2023 Sundance Film Festival: winners announced

January 27, 2023

Teyana Taylor and Aaron Kingsley Adetola in “A Thousand and One” (Photo courtesy of Focus Features)

The following is a press release from the Sundance Film Festival:

The Sundance Film Festival, a program of the nonprofit Sundance Institute, returned back in person and across the country online for 2023. Whether you gathered in theaters or are joining us from home, the Festival offers the opportunity to be a part of the discovery of stories and artists that will  inspire and entertain us for years to come. The 2023 Sundance Film Festival jurors and audiences have voted with the awards announced today during an event at The Ray Theatre in Park City and updated on Sundance Film Festival’s official social accounts. The award-winning films will screen in person and via the online Festival platform on Saturday, January 28, and Sunday, January 29. Tickets for all award-screening films are available beginning at 1:00 p.m. MT today.

The jury and audience-awarded prizes amplify the fearless and dynamic stories across sections, with Grand Jury Prizes awarded to A Thousand and One (U.S. Dramatic), Going to Mars: The Nikki Giovanni Project (U.S. Documentary), Scrapper (World Cinema Dramatic), and The Eternal Memory (World Cinema Documentary), and the NEXT Innovator Award presented by Adobe was awarded to KOKOMO CITY.

Voted on by the audience, Radical was granted the Festival Favorite Award. Audience Awards for films in competition were presented by Acura to The Persian Version (U.S. Dramatic) and Beyond Utopia (U.S. Documentary), and presented by United Airlines to Shayda (World Cinema Dramatic) and 20 Days in Mariupol (World Cinema Documentary). KOKOMO CITY won the audience award for NEXT.

“This year’s Festival has been an extraordinary experience,” said Joana Vicente, Sundance Institute CEO. “The artists that comprise the 2023 Sundance Film Festival have demonstrated a sense of urgency and dedication to excellence in independent film. Today’s award winners highlight our programs’ most impressive achievements in the current moment of cinematic arts. I hope you will join me in congratulating our winners, as well as thanking all artists across sections for sharing their stories with the Sundance community.”

“In addition to acknowledging our artists, I want to thank this year’s jurors for their time and thoughtful consideration,” added Kim Yutani, Sundance Film Festival Director of Programming. “Their efforts help contextualize our artists’ work beyond the Festival program and elevate their stories to new audiences around the globe. The winners themselves represent a diverse mix of bold storytelling, thought-provoking reflections, and critical representations of our world today.”

The awards announcement marks a key point of the 2023 Festival, where 111 feature-length and 64 short films — selected from 15,856 submissions — have been presented in Park City, Salt Lake City, and at the Sundance Resort, while over 75% of the feature films, plus Shorts and Indie Episodics, are available via the Festival’s online platform through Sunday, January 29.

This year’s jurors were: Jeremy O. Harris, Eliza Hittman, and Marlee Matlin for U.S. Dramatic Competition; W. Kamau Bell, Ramona Diaz, and Carla Gutierrez for U.S. Documentary Competition; Shozo Ichiyama, Annemarie Jacir, and Funa Maduka for World Cinema Dramatic Competition; and Karim Amer, Petra Costa, and Alexander Nanau for World Cinema Documentary Competition; Madeleine Olnek for the NEXT competition section; Destin Daniel Cretton, Marie-Louise Khondji, and Deborah Stratman for the Short Film Program Competition.

Feature film award winners in previous years include: Nanny, The Exiles, CODA, Summer Of Soul (…Or, When The Revolution Could Not Be Televised), Flee, Hive, Minari, Boys State, Epicentro, Yalda, A Night for Forgiveness, ClemencyOne Child Nation, Honeyland, The SouvenirThe Miseducation of Cameron PostI Don’t Feel at Home in This World Anymore, WeinerWhiplash, Fruitvale Station, Beasts of the Southern Wild, Twenty Feet from Stardom, Searching for Sugarman, The Square, Me and Earl and the Dying Girl, Cartel Land, The Wolf Pack, The Diary of a Teenage Girl, Dope, Dear White People, The Cove, and Man on Wire.

The 2023 Sundance Film Festival awards are:

GRAND JURY PRIZES

The U.S. Grand Jury Prize: Dramatic was presented to A.V. Rockwell for A Thousand and One / U.S.A. (Director and Screenwriter: A.V. Rockwell, Producers: Eddie Vaisman, Julia Lebedev, Lena Waithe, Rishi Rajani, Brad Weston) — Convinced it’s one last, necessary crime on the path to redemption, unapologetic and free-spirited Inez kidnaps 6-year-old Terry from the foster care system. Holding on to their secret and each other, mother and son set out to reclaim their sense of home, identity, and stability in New York City. Cast: Teyana Taylor, Will Catlett, Josiah Cross, Aven Courtney, Aaron Kingsley Adetola. World Premiere. Available online.

Jury citation: Never have I seen a life so similar to my own rendered with such nuance and tenderness. I walked out of the theatre and wept in front of people I barely know because this film reached into my gut and pulled from it every emotion I’ve learned to mask in these spaces. As a jury we know how impossible it is to make work that is real, full of pain, and fearless in its rigorous commitment to emotional truth born of oppressive circumstances. It is our honor to award the U.S. Grand Jury Prize: Dramatic to A Thousand and One.

The U.S. Grand Jury Prize: Documentary was presented to Joe Brewster and Michèle Stephenson for Going to Mars: The Nikki Giovanni Project / U.S.A. (Directors and Producers: Joe Brewster, Michèle Stephenson, Producer: Tommy Oliver) — Intimate vérité, archival footage, and visually innovative treatments of poetry take us on a journey through the dreamscape of legendary poet Nikki Giovanni as she reflects on her life and legacy. World Premiere. Available online.

Jury citation: This film focuses on a singular, unapologetic voice, and through her story it captures the experience of the collective. The strong directorial vision illuminates the joy and the raw reality of the Black experience. Also it is fucking funny. The U.S. Grand Jury Prize: Documentary goes to Going to Mars: The Nikki Giovanni Project.

The World Cinema Grand Jury Prize: Dramatic was presented to Charlotte Regan for Scrapper U.K. (Director and Screenwriter: Charlotte Regan, Producer: Theo Barrowclough) — Georgie is a dreamy 12-year-old girl who lives happily alone in her London flat, filling it with magic. Out of nowhere, her estranged father turns up and forces her to confront reality. Cast: Harris Dickinson, Lola Campbell, Alin Uzun, Ambreen Razia, Olivia Brady, Aylin Tezel. World Premiere. Available online.

Jury citation: A charming and empathetic film full of integrity and life. Scrapper is a poignant study on grief and how the protagonist attempts to shrink her world. Through a child’s eyes, we observe abandonment, detachment and coldness, delivered with love, humor and warmth. The jury was drawn by the honest and sincere performances, strong direction, playful cinematography, and impressive script. The authenticity and command of place and space by the filmmaker and her insistence in creating a world where pain and joy align perfectly delivered a story full of heart and soul. The World Cinema Grand Jury Prize: Dramatic goes to Scrapper.

The World Cinema Grand Jury Prize: Documentary was presented to Maite Alberdi for The Eternal Memory / Chile (Director and Producer: Maite Alberdi, Producers: Juan de Dios Larraín, Pablo Larraín, Rocío Jadue) — Augusto and Paulina have been together for 25 years. Eight years ago, he was diagnosed with Alzheimer’s disease. Both fear the day he no longer recognizes her. World Premiere. Available online.

Jury citation: This film opened our hearts by bringing us closer to the meaning of life and death, and the element that threads sense into all of it – love. Through a simple yet complex portrayal of a confinement, it brings us to the lives of these fascinating characters who make us wiser and more loving the longer we stay with them. The World Cinema Grand Jury Prize: Documentary goes to The Eternal Memory.

FESTIVAL FAVORITE AWARD

Eugenio Derbez in “Radical” (Photo by Mateo Londono)

Selected by audience votes from the feature films that screened at the 2023 Sundance Film Festival, the Festival Favorite Award was presented to Radical / U.S.A (Director and Screenwriter: Christopher Zalla, Producers: Ben Odell, Eugenio Derbez, Joshua Davis) — In a Mexican border town plagued by neglect, corruption, and violence, a frustrated teacher tries a radical new method to break through his students’ apathy and unlock their curiosity, their potential… and maybe even their genius. Based on a true story. Cast: Eugenio Derbez, Daniel Haddad, Jenifer Trejo, Mia Fernanda Solis, Danilo Guardiola. World Premiere. Fiction. Available online.

AUDIENCE AWARDS

Pictured in front row: Layla Mohammadi and Niousha Noor in “The Persian Version” (Photo by Andre Jaeger)

The Audience Award: U.S. Dramatic, Presented by Acura was awarded to The Persian Version / U.S.A. (Director, Screenwriter, and Producer: Maryam Keshavarz, Producers: Anne Carey, Ben Howe, Luca Borghese, Peter Block, Corey Nelson) — When a large Iranian-American family gathers for the patriarch’s heart transplant, a family secret is uncovered that catapults the estranged mother and daughter into an exploration of the past. Toggling between the United States and Iran over decades, mother and daughter discover they are more alike than they know. Cast: Layla Mohammadi, Niousha Noor, Kamand Shafieisabet, Bella Warda, Bijan Daneshmand, Shervin Alenabi. World Premiere. Available online.

The Audience Award: U.S. Documentary, Presented by Acura was awarded to Beyond Utopia / U.S.A. (Director: Madeleine Gavin, Producers: Jana Edelbaum, Rachel Cohen, Sue Mi Terry) — Hidden camera footage augments this perilous high-stakes journey as we embed with families attempting to escape oppression from North Korea, ultimately revealing a world most of us have never seen. World Premiere. Available online.

The Audience Award: World Cinema Dramatic, Presented by United Airlines was awarded to Shayda Australia (Director, Screenwriter, and Producer: Noora Niasari, Producer: Vincent Sheehan) — Shayda, a brave Iranian mother, finds refuge in an Australian women’s shelter with her 6-year-old daughter. Over Persian New Year, they take solace in Nowruz rituals and new beginnings, but when her estranged husband re-enters their lives, Shayda’s path to freedom is jeopardized. Cast: Zar Amir Ebrahimi, Osamah Sami, Leah Purcell, Jillian Nguyen, Mojean Aria, Selina Zahednia. World Premiere. Available online.

The Audience Award: World Cinema Documentary, Presented by United Airlines was awarded to 20 Days in Mariupol Ukraine (Director and Producer: Mstyslav Chernov, Producers: Michelle Mizner, Raney Aronson-Rath, Derl McCrudden) — As the Russian invasion begins, a team of Ukrainian journalists trapped in the besieged city of Mariupol struggle to continue their work documenting the war’s atrocities. World Premiere. Available online.

The Audience Award: NEXT, Presented by Adobe was awarded to KOKOMO CITY / U.S.A. (Director and Producer: D. Smith, Producers: Harris Doran, Bill Butler) — Four Black transgender sex workers explore the dichotomy between the Black community and themselves, while confronting issues long avoided. World Premiere. Documentary. Available online.

JURY AWARDS FOR DIRECTING, SCREENWRITING & EDITING

“A Still Small Voice” (Photo courtesy of Sundance Institute)

The Directing Award: U.S. Documentary was presented to Luke Lorentzen for A Still Small Voice / U.S.A. (Director and Producer: Luke Lorentzen, Producer: Kellen Quinn) — An aspiring hospital chaplain begins a yearlong residency in spiritual care, only to discover that to successfully tend to her patients, she must look deep within herself. World Premiere. Available online.

Jury citation: This film is a deep dive into grief and the complications of mourning. It has a rigorous and unflinching lens that holds steadfast to the cinematic language the director chose for the film. The Directing Award: U.S. Documentary goes to Luke Lorentzen, A Still Small Voice.

The Directing Award: U.S. Dramatic was presented to Sing J. Lee for The Accidental Getaway Driver / U.S.A. (Director and Screenwriter: Sing J. Lee, Screenwriter: Christopher Chen, Producers: Kimberly Steward, Basil Iwanyk, Andy Sorgie, Brendon Boyea, Joseph Hiếu) — During a routine pickup, an elderly Vietnamese cab driver is taken hostage at gunpoint by three recently escaped Orange County convicts. Based on a true story. Cast: Hiệp Trần Nghĩa, Dustin Nguyen, Dali Benssalah, Phi Vũ, Gabrielle Chan. World Premiere. Available online.

Jury citation: The jury was bowled over by this director’s singular vision that merged the grit of a Western crime film and the poetic imagery of Asian New Wave. This hybridized approach revealed the complexities of existing between cultures and evoked an enormous amount of empathy for its protagonist and the true story underneath it from this jury. The Directing Award: U.S. Dramatic goes to Sing J. Lee, The Accidental Getaway Driver.
The Directing Award: World Cinema Documentary was presented to Anna Hints for Smoke Sauna Sisterhood Estonia, France, Iceland (Director: Anna Hints, Producer: Marianne Ostrat) — In the darkness of a smoke sauna, women share their innermost secrets and intimate experiences, washing off the shame trapped in their bodies and regaining their strength through a sense of communion. World Premiere. Available online.

Jury citation: A transcendental story of women that bring us into their bodies, their traumas and their healing. Tales of patriarchy that we have rarely seen on screen come together with cinematic beauty, humor, wisdom and refreshing self-awareness. The directing award goes to Anna Hints, Smoke Sauna Sisterhood.

The Directing Award: World Cinema Dramatic was presented to Marija Kavtaradze for Slow Lithuania, Spain, Sweden (Director and Screenwriter: Marija Kavtaradze, Producer: Marija Razgute) — Dancer Elena and sign language interpreter Dovydas meet and form a beautiful bond. As they dive into a new relationship, they must navigate how to build their own kind of intimacy. Cast: Greta Grinevičiūtė, Kęstutis Cicėnas. World Premiere. Available online.

Jury citation: In this untraditional love story, we follow the journey of two individuals who pose the question: what is desire? Marija Kavtaradze’s expert direction guides her audiences to discover their own answer, which delightfully shifts as each act provokes greater interrogation. Kavtaradze is a poet and an expert weaver, intertwining scenes of provocative movement with more quiet, insightful moments rich in dialogue. It combines to deliver a drama that resonates long after the film ends; a tenderness that lingers in the minds and hearts of viewers. The Directing Award: World Cinema Dramatic goes to Marija Kavtaradze, Slow.

The Waldo Salt Screenwriting Award: U.S. Dramatic was presented to Maryam Keshavarz for The Persian Version / U.S.A. (Director, Screenwriter, and Producer: Maryam Keshavarz, Producers: Anne Carey, Ben Howe, Luca Borghese, Peter Block, Corey Nelson) — When a large Iranian-American family gathers for the patriarch’s heart transplant, a family secret is uncovered that catapults the estranged mother and daughter into an exploration of the past. Toggling between the United States and Iran over decades, mother and daughter discover they are more alike than they know. Cast: Layla Mohammadi, Niousha Noor, Kamand Shafieisabet, Bella Warda, Bijan Daneshmand, Shervin Alenabi. World Premiere. Available online.

Jury citation: We were impressed by the craft of this screenplay that wove together the lives of a fractured family over multiple generations with humor, candor, affection, and verve before surprising us all with the revelation of a family secret that healed past wounds. The Waldo Salt Screenwriting Award: U.S. Dramatic goes to Maryam Keshavarz, The Persian Version.

The Jonathan Oppenheim Editing Award: U.S. Documentary was presented to Daniela I. Quiroz for Going Varsity in Mariachi / U.S.A. (Directors: Alejandra Vasquez, Sam Osborn, Producers: James Lawler, Luis A. Miranda, Jr., Julia Pontecorvo) — In the competitive world of high school mariachi, the musicians from the South Texas borderlands reign supreme. Under the guidance of coach Abel Acuña, the teenage captains of Edinburg North High School’s acclaimed team must turn a shoestring budget and diverse crew of inexperienced musicians into state champions. World Premiere. Available online.

Jury citation: A joyful edit that carries the heart of the characters while still exploring difficult and sensitive issues in a delicate and beautiful way. We deeply care for our heroes and the spirit of life on the border. The Jonathan Oppenheim Editing Award: U.S. Documentary goes to Editor, Daniela I. Quiroz, Going Varsity in Mariachi.

SPECIAL JURY AWARDS

Pictured in front: Molly Gordon and Ben Platt in “Theater Camp” (Photo courtesy of Sundance Institute)

A U.S. Dramatic Special Jury Award: Ensemble was presented to the cast of Theater Camp / U.S.A. (Directors and Screenwriters: Molly Gordon, Nick Lieberman, Screenwriters: Noah Galvin, Ben Platt, Producers: Erik Feig, Samie Kim Falvey, Julia Hammer, Ryan Heller, Will Ferrell, Jessica Elbaum) — When the beloved founder of a run-down theater camp in upstate New York falls into a coma, the eccentric staff must band together with the founder’s crypto-bro son to keep the camp afloat. Cast: Molly Gordon, Ben Platt, Noah Galvin, Jimmy Tatro, Patti Harrison, Ayo Edebiri. World Premiere. Available online.

Jury citation: Creativity does not have to be a torturous, solitary endeavor–it often rarely is. A film is made with a community and those that celebrate that invite new communities to the worlds they have built. As a jury of theatre nerds who felt welcomed back to a place that feels like home it is our pleasure to award the U.S. Dramatic Special Jury Award: Ensemble to the cast of Theater Camp.

A U.S. Dramatic Special Jury Award: Creative Vision was presented to the creative team of Magazine Dreams / U.S.A. (Director and Screenwriter: Elijah Bynum, Producers: Jennifer Fox, Dan Gilroy, Jeffrey Soros, Simon Horsman) — An amateur bodybuilder struggles to find human connection as his relentless drive for recognition pushes him to the brink. Cast: Jonathan Majors, Haley Bennett, Taylour Paige, Mike O’Hearn, Harrison Page, Harriet Sansom Harris. World Premiere. Available online.

Jury citation: This immersive film’s relentless tension achieved through the rigorous marriage of light, camera movement, sound, and an overwhelming performance left us all disturbed, yet riveted. It will reverberate through audiences to much debate. The U.S. Dramatic Special Jury Award: Creative Vision goes to the creative team of Magazine Dreams.

A U.S. Dramatic Special Jury Award: Acting was presented to Lio Mehiel for Mutt / U.S.A. (Director, Screenwriter, and Producer: Vuk Lungulov-Klotz, Producers: Alexander Stegmaier, Stephen Scott Scarpulla, Jennifer Kuczaj, Joel Michaely) Jury citation:— Over the course of a single hectic day in New York City, three people from Feña’s past are thrust back into his life. Having lost touch since transitioning from female to male, he navigates the new dynamics of old relationships while tackling the day-to-day challenges of living life in between. Cast: Lío Mehiel, Cole Doman, MiMi Ryder, Alejandro Goic. World Premiere. Available online.

Jury citation: We were charmed, seduced, and compelled by this fresh new performer as we watched them navigating the intimate complexities of their everyday life and relationships in his search for acceptance. We award the U.S. Dramatic Special Jury Award: Acting to Lio Mehiel, Mutt.

A U.S. Documentary Special Jury Award: Clarity of Vision was presented to The Stroll / U.S.A. (Directors: Kristen Lovell, Zackary Drucker, Producer: Matt Wolf) — The history of New York’s Meatpacking District, told from the perspective of transgender sex workers who lived and worked there. Filmmaker Kristen Lovell, who walked “The Stroll” for a decade, reunites her community to recount the violence, policing, homelessness, and gentrification they overcame to build a movement for transgender rights. World Premiere. Available online.

Jury citation: It demonstrates an intimate look from the people who have the lived experience. It shows why it is important for the people who are members of the community to be at the helm of their stories. The U.S. Documentary Special Jury Award: Clarity of Vision goes to The Stroll.

A U.S. Documentary Special Jury Award: Freedom of Expression was presented to Bad Press / U.S.A (Directors: Rebecca Landsberry-Baker, Joe Peeler, Producers: Conrad Beilharz, Garrett F. Baker, Tyler Graim) — When the Muscogee Nation suddenly begins censoring its free press, a rogue reporter fights to expose her government’s corruption in a historic battle that will have ramifications for all of Indian country. World Premiere. Available online.

Jury citation: An essential story that is being told at a critical time featuring Indigenous people confronting their own power structures. It shines a light on the fact that even though freedom of expression is enshrined in the constitution, none of us can take it for granted. And it has the best ending line of any documentary. “My name is angel. And there’s a rainbow!” The U.S. Documentary Special Jury Award: Freedom of Expression award goes to Bad Press.

A World Cinema Documentary Special Jury Award: Creative Vision was presented to Fantastic Machine Sweden, Denmark (Directors and Producers: Axel Danielson, Maximilien Van Aertryck) — From the first camera to 45 billion cameras worldwide today, the visual sociologist filmmakers widen their lens to expose both humanity’s unique obsession with the camera’s image and the social consequences that lay ahead. World Premiere. Available online.

Jury citation: For sending us on a journey to realize that the invention of image was perhaps one of the most important turning points of our recent history, reshaping radically our inner structure and sense of identity. In a time where everyone is the creator of their own narrative, through image, the film forces, everyone, even us filmmakers, to take a step back and reflect upon our intentions regarding the images we want to put out into the world. It is an artful, hilarious and terrifying homage to the importance of critical thinking. The World Cinema Documentary Special Jury Award: Creative Vision goes to Fantastic Machine.

A World Cinema Documentary Special Jury Award: Verite Filmmaking was presented to Against the Tide India (Director and Producer: Sarvnik Kaur, Producer: Koval Bhatia) — Two friends, both Indigenous fishermen, are driven to desperation by a dying sea. Their friendship begins to fracture as they take very different paths to provide for their struggling families. World Premiere. Available online.

Jury citation: In a time where we are inundated with climate change headlines that seems to not be leading to much change, here is a film that places us in the point of view of two unforgettable protagonists. Their lives, hardships and humor reflect those of billions of people that are most affected by global warming and who are seeing their livelihoods being threatened in its essence. It reminds of the power of verite filmmaking to transport us into the lives of people who might be so distant from us and experience the challenges of their life circumstances first hand. The World Cinema Documentary Special Jury Award: Verite Filmmaking goes to Against the Tide.

A World Cinema Dramatic Special Jury Award: Creative Vision was presented to Sofia Alaoui for Animalia / France, Morocco, Qatar (Director and Screenwriter: Sofia Alaoui, Producers: Margaux Lorier, Toufik Ayadi, Christophe Barral) — A young, pregnant woman finds emancipation as aliens land in Morocco. Cast: Oumaïma Barid, Mehdi Dehbi, Fouad Oughaou. World Premiere. Available online.

Jury citation: In this original story of a woman making her way through a living and breathing landscape, we experience a world turned upside down, of humans in collision with nature and an uncovering of supernatural forces. We were delighted to discover in Sofia Alaoui’s first feature a subversive voice that tackles and interrogates the universe in what is ultimately a journey to simply discover oneself. The World Cinema Dramatic Special Jury Award: Creative Vision goes to Sofia Alaoui, Animalia.

A World Cinema Dramatic Special Jury Award: Cinematography was presented to Lílis Soares for Mami Wata Nigeria (Director and Screenwriter: C.J. “Fiery” Obasi, Producer: Oge Obasi) — When the harmony in a village is threatened by outside elements, two sisters must fight to save their people and restore the glory of a mermaid goddess to the land. Cast: Evelyne Ily, Uzoamaka Aniunoh, Kelechi Udegbe, Emeka Amakeze, Rita Edochie, Tough Bone. World Premiere. Available online.

Jury citation: Through each frame, Lilis Soares’ expert lens mesmerized the jury. The richness of the black and white images, combined with the intricate and intimate camerawork of both the performances and natural landscape, elevated this folkloric tale to an intoxicating, visual experience. The World Cinema Dramatic Special Jury Award: Cinematography goes to Lílis Soares, Mami Wata.

A World Cinema Dramatic Special Jury Award: Best Performance was presented to Rosa Marchant for When It Melts Belgium (Director and Screenwriter: Veerle Baetens, Screenwriter: Maarten Loix, Producers: Bart Van Langendonck, Ellen Havenith, Jacques-Henri Bronckart) — Many years after a sweltering summer that spun out of control, Eva returns to the village she grew up in with an ice block in the back of her car. In the dead of winter, she confronts her past and faces up to her tormentors. Cast: Charlotte De Bruyne, Rosa Marchant. World Premiere. Available online.

Jury citation: For delivering a piercing and resonant performance that haunted the jury for days. She employed a poetic nuance and complexity throughout her interpretation of the role, belying experience well beyond her years. This is an actor to follow and the jury looks forward to watching her command more screens. The World Cinema Dramatic Special Jury Award: Best Performance goes to Rosa Marchant, When it Melts.

NEXT INNOVATOR AWARD PRESENTED BY ADOBE

The NEXT Innovator Award presented by Adobe was presented to KOKOMO CITY / U.S.A. (Director and Producer: D. Smith, Producers: Harris Doran, Bill Butler) — Four Black transgender sex workers explore the dichotomy between the Black community and themselves, while confronting issues long avoided. World Premiere. Documentary. Available online.

Jury citation: For taking the traditional “talking heads” documentary structure and opening it up with the use of camera, sound, editing techniques, and imagery to create a dazzling journey with a fluidity that is entirely new. For a groundbreaking presentation of the lives of black trans women sex-workers in black and white, for taking us into their bedrooms and sharing in their incredible vulnerability as we hear their stories, all the while listening with her camera in a way that is electric and alive. For examining the injustice of a world that relegates so many women to a second-class citizenship and the oppressive nature of gender roles for everyone. For making perhaps the funniest movie Sundance has ever shown, and reminding us that the life or death struggle of these women is best understood in their defiant use of humor as a weapon. The NEXT wave of cinema is the profound use of comedy for serious subject matter, and for bringing us all together with laughter, in a hope that the love we come to feel for the people in this film can result in a larger social transformation. The NEXT Innovator Award goes to KOKOMO CITY directed by D. Smith.

SHORT FILM AWARDS PRESENTED BY SHUTTERSTOCK

Kailyn Dulay in “When You Left Me on That Bouelvard” (Photo by Rajinee Buquing)

Jury prizes for short filmmaking were awarded to:

The Short Film Grand Jury Prize presented by Shutterstock was awarded to When You Left Me On That Boulevard / U.S.A. (Director and Screenwriter: Kayla Abuda Galang, Producers: Alifya Ali, David Oconer, Udoy Rahim, Samantha Skinner) — Teenager Ly and her cousins get high before a boisterous family Thanksgiving at their auntie’s house in southeast San Diego in 2006. Cast: Kailyn Dulay, Melissa Arcaya, Elle Rodriguez, Whitney Agustin, Gina May Gimongala, Allan Wayne AndersonWorld Premiere. Available Online.

Jury citation: From the first moment, we were fully on board for this rowdy ride. An uproarious take on extended family, irreverence and tradition with incredible attunement to details and frame. This directorial feat of freshness is our enthusiastic choice for the Sundance Grand Jury Short Film Prize goes to When You Left Me On That Boulevard
The Short Film Jury Award: U.S. Fiction presented by Shutterstock was awarded to Rest Stop / U.S.A. (Director and Screenwriter: Crystal Kayiza, Producers: Jalena Keane-Lee, Brit Fryer) — On a bus ride from New York to Oklahoma, Meyi, a young Ugandan-American girl, realizes her place in the world through her mother’s ambitious effort to reunite their family. Cast: Leeanna E. Tushabe, Alicia Basiima, Khalid Semakula, Robert Wanyama, Margaret Bisase, Olivia Nantongo. Available Online.

Jury citation: An exquisite song of the ordinary.  We were struck by this unhurried portrayal of itinerancy and estrangement. To this deeply American story, we give the Best US Fiction Short Film Award to Rest Stop.

The Short Film Jury Award: International Fiction presented by Shutterstock was awarded to The Kidnapping of the Bride / Germany (Director and Screenwriter: Sophia Mocorrea, Producer: Sarah Valerie Radu) — Luisa from Argentina and Fred from Germany are confronted with their social roles at their wedding. The German tradition of kidnapping the bride shakes the couple’s equality. There is no room for love in this role-play of marriage. Cast: Rai Todoroff, David Bruning, Tatiana Saphir, Anne Kulbatzki, Michaela Winterstein, Niels Bormann. World Premiere. Available Online.

Jury citation: An elegant telling of a relationship caught between worlds.  Directed with a honed sense of the ever-shifting dynamics and limits of gender and culture, this film reoriented us, drawing from the power of what’s felt and what’s left unsaid. The Best Intl Fiction Short Film Award goes to The Kidnapping of the Bride.

The Short Film Jury Award: Animation presented by Shutterstock was awarded to The Flying Sailor / Canada (Directors and Producers: Wendy Tilby, Amanda Forbis, Producer: David Christensen) — Two ships collide in a harbor, an explosion shatters a city, and a sailor is blasted skyward, where he soars high above the mayhem and toward the great unknown. Available Online.

Jury citation: This beautiful portrait of both an instant and a life lifted us out of our seats and took us on an emotional, innovative and explosive ride. The Best Animation Short Film Award goes to The Flying Sailor.

The Short Film Jury Award: Non-Fiction presented by Shutterstock was awarded to Will You Look At Me / China (Director, Screenwriter, and Producer: Shuli Huang) — As a young Chinese filmmaker returns to his hometown in search of himself, a long-overdue conversation with his mother drives them into a quest for acceptance and love. Available Online.

Jury citation: A complex personal journey of a son accepting his mother’s refusal.  Enchanting, unpretentious images accompany an unflinching soundtrack to portray both a private self and universal misunderstanding. The Best Non-Fiction Short Film Award goes to Will You Look at Me.

A Short Film Special Jury Award, International: Directing presented by Shutterstock was awarded to AliEN0089 / Chile (Director and Screenwriter: Valeria Hofmann, Producers: Augusto Matte, Daniela Camino, Pascual Mena) — While a gamer uploads a testimonial video to denounce the harassment she suffers in a video game, a stranger enters her home and hacks her computer, blurring the boundaries between the real and virtual worlds. Cast: Mariana di Girolamo. World Premiere.

Jury citation: A frightening tale blending online gaming, contemporary politics, and genre elements to create a striking horror story. We give a Short Film Special Jury Award for Directing to AliEN0089.

A Short Film Special Jury Award, U.S: Directing presented by Shutterstock was awarded to The Vacation / U.S.A. (Director and Screenwriter: Jarreau Carrillo, Producers: Marttise Hill, Julius Pryor) — A Black man attempts to take a vacation. Cast: Drew Harris, Jarreau Carrillo, Ohene Cornelius, Trae Harris. Available Online.

Jury citation: An ingenious reinvention of the chamber-drama as a vehicle for neighborhood dreamers and schemers.  For its comic timing and assured direction, we give a Short Film Special Jury Award for Directing to The Vacation.

PREVIOUSLY GRANTED 2023 SUNDANCE FILM FESTIVAL AWARDS

The 2023 Alfred P. Sloan Feature Film Prize, presented to an outstanding feature film about science or technology, was presented to The Pod Generation. The filmmakers received a $20,000 cash award from Sundance Institute with support from the Alfred P. Sloan Foundation.

The Sundance Institute | Amazon Studios Producers Award for Nonfiction went to Jess Devaney for It’s Only Life After All (Premieres).

The Sundance Institute | Amazon Studios Producers Award for Fiction went to Kara Durrett for The Starling Girl (U.S. Dramatic Competition).

The Sundance Institute | Adobe Mentorship Award for  Nonfiction went to Mary Manhardt, and the Sundance Institute | Adobe Mentorship Award for Fiction went to Troy Takaki.

The Sundance Institute | NHK Award went to Olive Nwosu for Lady.

Sundance Institute | Stars Collective Imagination Awards went to Tamara Shogaolu for their project 40 Acres, Navid Khonsari, Vassiliki Khonsari, and Andres Perez-Duarte for their project BLOCK PARTY BODEGA, and Vanessa Keith for their project Year 2180.

The Sundance Film Festival®
The Sundance Film Festival, a program of the nonprofit, Sundance Institute, is the pre-eminent gathering of original storytellers and audiences seeking new voices and fresh perspectives. Since 1985, hundreds of films launched at the Festival have gone on to gain critical acclaim and reach new audiences worldwide. The Festival has introduced some of the most groundbreaking films and episodic works of the past three decades, including Fire of Love, Cha Cha Real SmoothFlee, CODA, Passing, Summer Of Soul (…or, When the Revolution Could Not Be Televised), Clemency, Never Rarely Sometimes Always, Zola, O.J.: Made in America, On The Record, Boys State, The Farewell, Honeyland, One Child Nation, The Souvenir, The Infiltrators, Sorry to Bother You, Top of the Lake, Won’t You Be My Neighbor?, Hereditary, Call Me By Your Name, Get Out, The Big Sick, Mudbound, Fruitvale Station, Whiplash, Brooklyn, Precious, The Cove, Little Miss Sunshine, An Inconvenient Truth, Napoleon Dynamite, Hedwig and the Angry Inch, Reservoir Dogs and sex, lies, and videotape. The program consists of fiction and nonfiction features and short films, series and episodic content, emerging media, and performances, as well as conversations, and other events. The Festival takes place both in person in the state of Utah and online, connecting audiences across the U.S. to bold new artists and films. The 2023 Festival takes place January 19–29. Be a part of the Festival at Sundance Film Festival and follow the Festival at Facebook, Instagram, Twitter, and YouTube.

The Festival is a program of the nonprofit Sundance Institute. To date, 2023 Festival sponsors include: Presenting Sponsors – Acura, AMC Networks, Chase Sapphire®, Adobe; Leadership Sponsors – Audible, DIRECTV, Netflix, Omnicom Group, Shutterstock, Stacy’s® Pita Chips, United Airlines, XRM Media; Sustaining Sponsors – Canada Goose, Canon U.S.A., Inc., DoorDash, Dropbox, World of Hyatt®, IMDb, Lyft, MACRO, Rabbit Hole Bourbon & Rye, Stanley, University of Utah Health, White Claw Hard Seltzer; Media Sponsors – IndieWire, Los Angeles Times, NPR, Variety, Vulture, The Wall Street Journal. Sundance Institute recognizes critical support from the State of Utah as Festival Host State. The support of these organizations helps offset the Festival’s costs and sustain the Institute’s year-round programs for independent artists. festival.sundance.org

Sundance Institute
As a champion and curator of independent stories, the nonprofit Sundance Institute provides and preserves the space for artists across storytelling media to create and thrive. Founded in 1981 by Robert Redford, the Institute’s signature Labs, granting, and mentorship programs, dedicated to developing new work, take place throughout the year in the U.S. and internationally. Sundance Collab, a digital community platform, brings a global cohort of working artists together to learn from each other and Sundance Advisors and connect in a creative space, developing and sharing works in progress. The Sundance Film Festival and other public programs connect audiences and artists to ignite new ideas, discover original voices, and build a community dedicated to independent storytelling. Sundance Institute has supported and showcased such projects as Summer of Soul (…or, When the Revolution Could Not Be Televised), CODA, Flee, Passing, Clemency, Never Rarely Sometimes AlwaysZola, On The Record, Boys State, The Farewell, HoneylandOne Child NationThe Souvenir, The Infiltrators, Sorry to Bother You, Won’t You Be My Neighbor?, Hereditary, Call Me By Your Name, Get Out, The Big Sick, Mudbound, Fruitvale StationCity So Real, Top of the Lake, Between the World & Me, Wild Goose Dreams and Fun Home. Join Sundance Institute on Facebook, Instagram, Twitter, and YouTube.

2023 Sundance Film Festival: film slate announced

December 7, 2022

The following is a press release from the Sundance Institute:

Today the nonprofit Sundance Institute announced the comprehensive slate of independent films selected across the feature film categories for the 2023 Sundance Film Festival. The 2023 Festival will take place January 19–29, 2023, in person in Park City, Salt Lake City, and the Sundance Resort, along with a selection of films available online across the country January 24–29, 2023. Festivalgoers will once again return to theaters to discover this upcoming year’s most impactful independent stories. In-Person Ticket Packages are currently on sale through December 16, 2022. Online Ticket Packages go on sale December 13 at 10 a.m. MT, and single film tickets go on sale January 12, 2023, at 10 a.m. MT.

Setting the scene, Day One Features will open the Festival in Park City: 11 features, plus a Shorts program, will illustrate the scope of Festival work across genre and form. Day One Features are birth/rebirthL’ImmensitàIt’s Only Life After AllKim’s VideoLittle Richard: I Am EverythingThe Longest GoodbyeThe Pod GenerationRadical, ShaydaSometimes I Think About Dying, and Run Rabbit Run. In addition, on January 19, the Institute will host the inaugural Opening Night: A Taste of Sundance presented by IMDbPro. The celebration will kick off the Festival welcoming everyone back together again while raising funds for the Institute’s critical year-round artist support. The evening will honor Ryan Coogler, Nikyatu Jusu, W. Kamau Bell, and more whose journeys have been connected to Sundance throughout the years. In addition, in-person attendees will get to experience a robust offering of talks and events during the Festival, with more details to be announced.

Films will become available online during the second half of the Festival — beginning January 24 — and will include all Competition titles (U.S. Dramatic, U.S. Documentary, World Cinema Dramatic, World Cinema Documentary, and NEXT), as well as exciting work across other sections of the feature film program, Indie Episodic Program, and Shorts Program. Audiences can enjoy the selection of films exclusively on the Sundance Film Festival online platform — those that will be available online are noted below. The online offering reinforces the Institute’s commitment to accessibility by allowing audiences coast to coast to take part in the discovery of captivating stories. The Shorts and Indie Episodic lineups for the 2023 Sundance Film Festival will be announced on December 13, 2022.

“Maintaining an essential place for artists to express themselves, take risks, and for visionary stories to endure and entertain is distinctly Sundance,” said Robert Redford, Sundance Institute Founder and President. “The Festival continues to foster these values and connections through independent storytelling. We are honored to share the compelling selection of work at this year’s Festival from distinct perspectives and unique voices.”

“As a program of the Sundance Institute, the Festival provides a place for artists globally to connect with audiences around a shared and inclusive experience of discovery,” said Joana Vicente, Sundance Institute CEO. “These filmmakers reflect the world around us through bold and thrilling storytelling. It is critical for the arts to foster dialogue, especially during unprecedented times — these stories are needed to provoke discussion, share diverse viewpoints, and challenge us. We are delighted to welcome this group of passionate artists to the Festival and look forward to celebrating the films together with audiences.”

“The program for this year’s Festival reiterates the relevancy of trailblazing work serving as an irreplaceable source for original stories that resonate and fuel creativity and dialogue,” said Kim Yutani, Sundance Film Festival Director of Programming. “In so many ways this year’s slate reflects the voices of communities around the world who are speaking out with urgency and finally being heard. Across our program, impactful storytelling by fearless artists continues to provide space for the community to come together to be entertained, challenged, and inspired.”

The 2023 Sundance Film Festival’s Salt Lake City Opening Night Gala Film is Blueback, premiering at the Rose Wagner Performing Arts Center on January 20The upcoming Festival will expand its presence in Salt Lake City, providing more places to take part in the thrilling experience, including at The Megaplex Theatres at The Gateway.

Also announced today, The Pod Generation, screening in the Premieres section, has been named the winner of the Alfred P. Sloan Feature Film Prize, an annual award given to an artist with the most outstanding depiction of science and technology in a feature film.

The slate announced to date includes SLAM and The Doom Generation, which are featured in the From the Collection section bringing archival screenings back into focus as part of the Festival.

The Sundance Film Festival is an artist program of the Sundance Institute. Proceeds earned through Festival ticket sales go to uplifting and developing emerging artists on a year-round basis through focused labs, direct grants, fellowships, residencies, and more.

The full slate of works announced today, along with the From the Collection films previously announced, includes 101 feature-length films representing 23 countries. The 2023 program is made up of 32 of 115 (28%) feature film directors who are first-time feature filmmakers, and 17 of the feature films and projects announced today were supported by Sundance Institute in development through direct granting or residency labs.

World premieres make up 93, or 94%, of the Festival’s 99 feature films announced today.

These films were selected from 15,855 submissions, including 4,061 feature-length films. Of the 4,061 feature film submissions, 1,662 were from the U.S., and 2,399 were international. Director demographics are available in an editor’s note below.

U.S. DRAMATIC COMPETITION

Presenting 12 world premieres of fiction feature films, the Dramatic Competition offers audiences a first look at groundbreaking new voices in American independent film. Films that have premiered in this category in recent years include Nanny, CODAPassingMinari, Never Rarely Sometimes Always, The Farewell, Clemency, Eighth Grade, and Sorry to Bother You.

Dustin Nguyen and Hiệp Trần Nghĩa in “The Accidental Getaway Driver” (Photo by R o n B a t z d o r f f)

The Accidental Getaway Driver / U.S.A. (Director and Screenwriter: Sing J. Lee, Screenwriter: Christopher Chen, Producers: Kimberly Steward, Basil Iwanyk, Andy Sorgie, Brendon Boyea, Joseph Hiếu) — During a routine pickup, an elderly Vietnamese cab driver is taken hostage at gunpoint by three recently escaped Orange County convicts. Based on a true story. Cast: Hiệp Trần Nghĩa, Dustin Nguyen, Dali Benssalah, Phi Vũ, Gabrielle Chan. World Premiere. Available online.

All Dirt Roads Taste of Salt / U.S.A. (Director and Screenwriter: Raven Jackson, Producers: Maria Altamirano, Barry Jenkins, Adele Romanski, Mark Ceryak) – A decades-spanning exploration of a woman’s life in Mississippi and an ode to the generations of people, places, and ineffable moments that shape us. Cast: Charleen McClure, Moses Ingram, Kaylee Nicole Johnson, Reginald Helms Jr., Sheila Atim, Chris Chalk. World Premiere. Available online.

Fair Play / U.S.A. (Director and Screenwriter: Chloe Domont, Producers: Leopold Hughes, Ben LeClair, Tim White, Trevor White, Allan Mandelbaum) — An unexpected promotion at a cutthroat hedge fund pushes a young couple’s relationship to the brink, threatening to unravel far more than their recent engagement. Cast: Phoebe Dynevor, Alden Ehrenreich, Eddie Marsan. World Premiere. Available online.

Fancy Dance / U.S.A. (Director, Screenwriter, and Producer: Erica Tremblay, Screenwriter: Miciana Alise, Producers: Deidre Backs, Heather Rae, Nina Yang Bongiovi, Tommy Oliver) — Following her sister’s disappearance, a Native American hustler kidnaps her niece from the child’s white grandparents and sets out for the state powwow in hopes of keeping what is left of their family intact. Cast: Lily Gladstone, Isabel Deroy-Olson, Ryan Begay, Shea Whigham, Audrey Wasilewski. World Premiere. Available online.

Magazine Dreams / U.S.A. (Director and Screenwriter: Elijah Bynum, Producers: Jennifer Fox, Dan Gilroy, Jeffrey Soros, Simon Horsman) — An amateur bodybuilder struggles to find human connection as his relentless drive for recognition pushes him to the brink. Cast: Jonathan Majors, Haley Bennett, Taylour Paige, Mike O’Hearn, Harrison Page, Harriet Sansom Harris. World Premiere. Available online.

Mutt / U.S.A. (Director, Screenwriter, and Producer: Vuk Lungulov-Klotz, Producers: Alexander Stegmaier, Stephen Scott Scarpulla, Jennifer Kuczaj, Joel Michaely) — Over the course of a single hectic day in New York City, three people from Feña’s past are thrust back into his life. Having lost touch since transitioning from female to male, he navigates the new dynamics of old relationships while tackling the day-to-day challenges of living life in between. Cast: Lío Mehiel, Cole Doman, MiMi Ryder, Alejandro Goic. World Premiere. Available online.

The Persian Version / U.S.A. (Director, Screenwriter, and Producer: Maryam Keshavarz, Producers: Anne Carey, Ben Howe, Luca Borghese, Peter Block, Corey Nelson) — When a large Iranian-American family gathers for the patriarch’s heart transplant, a family secret is uncovered that catapults the estranged mother and daughter into an exploration of the past. Toggling between the United States and Iran over decades, mother and daughter discover they are more alike than they know. Cast: Layla Mohammadi, Niousha Noor, Kamand Shafieisabet, Bella Warda, Bijan Daneshmand, Shervin Alenabi. World Premiere. Available online.

Shortcomings / U.S.A. (Director: Randall Park, Screenwriter: Adrian Tomine, Producers: Margot Hand, Randall Park, Hieu Ho, Jennifer Berman, Howard Cohen, Eric d’Arbeloff) — Following Ben, Miko, and Alice as they navigate a range of interpersonal relationships and traverse the country in search of the ideal connection. Cast: Justin H. Min, Sherry Cola, Ally Maki, Debby Ryan, Tavi Gevinson, Sonoya Mizuno. World Premiere. Available online.

Sometimes I Think About Dying U.S.A. (Director: Rachel Lambert, Screenwriters: Kevin Armento, Stefanie Abel Horowitz, Katy Wright-Mead, Producers: Alex Saks, Daisy Ridley, Dori Rath, Lauren Beveridge, Brett Beveridge) — Fran likes to think about dying. It brings sensation to her quiet life. When she makes the new guy at work laugh, it leads to more: a date, a slice of pie, a conversation, a spark. The only thing standing in their way is Fran herself. Cast: Daisy Ridley, Dave Merheje, Parvesh Cheena, Marcia DeBonis, Meg Stalter, Brittany O’Grady. World Premiere. Available online. DAY ONE

The Starling Girl / U.S.A. (Director and Screenwriter: Laurel Akira Parmet, Producers: Kevin Rowe, Kara Durrett) — Seventeen-year-old Jem Starling struggles with her place within her Christian fundamentalist community, but everything changes when her magnetic youth pastor Owen returns to their church. Cast: Eliza Scanlen, Lewis Pullman, Jimmi Simpson, Wrenn Schmidt, Austin Abrams, Jessamine Burgum. World Premiere. Available online.

Theater Camp / U.S.A. (Directors and Screenwriters: Molly Gordon, Nick Lieberman, Screenwriters: Noah Galvin, Ben Platt, Producers: Erik Feig, Samie Kim Falvey, Julia Hammer, Ryan Heller, Will Ferrell, Jessica Elbaum) — When the beloved founder of a run-down theater camp in upstate New York falls into a coma, the eccentric staff must band together with the founder’s crypto-bro son to keep the camp afloat. Cast: Molly Gordon, Ben Platt, Noah Galvin, Jimmy Tatro, Patti Harrison, Ayo Edebiri. World Premiere. Available online.

A Thousand and One / U.S.A. (Director and Screenwriter: A.V. Rockwell, Producers: Eddie Vaisman, Julia Lebedev, Lena Waithe, Rishi Rajani, Brad Weston) — Convinced it’s one last, necessary crime on the path to redemption, unapologetic and free-spirited Inez kidnaps 6-year-old Terry from the foster care system. Holding on to their secret and each other, mother and son set out to reclaim their sense of home, identity, and stability in New York City. Cast: Teyana Taylor, Will Catlett, Josiah Cross, Aven Courtney, Aaron Kingsley Adetola. World Premiere. Available online.

U.S. DOCUMENTARY COMPETITION

World-premiere American documentaries that illuminate the ideas, people, and events that shape the present day. Films that have premiered in this category in recent years include Fire of LoveSummer of Soul (…Or, When the Revolution Could Not Be Televised), Boys State, Crip Camp: A Disability RevolutionAPOLLO 11, Knock Down the House, One Child Nation, American FactoryThree Identical Strangers, and On Her Shoulders.

“AUM: The Cult at the End of the World” (Photo courtesy of Sundance Institute)

AUM: The Cult at the End of the World / U.S.A. (Directors and Producers: Ben Braun, Chiaki Yanagimoto, Producers: Dan Braun, Josh Braun, Rick Brookwell) — On the morning of March 20, 1995, a deadly nerve gas attack in the Tokyo subway sent the nation and its people into chaos. This exploration of Aum Shinrikyo, the cult responsible for the attack, involves the participation of those who lived through the horror as it unfolded. World PremiereAvailable online.

Bad Press / U.S.A (Directors: Rebecca Landsberry-Baker, Joe Peeler, Producers: Conrad Beilharz, Garrett F. Baker, Tyler Graim) — When the Muscogee Nation suddenly begins censoring its free press, a rogue reporter fights to expose her government’s corruption in a historic battle that will have ramifications for all of Indian country. World Premiere. Available online.

The Disappearance of Shere Hite / U.S.A. (Director and Producer: Nicole Newnham, Producers: Molly O’Brien, R.J. Cutler, Elise Pearlstein, Kimberley Ferdinando, Trevor Smith) — Shere Hite’s 1976 bestselling book, The Hite Report, liberated the female orgasm by revealing the most private experiences of thousands of anonymous survey respondents. Her findings rocked the American establishment and presaged current conversations about gender, sexuality, and bodily autonomy. So how did Shere Hite disappear? World Premiere. Available online.

Going to Mars: The Nikki Giovanni Project / U.S.A. (Directors and Producers: Joe Brewster, Michèle Stephenson, Producer: Tommy Oliver) — Intimate vérité, archival footage, and visually innovative treatments of poetry take us on a journey through the dreamscape of legendary poet Nikki Giovanni as she reflects on her life and legacy. World Premiere. Available online.

Going Varsity in Mariachi / U.S.A. (Directors: Alejandra Vasquez, Sam Osborn, Producers: James Lawler, Luis A. Miranda, Jr., Julia Pontecorvo) — In the competitive world of high school mariachi, the musicians from the South Texas borderlands reign supreme. Under the guidance of coach Abel Acuña, the teenage captains of Edinburg North High School’s acclaimed team must turn a shoestring budget and diverse crew of inexperienced musicians into state champions. World Premiere. Available online.

Joonam / U.S.A. (Director: Sierra Urich, Producer: Keith Wilson) — Spurred by a provocative family memory and a lifetime of separation from the country her mother left behind, a young filmmaker delves into her mother and grandmother’s complicated pasts and her own fractured Iranian identity. World Premiere. Available online.

Little Richard: I Am Everything / U.S.A. (Director and Producer: Lisa Cortés, Producers: Robert Friedman, Liz Yale Marsh, Caryn Capotosto) — This celebration of Little Richard reveals the Black queer origins of rock ’n’ roll, finally exploding the whitewashed canon of American pop music. Through archival and performance footage, the revolutionary icon’s life unspools with all of its switchbacks and contradictions. World Premiere. Available online. DAY ONE

Nam June Paik: Moon is the Oldest TV / U.S.A. (Director and Producer: Amanda Kim, Producers: Amy Hobby, David Koh, Mariko Munro, Jennifer Stockman, Jesse Wann) — The quixotic journey of Nam June Paik, one of the most famous Asian artists of the 20th century, who revolutionized the use of technology as an artistic canvas and prophesied both the fascist tendencies and intercultural understanding that would arise from the interconnected metaverse of today’s world. World Premiere. Available online.

A Still Small Voice / U.S.A. (Director and Producer: Luke Lorentzen, Producer: Kellen Quinn) — An aspiring hospital chaplain begins a yearlong residency in spiritual care, only to discover that to successfully tend to her patients, she must look deep within herself. World Premiere. Available online.

The Stroll / U.S.A. (Directors: Kristen Lovell, Zackary Drucker, Producer: Matt Wolf) — The history of New York’s Meatpacking District, told from the perspective of transgender sex workers who lived and worked there. Filmmaker Kristen Lovell, who walked “The Stroll” for a decade, reunites her community to recount the violence, policing, homelessness, and gentrification they overcame to build a movement for transgender rights. World Premiere. Available online.

Victim/Suspect / U.S.A. (Director and Producer: Nancy Schwartzman, Producers: Julie Goldman, Christopher Clements, Alice Henty, Rachel de Leon, Amanda Pike) — Investigative journalist Rae de Leon travels nationwide to uncover and examine a shocking pattern: Young women tell the police they’ve been sexually assaulted, but instead of finding justice, they’re charged with the crime of making a false report, arrested, and even imprisoned by the system they believed would protect them. World Premiere. Available online.

WORLD CINEMA DRAMATIC COMPETITION

Fiction projects from emerging artists around the world offer fresh perspectives and inventive styles. Films that have premiered in this category in recent years include Brian and Charles, Hive, Luzzu, The Souvenir, The Guilty, Monos, YardieThe Nile Hilton Incident, and Second Mother.

“Animalia” (Photo courtesy of Sundance Institute)

Animalia France, Morocco, Qatar (Director and Screenwriter: Sofia Alaoui, Producers: Margaux Lorier, Toufik Ayadi, Christophe Barral) — A young, pregnant woman finds emancipation as aliens land in Morocco. Cast: Oumaïma Barid, Mehdi Dehbi, Fouad Oughaou. World Premiere. Available online.

Bad Behaviour New Zealand (Director and Screenwriter: Alice Englert, Producers: Molly Hallam, Desray Armstrong) — Lucy, a former child actor, seeks enlightenment at a retreat led by spiritual leader Elon while she navigates her close yet turbulent relationship with her stunt-performer daughter, Dylan. Cast: Jennifer Connelly, Ben Whishaw, Alice Englert, Ana Scotney, Dasha Nekrasova, Marlon Williams. World Premiere. Available online.

Girl U.K. (Director and Screenwriter: Adura Onashile, Producers: Rosie Crerar, Ciara Barry) — Eleven-year-old Ama and her mother, Grace, take solace in the gentle but isolated world they obsessively create. Ama’s growing up threatens the boundaries of their tenderness and forces Grace to reckon with a past she struggles to forget. Cast: Déborah Lukumuena, Danny Sapani, Le’Shantey Bonsu, Liana Turner. World Premiere. Available online.

Heroic Mexico, Sweden (Director, Screenwriter, and Producer: David Zonana, Producers: Michel Franco, Eréndira Núñez Larios) — Luis, an 18-year-old boy with Indigenous roots, enters the Heroic Military College in hopes of ensuring a better future. There, he encounters a rigid and institutionally violent system designed to turn him into a perfect soldier. Cast: Santiago Sandoval Carbajal, Fernando Cuautle, Mónica del Carmen, Esteban Caicedo, Carlos Gerardo García, Isabel Yudice. World Premiere. Available online.

MAMACRUZ Spain (Director and Screenwriter: Patricia Ortega, Screenwriter: José Ortuño, Producer: Olmo Figueredo) — With the help of her newly emigrated daughter, a religious grandmother learns how to use the internet. However, an accidental encounter with pornography poses a dilemma for her. Cast: Kiti Mánver. World Premiere. Available online.

Mami Wata Nigeria (Director and Screenwriter: C.J. “Fiery” Obasi, Producer: Oge Obasi) — When the harmony in a village is threatened by outside elements, two sisters must fight to save their people and restore the glory of a mermaid goddess to the land. Cast: Evelyne Ily, Uzoamaka Aniunoh, Kelechi Udegbe, Emeka Amakeze, Rita Edochie, Tough Bone. World Premiere. Available online.

La Pecera Puerto Rico, Spain (Director, Screenwriter, and Producer: Glorimar Marrero Sánchez, Producers: Amaya Izquierdo, José Esteban Alenda) — As her cancer spreads, Noelia’s ultimate decision is to return to her native Vieques, Puerto Rico, and claim her freedom to decide her own fate. She reunites with her friends and family, who are still dealing with the contamination of the U.S. Navy after sixty years of military practices. Cast: Isel Rodríguez, Modesto Lacén, Magali Carrasquillo, Maximiliano Rivas, Anamín Santiago, Idenisse Salamán. World Premiere. Available online.

Scrapper U.K. (Director and Screenwriter: Charlotte Regan, Producer: Theo Barrowclough) — Georgie is a dreamy 12-year-old girl who lives happily alone in her London flat, filling it with magic. Out of nowhere, her estranged father turns up and forces her to confront reality. Cast: Harris Dickinson, Lola Campbell, Alin Uzun, Ambreen Razia, Olivia Brady, Aylin Tezel. World Premiere. Available online.

Shayda Australia (Director, Screenwriter, and Producer: Noora Niasari, Producer: Vincent Sheehan) — Shayda, a brave Iranian mother, finds refuge in an Australian women’s shelter with her 6-year-old daughter. Over Persian New Year, they take solace in Nowruz rituals and new beginnings, but when her estranged husband re-enters their lives, Shayda’s path to freedom is jeopardized. Cast: Zar Amir Ebrahimi, Osamah Sami, Leah Purcell, Jillian Nguyen, Mojean Aria, Selina Zahednia. World Premiere. Available online. DAY ONE

Slow Lithuania, Spain, Sweden (Director and Screenwriter: Marija Kavtaradze, Producer: Marija Razgute) — Dancer Elena and sign language interpreter Dovydas meet and form a beautiful bond. As they dive into a new relationship, they must navigate how to build their own kind of intimacy. Cast: Greta Grinevičiūtė, Kęstutis Cicėnas. World Premiere. Available online.

Sorcery Chile, Mexico, Germany (Director and Screenwriter: Christopher Murray, Screenwriter: Pablo Paredes, Producers: Juan de Dios Larraín, Pablo Larraín, Rocío Jadue, Nicolás Celis) — On the remote island of Chiloé in the late 19th century, an Indigenous girl named Rosa lives and works with her father on a farm. When the foreman brutally turns on Rosa’s father, she sets out for justice, seeking help from the king of a powerful organization of sorcerers. Cast: Valentina Véliz, Daniel Antivilo, Sebastian Hulk, Daniel Muñoz. World Premiere. Available online.

When It Melts Belgium (Director and Screenwriter: Veerle Baetens, Screenwriter: Maarten Loix, Producers: Bart Van Langendonck, Ellen Havenith, Jacques-Henri Bronckart) — Many years after a sweltering summer that spun out of control, Eva returns to the village she grew up in with an ice block in the back of her car. In the dead of winter, she confronts her past and faces up to her tormentors. Cast: Charlotte De Bruyne, Rosa Marchant. World Premiere. Available online.

WORLD CINEMA DOCUMENTARY COMPETITION

Documentaries by some of the boldest global filmmakers capturing the world today. Films that have premiered in this category in recent years include All That Breathes, Flee, Honeyland, Sea of ShadowsShirkers, This Is HomeLast Men in Aleppo, and Hooligan Sparrow.

“5 Seasons of Revolution” (Photo courtesy of Sundance Institute)

5 Seasons of Revolution Germany, Syria, Netherlands, Norway (Director: Lina, Producer: Diana El Jeiroudi) — An aspiring video journalist in her 20s finds herself already facing self-reckoning. Born in Damascus, Syria, Lina starts to report on the events around her until she is compelled to become a war reporter and, later, the unexpected narrator of her own destiny. World Premiere. Available online.

20 Days in Mariupol Ukraine (Director and Producer: Mstyslav Chernov, Producers: Michelle Mizner, Raney Aronson-Rath, Derl McCrudden) — As the Russian invasion begins, a team of Ukrainian journalists trapped in the besieged city of Mariupol struggle to continue their work documenting the war’s atrocities. World Premiere. Available online.

Against the Tide India (Director and Producer: Sarvnik Kaur, Producer: Koval Bhatia) — Two friends, both Indigenous fishermen, are driven to desperation by a dying sea. Their friendship begins to fracture as they take very different paths to provide for their struggling families. World Premiere. Available online.

The Eternal Memory / Chile (Director and Producer: Maite Alberdi, Producers: Juan de Dios Larraín, Pablo Larraín, Rocío Jadue) — Augusto and Paulina have been together for 25 years. Eight years ago, he was diagnosed with Alzheimer’s disease. Both fear the day he no longer recognizes her. World Premiere. Available online.

Fantastic Machine Sweden, Denmark (Directors and Producers: Axel Danielson, Maximilien Van Aertryck) — From the first camera to 45 billion cameras worldwide today, the visual sociologist filmmakers widen their lens to expose both humanity’s unique obsession with the camera’s image and the social consequences that lay ahead. World Premiere. Available online.

Iron Butterflies Ukraine, Germany (Director: Roman Liubyi, Producers: Andrii Kotliar, Volodymyr Tykhyy, David Armati Lechner, Isabelle Bertolone, Trini Götze) — In summer 2014, sunflower fields and coal mines in eastern Ukraine turned into a 12 square kilometer crime scene. A multi-layered investigation into the downing of flight MH17, in which a butterfly-shaped shrapnel was found in the pilot’s body, implicated the state responsible for a war crime that remains unpunished. World Premiere. Available online.

Is There Anybody Out There? U.K. (Director: Ella Glendining, Producer: Janine Marmot) — While navigating daily discrimination, a filmmaker who inhabits and loves her unusual body searches the world for another person like her, and explores what it takes to love oneself fiercely despite the pervasiveness of ableism. World Premiere. Available online.

The Longest Goodbye Israel, Canada (Director and Producer: Ido Mizrahy, Producers: Nir Sa’ar, Paul Cadieux) — Social isolation affects millions of people, even Mars-bound astronauts. A savvy NASA psychologist is tasked with protecting these daring explorers. World Premiere. Available online. DAY ONE

Milisuthando South Africa (Director and Screenwriter: Milisuthando Bongela, Producer: Marion Isaacs) — Set in past, present, and future South Africa — an invitation into a poetic, memory-driven exploration of love, intimacy, race, and belonging by the filmmaker, who grew up during apartheid but didn’t know it was happening until it was over. World Premiere. Available online.

Pianoforte Poland (Director: Jakub Piątek, Producer: Maciej Kubicki) — Young pianists take part in the legendary International Chopin Piano Competition. A unique chance of a lifetime, portrayed from backstage and set to Chopin’s music. World Premiere. Available online.

Smoke Sauna Sisterhood Estonia, France, Iceland (Director: Anna Hints, Producer: Marianne Ostrat) — In the darkness of a smoke sauna, women share their innermost secrets and intimate experiences, washing off the shame trapped in their bodies and regaining their strength through a sense of communion. World Premiere. Available online.

Twice Colonized Greenland, Denmark, Canada (Director: Lin Alluna, Producers: Emile Hertling Péronard, Alethea Arnaquq-Baril, Stacey Aglok MacDonald, Bob Moore) — Renowned Inuit lawyer Aaju Peter has long fought for the rights of her people. When her son suddenly dies, Aaju embarks on a journey to reclaim her language and culture after a lifetime of whitewashing and forced assimilation. But can she both change the world and mend her own wounds? World Premiere. Available online.

NEXT

Visionary works distinguished by an innovative, forward-thinking approach to storytelling populate this program. Films that have premiered in this category in recent years include A Love SongRIOTSVILLE, USAThe InfiltratorsSearchingSkate KitchenA Ghost Story, and Tangerine. NEXT is presented by Adobe.

“Bravo, Burkina!” (Photo by Jake Saner)

Bravo, Burkina! / U.S.A. (Director, Screenwriter, and Producer: Walé Oyéjidé, Producers: Giulia Alagna, Heather Barnes) — A Burkinabé boy flees his village and migrates to Italy. When disillusioned by heartbreak and haunted by memories of home, he travels through time in hope of regaining all he has lost. Cast: Alain Tiendrebeogo, Mousty Mbaye, Noel Minougou, Aissata Deme, Afissatou Coulibaly. World Premiere. Fiction. Available online.

Divinity / U.S.A. (Director, Screenwriter, and Producer: Eddie Alcazar, Producer: Steven Soderbergh) — Two mysterious brothers abduct a mogul during his quest for immortality. Meanwhile, a seductive woman helps them launch a journey of self-discovery. Cast: Stephen Dorff, Moises Arias, Jason Genao, Karrueche Tran, Bella Thorne, Scott Bakula. World Premiere. Fiction. Available online.

Fremont / U.S.A. (Director and Screenwriter: Babak Jalali, Screenwriter: Carolina Cavalli, Producers: Marjaneh Moghimi, Sudnya Shroff, Rachael Fung, George Rush, Chris Martin, Laura Wagner) — Donya works for a Chinese fortune cookie factory in San Francisco. Formerly a translator for the U.S. military in Afghanistan, she struggles to put her life back in order. In a moment of sudden revelation, she decides to send out a special message in a cookie. Cast: Anaita Wali Zada, Jeremy Allen White, Gregg Turkington. World Premiere. Fiction. Available online.

Kim’s Video / U.S.A. (Directors, Screenwriters, and Producers: David Redmon, Ashley Sabin, Producers: Deborah Smith, Dale Smith, Francesco Galavotti, Rebecca Tabasky) — Playing with the forms and tropes of various cinema genres, the filmmaker sets off on a quest to find a legendary lost video collection of 55,000 movies in Sicily. World Premiere. Documentary. Available online. DAY ONE

King Coal / U.S.A. (Director and Producer: Elaine McMillion Sheldon, Producers: Shane Boris, Diane Becker, Peggy Drexler) — The cultural roots of coal continue to permeate the rituals of daily life in Appalachia even as its economic power wanes. The journey of a coal miner’s daughter exploring the region’s dreams and myths, untangling the pain and beauty, as her community sits on the brink of massive change. World Premiere. Documentary. Available online.

KOKOMO CITY / U.S.A. (Director and Producer: D. Smith, Producers: Harris Doran, Bill Butler) — Four Black transgender sex workers explore the dichotomy between the Black community and themselves, while confronting issues long avoided. World Premiere. Documentary. Available online.

To Live and Die and Live / U.S.A. (Director, Screenwriter, and Producer: Qasim Basir, Producers: Nina Yang Bongiovi, Forest Whitaker, Amin Joseph, Dana Offenbach, Samantha Basir) — Muhammad returns home to Detroit to bury his stepfather and is thrust into settling his accounts, but Muhammad’s struggles with depression and addiction may finish him before he finishes the task. Cast: Amin Joseph, Skye P. Marshall, Omari Hardwick, Cory Hardrict, Dana Gourrier, Maryam Basir. World Premiere. Fiction. Available online.

The Tuba Thieves / U.S.A. (Director, Screenwriter, and Producer: Alison O’Daniel, Producer: Rachel Nederveld, Wendy Ettinger, Maida Lynn, Su Kim, Maya E. Rudolph) — From 2011 to 2013, tubas were stolen from Los Angeles high schools. This is not a story about thieves or missing tubas. Instead, it asks what it means to listen. World Premiere. Documentary. Available online.

Young. Wild. Free. / U.S.A (Director: Thembi L. Banks, Screenwriters: Juel Taylor, Tony Rettenmaier, Producers: Charles D. King, James Lopez, Poppy Hanks, Tommy Oliver, Baron Davis, Tracy “Twinkie” Byrd) — High school senior Brandon is drowning in responsibilities when his world is turned upside down after being robbed at gunpoint by the girl of his dreams. Cast: Algee Smith, Sanaa Lathan, Sierra Capri, Mike Epps. World Premiere. Fiction. Available online.

MIDNIGHT

From horror and comedy to works that defy genre classification, these films will keep you wide awake, even at the most arduous hour. Films that have premiered in this category in recent years include FRESHHereditary, Mandy, RelicAssassination Nation, and The Babadook.

“birth/rebirth” (Photo by Chananun Chotrungroj).

birth/rebirth / U.S.A. (Director and Screenwriter: Laura Moss, Screenwriter: Brendan J. O’Brien, Producers: Mali Elfman, David Grove Churchill Viste) — A single mother and a childless morgue technician are bound together by their relationship to a little girl they have reanimated from the dead. Cast: Marin Ireland, Judy Reyes, A.J. Lister, Breeda Wool. World Premiere. Fiction. DAY ONE

In My Mother’s Skin / Philippines (Director and Screenwriter: Kenneth Dagatan, Producers: Bradley Liew, Bianca Balbuena, Huang Junxiang, Stefano Centini) — Stranded in the Philippines during World War II, a young girl finds that her duty to protect her dying mother is complicated by her misplaced trust in a beguiling, flesh-eating fairy. Cast: Beauty Gonzalez, Felicity Kyle Napuli, Jasmine Curtis-Smith, James Mavie Estrella, Angeli Bayani. World Premiere. Fiction. 

Infinity Pool / Canada (Director and Screenwriter: Brandon Cronenberg, Producers: Karen Harnisch, Andrew Cividino, Christian Piovesan, Noah Segal, Rob Cotterill, Anita Juka) — James and Em are enjoying an all-inclusive beach vacation when a fatal accident exposes the resort’s perverse subculture of hedonistic tourism, reckless violence, and surreal horrors. Cast: Alexander Skarsgård, Mia Goth, Cleopatra Coleman. World Premiere. Fiction.

My Animal / Canada (Director: Jacqueline Castel, Screenwriter: Jae Matthews, Producers: Andrew Bronfman, Michael Solomon) — Heather, an outcast teenage goalie in a small northern town, falls for newcomer Jonny, an alluring but tormented figure skater. As their relationship deepens, Heather’s growing desires clash with her darkest secret, forcing her to control the animal within. Cast: Bobbi Salvör Menuez, Amandla Stenberg, Stephen McHattie, Heidi von Palleske, Cory Lipman, Joe Apollonio. World Premiere. Fiction.

Onyx the Fortuitous and the Talisman of Souls / U.S.A. (Director, Screenwriter, and Producer: Andrew Bowser, Producers: Clark Baker, Michael Mobley, Olivia Taylor Dudley) — Onyx joins a group of fellow occultists to attend a dark ritual at the mansion of their idol, Bartok. Suspecting Bartok’s nefarious intentions, Onyx is suddenly immersed in a world of monsters, mystery, and mayhem. Cast: Andrew Bowser, Olivia Taylor Dudley, Jeffrey Combs, Ralph Ineson, Rivkah Reyes, T.C. Carson. World Premiere. Fiction. Available online.

Polite Society / U.K. (Director and Screenwriter: Nida Manzoor, Producers: Tim Bevan, Eric Fellner, Olivier Kaempfer, John Pocock) — Aspiring martial artist Ria Khan believes she must save her older sister, Lena, from her impending marriage. With the help of her friends, Ria attempts to pull off the most ambitious of all wedding heists in the name of independence and sisterhood. Cast: Priya Kansara, Ritu Arya, Nimra Bucha, Akshay Khanna, Seraphina Beh, Ella Bruccoleri. World Premiere. Fiction.

Run Rabbit Run / Australia (Director: Daina Reid, Screenwriter: Hannah Kent, Producers: Sarah Shaw, Anna McLeish) — As a fertility doctor, Sarah has a firm understanding of the cycle of life. However, when she is forced to make sense of the increasingly strange behavior of her young daughter, Sarah must challenge her own beliefs and confront a ghost from her past. Cast: Sarah Snook, Lily LaTorre, Damon Herriman, Greta Scacchi. World Premiere. Fiction. Available online. DAY ONE

Talk to Me Australia (Director and Screenwriter: Danny Philippou, Director: Michael Philippou, Screenwriter: Bill Hinzman, Producers: Samantha Jennings, Kristina Ceyton) — When a group of friends discover how to conjure spirits using an ancient embalmed hand, they become hooked on the new thrill. Until one of them goes too far and opens the door to the spirit world. Cast: Sophie Wilde, Miranda Otto, Alexandra Jensen, Joe Bird, Zoe Terakes, Otis Dhanji. International Premiere. Fiction.

PREMIERES

A showcase of world premieres of some of the most highly anticipated fiction and documentary films of the coming year. Fiction films that have screened in Premieres include Good Luck to You, Leo Grande, Promising Young Woman, Kajillionaire,The Report, Late Night, and The Big Sick. Past documentary films include The Dissident, Lucy and DesiOn the Record, and Miss Americana.

Gael García Bernal in “Cassandro” (Photo courtesy of Sundance Institute)

Cassandro / U.S.A (Director and Screenwriter: Roger Ross Williams, Screenwriters: David Teague, Julián Herbert, Producers: Gerardo Gatica, Todd Black, David Bloomfield, Ted Hope, Julie Goldman) —  Saúl Armendáriz, a gay amateur wrestler from El Paso, rises to international stardom after he creates the character Cassandro, the “Liberace of Lucha Libre.” In the process, he upends not just the macho wrestling world, but also his own life. Cast: Gael García Bernal, Roberta Colindrez, Perla De La Rosa, Joaquín Cosío, Raúl Castillo. World Premiere. Fiction.

Cat Person / France, U.S.A (Director: Susanna Fogel, Screenwriter: Michelle Ashford, Producers: Helen Estabrook, Jeremy Steckler) — College student Margot meets 33-year-old Robert at the movie theater where she works. After a casual flirtation at the concession stand, they carry on conversations through texts. As their perceptions of each other collide, events spiral out of control. Based on The New Yorker short story by Kristen Roupenian. Cast: Emilia Jones, Nicholas Braun, Geraldine Viswanathan, Hope Davis, Fred Melamed, Isabella Rossellini. World Premiere. Fiction. Available online.

Deep Rising / U.S.A (Director and Producer: Matthieu Rytz) — The fate of the planet’s last untouched wilderness, the deep ocean, is under threat as a secretive organization is about to allow massive extraction of seabed metals to address the world’s energy crisis. Narrated by Jason Momoa. World Premiere. Documentary.

The Deepest Breath / U.K, Ireland (Director and Screenwriter: Laura McGann, Producers: John Battsek, Sarah Thomson, Jamie D’Alton, Anne McLoughlin) — A champion freediver and expert safety diver seemed destined for one another despite the different paths they took to meet at the pinnacle of the freediving world. A look at the thrilling rewards — and inescapable risks — of chasing dreams through the depths of the ocean. World Premiere. Documentary.

Drift / France, U.K, Greece (Director and Producer: Anthony Chen, Screenwriters: Susanne Farrell, Alexander Maksik, Producers: Peter Spears, Emilie Georges, Naima Abed, Cynthia Erivo, Solome Williams) — Jacqueline, a young refugee, lands alone and penniless on a Greek island where she tries to survive, then to cope with her past. While gathering her strength, she begins a friendship with a rootless tour guide and together they find the resilience to forge ahead. Cast: Cynthia Erivo, Alia Shawkat, Ibrahima Ba, Honor Swinton Byrne, Zainab Jah, Suzy Bemba. World Premiere. Fiction.

Eileen / U.S.A (Director and Producer: William Oldroyd, Screenwriters and Producers: Luke Goebel,  Ottessa Moshfegh, Producers: Anthony Bregman, Stefanie Azpiazu, Peter Cron) — Set during a bitter 1964 Massachusetts winter, young secretary Eileen becomes enchanted by the glamorous new counselor at the prison where she works. Their budding friendship takes a twisted turn when Rebecca reveals a dark secret — throwing Eileen onto a sinister path. Based on Ottessa Moshfegh’s award-winning novel. Cast: Thomasin McKenzie, Anne Hathaway, Shea Whigham, Marin Ireland, Owen Teague. World Premiere. Fiction.

Fairyland / U.S.A (Director, Screenwriter, and Producer: Andrew Durham, Producers: Sofia Coppola, Megan Carlson, Siena Oberman, Greg Lauritano, Laure Sudreau) — Set against the backdrop of San Francisco’s vibrant cultural scene in the 1970s and ’80s, chronicling a father-daughter relationship as it evolves from an era of bohemian decadence to the heartbreaking AIDS crisis. Based on the best-selling memoir Fairyland: A Memoir of My Father by Alysia Abbott. Cast: Scoot McNairy, Emilia Jones, Geena Davis, Cody Fern, Adam Lambert, Maria BakalovaWorld Premiere. Fiction.

Food and Country / U.S.A (Director and Producer: Laura Gabbert, Producers: Ruth Reichl, Paula P. Manzanedo, Caroline Libresco) — America’s policy of producing cheap food at all costs has long hobbled small independent farmers, ranchers, and chefs. Worried for their survival, trailblazing food writer Ruth Reichl reaches out across political and social divides to uncover the country’s broken food system and the innovators risking it all to transform it. World Premiere. DocumentaryAvailable online.

Invisible Beauty / U.S.A (Directors: Bethann Hardison, Frédéric Tcheng, Producer: Lisa Cortés) — Fashion revolutionary Bethann Hardison looks back on her journey as a pioneering Black model, modeling agent, and activist, shining a light on an untold chapter in the fight for racial diversity. World Premiere. Documentary.

It’s Only Life After All / U.S.A (Director and Producer: Alexandria Bombach, Producers: Kathlyn Horan, Jess Devaney, Anya Rous) — Blending 40 years of home movies, film archives, and intimate present-day vérité, a poignant reflection from Amy Ray and Emily Saliers of iconic folk rock duo Indigo Girls. A timely look into the obstacles, activism, and life lessons of two queer friends who never expected to make it big. World Premiere. Documentary. DAY ONE

Jamojaya / U.S.A (Director, Screenwriter, and Producer: Justin Chon, Screenwriter: Maegan Houang, Producers: Alan Pao, David Matheny, Joseph Dang, Alex Chi, Yama Cibulka, Shaun Sanghani) — A father-son relationship is put to the test when an up-and-coming rapper at the crossroads of his career decides to let go of his manager, who is also his father. This decision forces them to confront the past and figure out what they want of each other. Cast: Brian Imanuel, Yayu A.W. Unru, Kate Lyn Sheil, Henry Ian Cusick, Anthony Kiedis. World Premiere. Fiction. Available online.

Judy Blume Forever / U.S.A (Directors and Producers: Davina Pardo, Leah Wolchok, Producers: Sara Bernstein, Justin Wilkes, Marcella Steingart) — The radical honesty of the books by young adult fiction pioneer Judy Blume changed the way millions of readers understood themselves, their sexuality, and what it meant to grow up, but also led to critical battles against book banning and censorship. World Premiere. Documentary.

Landscape With Invisible Hand / U.S.A (Director and Screenwriter: Cory Finley, Producers: Dede Gardner, Jeremy Kleiner) — When Earth is taken over by aliens who control the economy, a pair of teenagers come up with a plan to save their family. Cast: Tiffany Haddish, Asante Blackk, Kylie Rogers, Josh Hamilton, Michael Gandolfini, William Jackson Harper. World Premiere. Fiction.

A Little Prayer / U.S.A (Director, Screenwriter, and Producer: Angus MacLachlan, Producers: Lauren Vilchik, Max A. Butler) — In the South, a man tests the limits of patriarchal interference to protect his daughter-in-law when he discovers that his son is having an affair. Cast: David Strathairn, Jane Levy, Celia Weston, Will Pullen, Anna Camp, Dascha Polanco. World Premiere. Fiction. Available online.

Murder in Big Horn / U.S.A (Director and Producer: Razelle Benally, Director: Matthew Galkin, Producers: Ivan Macdonald, Ivy Macdonald) — The deaths of a group of Native American women in rural Montana are the focus as Native families, journalists, and local law enforcement reveal a violent crisis set in motion almost 200 years ago. World Premiere. Documentary. Available online.

Passages / France (Director and Screenwriter: Ira Sachs, Screenwriter: Mauricio Zacharias, Producers: Saïd Ben Saïd, Michel Merkt) — An intimate examination of attraction and emotional abuse between men and women. Cast: Franz Rogowski, Ben Whishaw, Adèle Exarchopoulos. World Premiere. Fiction.

PLAN C / U.S.A (Director and Producer: Tracy Droz Tragos) — A hidden grassroots organization doggedly fights to expand access to abortion pills across the United States keeping hope alive during a global pandemic and the fall of Roe v. Wade. World Premiere. Documentary.

The Pod Generation / Belgium, France, U.K (Director and Screenwriter: Sophie Barthes, Producers: Geneviève Lemal, Yann Zenou, Nadia Kamlichi, Martin Metz) — In a not-so-distant future, amid a society madly in love with technology, tech giant Pegazus offers couples the opportunity to share their pregnancies via detachable artificial wombs or pods. And so begins Rachel and Alvy’s wild ride to parenthood in this brave new world. Cast: Emilia Clarke, Chiwetel Ejiofor, Rosalie Craig, Vinette Robinson, Jean-Marc Barr. World Premiere. Fiction. DAY ONE

Pretty Baby: Brooke Shields / U.S.A (Director: Lana Wilson, Producers: Christine O’Malley, Jack Turner) — A galvanizing look at actor, model, and icon Brooke Shields as she transforms from sexualized young girl to a woman discovering her power. Holding a mirror up to a society that objectifies women and girls, her story shows the perils and triumphs of gaining agency in a hostile world. World Premiere. Documentary.

Radical / U.S.A (Director and Screenwriter: Christopher Zalla, Producers: Ben Odell, Eugenio Derbez, Joshua Davis) — In a Mexican border town plagued by neglect, corruption, and violence, a frustrated teacher tries a radical new method to break through his students’ apathy and unlock their curiosity, their potential… and maybe even their genius. Based on a true story. Cast: Eugenio Derbez, Daniel Haddad, Jenifer Trejo, Mia Fernanda Solis, Danilo Guardiola. World Premiere. Fiction. DAY ONE

Rotting in the Sun / U.S.A (Director and Screenwriter: Sebastian Silva, Screenwriter: Pedro Peirano, Producer: Jacob Wasserman) — After filmmaker Sebastian Silva goes missing in Mexico City, social media celebrity Jordan Firstman begins searching for him, suspecting that the cleaning lady in Sebastian’s building may have something to do with his disappearance. Cast: Jordan Firstman, Catalina Saavedra, Sebastian Silva. World Premiere. Fiction.

Rye Lane / U.K (Director: Raine Allen-Miller, Screenwriters: Nathan Bryon, Tom Melia, Producers: Yvonne Isimeme Ibazebo, Damian Jones) — Two twenty-somethings reeling from bad breakups deal with their nightmare exes and connect over the course of an eventful day in South London. Cast: David Jonsson, Vivian Oparah. World Premiere. Fiction.

Still: A Michael J. Fox Movie / U.S.A (Director and Producer: Davis Guggenheim, Producers: Jonathan King, Annetta Marion, Will Cohen) — The improbable tale of a short kid from a Canadian army base who became the darling of 1980s Hollywood — only to find the course of his life altered by a stunning diagnosis. What happens when an incurable optimist confronts an incurable disease? World Premiere. Documentary.

You Hurt My Feelings / U.S.A (Director and Screenwriter: Nicole Holofcener, Producers: Stefanie Azpiazu, Anthony Bregman) — A novelist’s longstanding marriage is suddenly upended when she overhears her husband giving his honest reaction to her latest book. Cast: Julia Louis-Dreyfus, Tobias Menzies, Michaela Watkins, Owen Teague, Arian Moayed. World Premiere. Fiction.

NEW FRONTIER FILMS

New Frontier champions artists who engage in experimental storytelling at the crossroads of film, art, performance, and media technology, showcasing cutting-edge work that explores and evolves cinema culture in today’s rapidly changing landscape. New Frontier is presently in a process of reimagination. This year, we return to our roots to offer a lineup of resonant experimental films.

Sister Ofelia Morales Francisco in “A Common Sequence” by (Photo courtesy of Sundance Institute)

A Common Sequence / U.S.A (Directors and Producers: Mary Helena Clark and Mike Gibisser, Producer: Graciela Guerrero-Reyes) — An interconnected look at tradition, colonialism, property, faith, and science, as seen through labor practices that link an endangered salamander, mass-produced apples, and the evolving fields of genomics and machine learning. World Premiere. DocumentaryAvailable online.

Gush / U.S.A (Director, Screenwriter, and Producer: Fox Maxy) — An embodied rumination of both male and female power, healing and haunting, all within an apocalyptic world. A transformation that courses through unknown terror to untamed collective joy. Cast: Michel Sayegh, Ruth Fish, Sergio Mejia, Littlebear Sanchez, No’aash Iswut Peltier, Suavitel Paper. World PremiereFictionAvailable online.

Last Things / U.S.A, Portugal, France (Director, Screenwriter, and Producer: Deborah Stratman, Producers: Anže Peržin, Gaëlle Boucand) — Evolution and extinction from the point of view of rocks. A humid take on minerals, where sci-fi meets sci-fact. The geo-biosphere is a place of evolutionary possibility, where humans disappear but life endures. World Premiere. DocumentaryAvailable online.

SPOTLIGHT

A tribute to the cinema we love from throughout the past year. Films that have played in this category in recent years include The Worst Person in the WorldThe Biggest Little Farm, Birds of Passage, The Rider, Ida, and The Lobster.

“The Eight Mountains” (Photo courtesy of Sundance Institute)

The Eight Mountains Italy and Belgium (Directors and Screenwriters: Felix van Groeningen, Charlotte Vandermeersch, Producers: Mario Gianani, Lorenzo Gangarossa) — Pietro spends his childhood summers in the same secluded Italian mountain village where Bruno was raised, in which they form a decades-long friendship. Over the years, their paths diverge as Bruno remains faithful to the mountain while Pietro comes and goes from the city. Cast: Luca Marinelli, Alessandro Borghi, Filippo Timi, Elena Lietti. Fiction. Available online.

L’Immensità Italy (Director and Screenwriter: Emanuele Crialese, Screenwriter: Francesca Manieri, Vittorio Moroni, Producer: Lorenzo Gangarossa, Mario Gianani — Clara has relocated to Rome with Felice and their three children. From their new apartment, Clara sees a city in transition: an old society washed away by an emerging middle class. The paint is fresh, the appliances are new, but expectations around family, desire, and gender remain traditional as ever. Cast: Penélope Cruz, Vincenzo Amato, Luana Giuliani, Patrizio Francioni, Maria Chiara Gorett, Penelope Nieto Conti. North American Premiere. Fiction. Available online. DAY ONE

Joyland / Pakistan (Director and Screenwriter: Saim Sadiq, Producers: Apoorva Guru Charan, Sarmad Sultan Khoosat, Sabiha Sumar, Lauren Mann) — As the Ranas, a happily patriarchal joint family, yearn for the birth of a baby boy to continue the family line, their youngest son secretly joins an erotic dance theater and falls for an ambitious trans starlet. Their impossible love story illuminates the entire family’s desire for a sexual rebellion. Cast: Ali Junejo, Rasti Farooq, Alina Khan, Sarwat Gilani, Sania Saeed, Salmaan Peerzada. Fiction. Available online.

Other People’s Children / France (Director and Screenwriter: Rebecca Zlotowski, Producers: Frederic Jouve, Marie Lecoq — Rachel is 40 years old with no children. She loves her life: her high school students, her friends, her guitar lessons. When she falls in love with Ali, she becomes attached to Leila, his 4-year-old daughter. She loves her like her own, but to love other people’s children is risky. Cast: Virginie Efira, Roschdy Zem, Chiara Mastroianni, Callie Ferreira-Goncalves, Yamée Couture, Michel Zlotowski. U.S. Premiere. Fiction. Available online.

Squaring the Circle (The Story of Hipgnosis) / U.K. (Director: Anton Corbijn, Screenwriter, and Producer: Trish D Chetty, Producers: Ged Doherty, Colin Firth) — An inside look at the studio responsible for some of the most iconic and recognizable album covers of all time. From Pink Floyd’s The Dark Side of the Moon to Led Zeppelin’s Houses of the Holy, the studio ruled the ’70s. Documentary. Available online.

KIDS

This section of the Festival is especially for our youngest independent film fans. Films that have played in this category in recent years include The Elephant Queen, Science Fair, My Life as a Zucchini, The Eagle Huntress,and Shaun the Sheep.

Thomas Cummins and Will Forte in “Aliens Abducted My Parents and Now I Feel Kinda Left Out” (Photo by Steve Olpin)

Aliens Abducted My Parents and Now I Feel Kinda Left Out / U.S.A. (Director and Producer: Jake Van Wagoner, Screenwriter and Producer: Austin Everett, Producers: Micah Merrill, Maclain Nelson, Jeremy Prusso) — Itsy is new in town and her life seems over until she meets her space-obsessed neighbor Calvin, who believes his parents were abducted by aliens. An aspiring journalist, Itsy decides to write an exposé on Calvin but ends up discovering much more. Cast: Emma Tremblay, Jacob Buster, Will Forte, Elizabeth Mitchell, Kenneth Cummins, Matt Biedel. World Premiere. Fiction. Available online.

The Amazing Maurice / Germany, U.K. (Director: Toby Genkel, Screenwriter: Terry Rossio, Producers: Emely Christians, Andrew Baker, Robert Chandler) — A streetwise cat and his gang of rats who come up with a perfect money-making scheme. Based on the novel The Amazing Maurice and His Educated Rodents by Sir Terry Pratchett. Cast: Hugh Laurie, Emilia Clarke, Himesh Patel, Gemma ArtertonNorth American Premiere. Fiction. Available online.

Blueback Australia (Director, Screenwriter, and Producer: Robert Connolly, Producers: Liz Kearney, James Grandison) — An intimate mother-daughter relationship is forged by the women’s keen desire to protect the inhabitants of the pristine blue oceans on the Australian coast where they live. Adapted from Tim Winton’s bestselling and critically acclaimed novella. Cast: Mia Wasikowska, Eric Bana, Radha Mitchell, Ilsa Fogg, Liz Alexander, Ariel Donoghue. U.S. Premiere. Fiction. SALT LAKE CITY OPENING NIGHT GALA FILM

The Sundance Film Festival®

The Sundance Film Festival, a program of the nonprofit, Sundance Institute, is the pre-eminent gathering of original storytellers and audiences seeking new voices and fresh perspectives. Since 1985, hundreds of films launched at the Festival have gone on to gain critical acclaim and reach new audiences worldwide. The Festival has introduced some of the most groundbreaking films and episodic works of the past three decades, including Fire of Love, Cha Cha Real SmoothFlee, CODA, Passing, Summer Of Soul (…or, When the Revolution Could Not Be Televised), Clemency, Never Rarely Sometimes Always, Zola, O.J.: Made in America, On The Record, Boys State, The Farewell, Honeyland, One Child Nation, The Souvenir, The Infiltrators, Sorry to Bother You, Top of the Lake, Won’t You Be My Neighbor?, Hereditary, Call Me By Your Name, Get Out, The Big Sick, Mudbound, Fruitvale Station, Whiplash, Brooklyn, Precious, The Cove, Little Miss Sunshine, An Inconvenient Truth, Napoleon Dynamite, Hedwig and the Angry Inch, Reservoir Dogs and sex, lies, and videotape. The program consists of fiction and nonfiction features and short films, series and episodic content, emerging media, and performances, as well as conversations, and other events. The Festival takes place both in person in the state of Utah and online, connecting audiences across the U.S. to bold new artists and films. The 2023 Festival takes place January 19–29. Be a part of the Festival at Sundance Film Festival and follow the Festival at FacebookInstagramTwitter, and YouTube.

The Festival is a program of the nonprofit Sundance Institute. To date, 2023 Festival sponsors include: Presenting Sponsors – Acura, AMC+, Chase Sapphire®, Adobe; Leadership Sponsors – Audible, DIRECTV, Netflix, Omnicom Group, Shutterstock, Stacy’s Pita Chips, United Airlines, XRM Media; Sustaining Sponsors – Canada Goose, Canon U.S.A., Inc., DoorDash, Dropbox, World of Hyatt®, IMDb, Lyft, MACRO, Rabbit Hole Bourbon & Rye, Stanley, University of Utah Health, White Claw Hard Seltzer; Media Sponsors – IndieWire, Los Angeles Times, NPR, Variety, Vulture, The Wall Street Journal. Sundance Institute recognizes critical support from the State of Utah as Festival Host State. The support of these organizations helps offset the Festival’s costs and sustain the Institute’s year-round programs for independent artists. festival.sundance.org

Sundance Institute

As a champion and curator of independent stories, the nonprofit Sundance Institute provides and preserves the space for artists across storytelling media to create and thrive. Founded in 1981 by Robert Redford, the Institute’s signature Labs, granting, and mentorship programs, dedicated to developing new work, take place throughout the year in the U.S. and internationally. Sundance Collab, a digital community platform, brings a global cohort of working artists together to learn from each other and Sundance Advisors and connect in a creative space, developing and sharing works in progress. The Sundance Film Festival and other public programs connect audiences and artists to ignite new ideas, discover original voices, and build a community dedicated to independent storytelling. Sundance Institute has supported and showcased such projects as Summer of Soul (…or, When the Revolution Could Not Be Televised), CODA, Flee, Passing, Clemency, Never Rarely Sometimes AlwaysZola, On The Record, Boys State, The Farewell, HoneylandOne Child NationThe Souvenir, The Infiltrators, Sorry to Bother You, Won’t You Be My Neighbor?, Hereditary, Call Me By Your Name, Get Out, The Big Sick, Mudbound, Fruitvale StationCity So Real, Top of the Lake, Between the World & Me, Wild Goose Dreams and Fun Home. Join Sundance Institute on FacebookInstagramTwitter, and YouTube.

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EDITOR NOTE: DIRECTOR DEMOGRAPHICS

The data we are sharing reflects information provided directly by the artists. Some artists chose not to self-identify in all data areas.

U.S. COMPETITION:

Dramatic: 61% or 8 of the 13 directors in this year’s U.S. Dramatic Competition identify as women; 61% or 8 of the 13 identify as people of color; 23% or 3 of the 13 identify as LGBTQ+.

Documentary: 63% or 10 of the 16 directors in this year’s U.S. Documentary Competition identify as women; 63% or 10 of the 16 identify as people of color; 13% or 2 of the 16 identify as LGBTQ+; 6% or 1 of the 16 identify as a person with a disability.

WORLD COMPETITION:

Dramatic: 58% or 7 of the 12 directors in the World Dramatic Competition identify as women; 50% or 6 of the 12 identify as people of color; 25% or 3 out of 12 directors identify as LGBTQ+.

Documentary: 46% or 6 of the 13 directors in the World Documentary Competition identify as women; 38% or 5 of the 13 as people of color; 23% or 3 of the 13 identify as LGBTQ+; 8% or 1 of the 13 identify as a person with a disability.

FEATURE FILM SUBMISSIONS: Of the 4,061 feature film submissions, 1,662 were from the U.S. and 2,399 were international; 1,105 (27%) were directed by one or more filmmakers who identify as women; 91 (2%) were directed by one or more filmmakers who identify as nonbinary individuals; 1,676 (41%) were directed by one or more filmmakers who identify as people of color; 547 (13%) were directed by one or more filmmakers who identify as LGBTQ+.

ALL FEATURES: Of the 101 feature films announced so far, 54 (53%) were directed by one or more filmmakers who identify as women; 5 (5%) were directed by one or more filmmakers who identify as nonbinary individuals; 46 (45%) were directed by one or more filmmakers who identify as people of color; 20 (20%) by one or more filmmakers who identify as LGBTQ+; 3 (3%) by one or more filmmakers who identifies as a person with a disability.

Review: ‘Brainwashed: Sex-Camera-Power,’ starring Nina Menkes

October 22, 2022

by Carla Hay

Nina Menkes in “Brainwashed: Sex-Camera-Power” (Photo by Hugo Wong/Kino Lorber)

“Brainwashed: Sex-Camera-Power”

Directed by Nina Menkes

Culture Representation: In the documentary film “Brainwashed: Sex-Camera-Power,” American filmmaker Nina Menkes and a group of filmmakers and film/culture experts (predominantly white, with some African American, Asians and Latinas) discuss how the male-dominated film industry affects the way that women are depicted on-screen in movies.

Culture Clash: The documentary shows examples of how the “male gaze” of male directors and other male filmmakers often portray women as sex objects instead of fully formed human beings.

Culture Audience: “Brainwashed: Sex-Camera-Power” will appeal primarily to people who are interested in filmmaking and seeing how misogyny and sexism against women are ingrained in many movies.

Nina Menkes looks at a photo still of “The Lady From Shanghai” star Rita Hayworth in “Brainwashed: Sex-Camera-Power” (Photo courtesy of Kino Lorber)

“Brainwashed: Sex-Camera-Power” will undoubtedly make some viewers uncomfortable in how it clearly demonstrates why misogyny and the objectification of women in movies are so pervasive. This documentary should be required viewing for anyone who cares about how manipulated images in movies can play a role in enabling sexism against women in society. Although some people might be in denial about it, the fact is that movies have a great deal of influence in how people behave, how they want to be perceived, and how they treat other people in real life.

Directed by Nina Menkes, a filmmaker who often makes speaking appearances about sexism in cinema, “Brainwashed: Sex-Camera-Power” has interviews with several film experts, but the movie is also partially formatted like a university lecture, which might be somewhat of a turnoff to some viewers of this documentary. The movie’s lecture scenes (from Menkes’ presentation “Sex and Power, the Visual Language of Cinema”) were filmed at Walt Disney Modular Theater at the California Institute of the Arts. Menkes speaks on stage and shows several movie clips on a video projection screen as examples of how the “male gaze” in filmmaking has resulted in sometimes subtle, sometimes obvious ways of how women are exploited and objectified on screen.

And the images of women often are far from empowering: Women on camera in movies are all too often being portrayed as subservient to men or existing mainly to please men. With some exceptions, when men and women co-star in a movie together and get equal billing, the men usually get more dialogue and screen time than the women. And in non-pornographic movies, women are expected to get fully naked on camera a lot more than men are expected to get fully naked. Menkes and the documentary do not put the blame only on male filmmakers for perpetuating this type of sexism in cinema, because it’s pointed out that some female filmmakers are just as guilty of the same sexism against women.

The fact remains though that men are the majority of directors, cinematographers and editors: the three types of filmmaking jobs that have the most influence in how performers look on screen. And that’s why the term “male gaze” came into existence. Early on in “Brainwashed: Sex-Camera-Power,” the phrase “male gaze” is defined for viewers who don’t know what it means in cinematic terms. Film theorist Laura Mulvey, who is interviewed in the documentary, is credited with being the first to coin the term “male gaze” in her 1975 essay “Visual Pleasure and Narrative Cinema.”

The “male gaze” is considered to be a cinematic angle or viewpoint where women are presented as mainly existing to be pleasurable, passive or inferior to men. This is not the same thing as appreciating a woman’s inner or outer beauty. The “male gaze” point of view specifically shows in subtle and obvious ways that the men in the movie have the most control and power, while the women in the movie are never the men’s equals.

Mulvey says in the documentary that when she was in college, she watched a lot of movies. And it dawned on her: “Part of my pleasure in all of this filmgoing was that I was watching these movies [like] a male spectator.” She saw that the women on screen were often presented to be looked at, but not really seen as equal to the men. That feeling of “to be looked at-ness” (a phrase that Mulvey also coined) was also part of Mulvey’s awakening to the practice of female objectification in movies.

California State University at Long Beach faculty member Rhiannon Aarons comments, “Even though Mulvey’s foundational work was written in the ’70s, we still totally normalize the male gaze in cinema. I think the majority of people don’t ever question that form of looking. It’s so normal. It’s like asking if a fish is wet.” Filmmaker/TV producer Joey Soloway (who identifies as non-binary) comments on “male gaze” sexism: “To name it, to show it, is something that I think can change the world.”

Award-winning filmmaker Eliza Hittman (whose directorial credits include 2017’s “Beach Rats” and 2020’s “Never Rarely Sometimes Always”) offers this perspective: “It’s not just optical. It’s perceptual.” She cites actor/director Robert Montgomery’s 1947 film “Lady in the Lake” (which has a main character showing misogynistic distrust of women) as “an extreme example of what subjectivity is. It aligns with my ideas about a male point of view and a male gaze.”

Several clips from movies are used as examples of scenes that objectify females in a sexual way. The movies include 1947’s “The Lady from Shanghai ” (directed by Orson Welles); 1981’s “The Postman Always Rings Twice” (directed by Bob Rafelson); 1989’s “Do the Right Thing” (directed by Spike Lee); 1998’s “Buffalo 66” (directed by Vincent Gallo); 2003’s “Lost in Translation” (directed by Sofia Coppola); 2017’s “Blade Runner 2049” (directed by Denis Villeneuve); 2019’s “Bombshell” (directed by Jay Roach); 2020’s “Cuties” (directed by Maïmouna Doucouré); and 2020’s “365 Days” (directed by Barbara Bialowas and Tomasz Mandes). Although the documentary focuses primarily on how women are objectified in cinema, “Brainwashed: Sex-Camera-Power” includes a brief example of a man being sexually exploited on camera, by showing the scene in 1975’s “Mandingo” (directed by Richard Fleischer) where a white woman forces an enslaved African American man to have sex with her.

UCLA Film & Television Archive director May Hong HaDuong acknowledges: “I think sometimes, with films that are part of the canon, that are part of the ‘best’ films, there is a reticence to even question how they were made and the stories they tell. And I think it’s okay to to still love and see a film, and say it was great, but that it has some issues. And I think without questioning it, we’re doing a disservice to our own humanity.”

“Daughters of the Dust” director Julie Dash says, “As filmmakers, we have to be courageous and willing to be that force, and be willing to speak our minds, and say, ‘Hey, wait a minute. What’s wrong with this picture? What’s the visual rhetoric we’re looking at? It doesn’t feel good. It doesn’t feel correct. Let’s rethink this.'”

In the documentary, Menkes presents a theory that there’s a direct line between visual language of cinema, employment discrimination (against women in the film industry) and sexual abuse/assault. The employment discrimination is obvious when you consider how actresses over the age of 60 are rarely hired to be in movies as sexy, leading characters with an active love life. By contrast, male actors over the age of 60 can be cast as sexy leading characters with an active love life, and they usually have a female love interest in the movie who’s at least 15 to 20 years younger. The gender discrimination is even more prevalent when it comes to who gets cast as the headlining stars of action movies.

Rosanna Arquette, an actress who was 18 when her first movie (the 1977 TV-movie “Having Babies II”) was released, says that now she’s a middle-aged woman, she’s lost out on many jobs for what she thinks is age discrimination: “I got a great movie lately. It would’ve moved the needle. And they decided to go younger [casting a younger actress for the role] … That happens a lot. I have a lot of sadness even talking about it, because I love to work.”

The “male gaze” means that women in front of the camera are held to higher standards, in terms of pressure to look youthful and be of a certain body type, usually slender. Aarons says, “I think this visual language really contributes to female self-hatred and insecurity in a way that is not insignificant. What is normalized as beauty is seen specifically and dominantly through a male gaze.”

It’s hard to argue with this fact: Male actors can be considered “sex symbols” when they have gray hair and wrinkles, while actresses with gray hair and wrinkles are rarely considered “sex symbols.” Catherine Hardwicke (whose directorial credits include 2003’s “Thirteen” and 2008’s “Twilight”) comments, “I don’t worry if a guy has wrinkles because it just makes him look rugged as they get older, but you don’t want to think that for women.”

Who gets to decide what’s sexy? Who gets to influence people into thinking what’s sexy? In many cases, these influencers are the filmmakers who portray these actors and actresses as sex symbols, according to what the (usually male) filmmakers want. That type of influence has far-reaching effects on how people around the world perceive themselves. It’s probably no coincidence that women are the majority of people who get anti-aging plastic surgery.

Menkes sees five ways that the “male gaze” and sexism affect choices during the shot design, which is how a scene is filmed: (1) subject/object; (2) framing; (3) camera movement; (4) lighting; and (5) narrative positions of the characters, which are influenced by the previous four factors. For example, there are too many movies to name where the camera takes an ogling view of a woman: Her body is looked at up and down, sometimes in slow motion, while the men in the same movie don’t get the same camera treatment. Sometimes in these body-ogling scenes, the women’s face is not seen, as if her face doesn’t matter because she’s just an anonymous sex object to be stared at in a leering way.

Similarly, women are more likely than men to have their body parts singled out on camera for close-ups or camera angles that are meant to be sexually arousing. (We all know which body parts they are.) This type of filmmaking has become so common, many viewers don’t question it or don’t even think about it. “Brainwashed: Sex-Camera-Power” shows in no uncertain terms that this type of complacency is part of the sexism problem and why sexism continues to affect women and girls in a negative way.

Menkes and some other people who comment in the documentary come right out and say that “male gaze” sexism also plays a role in rape culture. Dartmouth College faculty member/filmmaker Iyabo Kwayana says, “I think we have to consider that it is through the formal visual language, we are effectively communicating meaning. It has to do with how [camera] shots are composed and framed, how they’re assembled, and ordered in a sequence of shots … If the camera is predatory, then the culture is predatory as well.”

The constant barrage of “male gaze”-directed images in movies that try to dictate what is “sexy” and “not sexy” in a woman can have real-world consequences on women’s self-esteem. As psychoanalyst Dr. Sachiko Taki-Reece says in the documentary about how a typical woman reacts to these movie images that are usually decided by men: “For women, because you are looking at those films, for instance, she would like to shape herself to be the object of the gaze. But she thinks, ‘Some part of me is not matching to that image.’ She feels empty. That’s the problem.”

Dr. Kathleen Tarr, who works with the Geena Davis Institute Task Force and Stanford University, comments on how sexist portrayals of women of movies can have consequences for women’s careers: “Absolutely, objectification of women impacts hiring practices … It becomes this way of dealing with women that is primarily around their sexual value. If they’re attractive to you, it absolutely has to do with how you’re treated on the job.”

An obvious and common question comes up in these types of discussions: “Why don’t more women just become movie directors?” The answer isn’t as simple as more women just need to go to film school, because there are sexist barriers to actually getting hired in the real world. The documentary cites a Los Angeles/San Diego State University study that found that about 50% of film school students in America are women, but women are less than 15% of the directors of the top-grossing movies in any given year.

Director/activist Maria Giese explains: “People are really happy for women to be attending film schools at parity with men, as long as they’re paying money into the system. But when we move into the professional playing field, and we’re asking the industry to pay [equal] money out to women, that’s where the door gets closed. Hollywood has been the worst violator of Title VII of any industry in the United States of America.”

Award-winning director Penelope Spheeris says when she was in school, including when she getting her master’s degree, “It never occurred to me to be a director.” That’s because in many people’s minds, the image of a movie director is that of being one specific demographic. As actress Charlyne Yi put its it: “Gender is a huge factor when you look around [movie] sets. Things haven’t changed that much. It’s mostly white men.”

“Brainwashed: Sex-Camera-Power” (which had its world premiere at the 2022 Sundance Film Festival) certainly presents important visual evidence to bolster the premise of this documentary. However, the movie isn’t without some flaws. Perhaps the biggest flaw is in the last third of the film, which turns into Menkes going into a self-promotion tangent: She shows clips from her own movies as examples of a “female gaze” that empower women or have women on an equal level as men on camera. This part of the documentary just looks like ego posturing, Menkes patting herself on the back, and perhaps exaggerating the impact that her movies have had on the movie industry.

“Brainwashed: Sex-Camera-Power” admirably gives some mention to female director pioneers, such as Alice Guy-Blaché and Dorothy Arzner. However, “Brainwashed: Sex-Camera-Power” should have given more credit to contemporary women filmmakers who are avoiding the “male gaze” sexism trap. The documentary would have been enriched if these female filmmakers gave analyses of certain scenes in their movies where they made choices to present women on camera in an empowering way. Instead, “Brainwashed: Sex-Camera-Power” kind of fizzles when the documentary veers off into what looks like Menkes doing an infomercial/sizzle reel of her own work. That’s not to say that Menkes shouldn’t have given analysis of her own work in this documentary but that she should’ve let more female filmmakers in the documentary have the chance to do the same.

The documentary also misses the mark by not including any perspectives of any male directors, particularly those who’ve used “male gaze” sexism, to get their side of the story of why they made these choices. (No men are interviewed in the documentary at all.) It’s very easy to dole out criticism of people in a documentary when those people don’t get a chance to respond in the documentary. It’s much harder to confront those people and give them a chance to explain their points of view in the documentary.

Other people interviewed in “Brainwashed: Sex-Camera-Power” include “Liberating Hollywood” author Maya Montañez Smukler, Global Media Center for Social Impact founder Sandra de Castro Buffington, cinematographer Nancy Schreiber, intimacy coordinator Ita O’Brien, artist/activist Laura Dale and culture transformation scholar Dr. Raja G. Bhattar. Dale shares a story that she says happened to her when she was an actress, she refused to do a sex scene that wasn’t in the script. She later got an ominous message from a female casting agent, who made this thinly veiled threat in an attempt to coerce Dale to do the sex scene: “We can fix this so won’t destroy your life.”

“Brainwashed: Sex-Camera-Power” comes across as an echo chamber of interviewees who essentially agree with the arguments that Menkes has in her presentation. As valid as many of these issues are, this documentary cannot be considered truly well-balanced if it doesn’t present opposing points of view. It would have made for a higher-quality documentary if it included a healthy exchange of dialogue from people with conflicting opinions.

In “Brainwashed: Sex-Camera-Power,” Menkes makes a statement that could be considered a response to any criticism she gets about these issues. In answer to anyone who thinks she’s just an uptight feminist, Menkes has this to say in the documentary: “If you are a heterosexual male, and you want to photograph some woman’s behind, I am certainly not the sex police. I’m not telling you, ‘Don’t do that.’ I’m just pointing out the fact that a whole lot of majorly acclaimed directors through time have done just that. There isn’t a whole lot of wiggle room for those of us seeing these things and are sick of the results of that kind of attack on our selfhood.”

Kino Lorber released “Brainwashed: Sex-Camera-Power” in select U.S. cinemas on October 21, 2022. The movie is set for release on digital and VOD on December 6, 2022.

Review: ‘Piggy’ (2022), starring Laura Galán, Richard Holmes, Carmen Machi, Irene Ferreiro and Camille Aguilar

October 16, 2022

by Carla Hay

Laura Galán in “Piggy” (Photo by Jorge Fuembuena/Magnet Releasing)

“Piggy” (2022)

Directed by Carlota Pereda

Spanish with subtitles

Culture Representation: Taking place in Villanueva de la Vera, Spain, the horror film “Piggy” features an all-Spanish cast of characters (white and Latin) representing the working-class and middle-class.

Culture Clash: A 16-year-old girl, who is bullied by other young people for being overweight, finds an unlikely ally in a mysterious serial killer.

Culture Audience: “Piggy” will appeal mainly to people who are interested in watching oddball horror movies about oddball characters.

Richard Holmes and Laura Galán in “Piggy” (Photo by Jorge Fuembuena/Magnet Releasing)

Some of the most disturbing scenes in the horror film “Piggy” aren’t where people are being killed in bloody murders but are the scenes where the main character is emotionally damaged by the cruel bullying inflicted on her. For some viewers of “Piggy,” these harassment scenes might be more uncomfortable to watch than the blood and gore, because the psychological and physical abuse of bullying is more likely to happen to people in real life. The movie’s ending could have been better, but “Piggy” is still an intriguing and well-acted horror movie that provocatively explores issues of bullying, self-esteem and revenge.

Written and directed by Carlota Pereda, “Piggy” takes place in the small seaside town of Villanueva de la Vera, Spain. It’s the type of place that seems stuck in a bygone era and is an occasional vacation destination for tourists who like to go to places that are off the beaten path. “Offbeat” is one way to describe this movie too, which has some twists and turns that toy with viewer expectations of how the movie is going to end. “Piggy” had its world premiere at the 2022 Sundance Film Festival and won the prize for Best Horror Picture at 2022 Fantastic Fest.

“Piggy” is based on Pereda’s 2018 short film “Cerdita,” which means “little pig” or “piggy” in Spanish, and has the same star/protagonist for both movies: 16-year-old Sara (played by Laura Galán), who is the target of the bullying throughout the entire story. (Galán was actually in her 30s when she played this character in “Piggy” and “Cerdita.”)

in “Piggy,” Sara works part-time with her parents in their family-owned butcher shop. Her mother Asun (played by Carmen Machi) often insults and berates Sara for not looking more “presentable” for potential suitors, while Sara’s father Tomás (played by Julián Valcárcel) is a mostly passive parent who doesn’t seem very interested in making Sara’s life better. Sara lives with her parents and her younger, bratty brother (played by Amets Otxoa), who’s about 9 or 10 years old and who doesn’t have a name in the movie. Sara’s brother also teases her about her weight.

Four local teenagers, who are all in the same clique, have singled out Sara for merciless bullying. The group leader is Maca (played by Claudia Salas), who is the meanest of the group’s “mean girls.” Maca’s female sidekicks are Roci (played by Camille Aguilar) and Claudia (played by Irene Ferreiro), while the fourth person involved in the bullying is Claudia’s boyfriend Pedro (played by José Pastor), who is a good-looking troublemaker.

The four teens openly call Sara a “pig” or “piggy” to her face, and they sometimes make pig noises when she’s nearby. Claudia is the least cruel of the “mean girls,” but she goes along with a lot of the bullying and does nothing to stop it, which makes her just as guilty. There are some hints that Sara might have a crush on Pedro, so his taunting of Sara hurts her even more emotionally.

Maca, Roci and Claudia are in the butcher shop one day, while Sara and her parents are behind the counter. Maca leaves, and Roci and Claudia linger behind while Roci secretly takes a photo of Sara and her parents behind the counter. Sara later finds out that the photo was posted on social media with this caption: “Three Little Pigs. Fucking Fatso.” The photo has gotten numerous “likes” on social media.

Sara is understandably humiliated, sad and angry about this cyberbullying. And things gets worse for her. Sara goes to a local public swimming pool by herself, but she can’t even spend some time enjoying the pool before the bullies go after her. Maca, Roci and Claudia are also at this swimming pool, and they use a cleaning net to dunk Sara in the water.

These bullies don’t want to drown her, but this physical violence could still have harmful consequences. They don’t know if Sara has a medical condition that could cause a heart attack or some negative health reactions to this stressful situation. To add to Sara’s embarrassment, the three mean girls steal Sara’s non-swimsuit clothes before they leave, so Sara has to leave the pool wearing nothing but a bikini.

Before this attack on Sara, she saw a mysterious and unkempt-looking stranger in his 30s (played by Richard Holmes), who startled her with his presence at this public swimming pool. He says nothing to her, so Sara assumes he’s just a creepy person in a random encounter. Little does she know that she will see this man again many times over the course of the next few days.

Sara, who has to self-consciously leave the swimming pool with her swimsuit and no other clothes, is walking down a deserted road near a wooded area when three teenage boys follow her in a car, get out and chase her down, rough her up a little bit, and call her “Fatty,” “Fatso” and “Miss Bacon.” How much worse can Sara’s day get?

After the teenage harassers drive away, a white van drives by Sara. And she sees that Roci and Claudia have been kidnapped in the back of the van. Claudia sees Sara and makes frantic gestures for Sara to help her. A terrified Sara is seen by the van’s driver, who stops the vehicle and gets out. And lo and behold, the driver is the same man whom she saw at the swimming pool.

Sara is so frightened that she urinates on herself. What Sara didn’t see (but viewers can see) is that before driving off with Claudia and Roci, this same stranger had killed Maca and hid Maca’s body in the woods. When the driver gets out of the van, he and Sara make eye contact with each other.

In that moment, Sara could do any number of things. What she chooses is to wave her hand in approval when she realizes that this man probably saw her being bullied at the swimming pool. He silently drives away with the kidnapped Claudia and Roci in the back of the van. Now that this kidnapper/murderer knows that Sara is not going to report what she saw, the rest of the movie is about what happens in the cover-up of these crimes and whether or not Sara gets caught for helping this criminal.

Over time, it becomes obvious that this unidentified criminal has been stalking Sara, who develops a bizarre little crush on him, because he seems to be the first man who pays attention to her. Several questions arise throughout the movie, with the biggest ones being: “Who is this criminal?” and “Why has he decided to come into Sara’s life in the way that he does?” Don’t expect “Piggy” to give all the answers by the end of the movie.

“Piggy” is less concerned about solving the mystery of this unnamed stranger and more concerned about how Sara changes psychologically during the course of the story. The movie challenges viewers to ponder if bullying victim Sara deserves less sympathy once it becomes obvious that she aided and abetted in the kidnapping of at least two of her tormenters. When police investigators interview Sara about the missing teens, she lies and says she doesn’t know anything about their disappearances.

“Piggy” has plenty of suspense, but the movie doesn’t quite convince viewers that more people in this small town wouldn’t immediately notice and suspect this disheveled and creepy-looking stranger who’s been lurking around, doesn’t talk, and doesn’t seem to know anyone in this town. He never really gets on the police’s radar, which is the most unrealistic part of the movie. The middle section of the movie tends to drag with repetition about Sara lying to police, and Claudia’s mother Elena (played by Pilar Castro) immediately being suspicious that Sara is not telling all that Sara knows. When Elena confronts Sara and Sara’s mother Asun with these suspicions, it leads to one of the best scenes in the movie.

Asun vigorously defends Sara and chastises Elena for Claudia being a bully to Sara. Elena vehemently denies that Claudia has ever been a bully to anyone. This scene cleverly shows how both mothers don’t really know their daughters. And even though Sara is defended by Asun, Sara is still very angry at her mother for not seeming to care about Sara being bullied until after Sara was a “person of interest” in this missing persons investigation.

The last 15 minutes of “Piggy” turn into a literally bloody mess that will frustrate some viewers who want more definitive answers to the questions raised in the movie. However, thanks to Galán’s memorable performance (where she conveys a lot of emotions without saying much in the movie), “Piggy” has a way of getting viewers’ attention about this unfortunate fact of life: People who are bullied can sometimes turn out to be worse than their bullies if the motive is revenge.

Magnet Releasing released “Piggy” in select U.S. cinemas on October 7, 2022. The movie expanded to more U.S. theaters and was released on digital and VOD on October 14, 2022.

Review: ‘Riotsville, USA,’ an archival documentary about the U.S. government’s reactions to civil unrest in the 1960s

October 16, 2022

by Carla Hay

A scene from “Riotsville, USA” (Photo courtesy of Magnolia Pictures)

“Riotsville, USA”

Directed by Sierra Pettengill

Culture Representation: The documentary film “Riotsville, USA” features archival footage of white and African American people discussing how the U.S. government reacted to civil unrest in the 1960s, including the creation of mock cities on military bases to do riot drills.

Culture Clash: Many people believe that these government initiatives were created specifically to oppress civil rights activists, especially African Americans speaking out against systemic racism.

Culture Audience: “Riotsville, USA” will appeal mainly to people who are interested in civil rights history from the 1960s, but the movie has a tendency to give preference to politically left-wing viewpoints instead of having a more balanced variety of political perspectives.

A scene from “Riotsville, USA” (Photo courtesy of Magnolia Pictures)

The archival documentary “Riotsville, USA” presents fascinating footage (the movie’s best asset), but the movie’s narration tends to be politically biased and preachy. Viewers can make up their own minds without being told what to think about the footage. At the very least, “Riotsville, USA” succeeds in its purpose to take a closer look at why the U.S. government reacted to the civil rights movement of the 1960s by building mock cities on military bases so that military and law enforcement could be trained on how to handle riots. A common nickname for such a mock city was Riotsville.

Directed by Sierra Pettengill, “Riotsville, USA” starts out strong in the first half of the movie, and then it becomes somewhat of a rambling compilation in the second half that presents a lot of left-wing talking points. The documentary has constant voiceover narration by Charlene Modeste from a screenplay written by Tobi Haslett. And although an archival documentary’s narration can be beneficial to put a lot of the footage in historical context, the narration of “Riotsville, USA” becomes a detriment when it forces a political bias (progressive liberal) perspective into the narration. It comes across as looking like the “Riotsville USA” filmmakers expected all viewers to automatically agree with this perspective just by watching this movie.

“Riotsville, USA” has no exclusive and new interviews with anyone giving “hindsight” perspectives, and yet the movie attempts to draw a throughline from the archival 1960s footage to 21st century civil unrest in the United States. The voiceover narration is the only “contemporary voice” heard in the movie, and that voice offers just one point of view. Therefore, “Riotsville, USA” (which had its world premiere at the 2022 Sundance Film Festival) looks exactly like what it is: a documentary that has a lot of meaningful archival footage but not enough contemporary perspectives.

“Riotsville, USA” opens with this background information on a title card: “This film consists of archival material from the late 1960s. All of the footage was created for broadcast television by the U.S. military.” In other words, because it was footage made by the U.S. government, the public has the right to access it under the Freedom of Information Act.

In the begnning of “Riotsville, USA,” the voiceover narration has this to say about the U.S. civil rights movement: “A door sprung open in the late 1960s and someone, something sprang up, and slammed it shut. Nothing that big, that bright, had ever happened. And in so many American cities, nothing so fierce or hard to grasp. The riots blew the roof off daily life.”

The movie then goes on to cite, as examples, the “riots” or “citizen uprisings” (depending on how you want to describe these events) in the Los Angeles neighborhood of Watts in 1965; Chicago in 1966; and Newark, New Jersey, in 1967. Detroit and many other cities had this type of society unrest in the mid-to-late 1960s. What all of these violent events had in common were discontent over racial inequalities and white supremacist oppression in America.

In July 1967, then-U.S. president Lyndon B. Johnson (a moderate Democrat) announced the formation of the National Advisory Commission on Civil Disorders, also known as the Kerner Commission, whose members (all prominent politicians or other civic leaders) were appointed by Johnson. Otto Kerner Jr., who was governor of Illinois at the time, was named the commission chairman. The 11-member commission consisted of nine white men, one African American man and one white woman.

The commission’s purpose was to investigate why many civil rights protests in the U.S. were devolving into racial violence, even though a prominent civils-rights leader such as Dr. Martin Luther King Jr. preached non-violence. The narration in “Riotsville, USA” offers this explanation: “The people took revenge on the cities that confined them—retribution for a history of containment and contempt.” The narration then goes on to say, “Johnson wanted the Kerner Commission to substantiate his belief that many of the riots were incited by outside agitators.”

“Riotsville, USA” has news footage of a group of unidentified men and women (white and black) being interviewed about this commission to get the “ordinary citizen” perspective. The white men who are interviewed seem to be the most supportive of the commission, while the women (of both races) and the black men are a little more hesitant or skeptical. When asked what he thinks about the commission, a middle-aged African American man pauses, as if he’s knows that he has to be careful of what he’s going to say on camera, and replies (not very convincingly) that he thinks it’s a good idea. An African American woman, who appears to be his wife or companion, is more forthright with her opinion: “My greatest concern is, “Have we asked the people who are in need of the program what their needs might be?'”

Around the same time that this commission was doing its investigation, the U.S. military had been setting up mock Riotsville cities on military bases. “Riotsville, USA” shows some 1967 footage from one of these riot drills at Fort Belvoir in Virginia. Other parts of the movie shows footage from other riot drills at other military bases. The audiences attending these drills were usually members of the military and officials from other members of the government, who watched the drills like they were watching a spectator sport.

These drills, with members of the military playing different roles, usually had the same predictability: Protestors (all men) shouting protest clichés, being rowdy, pretending to loot stores, and committing other crimes—and then being defeated and arrested by those in the roles of the military or the police. There weren’t enough black people involved in this role playing, so many of the white “actors” were cast as black people. A few even showed up in “black face” in order to pretend to be black, which would be considered a lot more racially offensive today than it was back in 1967.

In February 1968, the commission’s study was published in “Report of the National Advisory Commission on Civil Disorders,” also known as the Kerner Report, which went on sale to the public and became a bestseller. The report came to this conclusion, as quoted in the documentary: “The U.S. is moving into two societies—one white, one black—separate but unequal.” The year 1968 was also pivotal and tragic in U.S. civil rights history because it was the year that civil rights leader King and Robert F. Kennedy (who was a U.S. presidential candidate at the time) were assassinated.

“Riotsville USA” then turns to a lot of footage from “Public Broadcast Laboratory,” a public-affairs news/talk show on National Education Television, which was the U.S. TV network that was the predecessor to PBS (Public Broadcasting Service). One of the archival interviews shows a lively “Public Broadcast Laboratory” interview with civil rights activists Dr. Kenneth Clark, Bayard Rustin and Charles Hamilton. There’s also some footage from the show of Jimmy Collier and Frederick Douglass Kirkpatrick performing their 1969 song “Burn, Baby, Burn.”

The documentary also mentions that Republican lawmakers often complained that “Public Broadcast Laboratory” had too much of a liberal bias, but the documentary fails to mention what “Public Broadcast Laboratory’s” response was to this criticism. The show’s footage that was chosen focuses strictly on African American civil rights leaders talking about race relations in America. It’s mentioned in the documentary that “Public Broadcast Laboratory” was cancelled in 1969, after the Ford Foundation withdrew funding for the show.

The “Riotsville, USA” narration points out: “At the end of the Kerner Commission’s report, there was an addendum titled ‘Supplement on the Control of Disorder.’ Its recommendations were the only parts of the report that Congress would ever implement … In 1968, Congress created the Law Enforcement Assistance Administration.”

In April 1968, the Civil Rights Act of 1968 was signed. It includes the Anti-Riot Act, which makes “travel in interstate commerce … with the intent to incite, promote, encourage, participate in and carry on a riot.” The April 1968 assassination of King resulted in protests and riots in many big U.S. cities, including Chicago. “Riotsville, USA” has a brief TV interview clip of then-Chicago mayor Richard J. Daley saying that the Riotsville simulations were helpful in training Chicago law enforcement on how to deal with the riots.

The civil unrest during the 1968 Republican National Convention in Miami also stemmed from racial issues. Much of the unrest was in Miami’s mostly black neighborhood of Liberty City, where protests by mostly young black people were happening at the same time as the Republican National Convention. According to “Riotsville, USA” NBC News incorrectly reported that the reason for the protests were that the protesters were unhappy about there being a small number of black delegates at the convention.

However, archival footage shows that the main reason for the protests were that demands weren’t being met for Liberty City to controlled by more black people. These demands included better programs for poor people, a guaranteed income (in other words, a higher minimum wage), and more black police officers and more black firefighters in Liberty City.

Miami officials had promised to meet with Liberty City leaders but failed to show up for the meeting. And so, the riots began. Reverend Theodore Gibson, a civil rights leader, is seen in archival footage commenting on this political snub: “You can’t lie to people forever and get away with it.”

The documentary also includes unsettling footage of the chaos in the Liberty City streets, where violence and fires were breaking out. An unidentified white man who was driving on one of the streets had a car with a George Wallace (conservative Republican politician) bumper sticker on the car. The car was vandalized, and the man was almost brutally attacked until he helped to safety by some compassionate black people. Police and the National Guard later responded to the riots with tear gas and brutality.

Bob Reed, an African American TV journalist who was on the scene for Channel 4 News in Miami, is shown being interviewed by a Channel 4 colleague about why Reed thinks the riots happened. He replies, “Pent-up anger, frustration, the idea of being trapped in society. It’s a bursting out, a breaking free. It’s just a way of saying, ‘I will accept the abuse no longer.'”

“Riotsville USA” would have been a better documentary if its editing had better storytelling. Much of the documentary is just archival footage strung together with a one-note narration of how the U.S. government came up with tactics to crack down on violent protests. And frankly, none of it is shocking, although “Riotsville USA” wants to act like it’s more shocking than it really is.

And without diverse political viewpoints, “Riotsville, USA” seems like a very one-sided exercise in trying to stir up political outrage over facts that are decades old. There isn’t a lot of information given about the Riotsville simulations that inspired the title of this documentary, other than to show the footage of these simulations. However, there’s enough overall archival information in “Riotsville, USA” to serve as a valuable history lesson and a reminder that many of the problems that resulted in protests in America in the late 1960s are problems that still result in protests today.

Magnolia Pictures released “Riotsville, USA” in select U.S. cinemas, on digital and VOD on September 16, 2022.

Review: ‘My Old School,’ starring Alan Cumming and the voices of Clare Grogan and Lulu

September 25, 2022

by Carla Hay

Alan Cumming in “My Old School” (Photo courtesy of Magnolia Pictures)

“My Old School”

Directed by Jono McLeod

Culture Representation: In the documentary film “My Old School,” a predominantly white group of people (with one black person and a few people of South Asian heritage) talk about Brandon Lee, an unusual student who was enrolled in the high school Bearsden Academy in Glasgow Scotland, in 1993.

Culture Clash: Lee had a scandalous secret, which was eventually exposed while he was a Bearsden Academy student.

Culture Audience: “My Old School” will appeal mainly to people who are interested in seeing a “truth is stranger than fiction” documentary about the lengths that people will go to achieve a goal.

A scene from “My Old School” (Photo courtesy of Magnolia Pictures)

With whimsical animation and compelling interviews, the documentary “My Old School” tells the strange-but-true story of an unusual student who enrolled in Scotland’s Bearsden Academy high school in 1993. It’s a bittersweet tale of deception, denial and broken dreams. Although the scandal that’s chronicled in this documentary made international news, many viewers of “My Old School” don’t know about the scandal and might enjoy the documentary more if they don’t know about the scandal in advance. For this reason, this review will not give details about the scandal, which is revealed in the last third of the movie.

Directed by Jono McLeod, “My Old School” tells the story of Brandon Lee, a student who enrolled as a third-year student in the elite high school Bearsden Academy in Glasgow, Scotland, in 1993. It just so happens that McLeod was a Bearsden Academy student at the same time as Lee, which is why this documentary is titled “My Old School.” It’s explained in the beginning of the documentary that Lee gave audio-only interviews for the movie because he did not want to appear on camera.

Instead, Scottish actor Alan Cumming is shown lip-synching what Lee said in the interviews. Several years ago, Cumming was set to star in a feature-film drama about Lee, but that movie never happened because Lee “broke off ties with the production company,” according to an intro title card in “My Old School.” In its own way, “My Old School” gave Cumming a chance to play the role that he had been set to do in the dramatic feature film.

“My Old School” (which had its world premiere at the 2022 Sundance Film Festival) also has interviews with some of the Bearsden Academy students and faculty who knew Lee back in 1993. The documentary also uses quite a bit of animation to recreate descriptions of what the interviewees say happened while Lee was enrolled in Bearsden Academy. Lee had a scandalous secret that was exposed during his short-lived year at Bearsden Academy in the 1990s.

In “My Old School,” Lee describes his 1993 enrollment in Bearsden Academy as a “self-made hell.” From the beginning, he stood out because he looked a lot older than 16, which is the age he told everyone that he was. Lee’s story was that he was a transfer student from Canada. He was raised by a single mother, who was an opera singer, so he traveled and lived in many different places. Lee said that his parents were separated and that he had no contact with his father, who was described as a professor living in London.

Lee also said that he and his mother were in a car accident, where she died and he was left physically scarred. After his mother’s death, Lee said he moved in with his maternal grandmother in a council flat in Glasgow, which is how he ended up at Bearsden Academy. It’s not spoiler information to reveal that Lee was really a lot older than 16 in 1993. But it won’t be revealed in this review what Lee’s real age was at the time or why he lied about his age.

It’s not the first time there’s been a true story of an adult posing as a teenager in high school. But there are some very surprising elements to this story that make it more uncommon than most. “My Old School” also has commentary on social class issues that affected what Lee did and people’s perceptions of him.

It’s explained in the movie that Bearsden Academy is in an upper-class area of Glasgow. However, some people who lived in the Bearsden neighborhood were working-class and lived in an area nicknamed Spam Valley. It had that nickname in reference to the idea that the lower-income people who lived in the area had to eat spam, in order to afford living in the Bearsden neighborhood.

Living in a council flat (which is the United Kingdom equivalent of public housing in the United States) automatically labeled Lee as a Spam Valley person. He was enrolled in Bearsden Academy because he was highly intelligent. (Lee told people that he had a genius-level IQ.) He also had upwardly mobile ambitions to become a medical doctor.

At first, Lee was a misfit when he enrolled in Bearsden Academy. He was bullied by some of the students for his odd-looking appearance of looking much older than 16. In classes, he was clearly the smartest student in the room. Students and faculty assumed that because he was raised by an opera singer and traveled a lot, that was the reason why Lee appeared to be older and more sophisticated than a typical teenager.

Eventually, he made some friends at Bearsden Academy. One of the first friendships he formed was with Stefen Addo, one of the few black students in the school. Addo and Lee had something in common, because they were both treated like outcasts by other students. The two schoolmates got to know each other better during their biology class, where Lee often helped Addo.

Addo, who is interviewed in the documentary, comments: “He would also a do a very funny Clint Eastwood impression. He was just an all-around nice guy.” Addo says of race relations at Bearsden, “There was quite a lot of racism going on. I had quite a few hate mail letters delivered to my home … just the usual abuse, really.”

Lee adds of the neighborhood where Bearsden is located, “There were only a few people who weren’t white Anglo Saxons. It’s a little station where the rich people live, the well-to-do people. And there’s the attitude that accompanies it.” Addo says that Lee stood up for Addo when Addo got racist bullying in school, and the bullies eventually stopped attacking Addo.

Brian MacKinnon and Donald Lindsay (who are both interviewed in “My Old School”) were best friends when they attended Bearsden Academy. They also have vivid memories of Lee, who bonded with Lindsay over music. Lindsay says in the documentary, “What I remember talking to Brandon about was music.”

Lindsay adds that he secretly liked techno music, which wasn’t considered cool for guys to like at the time, but Lee admitted he also liked techno music. Lindsay remembers that Lee was a fan of music acts such as Television (a rock band) and 2 Unlimited (a dance music duo). Lindsay also became fans of those artists too.

Lee eventually became more popular with the Bearsden Academy students when they found out that he had a driver’s license and a car, so he became a useful “chauffeur” for students who wanted car rides from him. In the United Kingdom, people can get a provisional driver’s license at age 15, but aren’t legally allowed to drive a car until the age of 17. Lee explained to people that he got his driver’s license in Canada, where 16 is the minimum age to get a driver’s license.

Lee also made his mark on Bearsden Academy by being cast in the lead role of Lieutenant Joseph Cable in the school’s production of the musical “South Pacific.” Paul MacAlindin, who was a Bearsden music teacher at the time, remembers that he didn’t think Lee had the personality or talent to have this leading role. However, Lee could do an American accent very well, which is the main reason whe he got the role. Everyone at Bearsden Academy would later find out that Lee was doing a lot more acting than in his role in “South Pacific.”

The animation in “My Old School” might be a little too distracting for some viewers. However, the animation fits the tone of the movie very well and certainly works better than if the filmmakers had chosen live actors for the recreations. The story of Lee is almost cartoonish, so it seems appropriate that there’s some animation in this documentary. The voice actors in the animation scenes are Cumming (who does the voice of Lee in 1993), Clare Grogan, Lulu, Juliet Cadzow, Michelle Gallagher, Camilla Kerslake, Gary Lamont, Natalie McConnon, Joe McFadden, Carly McKinnon, Brian O’Sullivan, Wam Siluka Jr. and Dawn Steele.

“My Old School” has a breezy tone to it that makes the documentary almost seem comedic at times. That’s mainly because the people who were fooled by Lee can laugh about it now. They were easily conned, even though there were so many indications that Lee was lying about his real age. Even with comedic touches in “My Old School,” the movie also peels away the layers of Lee’s real story, which has a lot of sadness to it and is often pathetic. The main takeaway that viewers will have is that he is still living in the “self-made hell” that he started when he enrolled in Bearsden Academy under false pretenses.

Magnolia Pictures released “My Old School” in select U.S. cinemas on July 22, 2022. The movie was released in the United Kingdom on August 19, 2022.

Review: ‘Summering,’ starring Lia Barnett, Lake Bell, Sarah Cooper, Ashley Madekwe, Madalen Mills, Megan Mullally, Eden Grace Redfield and Sanai Victoria

September 21, 2022

by Carla Hay

Pictured clockwise from top left: Madalen Mills, Eden Grace Redfield, Lia Barnett and Sanai Victoria in “Summering” (Photo courtesy of Bleecker Street)

“Summering”

Directed by James Ponsoldt

Culture Representation: Taking place in an unnamed city in Utah, the dramatic film “Summering” features a white and African American cast of characters representing the working-class and middle-class.

Culture Clash: In the summer before they start middle school, four 11-year-old girls find a dead man’s body in the woods, and the four friends decide to keep this discovery a secret among themselves.

Culture Audience: “Summering” will appeal mainly to people who are interested in stories about the lives of American tween girls, but “Summering” has very boring and often-ludicrous portrayals of how real tween girls act.

Lake Bell and Megan Mullally in “Summering” (Photo courtesy of Bleecker Street)

“Summering” is a monotonous pseudo-mystery about four 11-year-old girls who find a dead man’s body, and talk and act in ways that are very unrealistic for pre-teen girls. This pointless waste of time gets more irritating as it goes along. Avoid at all costs.

Directed by James Ponsoldt (who co-wrote the “Summering” screenplay with Benjamin Percy), “Summering” has a majority-female cast, but these female characters (especially the underage girls) are given fake-sounding dialogue that sounds like male filmmakers trying to pander to men’s ideas of how “progressive” women and girls should be. Almost everything in this movie looks phony and overly staged. “Summering,” which had its world premiere at the 2022 Sundance Film Festival, is undoubtedly one of the worst, most self-indulgent movies that screened at the festival this year.

“Summering” is very off-putting because you can tell that the filmmakers thought that they were making a great American movie about tween girls. It’s this pretentiousness that obviously clouded their judgment in not seeing how dull and clumsy everything turned out in “Summering.” One of the biggest problems is that the movie dangles a potentially good story in front of the audience, and then ruins the movie with a nonsensical plot that rambles, becomes unfocused, and ultimately doesn’t really go anywhere or have anything interesting to say.

What’s worse is that Ponsoldt claims he knows how to write about girls, just because he has a daughter. This movie is proof of what might have been a well-intentioned film to celebrate the female gender actually resulting in a tedious, mansplaining fantasy of how tween girls are supposed to act when experiencing something traumatic and making big decisions. In a director’s statement given to the media about why Ponsoldt made “Summering,” he had this to say, in part:

“‘Summering’ was born from a desire to make a film for my children, and especially for my daughter. It grew into a film about fears and anxiety—and ultimately, hope—in the age of COVID … While I’ve always loved films about childhood, our first encounters with death, and how young people use imagination to process trauma in a way that’s different than the logic of adulthood, I’m not sure I could’ve made ‘Summering’ until I became a parent. As the parent of three young children, I find myself constantly in this delicate gray space of both needing to protect my children and wanting them to live fearlessly.”

The statement continues, “As my daughter began seeking out more complex narratives, ones that mirrored her own hopes and fears, I became acutely aware of the privilege I enjoyed when I was her age: I could easily see myself in stories, because the protagonists were boys and young men. My sister didn’t always enjoy this same privilege. Neither did my wife. Or my mother.”

Ponsoldt’s statement adds, “There are notable exceptions, of course, but in many instances the ‘classic’ coming of age stories about friendship and first brushes with mortality involve boys. In most of the movies of my sister’s childhood, or my mother’s, the female characters were love interests, or the main character’s sister. And female friendship was often defined by trauma—a victimization, or a rupturing of a friendship (when boys or men enter the story). I wanted to make a film in which my daughter could see herself. And her friends. I hoped to dignify the emotional inner lives of young female characters, to explore their imaginations and fears and hopes while they’re on the cusp of adolescence.”

If Ponsoldt didn’t want to make a movie about female friendship defined by “trauma … (when boys or men enter the story),” then why did he make “Summering” a movie about how four 11-year-old girls react to finding a dead man’s body in the woods? For almost the entire movie, the girls talk about what they’re going to do (or not do) about this gruesome discovery. Finding a dead body would be traumatic for people of any age. The girls who find this corpse act like it’s not a big-enough deal to tell any adults or anyone else.

At first glance, “Summering” looks like it’s trying to be a ripoff of director Rob Reiner’s classic 1986 film “Stand by Me” (adapted from Stephen King’s 1982 novella “The Body”), which is about four adolescent boys who find a dead boy’s body near a swamp. In “Stand by Me,” the boys intentionally looked for the body of this missing boy and know his name before the corpse is found. In “Summering,” the girls accidentally find the dead body of a man who is a complete stranger to them.

Before anyone thinks that “Summering” is trying to copy “Stand by Me,” think again. “Summering” is too lazy to even be an imitation of a good film. A movie that tries to be a ripoff of a classic movie should at least be inspired by the best elements of that classic movie. “Summering” doesn’t even make any effort to be any good at all. “Summering,” which is cringeworthy from the very first scene, gets worse as the movie lumbers along at a sluggish pace.

“Summering,” which was filmed on location in Utah and takes place in an unnamed city, opens with four best friends (who are all 11 years old) walking through the woods together. It’s the last week of summer before they all start middle school. The four pals are outspoken feminist Daisy (played by Lia Barnett), rebellious brat Dina (played by Sanai Victoria), eccentric introvert Mari (played by Eden Grace Redfield) and mystic enthusiast Lola (played by Sanai Victoria).

Daisy gives intermittent voiceover narration throughout the movie. She says in one of these voiceovers: “Sometimes, I worry I need my friends more than they need me. But it’s hard to be sad when the sun is so huge and so right.”

Daisy continues, “Sometimes, my house has so many shadows in it, it feels so heavy, like it could sink into the earth. But I never felt that way with my friends. Summer has no walls. We can go everywhere, see everything.”

If that isn’t enough to roll your eyes at this pretentious, adult-sounding monologue that’s supposed to be coming from an 11-year-old girl, there will be plenty of other badly written and horribly staged moments in “Summering” that will make you roll your eyes at the thought that anyone thought this tripe was good filmmaking. During this walk through the woods, Dina says, “I hate skirts.” Daisy replies, “They’re so patriarchal.” This feminist speak might sound more believable coming from a teenager, but not an 11-year-old.

The girls are walking through the woods to bring incense, myrrh and gum to a Terabithia shrine that they made. The shrine was probably Lola’s idea, because much later in the movie, the four girls hold a seance at Lola’s urging. It isn’t long before the four friends find the dead body in the woods. The deceased man, who appears to be in his 30s, is fully clothed in a blue business suit. The girls speculate that he could have fallen from a bridge that’s 100 feet above them. This bridge has the nickname The Suicide Bridge.

Mari’s first reaction to seeing the dead body is to call 911. (All of the girls have cell phones with them.) However, Dina convinces her not to call for help or to tell any adults: “I mean, what’s the rush?” Dina asks. “He’s not in any rush,” she says of the dead man. Dina also says if they tell anyone else about the dead body, the girls’ mothers and the police will just ask “a million questions” that Dina doesn’t want to to answer.

Lola comments on this dead man: “This is on us. This is our [dead] body.” The girls all agree that they should wait one day before telling any adults about this body. But that one day turns into two days, and then several days where they don’t tell anyone. The girls keep the body a secret because they want to try to find out the mystery of this stranger all by themselves.

What kind of garbage is “Summering” selling? Most 11-year-old kids would not be able to keep something like finding a dead body a secret just because they think it would be cool to play dectective and find out more about a dead man whom they found in the woods. This atrocious movie depicts these girls in such a phony manner, none of them has nightmares about the body. These girls don’t show any real guilt about hiding information about someone who’s probably been reported missing.

Instead, the girls decide to move the body and use latex gloves, so their fingerprints won’t get on the corpse. While they hide this secret from everyone but themselves, the four pals do somersaults on lawns and frolic around the neighborhood, as if they don’t have a care in the world. It’s all just so heinous.

Another thing that’s very fake about “Summering” is that it takes too long in the movie for the girls to do an Internet search about this mystery man they found in the woods. An Internet search would be one of the first things that 11-year-old kids with access to the Internet would do. It just makes these girls look less-than-smart, which is not exactly the “female empowerment” message that director Ponsoldt claims to have for this terrible movie.

And where are the parents during all of this nonsense? In its bungled effort to be a strong, female-oriented film, “Summering” mainly shows the girls’ mothers interacting with them in mostly shallow ways. Daisy’s divorced father (played by Dale McKeel) is shown briefly as being a deadbeat dad. All of these parents are underdeveloped characters and are in the movie’s many filler scenes.

Daisy’s no-nonsense mother Laura (played by Lake Bell) is a police officer. Yes, you’ve read that correctly. “Summering” wants you to believe that a cop’s 11-year-old daughter is moving a dead man’s corpse around in the woods with three of her other 11-year-old friends, because the girls think it’s an adventurous thing to do before they start middle school.

Mari’s goofy mother Stacie (played by Megan Mullally) has a close relationship with Mari, the only one of the four pals who shows a little discomfort about their big secret. But it’s not enough discomfort to tell any adults about this huge problem. Even though Stacie thinks she knows Mari very well, Stacie has no clue that Mari is essentially involved in serious crimes (tampering with evidence; unauthorized removal of a corpse) related to a dead body.

Dina’s high-strung mother Joy (played by Ashley Madekwe) has her hands full with Dina’s mean-spirited teenager sister Carol (played by Willow Corner-Bettweiser) and Dina. Carol and Dina frequently feud with each other. Lola’s laid-back mother Karna (played by Sarah Cooper) is an artist who is usually seen painting something on an art canvas. What these mothers do have no big impact on the movie’s main plot of the girls hiding the secret of the dead body.

In addition to the off-balance tone of “Summering,” the movie badly stumbles in its mismatched casting of talented and experienced cast members (the actresses who play the mothers) with less-experienced cast members (the actresses who play the four 11-year-old friends), whose talent doesn’t reach the same level. On screen, the disparity in these two levels of talent just makes everything look worse.

“Summering” is not presented as a satire or as an absurdist escapist film. This dreadful movie really wants to be viewed as a serious drama that’s supposed to accurately reflect the interior lives of 11-year-old girls. When it comes to this attempt at authenticity and being an influential film about girlhood, “Summering” is a complete and utter failure.

Bleecker Street released “Summering” in select U.S. cinemas on August 12, 2022.

Review: ‘Aftershock’ (2022), starring Shawnee Benton Gibson, Omari Maynard, Bruce McIntyre, Helena Grant, Neel Shah, Felicia Ellis and Paul Ellis

September 20, 2022

by Carla Hay

Shawnee Benton Gibson and Bruce McIntyre in “Aftershock” (Photo by Kerwin Devonish/Hulu)

“Aftershock” (2022)

Directed by Paula Eiselt and Tonya Lewis Lee

Culture Representation: Taking place in New York City, Boston, Houston and Tulsa, Oklahoma, the documentary film “Aftershock,” which was filmed from 2019 to 2021, features a predominantly African American group of people (with some white people and a few Asians) talking about the systemic racism in U.S. maternal health care that results in a disproportinately high death rate of African American women who died from childbirth or complications from childbirth.

Culture Clash: Family members of African American women who died in hospitals during childbirth have become activists to try to end systemic racism in maternal health care, but they face uphill battles and resistance from people who want to enable or deny this racism.

Culture Audience: “Aftershock” will appeal mainly to people who are interested seeing true stories about how race relations and social classes affect the type of health care that people get in the United States.

Shawnee Benton Gibson, Omari Maynard and Khari Maynard in “Aftershock” (Photo by Kerwin Devonish/Hulu)

“Aftershock” is a disturbing but necessary documentary to watch for a reality check about how systemic racism in the U.S. health care system has resulted in black women dying after childbirth at disproportionately higher rates than other races. The film isn’t just about spouting statistics and facts, although that important information is included. What will emotionally resonate with viewers the most are the stories of real people whose lives have been permanently changed by these medical injustices.

Directed by Paula Eiselt and Tonya Lewis Lee, “Aftershock” is a no-frills documentary that thankfully isn’t overstuffed with too many talking heads. “Aftershock” (which is Lewis Lee’s feature-film directorial debut) had its world premiere at the 2022 Sundance Film Festival, where “Aftershock” won the U.S. Documentary Special Jury Award called Impact for Change. “Aftershock,” which is filmed and edited clearly and concisely, is certainly the type of documentary that will motivate people to want improvements in the U.S. medical care system.

“Aftershock” essentially tells three main stories of African American people who’ve been affected by maternity health care in the United States. Two of the stories are about two families coping with the deaths of a woman in their family who died after childbirth. The third story is about a married couple who have to decide if the pregnant wife will give birth in a hospital or opt for an alternative location. Meanwhile, some experts and activists weigh in with their perspectives and sharing of information.

One of the documentary’s main stories is about the aftermath of the October 2019 death of 30-year-old Shamony Gibson, who died in New York City from pulmonary embolism (blood clotting in the lungs), 13 days after giving birth by C-section to her second child, a son named Khari. “Aftershock” shows how Gibson’s mother Shawnee Benton Gibson and Gibson’s partner Omari Maynard (the father of Khari) became activists as a result of Gibson’s death, which they believe could have been prevented if she received adequate medical care from the medical professionals who knew about her blood clot symptoms.

Before she died, Gibson had been suffering from shortness of breath and chest pains, which are two symptoms of pulmonary embolism. Gibson’s reported these health problems to medical professionals, who dismissed her concerns and told her that she just needed to rest more. According to Gibson’s family, she also was repeatedly asked by medical professionals, “Are you on drugs?”

Gibson was not using drugs, and the medical people were repeatedly told that information, but they didn’t seem to believe it, because they kept asking the same question. The family members believe that the medical people who repeatedly asked this “Are you on drugs?” question would not have been so stubborn in assuming that Gibson was a drug user if Gibson were a white person. They also believe that medical professionals would not have been so quick to dismiss Gibson’s health problems if she were white.

Unfortunately, the hospital where Gibson was taken was underfunded and understaffed. According to Gibson’s family (including her sister Jasmine Gibson, who is interviewed in “Aftershock”), Gibson was taken to the emergency room, where she had to wait 12 hours before getting medical treatment. By then, it was too late. She died at the hospital.

In “Aftershock,” Benton Gibson says that she worked at the hospital as a loyal employee for 25 years and never thought that the hospital would play a role in her daughter’s death. It was a rude and tragic awakening that fuels a lot of Benton Gibson’s activism. One of her biggest messages, particularly to Black women who give birth, is to not be fooled into thinking that what happed to her daughter can’t happen to them.

Another documentary story is about what happened after the April 2020 death of 26-year-old Amber Rose Isaac, who passed away after having a C-section at Montefiore Hospital in New York City’s Bronx borough. Isaac’s son, Elias Isaac McIntyre, survived the C-section, but Isaac did not. Bruce McIntyre (Elias’ father) eventually met Maynard, and they formed a support group for single fathers whose partners died from maternity health care that’s believed to be inadequate and rooted in racism.

While in the hospital for the childbirth, Isaac was diagnosed with HELLP (Hemolysis, Elevated Liver enzymes and Low Platelets) syndrome, a pregnancy complication that affects the blood and liver. Isaac’s family members believe medical negligence caused Isaac’s death and are suing Montefiore Hospital with this claim. The plaintiffs’ lawsuit contends that Isaac could have been diagnosed with HELLP syndrome long before she was in the hospital to give birth. Isaac’s family also believes that Isaac would have received better medical attention if she were white.

The third main story in “Aftershock” follows married couple Felicia Ellis and Paul Ellis as they prepare for the birth of their first child in Tulsa, Oklahoma. Felicia and Paul know about the horror stories about black women (especially low-income black women) getting treated as inferior in the U.S. health care system, compared to women of other races. The documentary shows Felicia and Paul being wary of Felicia going to a hospital for the birth of their child and looking into the birth center Breathe Birth and Wellness as an alternative. The documentary includes footage of Felicia giving birth.

It would be very easy for skeptics to say that people are just being paranoid when it’s pointed out that racism exists in the U.S. health care system. However, plenty of statistics from independent reports back up the racism claims. “Aftershock” has those statistics, which are also publicly available to anyone who wants to find them.

One of the alarming trends is that childbearing black women in the U.S. are more likely than childbearing women of other races to be told that they need a C-section when giving birth. C-sections take less time than vaginal births, but because C-sections are surgeries, women giving birth are more likely to die fom C-sections than from vaginal births. In addition, “Aftershock” points out the cold, hard fact that hospitals get more money from C-sections than they do from vaginal births.

Helena Grant, director of Midwifery at Woodhull Medical Center (a public health facility in New York City), comments in the documentary: “Very early on in my career, black women were used as guinea pigs.” Grant, who is also a certified nurse-midwife (CNM), mentions that people training in obstetrics and gynecology (OB-GYN) in the U.S. usually do their training in hospitals and clinics in low-income communities, which are often largely populated by people of color. These inexperienced OB-GYN professionals are more likely to be the lowest-paid in the OB-GYN field and most likely to make mistakes. And guess who suffers the most as a result?

Multiple people in the documentary mention that Black women are at the most risk of getting the worst maternity health care in the U.S. because of attitudes that still linger from the enslavement of black people in America. Enslaved black women were considered “property,” not human beings, and therefore were not given the health care that people who were not enslaved were entitled to get. There’s also a persistent misconception, stemming from America’s shameful slavery history, that black women are more tolerant of physical pain than women of other races.

“Aftershock” also mentions how patriarchal and sexist attitudes changed practices of assisting during childbirth. Before the 20th century, midwives and home births used to be more common in the U.S. than they are now. During the years when slavery was legal in the U.S., enslaved black women were often the midwives for the white families who enslaved them.

When men wanted to take over the practice of assisting during childbirth and make money from it, the OB-GYN profession was born in the 1700s. In the OB-GYN profession’s earliest years in the U.S., the profession was open only to people who had access to a getting a medical degree, which usually meant white men only. And although medical schools in the U.S. can now enroll people of all races and genders, to this day, most OB-GYN doctors in the U.S. are white men.

“Aftershock” also mentions the money-motivated campaign that began the early 1900s to get more women to go to hospitals to give birth, in order to take business away from midwives who helped women give birth in places other than hospitals. There are certainly advantages to having a doctor rather than a midwife assist in childbirth. However, “Aftershock” shows that more people are considering alternatives to giving birth in a hospital (options include licensed birth centers or home births) if they think the hospital will be giving incompetent care due to a patient’s race.

Neel Shah, professor of obstetrics and gynecology at Harvard Medical School, comments: “I think the well-being of moms is the bellwether for the well-being of society in general. That’s why every injustice in society shows up in maternal health care.” Shah also notes that it wasn’t until 2018 that the U.S. federal government began tracking maternal health trends. Many racial disparities can be found in these trend reports.

“Aftershock” includes footage of Shah leading an OB-GYN seminar, with McIntyre as a guest speaker. The seminar’s students (who are mostly women of various races) are visibily moved by McIntyre’s story and seem to have learned a lot from his personal account of how racism can affect the health care that someone can get. One of the students speaks to McIntyre after his talk and says to him that she had heard about Isaac’s death on Twitter, but it made a difference to see firsthand how her death affected someone in Isaac’s family.

“Aftershock” also has powerful moments of Benton Gibson, Maynard and McIntyre doing activism work to try to raise awareness about racism in maternity health care and to pass better laws about maternity health care. They attend rallies and do community outreach in these endeavors. In one scene, Benton Gibson passionately testifies during a New York City Council hearing on maternal health. New York City Council member Carolina Rivera expresses her support of Benton Gibson during this hearing.

In New York City’s Brooklyn borough, Maynard and McIntyre choose Weeksville Heritage Center as a meeting place for other single fathers who have experienced similar tragic losses of their partners who died from childbirth-related deaths. Maynard says of this meeting place: “I want to create a space where we can star to try to change policy, where we can have hundreds of thousands of people backing what we’re saying, because that’s the only way it works.”

Maynard, who is an artist who paints portraits, also began painting portraits of other women of color who died as a result of inadequate maternity health care. Maynard has met many of these women’s families through his advocacy/activist work, and he gives these portraits as gifts to the surviving family members. In one of the documentary’s emotionally potent scenes, Maynard gives a portrait of the late Maria Corona to her surviving partner Sam Volrie Jr., who is moved to tears by this gift.

Other people featured in the documentary include registered nurse Giselle Chebny; certfied nurse-midwife Regina Kizer; and Tulsa Birth Equity Initiative executive director LaBrisa Williams; and doulas Nubia Martin, Ashlee Wilson and Myla Flores. Toward the end of the documentary, Maynard and McIntyre are shown making plans to eventually open birth center in the Bronx, with the intention to help low-income pregnant women in particular, since these low-income women are less likely to get the proper medical care that they need.

“Aftershock” is not propaganda for birthing centers, nor is it a sweeping and unfair condemnation of all hospitals and OB-GYN medical professionals. However, the documentary does a very good job at sounding the alarm that pregnant black women in America are more likely to die from inadequate or incompetent medical care than pregnant women of other races. “Aftershock” is an effective presentation of facts and human stories to serve as a reminder that this problem is not just a concern for people of color but for all people who are against racism.

Hulu premiered “Aftershock” and released the movie in select U.S. cinemas on July 19, 2022.

Review: ‘Resurrection’ (2022), starring Rebecca Hall, Tim Roth, Grace Kaufman and Michael Esper

September 11, 2022

by Carla Hay

Rebecca Hall in “Resurrection” (Photo courtesy of IFC Films)

“Resurrection” (2022)

Directed by Andrew Semans

Culture Representation: Taking place in upstate New York, the horror film “Resurrection” features a predominantly white cast of characters (with one Asian American) representing the working-class and middle-class.

Culture Clash: A business executive, who’s a single mother to a teenage daughter, experiences emotional turmoil when a man from her past comes back into her life.

Culture Audience: “Resurrection” will appeal primarily to people who are fans of stars Rebecca Hall and Tim Roth, and will appeal to viewers who are open to watching horror movies with unexpected and disturbing twists.

Tim Roth and Rebecca Hall in “Resurrection” (Photo courtesy of IFC Films)

Just like the 2021 horror film “Malignant,” the 2022 horror film “Resurrection” has an unsettling and shocking reveal that viewers will either love or hate. The movie isn’t perfect, but the surprise ending offers a bizarre twist that shows bold originality. “Resurrection” is better than the average horror movie, largely due to the suspenseful mystery at the center of the story, as well as the cast members’ convincing performances.

“Resurrection” is the second feature film from writer/director Andrew Semans, who previously directed the offbeat comedy/drama “Nancy, Please,” about a hellish experience with a roommate. “Nancy, Please” made the rounds at several film festivals in 2012, before getting a very limited release in the U.S. in 2013. “Resurrection” (which has its world premiere at the 2022 Sundance Film Festival) is a movie that is much darker in tone and will leave many viewers disturbed by some of the visuals and how the story concludes.

“Resurrection” takes place in an unnamed part of upstate New York (the movie was actually filmed in Albany, New York), where biotech executive Margaret Ballian (played by Rebecca Hall) thinks she has her entire life under control and in order. The movie’s opening scene shows Margaret having a private meeting in her office with her young intern/administrative assistant Gwyn (played by Angela Wong Carbone), with Margaret giving Gwyn some advice about Gwyn’s personal life. Apparently, Gwyn is in a very bad relationship with a love partner, because Margaret tells Gwyn that Gwyn’s belittling partner is a “sadist,” so Margaret advises Gwyn to end this toxic romance.

Because of the sensitive nature of this conversation, Gwyn asks Margaret not to tell anyone about what they discussed in this meeting. Gwyn doesn’t know it, but Margaret’s own love life isn’t exactly going so well either. She’s having a secret affair with a married man named Peter (played by Michael Esper), who is the father of a teenage daughter named Chloe. Margaret, who is not married, is also a parent to a teenage daughter. Margaret’s daughter Abbie (played by Grace Kaufman), who 17 or 18 years old, is a college-bound student in her last year of high school.

Although Peter and Margaret care about each other, they’re not in love with each other. They both know it’s a dead-end affair that came about from lust and a need for companionship. During one of their sexual trysts, Margaret gets an alarming phone call: Abbie is in a hospital after getting into a drunken biking accident with a friend named Lucy. Luckily, Abbie recovers from her injuries, but this health scare starts to trigger maternal feelings in Margaret that affect her for the rest of the story.

Margaret and Gwyn are then shown in another private meeting in Margaret’s office, where Gwyn confides in Margaret that she broke up with the abusive partner. Margaret congratulates Gwyn and praises her by saying, “You’re tougher than leather.” Although Margaret and Gwyn have not been working together for very long, it’s apparent that Margaret feels protective of Gwyn, almost like a mother is protective of a child.

Not long after this meeting, Margaret attends the Biotech Rising Conference and is shocked to see who someone who is one of the conference’s speakers: His name is David Moore (played by Tim Roth), who is a confident and intelligent scientific researcher. Margaret’s reaction to seeing David on stage is that of someone who suddenly physically ill from fear.

Margaret is so unnerved by seeing David, she rushes to her home and calls out for Abbie, who is at home, safe and sound. Margaret bursts into Abbie’s room and asks Abbie if she is okay. Abbie says yes. Margaret is immensely relieved to see that nothing has happened to Abbie, who is confused over why Margaret is acting so paranoid, and she asks Margaret why.

Margaret won’t tell Abbie anything, except to insist that everything is just fine. But when Margaret goes into a bathroom, she begins sobbing. What is it about David that’s caused Margaret to be so distressed? It should come as no surprise that David is someone from Margaret’s past whom she wants to forget. And he ends up making contact with her, much to her dread.

Most of “Resurrection” is about the unnerving cat-and-mouse game between David and Margaret. David takes pleasure in knowing that his presence is upsetting to Margaret. She starts having nightmares, including one where she finds a burned baby inside of a stove. It’s enough to say that much of the horror in “Resurrection” is about Margaret’s issues with motherhood and abuse.

The nightmare about the burned baby isn’t what most viewers will think it is, because the secrets about Margaret’s past, which are eventually revealed in the movie, have some unpredictable elements. Hall gives a very tormented performance as Margaret, whose mental health begins to unravel the more that she sees David. Roth gives an effective performance too, but he’s played creepy villains in many other movies, so there are no real surprises in how Roth portrays David in “Resurrection.”

The pacing of “Resurrection” sometime drags slowly, but Semans’ writing and directing are solid enough to maintain viewers’ curiosity about what will happen next. “Resurrection” has some horror imagery about children that might be too upsetting for sensitive viewers. As gruesome as “Resurrection” can be, it’s a horror movie that offers glimmers of hope and makes a memorable statement about the power of a mother’s love.

IFC Films released “Resurrection” in select U.S. cinemas on July 29, 2022. The movie was released on digital and VOD on August 5, 2022.

Review: ‘Honk for Jesus. Save Your Soul.,’ starring Regina Hall and Sterling K. Brown

August 30, 2022

by Carla Hay

Regina Hall and Sterling K. Brown in “Honk for Jesus. Save Your Soul.” (Photo by Steve Swisher/Pinky Promise LLC/Focus Features)

“Honk for Jesus. Save Your Soul.”

Directed by Adamma Ebo

Culture Representation: Taking place in Atlanta, the comedic film “Honk for Jesus. Save Your Soul.” features an all-African American cast of characters representing the working-class, and middle-class and wealthy.

Culture Clash: A megachurch’s preacher and his wife strive to make a comeback after his fall from grace due to sexual misconduct scandals.

Culture Audience: “Honk for Jesus. Save Your Soul.” will appeal mainly to people who are fans of stars Regina Hall and Sterling K. Brown, and will appeal to viewers who like mockumentaries that are satires of people who place more value on fame and fortune than on honesty and morality.

Conphidance and Nicole Beharie in “Honk for Jesus. Save Your Soul.” (Photo by Steve Swisher/Pinky Promise LLC/Focus Features)

“Honk for Jesus. Save Your Soul.” is a comedic mockumentary that adeptly skewers religious hypocrisy, vanity and greed in megachurch culture. The movie’s pacing drags in some parts, but Regina Hall and Sterling K. Brown captivate with their lead performances as disgraced megachurch couple Trinitie Childs and Lee-Curtis Childs. “Honk for Jesus. Save Your Soul.” also offers bittersweet observations that are examples of the religious adage, “All that glitters is not gold.”

Written and directed by Adamma Ebo, “Honk for Jesus. Save Your Soul.” is Ebo’s feature-film directorial debut. The movie had its world premiere at the 2022 Sundance Film Festival. The film’s producers include Hall, Brown, Daniel Kaluuya, Adamma Ebo and her identical twin Adanne Ebo. Jordan Peele is one of the executive producers. It’s a movie that puts a spotlight on the impact of religious leaders on African American communities and what can happen if one of those leaders is knocked down from a pedestal and tries to get back up on top again.

Although some things in the movie might seem over-the-top ridiculous, anyone who has followed news about scandal-plagued religious leaders will know that many of their antics, denials and posturings are very close to what’s portrayed in “Honk for Jesus. Save Your Soul.” The movie gets its title from several scenes in the movie where Trinitie, at Lee-Curtis’ persuasion, holds up a sign that reads “Honk for Jesus” to passing cars on the street, in desperate attempts to attract followers. Over time, Lee-Curtis convinces Trinitie to degrade herself when holding up the “Honk for Jesus” sign, such as telling her to shake her rear end in a sexually suggestive manner.

Beyond the obvious comedic parts, “Honk for Jesus. Save Your Soul.” is a searing indictment of the patriarchal ways of megachurch culture and how women are expected to be subservient to men. In the movie, Lee-Curtis is the one who caused the scandal that lead to his megachurch’s downfall, but his loyal wife Trinitie is the one who gets the brunt of the pressure to redeem their reputation. Lee-Curtis makes demands on Trinitie that slowly chip away at her soul, and Trinitie has to decide if her marriage to Lee-Curtis is worth this erosion of her self-esteem and self-worth.

“Honk for Jesus. Save Your Soul.” begins with Trinitie doing a sit-down interview by herself in the empty building of the Wander to Greater Paths Baptist Church, which Trinitie and Lee-Curtis founded but whose congregation has drastically shrunk from 26,000 members to five loyal members. The church’s followers have diminished, but Lee-Curtis has accumulated a lot of personal wealth that he and Trinitie are determined to keep. Trinitie and Lee-Curtis not only believe that they deserve this wealth but that it’s also God’s destined plan for them.

A documentarian named Anita Bonet (who is heard occasionally in the movie but never seen on camera) is directing a documentary about Trinitie and Lee-Curtis and their attempt to make a comeback after Lee-Curtis experienced several accusations of sexual misconduct. Several of Lee-Curtis’ accusers are suing him over these allegations. The details of these allegations are revealed about halfway through the movie but won’t be mentioned in this review.

Trinitie says in her interview: “Every woman is not built for the responsibility of being a first lady. Lee-Curtis and I, we’re just going to the other side … You know, have you ever seen a rat go from the inside of a house to the outside of a house? They chew through. So, we’re going to gnaw through the hardest parts.”

Lee-Curtis is arrogant and unapologetic about his alleged misdeeds. He also has unwavering confidence that the couple’s comeback, which they plan to take place during the upcoming Easter Sunday, will be entirely successful. Over time, some cracks in his veneer of morality start to show, which should come as no surprise when considering many real-life religious leaders who go through scandals with former secrets that expose their hypocrisy.

The mockumentary includes interviews with Lee-Curtis, Trinitie, some of the couple’s supporters, some of the couple’s critics and people from the general public who are somewhat neutral. In addition, there are snippets of “archival” footage of Wander to Greater Paths Baptist Church services in the couple’s heyday at the church. In one of his sermons, Lee-Curtis shows his homophobia by saying that the “homosexual agenda” is “disrespectful to marriage. Take it from me: I am the prophet with the beautiful wife and the gorgeous Bugatti.”

The Childs couple’s five loyal followers are Deacon Alastor Culpepper (played by Robert Yatta); his wife, Deaconess Culpepper (played by Greta Glenn, also known as Greta Marable Glenn); Kensington Straterly (played by Perris Drew), a Divinity School graduate student; Sapphire Devaughn (played by Crystal Alicia Garrett); and Aria Devaughn (played by Selah Kimbro Jones), Sapphire’s daughter, who’s about 12 or 13 years old. Kensington says, “Pastor Childs is ahead of his time. He’s a visionary.”

While Trinitie and Lee-Curtis try to win back their flock of followers, they have some competition: a polite younger pastor named Keon Sumpter (played by Conphidance) and his devoted wife Shakura Sumpter (played by Nicole Beharie), who want to form their own megachurch in Atlanta. The Sumpters have founded Heaven’s House Baptist Church, which has more than 1,000 congregants so far and has gained many new members who used to be congregants of the Wander to Greater Paths Baptist Church. And what a coincidence: Heaven’s House Baptist Church plans to have its grand opening on the same Easter Sunday that the Wander to Greater Paths Baptist Church plans to re-open.

“Honk for Jesus. Save Your Soul.” mines this megachurch rivalry for all of what it’s worth, but the more interesting power dynamics are between Lee-Curtis and Trinitie. There’s not enough shown about Keon and Shakura to get a handle on their true personalities. Keon and Shakura have the polish of religious people who don’t want to say a bad thing about anyone in public, but there’s no real indication of what Keon and Shakura are really like in private. The movie seems to suggest that Keon and Shakura have not yet been corrupted by greed and fame because Keon and Shakura aren’t at the megachurch level where Lee-Curtis and Trinitie used to be and which Lee-Curtis and Trinitie are trying to reclaim.

Some scenes in the movie work better than others. For example, a scene of Trinitie visiting a hat shop isn’t as funny as it could have been. A much better comedic scene is one where Trinitie and Lee-Curtis interact with their few remaining congregants at the Wander to Greater Paths Baptist Church, in a pathetic attempt to pretend as if all is going well at the church. Another amusing scene shows the supposedly pious Lee-Curtis and Trinitie, who publicly preach about the evils of cursing, but privately in their car, they rap along to Crime Mob’s curse-filled song “Knuck If You Buck.”

There’s a sex scene in the movie that looks a little out of place because it’s the only scene that doesn’t look like it was filmed for a documentary. However, the purpose of this scene is made clear later in the movie when Lee-Curtis’ sex scandals are revealed in more detail. There are other clues that point to the nature of these sexual misconduct allegations and the damaging impact that Lee-Curtis’ actions have had on his accusers.

Lee-Curtis is very transparent in his ambitions, so his character is very easy to predict. Trinitie is less predictable and more interesting because she has moments where she looks like she begins to wonder if she made the right decision to “stand by her man.” There’s a very telling scene in the movie where Trinitie has breakfast with her mother Sabina (played by Avis-Marie Barnes), who gives advice that is an example of how sexist patriarchy is enabled and encouraged in the name of religious tradition.

Aside from certain aspects of church and religion, “Honk for Jesus. Save Your Soul.” offers social commentary on what lengths people will go to, in order to pursue fame and fortune; create an “aspirational” wealthy image; and try to give the impression of having a “perfect” life when one’s life is actually falling apart. The characters in this movie just happen to be African American. However, the movie cleverly brings up issues that are timeless and relevant to any culture.

Focus Features will release “Honk for Jesus. Save Your Soul.” in U.S. cinemas and on Peacock on September 2, 2022.

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