Austin American-Statesman Deborah Sengupta Stith, and co-founder and frontman for the band Delta Spirit Matthew Logan Vasquez as they take a deep dive into the unique life stories of three individuals with very divergent paths, but who share a common theme of overcoming challenges and obstacles in life to ultimately achieve success in the music business. 

Understanding the Role of AI in Reshaping the Film & Television Industry: In this thought-provoking session, join Assistant Professor in the Department of Electrical Engineering and Computer Science at the University of California at Berkeley Angjoo Kanazawa,actor, producer, and co-founder and President of Wonder Dynamics Tye Sheridan, filmmaker, VFX supervisor, entrepreneur, and co-founder and CEO of Wonder Dynamics Nikola Todorovic, and Delta Electronics Professor and Head of the AI+D faculty at the Department of Electrical Engineering and Computer Science at the Massachusetts Institute of Technology Antonio Torralba as they examine the latest AI-powered innovations in the film and television industry and explore how it will change the way we create and consume media.

Voting is a Civil Rights Issue: American elections and democracy continue to be
attacked in a ploy to justify rolling back civil liberties and voting rights when we should be
expanding those rights and making it easier for everyone to participate in the democratic
process. In this session, join Michigan Secretary of State Jocelyn Benson, President of
the Drum Major Institute Arndrea Waters King, Chairman of the Board of the Drum
Major Institute Martin Luther King III, civil rights leader Ralph G. Neas and founder and
CEO of Tusk Philanthropies and the Mobile Voting Project Bradley Tusk as they share
their insight into how we can expand access to voting for marginalized groups.

Why is America Afraid of Its (Black) History?: William Faulker wrote, “The past is never dead. It’s not even past.” But if the past is still with us, why has learning the true history of the United States become a battleground in our national culture wars? And are we doomed to repeat it? In this session, writer, producer, and founder and CEO of The Who We Are Project Jeffery Robinson, Community Organizer for the Texas Freedom Network Corisha Rogers, andfounder, Owner, and Principal Guide of Black Austin Tours Javier Wallace, Ph.D. will use Robinson’s documentary short How to Rig an Election: The Racist History of the 1876 Presidential Contest (SXSW 2023) as a springboard for a conversation highlighting the efforts of Black truth tellers to shine a light on our country’s past and change the direction of our collective future.

Music Performances

SXSW is considered a premiere showcase for established and emerging artists. Some of the announced artists who will be performing include Armani White, Algiers, Balming Tiger, Beenzino, Edie Bens, iLe, Ladaniva, Max Cooper, Mightmare, Núria Graham, The Orielles, Otoboke Beaver, RVG, Sarah Shook & the Disarmers, Son Rompe Pera, Steam Down, Thao, Yazmin Lacey and Yogetsu Akasaka.

Other music artists set to perform are Ambré, be your own PET, deca joins, English Teacher, The Lemon Twigs, Obongjayar, Oracle Sisters, OSEES, Painted Shield, Paraísos, ROGÊ, Shanghai Baby, Sobs, Sunflower Bean, Tokio Meyers, UNI and the Urchins and The Zombies.

Also in the music showcase lineup are Anwan “Big G” Glover, Coco & Clair Clair, Dende, Diana Burco, DJ_Dave, EKKSTACY, Frankie Rose, Immersion, Isabella Lovestory, Killer Mike, Maiya The Don, Michigander, Militarie Gun, New Order, Peter One, PJ Sin Suela, Protomartyr, Savannah Ré, Tangerine Dream, THUS LOVE, TiaCorine, Venbee and more.

Showcases and presenters include Adult Decisions, Alcopop! Records, Anniversary Group, Aquarium Drunkard, ASCAP, ATC Live, Athens in Austin, Atomic Music Group, Bad Time Records, Bayonet Records, BBC Introducing, BreakOut West, British Music Embassy, CareFreeBlackGirl, The Color Agent, Consequence of Sound, Dance to the Radio, DAWA Heals, Dedstrange, DEL Records, DJ Ace presents Everything R&B, Don Giovanni Records, EMPIRE, End of the Trail, Father/Daughter Records, Fierce Panda Records, Fire Records, Fire Talk, FOCUS Wales, Force Field PR, Gold Diggers, Good Karma Club, Gorilla vs Bear, Holodeck Records, Hundred Palms, Island Wave, Italians Do It Better, Jazz re:freshed Outernational, Keeled Scales, Kill Rock Stars, KUTX The Breaks, Laneway Festival, Leafy Outlook, Levitation, The Line of Best Fit, The Loyalty Firm, M for Montreal, Marca Única, Marshall Music, Mint Talent Group, Music From Ireland, New West Records, Now Wave, Penny Loafer PR, POP Montreal, Post-Electric Artists, Post-Trash, PRIMA Fund, Reeperbahn Festival, Rocky Road Touring, Rolling Loud, Rolling Stone, Scruff of the Neck, Secret Sounds, Selector presents Jamz Supernova, Six Shooter Records, Space Agency, Spaceflight Records, The Spanish Wave, Speedy Wunderground, Taiwan Beats, Traffic Music Group, Vibe Magazine, We Were Never Being Boring, Wide Days Scotland, WISE x STRRR, WOMEX and ZZK Records.

Movie and TV Premieres

Pictured in front: Justice Smith, Chris Pine and Michelle Rodriguez in “Dungeons and Dragons: Honor Among Thieves” (Photo courtesy of Paramount Pictures)

World premieres at the 2022 SXSW Film & TV Festival include:

  • Opening-night-film “Dungeons and Dragons: Honor Among Thieves” (sci-fi/fantasy/action) directed by Jonathan Goldstein and John Francis Daley; starring Chris Pine, Michelle Rodriguez and Hugh Grant.
  • “Problemista” (drama), directed by Julio Torres; starring Julio Torres, Tilda Swinton and RZA.
  • “Flamin’ Hot” (comedy/drama), directed by Eva Longoria; starring Jesse Garcia, Annie Gonzalez and Dennis Haysbert.
  • “Late Bloomers” (comedy), directed by Lisa Steen; starring Karen Gillan, Margaret Sophie Stein, Jermaine Fowler, Kevin Nealon and Talia Balsam.
  • “Moustache” (comedy), directed by Imran J. Khan; starring Atharva Verma, Rizwan Manji, Alicia Silverstone and Hasan Minhaj.
  • “Parachute” (comedy/drama), directed by Brittany Snow; starring Courtney Eaton, Thomas Mann, Gina Rodriguez, Joel McHale, Scott Mescudi and Dave Bautista.
  • “Geoff McFetridge: Drawing a Life” (documentary), directed by Dan Covert.
  • “Bloody Hell” (comedy), directed by Molly McGlynn; starring Maddie Ziegler, Emily Hampshire, Djouliet Amara and Ki Griffin.
  • “Deadland” (drama), directed by Lance Larson; starring Roberto Urbina, McCaul Lombardi, Julieth Restrepo and Chris Mulkey.
  • “Down Low” (comedy), directed by Rightor Doyle; starring Zachary Quinto, Lukas Gage, Simon Rex, Audra McDonald and Judith Light.
  • “If You Were My Last” (comedy/drama), directed by Kristian Mercado; starring Anthony Mackie, Zoë Chao and Natalie Morales.
  • “Being Mary Tyler Moore” (documentary), directed by James Adolphus.
  • “The Lady Bird Diaries” (documentary), directed by Dawn Porter.
  • “The New Americans: Gaming a Revolution” (documentary), directed by Ondi Timoner.
  • “The Wrath of Becky” (action), directed by Matt Angel and Suzanne Coote; starring Lulu Wilson, Seann William Scott and Matt Angel.

TV shows that will have episodes premiering at SXSW 2022 include the Season 2 premiere episode of Starz’s “Blindspotting”; “Slip,” directed by Zoe Lister-Jones; “Mrs. Davis,” directed by Owen Harris and Alethea Jones; and “I’m a Virgo” directed by Boots Riley.

Review: ‘Bodies Bodies Bodies,’ starring Amandla Stenberg, Maria Bakalova, Myha’la Herrold, Chase Sui Wonders, Rachel Sennott, Lee Pace and Pete Davidson

August 6, 2022

by Carla Hay

Amandla Stenberg, Maria Bakalova, Chase Sui Wonders and Rachel Sennott in “Bodies Bodies Bodies” (Photo by Erik Chakeen/A24)

“Bodies Bodies Bodies”

Directed by Halina Reijn 

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.

Review: ‘The Unbearable Weight of Massive Talent,’ starring Nicolas Cage

April 19, 2022

by Carla Hay

Pedro Pascal and Nicolas Cage in “The Unbearable Weight of Massive Talent” (Photo by Katalin Vermes/Lionsgate)

“The Unbearable Weight of Massive Talent”

Directed by Tom Gormican

Some language in Spanish with subtitles

Culture Representation: Taking place primarily in Los Angeles and Mallorca, Spain, the action comedy “The Unbearable Weight of Massive Talent” features a cast of white and Latino characters (with a few African Americans) representing the working-class, middle-class and wealthy.

Culture Clash: Desperate for money, famous actor Nick Cage agrees to a $1 million fee to appear at a wealthy superfan’s birthday party in Mallorca, where he reluctantly gets in the middle of an international espionage case. 

Culture Audience: “The Unbearable Weight of Massive Talent” will appeal primarily to fans of star Nicolas Cage and comedies that are satires of real people.

Nicolas Cage, Lily Sheen and Sharon Horgan in “The Unbearable Weight of Massive Talent” (Photo by Katalin Vermes/Lionsgate)

It’s not the comedy masterpiece that some people have been hyping it up to be, but “The Unbearable Weight of Massive Talent” has plenty of hilarious moments in spoofing Nicolas Cage’s public persona and action films. The movie has some genuinely inspired scenes before the film’s last 20 minutes devolve into stereotypical formulas seen in many other comedic spy capers. “The Unbearable Weight of Massive Talent” is also an above-average buddy comedy, with touches of family sentimentality to balance out some of the wackiness.

Tom Gormican directed “The Unbearable Weight of Massive Talent” from a screenplay that he co-wrote with Kevin Etten. It’s Gormican’s second feature film, after he made his feature-film directorial debut with the forgettable 2014 male-friendship comedy “That Awkward Moment.” Gormican’s background is mainly as a TV writer/producer, with credits that include “Scrubs,” “Desperate Housewives” and “Ed.” At times, “The Unbearable Weight of Massive Talent” veers into stale TV sitcom territory, but the movie has enough originality and charm to rise above its repetitive clichés. “The Unbearable Weight of Massive Talent” has its world premiere at the 2022 South by Southwest (SXSW) Film Festival in Austin, Texas.

Cage has said in interviews that he initially rejected the idea of doing this movie. It’s a good thing that he changed his mind, because “The Unbearable Weight of Massive Talent” is easily one of the funniest comedy films that Cage has done in decades. In the movie, he plays two versions of himself: (1) main character Nick Cage, a present-day version of himself, and (2) Nicky Cage, a younger, brasher version of Cage, circa the late 1980s/early 1990s. (According to the movie’s production notes, Nicky’s physical appearance was inspired by how the real Cage looked in his 1990 movie “Wild at Heart.”)

Nicky has de-aging visual effects for his face, and he appears to Nick as a figment of Nick’s imagination, in moments when Nick is feeling insecure. Nicky’s blunt and sometimes crude conversations with Nick (which are either pep talks, insults or both) are among the more memorable parts of the movie. Nicky has a habit of yelling out “I’m Nick fucking Cage!,” in an elongated way, as if he’s a WWE announcer yelling, “Let’s get ready to rumble!” before a wrestling match. In the film’s end credits, the actor listed as portraying Nicky is Nicolas Kim Coppola, which is a cheeky nod to Cage’s birth surname Coppola. (Numerous movie fans already know that Cage is part of the famous Coppola movie family.)

In the beginning of “The Unbearable Weight of Massive Talent,” Nick is a world-famous actor in Los Angeles, but he’s currently not getting the acting roles that he wants. Nick has been struggling with being labeled a “has-been” who’s been doing a lot of low-budget, low-quality movies in recent years. (Real-life filmmaker David Gordon Green has a cameo as himself in an early scene in the movie where Nick tries to impress him with an impromptu monologue reading.)

When Nicky shows up and talks to Nick, it’s usually to remind Nick that his younger self would never have stooped to the level of the type of work that Nick is doing now. In one of the movie’s early scenes, Nicky is lecturing Nick about it during a drive in Nick’s car, with Nick driving. A defensive Nick snaps back: “Hello! It’s my job! It’s how I pay my bills. I have to feed my family.” Nick ends the conversation by telling Nicky, “You’re annoying!” And then Nick kicks Nicky out of the car.

Nick’s fast-talking agent Richard Fink (played by Neil Patrick Harris, in a cameo role) tells Nick about a job offer from a Nick Cage superfan in Mallorca, Spain. This wealthy fan wants to pay Nick $1 million to make a personal appearance at the fan’s birthday party. Nick says no to the idea, because he thinks that these types of personal appearances are beneath him as a “serious actor.”

However, because Nick gets rejected for a movie role that he had been counting on getting, and because he has high-priced divorce payments and other bills, a financially desperate Nick agrees to the birthday party job offer. Nick makes it clear to Richard that this personal appearance better not include anything involving kinky sex. Nick has no idea that what he thinks will be an easy gig will turn out to be a life-threatening, mind-bending experience for him and other people.

Nick isn’t just having problems in his career. His personal life is also messy. Nick has a tension-filled relationship with his ex-wife Olivia (played by Sharon Horgan), a former makeup artist whom he met on the set of his 2001 movie “Captain Corelli’s Mandolin.” It’s revealed in “The Unbearable Wright of Massive Talent” that one of the main reasons why they divorced was because Olivia thought that Nick put his career above everything else in his life.

Nick and Olivia have a daughter named Addy (played by Lily Sheen), who’s about 15 or 16 years old. Addy is usually annoyed with Nick because she thinks he forces her to do things (such as watch movies) that are according to what he wants to do and his personal tastes, without taking into consideration Addy’s own personal wants and needs. For example, Nick has insisted that Addy watch the 1920 horror film “The Cabinet of Dr. Caligari,” even though Addy has no interest in seeing this movie.

Addy also thinks Nick has been a neglectful father for most of her life. That’s why Nick and Addy are in therapy together. But as an example of Nick’s self-centered ways, a therapy session that’s shown in the movie reveals that Nick spends most of the time talking about himself, while Addy sulks in a corner on a couch. Their therapist named Cheryl (played by Joanna Bobin) has to listen to Nick ramble on about his career problems, while she tries to steer the conversation back to how to improve his personal relationships.

Nick is so financially broke, he doesn’t have a permanent home, and he’s living at a hotel. When he gets locked out of his hotel room due to non-payment, he calls his agent Richard to tell him that he’s taking the birthday party job. A self-pitying Nick also tells Richard that he’s going to quit being an actor. On his way to Mallorca, Nick has no idea that he’s gotten on the radar of the CIA, which has been tracking the activities of the fan who has hired Nick to be at the fan’s birthday party. The CIA has this superfan under investigation for being the leader of a ruthless international arms cartel.

Two CIA operatives who have been assigned to the case are named Vivian (played by Tiffany Haddish) and Martin (played by Ike Barinholtz), who are surprised and confused when they see Nick disembarking from the private plane that the superfan has chartered for this trip. Vivian, who has a take-charge and quick-thinking personality, immediately pretends to be an adoring Nick Cage fan, and stops him at the airport to take a selfie photo with him. It’s really a ruse to plant a tracking device on Nick. Vivian and Martin are generic and underwritten roles, so Haddish and Barinholtz don’t do much that’s noteworthy in the movie.

In Mallorca, Nick is taken to a lavish cliffside mansion, where he is greeted by several employees of this rich superfan, who is described as a mogul in the olive grove business. The fan’s name is Javi Gutierrez (played by Pasco Pascal), and he is so unassuming on first impression, Nick initially mistakes Javi for one of the servants, because Javi was the one who drove Nick to this mansion by speedboat. The two people in Javi’s inner circle who are the closest to him are his cousin/right-hand man Lucas Gutierrez (played by Paco León) and a savvy business person named Gabriela (played by Alessandra Mastronardi), nicknamed Gabi, who is Javi’s director of operations.

Nick soon finds out that Javi didn’t just invite him to make an appearance at Javi’s birthday party. Javi has written a movie screenplay, and he wants Nick to star in this movie. Javi is crushed when Nick tells him that he’s going to quit acting, so Javi desperately tries to get Nick to change his mind One of the running gags in “The Unbearable Weight of Massive Talent” is how Nick reacts to Javi’s attempts to befriend Nick and get Nick to read his script. It should come as no surprise that Javi makes revisions to the screenplay, based on a lot of the shenanigans that he experiences with Nick.

As shown in the movie’s trailer, Vivian and Martin recruit/pressure Nick to spy on Javi for the CIA. Meanwhile, things get more complicated with the kidnapping of Maria Delgado (played by Katrin Vankova), a teenage daughter of a politician who’s running for a high office in Spain. There are entanglements with a thug named Carlos (played by Jacob Scipio) and a group called the Carabello crime family. And it should come as no surprise that Addy and Olivia somehow get mixed up in this mess too.

Along the way, there’s some drug-fueled comedy that’s intended to make the most of Cage’s slapstick skills. First, Nick accidentally drugs himself with a potentially lethal dose of gaseous poison. Later, Nick and Javi take LSD together and have a bonding experience where they go through various levels of elation and paranoia.

Nick and Javi’s budding friendship is at the heart of the movie. However, there are also some standout moments involving Nicky, Olivia and Addy and how their relationships to Nick end up evolving. (Nicky spontaneously does something outrageous, when he kisses Nick, in a scene that will have viewers either shocked, roaring with laughter or both.)

Pascal is pitch-perfect in his role as Javi, who might or might not be the movie’s biggest villain. When secrets are revealed, they’re not too surprising, but one of the best things about “The Unbearable Weight of Massive Talent” is that it doesn’t make Javi into a meaningless caricature. Even though Cage is the larger-than-life central character in the movie, Pascal holds his own and can be considered a scene-stealer.

“The Unbearable Weight of Massive Talent” has the expected stream of jokes about previous real-life movies of Cage. Among those that get name-checked or parodied include “Con Air,” “Face/Off,” “Moonstruck,” “Valley Girl,” “The Croods: A New Age,” “Gone in 60 Seconds,” “The Rock,” “Leaving Las Vegas,” “National Treasure” and “Guarding Tess.” Also in “The Unbearable Weight of Massive Talent” is a recurring joke about the animated film “Paddington 2” (which is not one of Cage’s movies) and how this family film sequel about a talking bear affects certain people who watch it.

Cage is a versatile actor who tackles his role in “The Unbearable Weight of Massive Talent” with gusto. (He’s also one of the movie’s producers.) Cage makes this movie work so well because he’s fully on board with laughing at himself. Not too many well-known actors would risk doing a movie where they have to poke fun at their triumphs and failures, but it’s precisely this risk-taking that has made Cage one of the most interesting and unpredictable actors of his generation. “The Unbearable Weight of Massive Talent” does indeed have massive talent, but this talent helps the movie soar instead of sink.

Lionsgate will release “The Unbearable Weight of Massive Talent” in U.S. cinemas on April 22, 2022. The movie is set for release on digital and VOD on June 7, 2022, and on 4K Ultra HD and Blu-ray on June 21, 2022.

2022 South by Southwest: SXSW Film Festival award winners announced

March 23, 2022

The following is a press release from the South by Southwest Conference and Festivals:

The South by Southwest® (SXSW®) Conference and Festivals announced the 2022 Jury and Special Award winners of the 29th SXSW Film Festival. Feature films receiving Jury Awards were selected from the Narrative Feature and Documentary Feature Competition categories. SXSW also announced all other juried sections, including Shorts, Design and XR Experience Awards. Special Awards announced included: Louis Black “Lone Star” Award, Adobe Editing Award, Adam Yauch Hörnblowér Award, ZEISS Cinematography Award, the Mailchimp Support the Shorts Award and the Fandor New Voices Award.

All 2022 film categories will be eligible for category-specific Audience Awards, which will be certified by the accounting firm of Maxwell Locke & Ritter. Online Screenings and Audience Award Voting will conclude at 9am CT on Monday, March 21. Winners will be announced via sxsw.com that week.

“It was extraordinary to gather together in person again after so long and we are so grateful to the filmmakers and audience who joined us at SXSW 2022 in Austin, Texas for our first in-person event since 2019,” said Janet Pierson, VP, Director of Film. “The program was celebrated across the board and tonight we get to give a special shout-out to the award winners.”

The 2022 SXSW Film Festival Juries consisted of:

Narrative Feature Competition: Sheri Linden, The Hollywood Reporter; Siddhant Adlakha, filmmaker and critic; Jenelle Riley, Variety
Documentary Feature Competition: Jason Bailey, critic, historian and author; Carlos Aguilar, film critic and journalist; Beandrea July, freelance film critic
Louis Black “Lone Star”: Richard Whitaker, The Austin Chronicle; Kathy Blackwell, Executive Editor, Texas Monthly; Karen Valby, author and freelance writer
Narrative Shorts Program: Mohammad Gorjestani, filmmaker; Natalie Haack Flores, VP Development, Nuyorican Productions; Inga Diev, GM Ouat Media
Documentary Shorts: Greg Rhem, writer, director, producer and creative consultant for MTV Documentary Films; Ryan Harrington, Head of film, Kinema; Yvonne Ashley Kouadjo, series producer, New York Times‘ Op-Docs
Animated Shorts: Julia Pott, animator; John Agbaje, SVP of Animation, Bad Robot; Brook Keesling, Head of Animation Talent Development, Bento Box Entertainment
Midnight Shorts: Barbara Crampton, actor and producer; Dana Gills, SVP of Development and Production, Monkeypaw; Bea Sequeira, producer, Blumhouse
Music Videos: Andrew Unterberger, Deputy Editor, Billboard; Shanna Green, Director of Communications, Commercials and Short-Form Content, Anonymous Content; Meghan Oretsky, Senior Curator, Vimeo
Texas Shorts: Cat Cardena, Associate Editor, Texas Monthly; Eric Webb, Entertainment Editor, Austin-American Statesman; Monique Walton, filmmaker 
Texas High School Shorts: Bart Weiss, Educator and Founder, Dallas VideoFest; Lindsey Ashley, Deputy Director, Texas Film Commission; Dr. Tere Garza, Professor of Communication, St Edward’s University
Episodic Pilot Competition: Randi Kleiner, Co-Founder and CEO, SeriesFest; Selome Hailu, Variety; Augustine Frizzell, filmmaker 
Excellence in Title Design: Victoria Nece, Principal Product Manager, Motion Graphics, Adobe; Hazel Baird, Creative Director and Designer, Elastic; Saskia Marka, independent designer
Excellence in Poster Design: Barak Epstein, Texas Theatre in Dallas, producer; Becky Cloonan, illustrator and cartoonist; Kevin Tong, illustrator
XR Experience Jury: Nonny de la Peña, founder, Emblematic Group; Kent Bye, Voices of VR; Loren Hammonds, Producer, Co-head of Documentary, TIME Studios

The 2022 Film Festival program includes 100 features including 76 World Premieres, 4 International Premieres, 4 North American Premieres, 2 U.S. Premieres, 14 Texas Premieres + 111 Short Films including 24 Music Videos, 12 Episodic Premieres, 6 Episodic Pilots, 30 XR Experience projects (formerly Virtual Cinema), and 19 Title Design Competition entries.

Films will continue to be available on the SXSW platform until 9:00am CT on Monday, March 21. SXSW will continue running the Online Shift72 Screening Library through March 31, 2021, for those films that have opted-in to the extended timeframe. 

The SXSW 2022 Film Festival Awards: 

Feature Film Grand Jury Awards


James Morosini and Patton Oswalt in “I Love My Dad” (Photo courtesy of I Love My Dad LLC/Hantz Motion Pictures)

Winner: I Love My Dad
Director/Screenwriter: James Morosini, Producers: Bill Stertz, Patton Oswalt, Sean O’Grady, Dane Eckerle, Phil Keefe, Daniel Brandt, Sam Slater

“A bold, funny film that marks an impressive feature debut for writer-director-star James Morosini, I Love My Dad finely threads the needle with its tale of an estranged father (Patton Oswalt) who catfishes his son (Morosini) in an attempt to reconnect. Working from a screenplay based on his own real-life story, Morosini displays massive empathy as a filmmaker to get into the mind of the father he feels betrayed by, and also as an actor portraying the impact of that betrayal. He’s aided by a great cast, particularly Oswalt.”

Special Jury Recognition for Extraordinary Cinematic Vision: Cast and Crew, It Is in Us All

“Every creative element of It Is in Us All, from its editing and music to its performances and cinematography, works in tandem to craft a haunting atmosphere. Writer-director-actor Antonia Campbell-Hughes’ extraordinary feature debut is a remarkable example of how the various artistic facets of a movie can converge to create something cinematic, in the purest and most soulful sense: a work that accesses some part of you that feels hidden away.”

Special Jury Recognition for Breakthrough Performance: Elizaveta Yankovskaya, Nika

“In her first lead role in a feature, Elizaveta Yankovskaya delivers a knockout portrait brimming with rage, joy, despair, uncertainty and 20-something yearning. She plays Nika Turbina, a real-life figure who, after fame was thrust upon her as a child poet, finds herself past her prime before she’s 30. Whatever narrative conjectures the intimate drama might make, there isn’t a moment in Yankovskaya’s breathtaking performance that doesn’t ring true with messy emotional complexity, or that doesn’t feel like unpredictable life itself unfolding before our eyes.”

A big thanks to our Narrative Feature Competition presenting sponsor Panavision, the global provider of optics, cameras, and end-to-end services that power the creative vision of filmmakers.


“Master of Light” (Photo by Jurgen Lisse)

Winner: Master of Light
Director: Rosa Ruth Boesten, Producers: Roger Ross Williams, Anousha Nzume, Ilja Roomans

“In both substance and form, Master of Light is a gift. The earnest and gifted painter George Anthony Morton embeds viewers in his world as he struggles to render his mother — both on the canvas and in his psyche. Boesten disabuses us of static tropes about America’s merciless drug war and about contemporary art. With astonishing intimacy, the film’s visuals build an artful bridge between two- and three-dimensional realms that are deeply rooted and utterly transcendent. Put this painting of a film in a museum, next to a Rembrandt and a Morton.”

Special Jury Recognition for Exceptional Intimacy in Storytelling: Bad Axe
Director: David Siev, Producers: Jude Harris, Diane Quon, Katarina Vasquez, David Siev

“Stories centered on the pursuit of the “American Dream” abound. Rarely do they portray the sacrifices and recurrent trials that the promise of a better life entails the way director David Siev accomplishes with Bad Axe. Examining those closest to him with profound compassion and incisive curiosity, he paints a distinct and easily recognizable portrait of the alienation many feel in the place they call home, by birth or by circumstance. For its ability to reveal something unexpected about the American fabric and the American family, Bad Axe deserves celebration.”

Special Jury Recognition for Acting in a Documentary: Steve Glew, Pez Outlaw
“Steve Glew is the kind of colorful character that most documentarians dream of capturing, a born storyteller with a crackerjack sense of scene-setting and comic timing. In the tradition of Muhammad Ali in The Greatest and Evel Knievel in Viva Kneivel!The Pez Outlaw‘s reenactment sequences cast the only actor who could credibly bring Mr. Glew’s exploits to life: the man himself. There’s something uniquely American about Glew’s mixture of chutzpah, ingenuity, charisma, and grievance that makes him a mesmerizing onscreen presence.”

Since 1970 IMAX Documentaries have immersed audiences in real-life stories told on a grand scale. In 2022 that tradition continues as a new generation of filmmakers turns its lens to a theatrical experience like no other. Today, IMAX is honored to present this year’s documentary award to recognize the future — gifted storytellers who are bringing their stories to audiences in powerful and wondrous ways.



“All the Crows in the World”

Winner: All the Crows in the World
Director/Screenwriter: Tang Yi, Producer: Haozheng Li

“The jury recognizes All The Crows in the World as the Jury Award Winner, a film that reminded us of the power of short-form cinema as a stand-alone art form on its own. The film’s balancing of surrealism, bizarreness, tenderness, and reality was only outdone by its inventive narrative and critiques of patriarchal culture, paired with execution by a director who is clearly in command of her craft.” 

Special Jury Recognition for Directing and Community Filmmaking: Glitter Ain’t Gold
Director/Screenwriter: Christian Nolan Jones, Producers: Maia Miller, T. Popps, O. Valerie Nicolas

“The jury awards Glitter Ain’t Gold a Special Jury Recognition for Directing and Community Filmmaking, which stood out for its vibrant narrative and authentically palpable energy filled with compelling visuals and inventive editing harmoniously coupled with powerfully nostalgic music. It was clear that its level of specificity was a direct result of a community that came together to make a profound piece of art that touched us deeply.”

Special Jury Recognition for Outstanding Performances: Aphrodite Armstrong, ​​Kyle Riggs, West by God

“The jury awards a Special Jury Recognition for Outstanding Performances to Aphrodite Armstrong and ​​Kyle Riggs for West by God. Their dynamic and visceral performances beautifully emulate the powerful themes within the film about the human condition and the need for love, no matter what your walk of life.”


“A Long Line of Ladies” (Photo by Sam Davis)

Winner: Long Line of Ladies
Directors: Rayka Zehtabchi, Shaandiin Tome, Producers: Garrett Schiff, Pimm Tripp-Allen, Rayka Zehtabchi, Sam Davis, Dana Kurth

Long Line of Ladies presents an affecting perspective on celebrated generational cultural traditions. The tapestry of beautiful cinematography and vivid character moments elevates the filmmakers’ vision, inviting us into a devoted community that is committed to preserving their heritage.”

Special Jury Recognition for Visual Reflectionnot even for a moment do things stand still
Director: Jamie Meltzer, Producers: Annie Marr, Jamie Meltzer, Suzanne Brennan Firstenberg

“In a simple, yet profoundly moving way, not even for a moment do things stand still allows us to sincerely reflect on the lives we have lost over the past two years. The poetic visual language gives us a new perspective on a sadly familiar topic of love, life and loss.”


Winner: Moshari
Director/Screenwriter: Nuhash Humayun, Producers: Bushra Afreen, Nuhash Humayun

Moshari is a terrifying, spine-chilling horror tale centering two sisters that renders a fresh take on blood sucking creatures set in an non-traditional post-apocalyptic world. The compelling performances, the haunting visuals and the layered storytelling highlight the director’s command of the genre and make him someone to watch. Nuhash Humayun has the ability to take recognizable elements, flip them on their head and turn them into nightmares. Moshari has created an allegorical story that will resonate with the viewer on a deeper level.”

Special Jury Recognition for Powerful “Short Trip”: Omi
Director: Kelly Fyffe-Marshall, Screenwriters: Tamar Bird, Kelly Fyffe-Marshall, Producer: Tamar Bird

“Unexpected, effective and engaging film that in under three minutes manages to set up the lore, get us invested in the characters, while leaving us fulfilled and still craving more. Kelly Fyffe-Marshall has created a grounded supernatural story that is provocative, mysterious and unforgettable.”



Winner: Bestia
Director: Hugo Covarrubias, Screenwriters: Martín Erazo, Hugo Covarrubias, Producers: Tevo Díaz, Hugo Covarrubias

Bestia is an exquisite, intimate peek at the dreams and memories of a sadistic secret agent, set in a tactile stop-motion non-wonderland, where a porcelain exterior isn’t enough to keep the damage away.”

Special Jury Recognition for Unexpected Emotion: Les Larmes de la Seine
Directors/Screenwriters: Yanis Belaid, Eliott Benard, Producer: Carlos De Carvalho

“The magic trick of this film is that it describes great tragedy almost entirely with joy. History comes alive as we are immersed in raw beautiful humanity that jokes, laughs, feels nervous, fights, and dies. By illustrating extreme distress with astonishing euphoria, the directors create a fever dream “photo negative” glimpse of what we’ve missed by living with hatred and abuse rather than love and understanding. Like a sad melody played in major key, the film is both haunting and uplifting while stirring emotions like no film we’ve ever seen.” 

Special Jury Recognition for Visceral Storytelling: Something in the Garden
Director/Screenwriter/Producer: Marcos Sánchez

“It is so important to keep your brain open to play, and we commend this film’s playful spirit combined with its beautiful animation, reminiscent of a graphic novel. It felt at the perfect cross section of horror and ASMR, using impeccable pacing and sound design to take us on a visceral journey that thrilled, scared and delighted us. A brilliant use of the animated short form medium!”


Ishaval Gill and Kamaldevinder Gill in “Meet You at the Light.”

Winner: Desirée Dawson – ‘Meet Me at the Light’
Director/Screenwriter: Alexander Farah

Without a single detail wasted, we were all moved to tears by this powerful story from a first-time music video director. Featuring equally beautiful performances, editing, and cinematography, we present the Best Music Video award to Desirée Dawson – Meet Me at the Light by Alexander Farah.”

Special Jury Recognition for Going the Extra Mile: Myd – ‘Let You Speak’
Director/Screenwriter: Dan Carr

“Funny, unexpected, and with a meta wink to the industry, our special jury mention went above and beyond our expectations, taking us around the world to various locations with a group of ragtag misfits that made us LOL along the way. Hence, the ‘Extra Mile’ award. The Special Jury Award for Going The Extra Mile Goes to Myd “Let You Speak” by Dan Carr.”


“Folk Frontera”

Winner: Folk Frontera
Directors: Alejandra Vasquez, Sam Osborn

“Centered around characters who call the desert borderlands of Texas their home, Folk Frontera turns the traditional documentary form on its head. Filmmakers Alejandra Vasquez and Sam Osborn imbue the documentary with the same magic and surrealism that feels authentic to the Chihuahuan Desert and its communities. Dreamlike visuals and nuanced presentation of the subjects’ stories make for a special experience.”

Special Jury Recognition for Vision: Birds 
Director/Screenwriter: Katherine Propper, Producer: Sophia Loffreda

“Katherine Propper’s Birds feels both fresh and warmly familiar to anyone who’s grown up during a Central Texas summer. Members of the film’s exceptional young ensemble shine in natural performances that help us see gorgeously shot scenery in a new light.”


Honeybee (Photo by Emilio Vazquez Reyes)

Winner: Honeybee
Director/Screenwriter/Producer: Emilio Vazquez Reyes
Honeybee is a beautifully-written, thoughtfully-crafted film that unfolds with a gentle and disciplined reveal, helping to humanize the experience of an undocumented immigrant. We felt this film was a graceful way to tell a difficult story, using all of the important elements like cinematography, music and editing to both advance the story and sincerely engage with the audience.”

Special Jury Recognition for Artistic Expression: It’s Getting Bad Again 
Director/Screenwriter: Sarah Reyes, Producers: Sarah Reyes, Kenneth Rogers
“As an artist, Sarah Reyes captures a roller-coaster of an emotional exploration that balances darkness, humor and music in a poetic and refreshing way, all the while prompting an important dialogue about mental health awareness.”

A big thanks to our presenting sponsor, IMDbPro. Celebrating its 20th anniversary, IMDbPro is the essential resource for entertainment industry professionals. This membership-based service empowers entertainment professionals with information and tools designed to help them achieve success throughout their career. IMDbPro has an ongoing commitment to supporting and collaborating with organizations that create greater diversity, equity and inclusion in the entertainment industry and is a service of IMDb, the #1 movie website in the world. Learn more at www.imdbpro.com and follow @IMDbPro

MailChimp is another proud supporter of the Shorts program and have created their own award to help further the career of one lucky filmmaker, as well as provided financial prize support for all of the SXSW Shorts Jury Awards winners.


“Something Undone” (Photo by Marie Davignon)

Winner: Something Undone
Director: Nicole Dorsey, Screenwriters: Michael Musi, Madison Walsh, Producers: Max Topplin, Jordan Hayes

“The jury honors Something Undone for cleverly rethinking and repurposing oft-used elements of mystery/horror storytelling. The subtlety of the episode’s writing and acting are complemented by specific and stylized direction and cinematography. And above all, Something Undone sets itself apart with its smart use of diegetic sound, establishing quietly humorous commentary on the sounds of the genre at large — while also totally terrifying us in just ten minutes.”

Special Jury Recognition for Unique Vision in Writing and Directing: Pamela Ribon and Sara Gunnarsdóttir, My Year of Dicks

“For its thoughtful curation of imagery combined with a funny and inventive script, the Special Jury Recognition for Unique Vision in Writing and Directing goes to Pamela Ribon and Sara Gunnarsdóttir for My Year of Dicks. Their bold voices overlap to make for an experience of feminine youth and sexual exploration that is both relatable and entirely its own.”

SXSW Film Design Awards Presented by Adobe


“More Than I Remember” (Image by Maya Edelman)

Winner: More Than I Remember
Designer: Yen Tan, Maya Edelman

“This poster evokes so many feelings at once, from the captivating gaze to the lush swirl of colors that surround you — it draws you in, tempting you to look harder, to try and unlock whatever secret is hidden just beyond reach. The text and illustration are perfectly integrated to create something powerful and mysterious, catching not just your attention, but your imagination as well.”

Special Jury RecognitionThe Sentence of Michael Thompson
Designer: Juan Miguel Marin

“Understated intensity and a timeless quality make this poster truly effective — from across the room it immediately catches the eye. Type, design, and image work together to form a complete narrative, one you want to know more about. Understated intensity and a timeless quality make it truly effective.”


“Foundation” (Image courtesy of Imaginary Forces)

Winner: Foundation Title Sequence
Designer: Ronnie Koff
Company: Imaginary Forces

“A beautifully constructed sequence that encapsulates the show’s futuristic setting as humans have colonized the galaxy. Using a particle system to form these incredible images each frame is a visual triumph as we journey through this vibrant main title.”

Special Jury Recognition: The White Lotus Title Sequence
Designers: Katrina Crawford, Mark Bashore
Company: Plains of Yonder

“This title’s distinctive design perfectly sets up the audience for the show and reflects the suffering before enlightenment of its protagonists. Its stunning illustrations capture the soul of the story and are enhanced by the flawless score.”


“On the Morning You Wake (To the End of the World)” (Image courtesy of Atlas V & Novelab)

Winner: On the Morning You Wake (To the End of the World)
Directors: Dr. Jamaica Heolomeleikalani Osorio, Mike Brett, Steve Jamison, Pierre Zandrowicz, Arnaud Colinart, Screenwriters: Mike Brett, Steve Jamison, Jamaica Heolimeleikalani Osorio, Producers: Arnaud Colinart, Mike Brett, Steve Jamison, Jo-Jo Ellison

“On The Morning You Wake (To the End of the World) is an emotionally impactful and beautifully told story, delivered with stunning technical craftsmanship. This project explores the potential of immersive experiences, refining the grammar of spatial narrative. This particular story deals with the urgency of nuclear disarmament that has very unfortunately come into sharp focus due to current events. It effectively presents a massive geopolitical issue and grounds it in emotional and personal stories, translating what are usually abstract concepts into an embodied context.”

Special Jury Recognition for Immersive Storytelling: (Hi)story of a Painting: The Light in the Shadow
Directors: Quentin Darras, Gaëlle Mourre, Screenwriter: Gaëlle Mourre, Producers: Charlotte Mikkelborg, Gaëlle Mourre

(Hi)story of a Painting: The Light in the Shadow receives a Special Jury Recognition for immersive storytelling. This experience uses the medium of VR to transport us into history, revealing the story of a lesser-known female baroque artist, her resistance to the patriarchy and determination in the face of adversity.”

SXSW Special Awards

“What We Leave Behind” (Photo by Monica Wise)

Fandor New Voices Award
Fandor is proud to present the first ever Fandor New Voices Award, celebrating an outstanding feature making its worldwide premiere this year at the 35th annual SXSW festival. At Fandor, we are delighted to elevate the work of inspiring, imaginative, and independent storytellers, so it is with great pleasure that we present the Fandor New Voices Award to a female or person of color who is making their directorial debut with a Narrative Feature or Documentary. Fandor is and always will be proud to uplift the work of these amazing filmmakers.

Fandor New Voices Award
Presented to: What We Leave Behind
Director: Iliana Sosa, Producers: Emma D. Miller, Iliana Sosa, Isidore Bethel (co-producer)

“Chee$e” (Photo by Damian Marcano)

Adam Yauch Hörnblowér Award
In honor of a filmmaker whose work strives to be wholly its own, without regard for norms or desire to conform. The Adam Yauch Hörnblowér Award is presented to a filmmaker from our Visions screening category.

Adam Yauch Hörnblowér Award
Presented to: Chee$e
Director/Screenwriter: Damian Marcano, Producer: Alexa Marcano

Ke Huy Quan, Jamie Lee Curtis and Michelle Yeoh in “Everything Everywhere All at Once” (Photo by Allyson Riggs/A24)

Adobe Editing Award
Adobe is committed to celebrating creativity for all and empowering everyone to bring their stories to life. By creating greater opportunity for all voices, we can enact change in our communities and move the world forward. We are proud to celebrate the art and craft of editing as we grant the Adobe Editing Award at the SXSW Film Awards. We are also pleased to spotlight this year’s incredible title and poster designers through the Film Design Awards presented by Adobe.

Adobe Editing Award 
Presented to: Everything Everywhere All At Once
Editor: Paul Rogers

“What We Leave Behind”

Louis Black “Lone Star” Award
To honor SXSW co-founder/director Louis Black, a jury prize was created in 2011 called the Louis Black “Lone Star” Award, presented to a feature film world premiering at SXSW that was shot primarily in Texas or directed by a current resident of Texas. (Opt-in Award)

Louis Black “Lone Star” Award 
Winner: What We Leave Behind
Director: Iliana Sosa, Producers: Emma D. Miller, Iliana Sosa, Isidore Bethel (co-producer)

“Iliana Sosa’s exquisite documentary What We Leave Behind is a love letter to her Mexican grandfather, whose final decline she chronicles with artful grace. It is also a moving look at a family disconnected by both border and dreams, and how their patriarch, too old now for his monthly 20-hour bus rides from Durango into Texas, worries who will hold the center once he’s gone. Eighty-nine year old Julian has the face and gravitas of an old time movie star. Sosa has made a profound, gorgeous movie worthy of her precious subject.”

“A Vanishing Fog” (Photo courtesy of @ Schweizen)

ZEISS Cinematography Award
ZEISS Cine Lenses is honored to be returning this year to support the SXSW film community in the Cinematography category.  We believe that by supporting the art within the frame, ZEISS helps filmmakers realize their creative vision.

ZEISS Cinematography Award
Winner: A Vanishing Fog
Cinematographer: Gio Park

“The Voice Actress”

Mailchimp Support the Shorts Award
Mailchimp is committed to uplifting and supporting creators. We’re so proud to support SXSW by helping short films win big. We congratulate the honorees of the Support the Shorts Award as well as the entire SXSW-invited filmmaking community.

Mailchimp Support the Shorts Award
Presented to: The Voice Actress
Director/Screenwriter: Anna J. Takayama, Producer: Joe Skinner

“With its impeccable compositions and captivating lead performance, The Voice Actress offers a sensitive peek behind the scenes of an ever-changing industry. This patient study of imagination and aging achieves extraordinary depth thanks to Anna J. Takayama’s soulful direction, and we are delighted to support the career of such a remarkable talent.”

SXSW is proud to be an official qualifying festival for the Academy Awards® Short Film competition. Winners of our Best Animated, Best Narrative and Best Documentary Short Film categories become eligible for Academy of Motion Picture Arts and Sciences awards (Oscars). Any British Short Film or British Short Animation that screens at SXSW is eligible for BAFTA nomination. Films are also eligible for the Independent Spirit Awards, more information on eligibility here.

The South by Southwest® (SXSW®) Conference and Festivals announced the Audience Award winners for the 29th SXSW Film Festival. The Audience Awards follow the previously announced 2022 Jury Awards and the 40 Years of Massive Talent Award presented to Nicolas Cage at The Unbearable Weight of Massive Talent screening on Saturday night. For the complete list of 2022 Award Winners, visit www.sxsw.com/festivals/film-awards/.

Over the course of nine days the SXSW Film Festival screened 101 features including 76 World Premieres, 4 International Premieres, 4 North American Premieres, 2 U.S. Premieres, 14 Texas Premieres, plus 111 Short Films including 24 Music Videos, 12 Episodic Premieres, 6 Episodic Pilots, 30 XR Experience projects (formerly Virtual Cinema), and 19 Title Design Competition entries.

Films in the SXSW 2022 lineup screened in the following categories: Headliners; Narrative Feature Competition presented by Panavision; Documentary Feature Competition; Narrative Spotlight; Documentary Spotlight; Visions; Midnighters; Global presented by MUBI; 24 Beats Per Second; and Festival Favorites. The Episodic program consisted of Episodic Premieres and the Episodic Pilot Competition. The SXSW 2022 Shorts Film Program presented by IMDbPro featured seven competitive sections. Our XR Experience Competition, Spotlight and Special Events programming were held in-person with a selection of works in our XR Experience World in VRChat, presented by Non-Fungible Labs. All Categories with the exception of Special Events were eligible for section-specific Audience Awards.

Select conference sessions and music festival content is available to registrants through April 17 on the SXSW Online Schedule and Connected TV app. A full list of available content can be found here.

2022 SXSW Film Festival Audience Award Winners:


James Morosini and Patton Oswalt in “I Love My Dad” (Photo courtesy of I Love My Dad LLC/Hantz Motion Pictures)

Audience Award Winner: I Love My Dad
Director/Screenwriter: James Morosini, Producers: Bill Stertz, Patton Oswalt, Sean O’Grady, Dane Eckerle, Phil Keefe, Daniel Brandt, Sam Slater  


“Bad Axe” (Photo by David Siev)

Audience Award Winner: Bad Axe
Director: David Siev, Producers: Jude Harris, Diane Quon, Katarina Vasquez, David Siev


Audience Award Winner: Pretty Problems
Director: Kestrin Pantera, Screenwriters: Michael Tennant, Britt Rentschler, Charlotte Ubben, Producers: Katya Alexander, Britt Rentschler, Charlotte Ubben, Michael Tennant 


Yvonne Bradley in “We Are Not Ghouls” (Photo courtesy of AP-LefterisPitarakis)

Audience Award Winner: We Are Not Ghouls
Director: Chris James Thompson, Producers: Jessica Farrell, Jack Turner, Andrew Swant


Britt Rentschler and Charlotte Ubben in “Pretty Problems” (Photo by Alyssa Brocato)

Audience Award Winner: Atlanta
Director: Hiro Murai, Producers: Donald Glover, Stephen Glover, Hiro Murai, Stefani Robinson, Paul Simms and Dianne McGunigle


“Shadow” (Photo by Jeff Busby)

Audience Award Winner: Shadow
Director: Bruce Gladwin, Screenwriters: Michael Chan, Mark Deans, Bruce Gladwin, Simon Laherty, Sarah Mainwaring, Scott Price, Sonia Teuben, Producers: Alice Fleming, Meret Hassenen 


“Bitch Ass” (Photo by Shane Brown)

Audience Award Winner: Bitch Ass
Director: Bill Posley, Screenwriters/Producers: Bill Posley, Jonathan Colomb 

GLOBAL presented by Mubi

“Without Prescription”

Audience Award Winner: Without Prescription
Director: Juliana Maite, Screenwriter: Marietere Vélez, Producer: Vilma Liella


Tanya Tucker and Brandi Carlile in “The Return of Tanya Tucker – Featuring Brandi Carlile”

Audience Award Winner: The Return of Tanya Tucker – Featuring Brandi Carlile
Director: Kathlyn Horan, Producers: Kathlyn Horan, Julie Goldman, Christopher Clements, Carolyn Hepburn 


Chris Watts (pictured at left) in “The Art of Making It.” (Photo by Sebastian Lasaosa Rogers/Wischful Thinking Productions

Audience Award Winner: The Art of Making It
Director: Kelcey Edwards, Producer: Debi Wisch 

Shorts Film Program presented by IMDbPro


“Aspirational Slut” (Photo by Michael Greenwood)

Audience Award Winner: Aspirational Slut
Director/Screenwriter: Caroline Lindy, Producers: Kate Hamilton, Ellyn Jameson, Maddy Nimoy, Emily Wolfe


“The Sentence of Michael Thompson” (Photo by Logan Triplett)

Audience Award Winner: The Sentence of Michael Thompson
Directors: Kyle Thrash, Haley Elizabeth Anderson, Producers: W. Ian Ross, Kyle Thrash


“Five Cents”

Audience Award Winner: Five Cents
Director/Screenwriter/Producer: Aaron Hughes


“Tank Fairy” (Photo by Danny Wang)

Audience Award Winner: Tank Fairy
Director/Screenwriter: Erich Rettstadt, Producers: Anita Tung, C.K. Hugo Chung


“Act of God” (Photo by Taylor Camarot)

Audience Award Winner: Act of God
Directors/Screenwriters: Spencer Cook, Parker Smith, Producer: Matthew Harrington


“Football.” (Photo by Peyton Randolph)

Audience Award Winner: Football.
Director: William Herff, Screenwriters/Producers: William Herff, Nicholas Campos, Peyton Randolph


Ishaval Gill and Kamaldevinder Gill in “Meet You at the Light.”

Audience Award Winner: Desirée Dawson – ‘Meet You at the Light’
Director/Screenwriter: Alexander Farah

Episodic Program 


Audience Award Winner: 61st Street
Showrunners: Peter Moffat, J. David Shanks, Director: Marta Cunningham, Screenwriter: Peter Moffat, Producers: Annie Rhodes, Frank Baldwin, Allison Davis 


Courtney B. Vance and Aunjanue Ellis in “61st Street” (Photo by George Burns/AMC)

Audience Award Winner: Brownsville Bred
Showrunner/Director/Screenwriter: Elaine Del Valle, Producers: Adrienne Lovette, Elaine Del Valle, Leslie Cohen, Debbie Esko-Gold, Eddie Frente  

XR Experience 


“Gumball Dreams” (Image by Christopher Lane Davis)

Audience Award Winner: Gumball Dreams
Director: Deirdre V. Lyons, Screenwriters: Deirdre V. Lyons, Christopher Lane Davis, Producers: Ferryman Collective, Screaming Color


“The Choice” (Photo by Tom C. Hall)

Audience Award Winner: The Choice
Director: Joanne Popinska, Producers: Joanne Popinska, Tom C. Hall

SXSW Film Design Awards (three-way Tie)


Audience Award Winner (tie): ‘Blade Runner: Black Lotus’ Title Sequence
Company: CO3/Method Made / Creative Director: John Likens

Audience Award Winner (tie): ‘See’ Season 2 Title Sequence 
Company: CO3/Method Made / Creative Director: John Likens 

Audience Award Winner (tie): ‘WandaVision’ Main On End Title Sequence 
Company: Perception / Creative Director: John LePore

About SXSW Film Festival
Now in its 29th year, SXSW Film Festival brings together creatives of all stripes over nine days to experience a diverse lineup and access to the SXSW Music and Comedy Festivals plus SXSW Conference sessions with visionaries from all corners of the entertainment, media, and technology industries. 

About SXSW
SXSW dedicates itself to helping creative people achieve their goals. Founded in 1987 in Austin, Texas, SXSW is best known for its conference and festivals that celebrate the convergence of tech, film, music, education, and culture. An essential destination for global professionals, the annual March event features sessions, music and comedy showcases, film screenings, exhibitions, professional development and a variety of networking opportunities. SXSW proves that the most unexpected discoveries happen when diverse topics and people come together. SXSW 2023 will take place March 10 – 19, 2023. For more information, please visit sxsw.com. To register for the event, please visit sxsw.com/attend.

SXSW 2022 is sponsored by White Claw, Blockchain Creative Labs, Porsche and The Austin Chronicle.

Review: ‘Hypochondriac’ (2022), starring Zach Villa

March 22, 2022

by Carla Hay

Zach Villa in “Hypochondriac” (Photo by Dustin Supencheck/XYZ Films)

“Hypochondriac” (2022)

Directed by Addison Heimann

Culture Representation: Taking place in an unnamed U.S. city, the horror film “Hypochondriac” features a cast of white, Latino and African American characters representing the working-class middle-class.

Culture Clash: A pottery maker is haunted by his traumatic childhood in ways that begin to affect his relationship with his boyfriend. 

Culture Audience: “Hypochondriac” will appeal primarily to people in horror movies that explore themes of mental illness and generational trauma.

Zach Villa in “Hypochondriac” (Photo by Dustin Supencheck/XYZ Films)

Although it can get a little repetitive, “Hypochondriac” skillfully shows the blurred lines between psychological horror and mental illness. The movie’s plot is fairly simple, but the striking and often horrifying visuals in the movie will leave an impact. “Hypochondriac” is the feature-film debut of writer/director Addison Heimann, who shows promise as a filmmaker who can craft stories and characters that hold people’s interest. “Hypochondriac” had its world premiere at the 2022 South by Southwest (SXSW) Film Festival.

In “Hypochondriac,” which takes place in an unnamed U.S. city, the opening scene shows a mentally ill woman (played by Marlene Forte) having paranoid delusions in her home. She looks frantically out of the window, because she thinks people are out to get her. And then, this unnamed mother turns hostile toward her only child—a 12-year-old son named Will (played by Ian Inigo)—and she accuses him of “being in collusion with them.” After Will denies her accusation, she does something horrifying: She tries to kill him by strangling him.

Later, another incident that’s not shown in the movie involves this mother, a knife and a lot of blood in the house’s kitchen. Viewers find out that this incident is the one that caused the mother to be sent to a psychiatric facility. Will’s unnamed father (played by Chris Doubek) tells Will that Will’s mother has been taken away to get psychiatric help, and he orders Will to not look in the kitchen until it can be cleaned up. But, of course, Will does look in the kitchen. And he sees that it’s a blood-splattered mess.

“Hypochondriac” then fast-forwards 18 years later. Will (played by Zach Villa), who is openly gay, is now a pottery maker for a small company that caters to upscale clients. He seems to be fairly happy, and he has settled into a loving relationship with his boyfriend Luke (played by Devon Graye), who is as laid-back as Will is neurotic. Will and Luke (who is an AIDS counselor) have been dating each other for the past eight months.

Will has been guarded with Luke about his past. But things happen in the movie that cause Will to open up to Luke about the childhood trauma that still haunts him. Will also has a co-worker named Sasha (played by Yumarie Morales), who is a sassy friend, but she has her own personal struggles too. There’s a scene in the movie where Sasha has a panic attack, and Will helps her get through it.

It isn’t long before Will’s seemingly stable life starts to unravel. He gets mysterious headaches. Then he seems to be having random fainting spells. Throughout the story, Will visits a series of clinic doctors and other medical professionals, who can’t find anything that’s physically wrong with him. Michael Cassidy has a satirical cameo role as a nurse practitioner named Chaz, who insists on being called “NP Chaz” and who gives off-the-cuff, incompetent diagnoses.

Will also starts getting phone calls from his mother, whom he does not want to hear from at all. His mother repeatedly warns him not to trust Luke. She also leaves a lot of rambling messages on Will’s voice mail. And there are recurring visions of someone dressed in a wolf costume that have to do with Will’s Halloween memories from when he was a child.

It’s very easy to tell at a certain point in the movie how much is reality and how much is a hallucination. Thanks largely to Villa’s riveting performance and the engrossing direction of the movie, the entire journey of “Hypochondriac” is a harrowing ride that takes viewers into the mind of an increasingly disturbed person. “Hypochondriac” has an ending that might not satisfy some viewers, but it realistically shows how mental illness remains with people throughout their lives and isn’t like a nightmare that goes away when someone wakes up.

UPDATE: XYZ Films will release “Hypochondriac” in select U.S. cinemas on July 29, 2022. The movie will be released on digital and VOD on August 4, 2022.

Review: ‘A Lot of Nothing,’ starring Y’lan Noel, Cleopatra Coleman, Justin Hartley, Lex Scott Davis and Shamier Anderson

March 21, 2022

by Carla Hay

Pictured clockwise, from top left: Y’lan Noel, Cleopatra Coleman, Lex Scott Davis, Shamier Anderson and Justin Hartley in “A Lot of Nothing” (Photo by John Keng)

“A Lot of Nothing”

Directed by Mo McRae

Culture Representation: Taking place in Los Angeles, the comedy/drama film “A Lot of Nothing” features a racially diverse cast of characters (African American, white and some Asians) representing the working-class and middle-class.

Culture Clash: An African American husband and wife, who both work for the same law firm, kidnap and hold their white neighbor captive in their home after the spouses find out that he’s the cop who’s in the news for killing an unarmed young man.

Culture Audience: “A Lot of Nothing” will appeal mainly to people who think they are supporting a Black Lives Matter advocacy movie, but this horrendous misfire is anything but supportive of civil rights and positive portrayals of black people.

A complete tonal mess, the comedy/drama “A Lot of Nothing” makes a disgusting mockery of the Black Lives Matter movement and insults African American women the most. Apparently, the filmmakers think the best way for black people to fight racism is to become criminals and perpetuate racist stereotypes. If this trashy movie wanted to be a satire, it demolishes any credibility because it can’t decide if it wants to be an absurd farce or a serious thriller. Worst of all, it takes real-life trauma that families and other loved ones experience because of unjustified killings committed by cops, and uses this trauma as a gimmicky plot device, just so the filmmakers could get a cash grab out of this heinous movie. “A Lot of Nothing” had its world premiere at the 2022 South by Southwest (SXSW) Film Festival.

The fact that “A Lot of Nothing” was directed by an African American (Mo McRae) does not excuse the utter depths of stupidity where this movie goes when it comes to exploiting these real-life tragedies. McRae wrote the abysmal screenplay for “A Lot of Nothing” with Sarah Kelly Kaplan. And they both seem to have particular contempt for black women, because of how black women are portrayed in this movie. That’s because out of all the dimwitted characters in “A Lot of Nothing,” the black women characters are the dumbest and the flakiest.

The moronic story of “A Lot of Nothing,” which takes place in Los Angeles, is that an African American married couple named James (played by Y’lan Noel) and Vanessa (played by Cleopatra Coleman)—who both work at the same law firm—kidnap and hold captive a white cop named Brian Stanley (played by Justin Hartley), who happens to be their next-door neighbor. Brian is divorced and lives alone, so there’s no one in his house who immediately notices that he’s missing when he’s kidnapped from his home. James is a lawyer, while Vanessa (who has an MBA degree) is some kind of business manager at the law firm.

What would cause this highly educated, upper-middle-class, respectable couple to commit such a drastic crime? Vanessa is angrily triggered because she saw on the news that Brian is under investigation for the shooting death of an unarmed, young adult man, who was killed during a traffic stop. Some of this incident was captured on video footage that went viral on the Internet and was shown on TV. Brian has been put on leave from his job, pending the investigation.

Before the kidnapping takes place, Vanessa rants to James in their home about how she’s tired of hearing about cops killing innocent black people. James tells Vanessa repeatedly that they need to hear all the facts of this case before they jump to conclusions. But that doesn’t stop Vanessa from obsessing over the idea that she needs to lecture and interrogate Brian about what happened, as if she’s a prosecutor questioning him during a trial. She marches over to Brian’s house and demands that he talk to her and explain what happened during the shooting. Brian doesn’t want to talk to her, but she insists.

As someone who’s married to a lawyer and as a business manager who works for a law firm, Vanessa should know that Brian is probably under an attorney’s orders not to talk about the investigation to anyone without an attorney present. As a black woman (and as a human being who should have common sense), Vanessa should also know how stupid it is to pick a fight with a cop who’s under investigation for shooting and killing an unarmed person. The filmmakers of “A Lot of Nothing” don’t care, because they want to make Vanessa the worst stereotype of an angry black woman.

Brian’s response to Vanessa’s hostile confrontation? He tells her: “As an officer of the law, I suggest you take your high yellow ass back to your nice little house and drop it.” That racist remark is enough for Vanessa to later go over to Brian’s house with a gun, while James is trying to smooth things over with Brian. Vanessa wants to provoke a racist cop, and apparently doesn’t care about making things worse, and possibly doing something that could get people killed.

Vanessa pulls a gun on Brian, forces him into the couple’s garage, and orders James to tie up Brian. James is shocked and horrified. At first, James objects to Vanessa’s unhinged actions, but then he reluctantly goes along with this idiotic abduction and the rest of the crimes that Vanessa wants to commit in the name of Black Lives Matter. In other words, the movie is saying that educated black people with no criminal records are actually irrational, violent criminals who’ll use any racial excuse to commit crimes, thereby embodying the worst stereotypes that racists have of black people.

Vanessa is such an obnoxious lunatic, she commits this cop kidnapping less than an hour before James’ brother Jamal (payed by Shamier Anderson) and his pregnant fiancée Candy (played by Lex Scott Davis) are due to arrive for a family dinner. Candy and Jamal show up, find out about the kidnapping, and participate in the crime too. Jamal turns into a thug, while Candy is an airhead who spouts a lot of New Age gibberish.

There’s really no point in describing this awful movie anymore, except to say that the movie’s writing and direction are trash; the pacing is erratic; and all the cast members’ performances get worse as the story goes down a steep slide into a putrid abyss of racial hatred that’s hell-bent on making black people look as bad as possible. The movie ends with a “reveal” that just makes everyone involved look even more insanely stupid, with no real consequences. “A Lot of Nothing” is really just a lot of nonsense and a worthless train wreck that should be avoided at all costs.

UPDATE: RLJE Films will release “A Lot of Nothing” in select U.S. cinemas and on VOD on February 3, 2023.

Review: ‘Sell/Buy/Date,’ starring Sarah Jones

March 19, 2022

by Carla Hay

Sarah Jones (as herself, as the Nereida character and as the Bella character) in “Sell/Buy/Date” (Photo courtesy of Sell/Buy/Date Film)


Directed by Sarah Jones

Culture Representation: Taking place in New York, California and Nevada, the documentary film “Sell/Buy/Date” features a racially diverse group of people (African American, white, Latino and Native American) from the working-class, middle-class and wealthy discussing American society’s attitudes and laws about sex workers.

Culture Clash: People offer different perspectives on whether or not certain types of sex work should be legal and what the repercussions would be if the laws changed.

Culture Audience: “Sell/Buy/Date” will appeal primarily to people who are interested in watching an unusual documentary about sex workers that blends comedy and the seriousness of hard-hitting issues.

In the very unique documentary “Sell/Buy/Date,” director Sarah Jones takes viewers on a personal journey exploring diverse perspectives of sex workers in America. The movie’s tonal shift from lighthearted to tragic is jarring but necessary. The first two-thirds of the film put more emphasis on Jones alternating between comedic sketches and interviews that she conducted with sex workers and celebrities. The last third of the film is when the documentary takes a much darker and more realistic turn, when sex workers talk about the exploitation and abuse that’s part of the sex industry, whether the sex work is legal or not.

“Sell/Buy/Date” is based on Jones’ one-woman stage show “Sell/Buy/Date,” which had a limited off-Broadway run in New York City in 2016 and a limited engagement in Los Angeles in 2018. In the stage show, Jones (who says she’s never been a sex worker) played various characters representing various perspectives of the sex industry. Jones is also known for her one-woman, off-Broadway show “Bridge & Tunnel,” which won a special Tony Award in 2006. Meryl Streep was an executive producer of “Bridge & Tunnel,” and Streep has the same title for the “Sell/Buy/Date” documentary.

In the “Sell/Buy/Date” stage show, Jones played 19 fictional characters of various races, ethnicities and genders. In real life, Jones (who usually identifies as African American and sometimes as biracial or multiracial) is the child of “an African American father and mother of mixed Euro-American and Caribbean descent,” according to Jones’ Wikipedia page. She calls herself a “woman of color” in the documentary.

In the “Sell/Buy/Date” documentary, Jones portrays four fictional characters: Lorraine, an outspoken 85-year-old white Jewish grandmother; Bella, an academic-minded white college sophomore, who’s majoring in sex-work studies and who’s “ashamed of her white privilege”; Nereida, a sassy half-Dominican, half-Puerto Rican advocate for female rights; and Rashid, a working-class African American man who’s an aspiring entrepreneur and who works as an Uber driver to pay his bills. The “Sell/Buy/Date” stage show also had fictional characters in the sex industry, but none of the play’s sex-worker characters are in the “Sell/Buy/Date” documentary, because Jones interviews real-life sex workers in the film.

Jones interviewed people in New York state (where Jones is based), California and Nevada. The interviewees range from sex workers to activists to people who are not in the sex industry but who know Jones personally. It’s clear from watching the tonal shift of the film that Jones started off thinking that the film was going to go one way, and it turned out going another way. “Sell/Buy/Date” had its world premiere at the 2022 South by Southwest (SXSW) Film Festival.

The movie opens with a scene of Jones, Lorraine, Bella and Nereida gathered in Jones’ dressing room, as they talk about the “Sell/Buy/Date” stage show, which will soon close. It’s a comedy sketch where the four women discuss the controversy over the show, such as protestors and critics who call Jones and “Sell/Buy/Date” a “danger to women.” Nereida comments that with the “Sell/Buy/Date documentary, Jones was trying so hard to be the “wokest” to please everybody, the play has just ended up angering “everybody.” In a staged scene, Jones is seen getting criticism on social media for being a SWERF: Sex Worker Exclusionary Radical Feminist, which is a label that Jones says does not apply to her.

In a voiceover, Jones says of the “Sell/Buy/Date” characters that she created: “On stage, in my play, they help me share different sides of a topic that’s not often talked about in the sex industry.” As time goes on in the documentary, Jones eventually reveals that she’s created “Sell/Buy/Date” (the play and the movie) as a way to try to emotionally heal and come to terms with the death of her 18-year-old sister Naomi, whose drug addiction led to her becoming a sex worker. Jones doesn’t go into too many details about this tragedy in the movie, but she has said in media interviews that Naomi died at the start of Jones’ career in the entertainment industry.

Early on in the documentary, Jones mentions dreading the anniversary of Naomi’s death. She also talks about keeping Naomi’s journal for three years and being afraid to read it, although she eventually does read parts of the journal on camera in the documentary. It’s one of the best parts of the movie, when Jones is being herself and showing a very vulnerable side to her, instead of playing characters to get some laughs.

Jones’ mother Leslie (an obstetrician/gynecologist) appears briefly in the documentary and mostly shows support for Jones in making this movie, but she also expresses her disapproval of her daughter having to spend so much time with people whom Leslie thinks are unsavory characters because of their line of work. These mother/daughter scenes are mostly heartwarming, but viewers can tell that the subject of Naomi is too painful for them to talk about in depth on camera. (Jones’ parents are divorced, and her father does not appear in the documentary.)

There’s a little bit of Leslie that comes across in Jones’ grandmotherly Lorraine character. The character of Bella represents people who think all sex work should be legal everywhere. The character of Nereida is vehemently opposed to prostitution being legal, because she believes that prostitutes (especially female prostitutes) will still be exploited. In the beginning of the movie, Nereida argues with Jones about Jones glorifying prostitution in the documentary. And later, Nereida gives a passionate monologue that’s one of the movie’s best scenes. As for Rashid, this character is in the movie for pure comic relief as Jones’ driver. He doesn’t have much to say about the sex industry except to hint that he’s had experience in hiring sex workers.

People have different definitions of “sex work,” so “Sell/Buy/Date” talks mostly to sex workers whose primary sex work involves sex acts that are done in person. For example, there are no interviews with people who work only in phone sex or Internet/webcam sex. It’s debatable whether or not getting paid to strip and dance nude is considered “sex work,” but the movie includes a segment where Jones goes to a pole-dancing class taught by Amy Bond, founder of Pole + Dance Studios in San Francisco. During her interview, Bond opens up about her puritanical Mormon background and how she used to do porn. Bond encourages Jones and other people in the pole-dancing class to have more of a mind/body connection.

One of the more ironically interesting parts of the documentary is when Jones is in Las Vegas for a Sex Industrialist Revolution Conference taking place right next to an anti-sex trafficking conference. However, the documentary could have used more exploration of what making prostitution legal would really mean for sex-trafficking activities and how it all relates to gender issues. Men are the majority of customers for prostitutes, but the customers are punished less than the prostitutes, when it comes to the law and society’s judgments. It’s debatable if legal prostitution really erases the society stigma that prostitutes (who are usually female) have to bear more than their customers.

Some celebrities make cameos as themselves in the documentary. Rosario Dawson gives words of encouragement to Jones about making the movie. Ilana Glazer and Jones talk about the controversy over the “Sell/Buy/Date” play. Bryan Cranston appears toward the end of the film and shares a very personal story with Jones about how he lost his virginity to a prostitute.

At various points in the scripted parts of the movie, Jones is seen interacting by phone only with two characters from her “support team”: her manager Roger and her publicist Nora. These are fictional characters that could be based on real-life people. In the movie, it’s mentioned that Jones is in a “dead-end relationship” with Roger and that they are “just using each other.” Roger is also evicting her from a home that he’s been renting for her because he doesn’t want to pay her rent anymore. It’s never really explained in the movie how true any of this information is, but it looks out of place in a documentary.

For most of the documentary, the fictional characters drift in and out of the narrative. Other scenes not involving these fictional characters are deliberately staged, such as a scene where Jones is in a waiting room for a doctor’s appointment, and she’s sitting near a sex worker named Tish “The Dish” Roberts. The scene is staged to make it look like Roberts and Jones are meeting as random strangers for the first time, as Roberts sees Jones and gushes to Jones that she’s a fan of the “Sell/Buy/Date” play.

In this waiting room, the two women then talk about Roberts’ experiences as a sex worker. Roberts (who is African American) says she became a sex worker at age 17, when a white male schoolteacher she had at the time gave her a lot of attention that she craved. The teacher knew that Roberts came from an impoverished, broken home, so the attention that he gave her eventually turned to paying her to perform sex acts with him.

Roberts says that these payments for sex acts continued on more than one occasion, and she obeyed the teacher’s orders to keep everything a secret. She comments to Jones about that sexual experience: “It felt like a transaction. I learned to detach from it.”

In the conversation, Roberts thanks Jones for doing the “Sell/Buy/Date” play and movie for giving a voice to sex workers. Jones doesn’t pass judgment on Roberts, but neither does Jones call this teacher-student experience for what it really is: sexual exploitation. And depending on the age-of-consent-law in the state where it took place, it would have been illegal sexual abuse.

Lotus Lain, a sex worker who is also described as a “sex worker advocate,” warns Jones about the pitfalls of directing this documentary and not being in the sex industry herself: “You’re about to get yourself cancelled. You’re an outsider. You are what we call a ‘civilian.’ You do not understand what it is we go through to be telling our stories.” The conversation between Jones and Lain ends on a cordial note, but Jones does seem very aware throughout the film that she’s learning more about the sex industry as she goes along in making the documentary.

At first, some of the sex workers interviewed in the documentary paint a rosy picture of being in control of their work and their bodies. A common theme in this talk is that sex work can equal “empowerment.” But what “Sell/Buy/Date” eventually does is expose the different layers of the sex industry to show that the people who push the most for prostitution to be legal are the ones who are most likely to get the most financial gain from it. And men are the vast majority of the business owners in the sex industry.

In the documentary, these business owners include porn entrepreneur/actor Evan Seinfeld (also known as a musician who used to be the lead singer/bassist for the rock band Biohazard), who essentially brags about how much money he can make from porn and talks about how his employees (who are mostly women) can make a lot of money too. What he doesn’t mention (but is obvious to anyone who knows anything about business) is that because Seinfeld owns his company, he still makes more money than the people who work for him.

In Nevada (where prostitution is legal), brothel owner Alice Little gives Jones a cheerful tour of her Chicken Ranch brothel, which has only women as sex workers. Little talks about how the brothel is safe and regulated, but she glosses over any negative experiences her employees have had with customers. Little admits that she’s one of the very few women in the United States who owns a legal brothel. What Seinfeld and Little have in common is promoting their businesses in this documentary, so of course their agenda is to make the sex industry look as glamorous as possible.

But then, Jones shows another side of the sex industry that is more common: the workers who don’t own businesses in the sex industry, and who are at the mercy of customers, pimps/madams and other people who can exploit them. The documentary starts to get real when sex workers/activists such as Esperanza Fonseca (a transgender woman) and Pueblo tribe member Terria Xo open up about the violence and other abuse they’ve experienced in their line of work. Addictions to drugs and alcohol are also occupational hazards. When people talk about making prostitution legal, no one likes to talk about who’s going to pay the medical bills when these sex workers get viciously assaulted during their work.

Jones interviews Xo with other Native American activists, such as Jennifer Marley (who is Tewa, part of the Pueblo tribe) and Becki Jones (from the Diné/Navajo tribe), who give honest and direct talk about how sex workers who are women of color and transgender women are disproportionately more likely than any other sex workers to experience violence and death because of sex work. And therefore, they say that even if prostitution became legal everywhere in America, it still would not change the violence that can happen, and the racial and gender disparities in who gets to profit the most from sex work. “Sell/Buy/Date” doesn’t force viewers to think one way or another about these issues, but it admirably presents enough perspectives for viewers to make up their own minds.

UPDATE: Cinedigm will release “Sell/Buy/Date” in select U.S. cinemas, on digital and VOD on October 14, 2022.

Review: ‘X’ (2022), starring Mia Goth, Jenna Ortega, Martin Henderson, Brittany Snow and Scott Mescudi

March 17, 2022

by Carla Hay

Mia Goth in “X” (Photo by Christopher Moss/A24)

“X” (2022)

Directed by Ti West

Culture Representation: Taking place in Texas in 1979, the horror film “X” features a cast of predominantly white characters (with one Latina and two African Americans) representing the working-class and middle-class.

Culture Clash: Six people go to a rented farm to make a porn movie, but the elderly spouses who own the farm show their violent disapproval. 

Culture Audience: “X” will appeal primarily to people who are fans of writer/director Ti West and horror flicks that skillfully blend horror with satirical comedy.

Pictured clockwise, from left: Owen Campbell, Brittany Snow, Mia Goth, Scott Mescudi and Jenna Ortega in “X” (Photo by Christopher Moss/A24)

“X” is a horror film that doesn’t break any new ground, but this “slow burn” movie delivers some gruesome terror with touches of social satire that can bring some laughs. Written and directed by horror master Ti West, “X” is sure to count as one of his best movies. Will “X” be considered an iconic movie that influences countless other horror films? No. However, “X” takes a simple concept that other slasher movies mishandle and makes it something that horror fans can thoroughly enjoy, as long as people can tolerate watching some bloody violence that can be nauseating to some viewers.

“X” had its world premiere at the 2022 SXSW Film Festival in Austin, Texas. It’s fitting that the movie premiered in Texas, since the story takes place mostly in a rural and unnamed part of Texas. (“X” was actually filmed in New Zealand.) In “X,” the year is 1979, when porn movies made in the U.S. got an “X” rating for adults-only content. Six people in the adult film industry are going on a road trip to an isolated farm that the producer has rented, in order to make a porn film called “The Farmer’s Daughter.” This porn movie is a very low-budget film with only one camera.

The six people on this fateful trip are:

  • Wayne Gilroy (played by Martin Henderson), a brash, fast-talking middle-aged producer whose immediate goal in life is for “The Farmer’s Daughter” to be a blockbuster porn movie—or at least make a fraction of what “Debbie Does Dallas” made, so that Wayne can get out of debt.
  • Maxine Minx (played by Mia Goth), an up-and-coming actress who wants to be as famous as “Wonder Woman” TV star Lynda Carter. Off camera, Maxine (who’s in her 20s) is Wayne’s lover (he left his wife for her), and Wayne has promised to make Maxine a star. Maxine also has a cocaine habit, since she’s seen snorting coke several times in the movie.
  • Bobby-Lynne Parker (played by Brittany Snow), an experienced porn actress in her 30s, who styles her physical appearance like Marilyn Monroe, and who likes to think of herself as the reigning Southern belle of porn.
  • Jackson Hole (played by Scott Mescudi), the porn name of a well-endowed actor in his 30s who is the only male cast member doing the porn scenes in “The Farmer’s Daughter.” Bobby-Lynne and Jackson are also sex partners off-camera, in a “friends with benefits” relationship.
  • RJ Nichols (played by Owen Campbell), the director of “The Farmer’s Daughter.” RJ, who’s in his late 20s, likes to think that the porn movies he directs are cinematic art.
  • Lorraine Day (played by Jenna Ortega), RJ’s girlfriend, a “jack of all trades” crew member who is essentially RJ’s assistant. Lorraine is in her late teens or early 20s and is relatively new to the adult film industry. She’s eager to learn all that she can about filmmaking.

The movie’s opening scene shows viewers that this porn movie shoot will result in a massacre, since police officers arrive at the farm and see several bloody and mutilated dead bodies. The movie circles back to this crime scene at the end of the film. The rest of “X” shows what happened 24 hours earlier, leading up to the massacre.

It takes a while for “X” to get going, since the first half of the movie is about the road trip, arriving at the farm, and filming the sex scenes. The farm is owned by an elderly couple named Howard (played by Stephen Ure), nicknamed Howie, and his wife Pearl (also played by Goth), who have been married to each other for decades. Ure and Goth wear balding hair pieces and prosthetic makeup that give creepy and decrepit physical appearances to Howard and Pearl. Goth gives an absolutely maniacal performance as Pearl, who is much more disturbed and volatile than Howard.

Howard is a cantankerous veteran of World War I and World War II. The first thing that Howard does when he sees Wayne is pull a gun on him, until Wayne reminds Howard that he’s the movie producer who’s renting the farm for a film shoot. Wayne doesn’t tell this farm couple that this film shoot is for a porn movie, but Howard and Pearl inevitably find out because they’re on the property during this film shoot.

Pearl is starved for affection from her husband. When she tries to make amorous advances on Howard, he pushes her away and mentions his heart condition when he says, “You know I can’t. My heart.” Pearl is a former dancer who sees a lot of younger herself in Maxine and instantly fixates on Maxine. Pearl is also a voyeur, so it should come as no surprise that Pearl ends up watching one of the sex scenes that’s being filmed in the barn. And when she finds out that a porn movie is being made on her property, all hell breaks loose.

Before the murder and mayhem begin, “X” makes some sly commentary on how gender affects perceptions and judgments of people’s involvement in porn. This small cast and crew of “The Farmer’s Daughter” are a microcosm of larger issues in the adult film industry: Men are usually in charge and usually make the business decisions. The women are usually expected to follow orders.

Women in adult entertainment also get more of society’s stigma and degradation, compared to men in adult entertainment. A woman is much more likely than a man to be called a “whore” for doing porn. This derogatory name-calling happens in a scene in “X,” even though for “The Farmer’s Daughter” porn movie, a man is just as much of a participant in the sex scenes as the women. There’s a moment in the movie where one of the women flips the proverbial script and makes a decision that greatly upsets one of the men.

And because there are three couples on this trip, their dynamics also represent the types of relationships that can occur in the adult film industry. Wayne and Maxine represent a stereotypical older filmmaker who hooks up with a young actress and tells her a lot of big talk about making her a star. Bobby-Lynne and Jackson are swingers who don’t have any commitment in their relationship and don’t want to be bound by traditional sexual expectations. RJ and Lorraine represent people who are in the porn industry only to get filmmaking experience so that they can move on to mainstream movies.

“X” has the expected sex scenes, but there are also scenes that show the type of camaraderie that can happen during a film production. On their first night after filming scenes from “The Farmer’s Daughter,” the cast and crew hang out and have some drinks together. Bobby-Lynne leads a toast where she says, “Here’s to the perverts who’ve been paying our bills for years!”

After this toast, Bobby-Lynne sings Fleetwood Mac’s “Landslide,” while Jackson plays acoustic guitar. Snow’s performance of “Landslide” is very good and one of the unexpected highlights in this horror film. This laid-back party scene is effective in showing how the people in this group have no idea what’s in store for them.

“X” has a few nods to 1970s horror classics, such as 1974’s “The Texas Chain Saw Massacre” and 1978’s “Halloween.” The comparisons to “The Texas Chain Saw Massacre” are obvious. In “X,” Blue Oyster Cult’s 1976 song “(Don’t Fear) The Reaper” song is played during a pivotal scene. Horror aficionados know that “Don’t Fear the Reaper” was also prominently featured in 1978’s “Halloween.”

Even though the first half of “X” doesn’t have any real terror, “X” still manages to keep viewers on edge over what might happen. There’s no real mystery of who the villains are, because this is a slasher flick that clearly forecasts who will be the perpetrators of the violence. Although the ideas in “X” aren’t very original, they’re still filmed in very suspenseful ways. And there’s an interesting twist/reveal toward the end of the film. Ultimately, “X” doesn’t pretend to be anything other than what it is: a worthy tribute to retro slasher films that makes “X” memorable in its own right.

A24 will release “X” in U.S. cinemas on March 18, 2022. The movie is set for release on digital and VOD is April 14, 2022.

Review: ‘Jethica,’ starring Callie Hernandez, Ashley Denise Robinson, Will Madden and Andy Faulkner

March 16, 2022

by Carla Hay

Callie Hernandez and Ashley Denise Robinson in “Jethica” (Photo by Pete Ohs)


Directed by Pete Ohs

Culture Representation: Taking place in an unnamed city in New Mexico, the comedy/drama film “Jethica” features a predominantly white cast of characters (with one Latina and one African American) representing the working-class and middle-class.

Culture Clash: A woman has an unexpected reunion with a former classmate from high school, but this former classmate has a big problem: a stalker who follows her everywhere.

Culture Audience: “Jethica” will appeal primarily to people who are interested in offbeat dark comedies that are unpredictable.

Callie Hernandez and Will Madden in “Jethica” (Photo by Pete Ohs)

The dark comedy thriller “Jethica” blurs genres and cheekily plays with viewer expectations on what the movie is about and how it’s all going to end. Directed by Pete Ohs, “Jethica” has a relatively small number of cast members, and the movie clocks in at 70 minutes. It’s just the right amount of time to tell this story, in what could have easily been a short film. “Jethica” has a simple concept, but it’s depicted in a compellingly eerie way.

Five people have screenwriting credits for “Jethica”: director Ohs and four of the movie’s cast members: Callie Hernandez (who plays Elena), Ashley Denise Robinson (who plays Jessica), Will Madden (who plays Kevin) and Andy Faulkner (who plays Benny). By having so many cast members credited as screenwriters, “Jethica” gives the impression that much of this movie was improvised. And sure enough, in the production notes for “Jethica,” Ohs makes this statement: “Our creative process was an experiment. We went to New Mexico without a script and wrote the movie as we went.” “Jethica” had its world premiere at the 2022 South by Southwest (SXSW) Film Festival.

On the surface, “Jethica” (which takes place in an unnamed city in New Mexico) sounds like a typical “woman in peril” movie about someone being followed by a stalker. But there’s more to the story than the stalking. The beginning of the film shows a woman in her 20s named Elena having a sexual tryst in the back of a car with an unnamed man (played by Alan Palomo), whose face is never seen in the movie. Based on their conversation, she thinks of him as no more than a casual hookup whom she sees on a semi-regular basis.

During this tryst, he asks Elena why she hasn’t invited him to her home. She explains that she has a roommate and doesn’t want to deal with scheduling their hookups based on when the roommate will be home or not. Elena then tells him that about a year ago, she lived alone in an isolated trailer that she inherited from her grandmother.

Elena states matter-of-factly that the reason for her seclusion was “because I killed somebody.” Elena’s lover responds sarcastically, “I had no idea I was hooking up with a murderer.” Elena then begins to tell what happened when she lived alone in that trailer. The movie then switches to flashback mode for nearly all of the story.

The flashback begins with Elena getting gas for her car at a gas station, where she randomly sees Jessica, a former classmate from high school, who’s getting gas for her own car. Elena and Jessica haven’t seen each other since they were high-school students. Their reunion starts off a little awkward, because Jessica doesn’t seem that happy to see Elena. Jessica comes across as uncomfortable and a little standoffish when talking to Elena.

Jessica says that she used to live in California, but she left because she had a stalker. She then moved to Santa Fe, but the stalker found her there too. Jessica says she’s on a road trip but doesn’t mention where she’s going. Elena invites Jessica to her place to hang out and have some coffee. At first Jessica says no, but then she changes her mind.

While Jessica follows Elena back to Elena’s trailer, she notices that Elena has stopped on the road to say hello to a man in his late 20s or early 30s. He seems to be walking with a slightly off-kilter gait and has a vacant stare. It’s unclear if the man is homeless or not. When they get to the trailer, Elena explains that the man’s name is Benny, and he’s a platonic friend of hers.

Jessica begins to open up to Elena about her stalker ordeal. She says that her stalker is a man named Kevin Morris, whom she barely knows, but somehow, he became obsessed with her. Jessica also mentions that the police won’t help with her stalking problem because Kevin didn’t break any laws by showing up in public in the same places where Jessica was.

However, Jessica shows Elena some of the creepy videos and letters that Kevin sent her. Although he never threatened her with bodily harm, his rantings became increasingly hostile because he became upset with Jessica for not responding to his communication. Kevin talks with a lisp, which is why the title of the movie is “Jethica.”

Elena generously tells Jessica that she can stay in Elena’s home as long as Jessica needs to stay. For now, Jessica just accepts the offer to stay the night. But it isn’t long before a man shows up outside the trailer. He restlessly paces back and forth and yells out Jessica’s name repeatedly.

A terrified Jessica peers out the window and is certain that the man, who looks a lot like Kevin, can’t possibly be Kevin. How can she be so sure? Who is this man? And how did he find Jessica in this very remote area? Those questions are eventually answered in the movie.

“Jethica” is a very atmospheric film that makes great use of the scenic vistas in New Mexico’s desert landscapes and Puebloan ruins. (The movie was filmed in Estancia, New Mexico.) “Jethica” director/co-writer Ohs is also the movie’s producer, cinematographer and film editor. Some of the sunset and nighttime shots in the movie are as breathtaking as they can be foreboding, because most of the movie takes place in a remote area where something ominous always seems to be on the brink of happening.

It’s not quite a horror film, but “Jethica” has some aspects of supernatural horror. Still, viewers should not expect major terror or chase scenes that are typical of supernatural horror movies. The movie has plenty of suspense and touches of sardonic comedy that make it worthwhile to viewers who can appreciate eccentric, low-budget films.

“Jethica” isn’t a movie where people give award-worthy performances, although all of the cast members are perfectly fine in their roles. That’s because all of the movie’s characters in this New Mexico desert area are guarded about something. The secrets that come out are what people will remember most about “Jethica.”

UPDATE: Cindeigm will release “Jethica” in select U.S. cinemas on January 13, 2023. Fandor will premiere the movie on February 14, 2023.

Review: ‘I Love My Dad,’ starring Patton Oswalt, James Morosini, Claudia Sulewski, Amy Landecker, Lil Rel Howery and Rachel Dratch

March 16, 2022

by Carla Hay

James Morosini and Patton Oswalt in “I Love My Dad” (Photo courtesy of I Love My Dad LLC/Hantz Motion Pictures)

“I Love My Dad”

Directed by James Morosini

Culture Representation: Taking place in an unnamed U.S. city and in Augusta, Maine, the comedy film “I Love My Dad” features a predominantly white cast of characters (with a few African Americans) representing the working-class and middle-class.

Culture Clash: A divorced father, who is a pathological liar, tries to reconnect with his estranged, young adult son by creating a fake online profile where the father impersonates a woman who pretends to be romantically interested in the son.

Culture Audience: “I Love My Dad” will appeal primarily to people who are interested in quirky comedies that have incisive social commentary on “catfishing” (creating a fake online persona to deceive people) and dysfunctional family relationships.

James Morosini and Patton Oswalt in “I Love My Dad” (Photo courtesy of I Love My Dad LLC/Hantz Motion Pictures)

Inspired by a true story, “I Love My Dad” is the type of comedy that adeptly turns its most cringeworthy moments into its funniest moments. It’s not an easy challenge, considering that it’s a movie that will make many viewers uncomfortable. “I Love My Dad” has a double meaning, because it’s about a divorced father who pretends to be an attractive young woman online, so that he can lure his estranged son into an online emotional relationship. It’s all because this disturbed father is so desperate to reconnect with his son, he’s concocted this elaborate ruse, even if he knows it’s a disaster waiting to happen.

It’s the type of warped story that people might think could only be fabricated for a movie. However, it happened in real life to “I Love My Dad” writer/director James Morosini, who also stars as the hapless and beleaguered son in this movie. “I Love My Dad” had its world premiere at the 2022 South by Southwest (SXSW) Film Festival, where it won the event’s top grand jury prize: Best Narrative Feature. As messy as the movie’s subject is, it’s also a wild and entertaining ride that’s made all the more poignant because it’s a deeply personal story.

“I Love My Dad” opens with a flashback scene of Chuck Green (played by Patton Oswalt) and his son Franklin Green (played by Seamus Callahan), who’s about 8 or 9 years old, taking home a stray black Labrador retriever that they found on the street. Eager to please his son, Chuck tells Franklin (who has no siblings) that they can keep the dog, which is male. Franklin asks, “What if he’s lost?” Chuck just shrugs.

As Chuck and Franklin walk home together with the dog, Chuck sees a “missing dog” flyer posted on a telephone pole. The dog in the flyer’s photo is the same dog that Chuck has taken, and the owner wants to find the dog. Out of Franklin’s sight and without any guilt, Chuck tears the flyer off the pole because he wants to keep the dog. It’s an indication of Chuck’s personality: impulsive, wanting immediate gratification, and very selfish.

The movie then fast-forwards to showing Franklin in his early 20s. His parents have been divorced for years, and Franklin is in therapy for anxiety and depression—mostly because his irresponsible and unreliable father Chuck has caused a lot of emotional damage to Franklin. Chuck is a chronic liar whose dishonesty was the main cause for the divorce.

Franklin is a misfit loner who lives with his mother Diane (played by Amy Landecker), who is very protective and concerned about Franklin’s mental health. Franklin is currently unemployed, but his dream job is to be a computer coder for a video game company. He spends a lot of time playing video games. The movie doesn’t mention where Franklin and Diane live, but it’s thousands of miles away from Chuck. Diane has not been in regular contact with Chuck for a long time—and she wants it to stay that way.

Meanwhile, Chuck (who lives in Augusta, Maine) is despondent because Franklin, whom he has not spoken to in about a year, has recently blocked Chuck from all of Franklin’s social media. Chuck is sulking about it at his office job (the movie never mentions what Chuck does for a living), and his mopey attitude is noticed by a co-worker named Jimmy (played by Lil Rel Howery). Jimmy asks Chuck why he looks so sad, and Chuck tells him about Franklin’s online snubbing.

Jimmy mentions to Chuck that when he was blocked online by an ex-girlfriend, all he had to do to continue following her on social media was to create a phony online persona and get on her online “friends” list again. Jimmy brags that the trick worked, and he was able to keep tabs on what this ex-girlfriend was doing. It’s an idea that Chuck takes to extremes.

Shortly after getting cut off from Franklin, Chuck goes to eat by himself at a local diner called Carl’s Kountry Kitchen. (“I Love My Dad” was filmed in New York state, and the movie includes the real Carl’s Kountry Kitchen, which is in Syracuse, New York.) Chuck’s server is a friendly woman in her early 20s named Becca (played by Claudia Sulewski), who has a “girl next door” attractiveness about her.

When Chuck goes home, he looks up Becca on the Internet and finds all of her social media. And that’s when he gets the idea to pretend to be Becca and contact Franklin. Chuck steals Becca’s identity and many of her online photos to create fake online profiles of her. When Franklin accepts the fake Becca’s friend requests, Franklin asks her during a chat why he’s the only person she’s following.

As the fake Becca, Chuck quickly comes up with an excuse that “Becca” has new accounts because she deleted her previous accounts when she took a break from social media. Franklin believes this excuse. Over time, Franklin and “Becca” get closer, as they open up to each other about their emotions and family problems. And it should come as no surprise that Franklin ends up falling for “Becca,” as Chuck gets more caught up in this elaborate and twisted masquerade.

Chuck is ecstatic that Franklin is talking to Chuck again, even though it’s all based on Chuck’s concocted lies. Chuck confides in his co-worker Jimmy about the fake online persona. Jimmy warns Chuck not to continue this deception because Franklin might permanently cut Chuck out of Franklin’s life if Franklin finds out the truth. Chuck ignores this advice because he’s self-centered and has become accustomed to lying to get what he wants.

One of the funniest aspects of “I Love My Dad” is how it shows Becca appearing to exist in person with Franklin when he’s chatting with her online or having fantasies about her. But then, the camera suddenly switches to the reality that Chuck is talking to Franklin, so Chuck is shown doing the things with Franklin that Franklin is simultaneously imagining that Becca is doing with Franklin. This switch of perspectives is cleverly edited to bring many laugh-out-loud moments for people watching the movie. Chuck has fantasies too, where he places himself in moments where he wants to emotionally bond with Franklin.

Franklin knows that “Becca” doesn’t live near him, but he eventually wants some kind of contact with her beyond words and photos on a screen. When he tries to set up an online video chat, “Becca” comes up with the excuse that her computer’s video camera is broken. Whenever Franklin becomes skeptical of “Becca” being real, Chuck thinks of something to continue the ruse.

At one point, Franklin insists on talking to “Becca” on the phone. And so, Chuck averts Franklin’s suspicions that “Becca” is a fake persona when Chuck enlists a neurotic co-worker whom he’s been dating named Erica (played by Rachel Dratch) to impersonate “Becca” over the phone. Erica is infatuated with Chuck, but she’s very reluctant to be a part of this deceit. Chuck lies to Erica by saying that it’s a prank that he and Franklin play on each other as a father-son tradition. Erica participates in this con only after she gets Chuck to agree to have sex with her at their office.

Of course, there’s a sexual component that becomes a part of Franklin’s online “romance” with “Becca.” It’s a part of the deception that makes Chuck the most squeamish and feeling very guilty about what he’s doing. But that doesn’t stop dishonest Chuck from making Erica an unwitting accomplice during a hilarious scene involving online sex talk.

To be clear: “I Love My Dad” does not condone incest or sexual abuse. Rather, it shows in amusing and unsettling ways how pathetic online liars can be with their con games. The people who know Chuck’s secret (his co-workers Jimmy and Erica) express their disapproval to Chuck, but Chuck is the type of person who will do what he wants, no matter what other people say about it being wrong. The movie makes it obvious that as much as Chuck thinks he’s too smart to get caught, he’s really the one who’s degrading himself the most.

“I Love My Dad” has some hilarious twists and turns as Chuck’s lies get bigger, and he goes to greater lengths to prevent his lies from being exposed. This movie works so well as a comedy, mainly because the story doesn’t take itself too seriously. It’s really a “truth is stranger than fiction” movie that seems so absurd, it might as well be a comedy. Morosini admirably channels what must have been a very painful time in his life into a story that can not only entertain people but also provoke thoughtful discussions about healing from family dysfunction, deciding what to forgive, and choosing which family members to have in one’s life.

The lead performances by Morosini and Oswalt make this movie’s engine run with a crackling energy of two characters who are at odds with each other but also weirdly co-dependent on each other for emotional validation. Some viewers might not care for how “I Love My Dad” ends, while other viewers will love the movie’s ending. Either way, the intended message of “I Love My Dad” is that there’s sometimes no way to predict what people will do to be close to the ones they love.

UPDATE: Magnolia Pictures will release “I Love My Dad” in select U.S. cinemas on August 5, 2022. The movie is set for release on digital and VOD on August 12, 2022.

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