Culture Representation: Taking place in 2020, in Bad Axe, Michigan, the documentary film “Bad Axe” features a group of Asian and white people (with a few African Americans) discussing the Siev family, a Cambodian-Mexican American clan that owns the Bad Axe casual restaurant Rachel’s.
Culture Clash: The family experiences several challenges during the beginning of COVID-19 pandemic, including COVID-19 restrictions, financial problems, political conflicts and bigotry toward non-white immigrants.
Culture Audience: “Bad Axe” will appeal primarily to people who are interested in stories about immigrant families and restaurant survival during the COVID-19 pandemic.
Chun Siev in “Bad Axe” (Photo courtesy of IFC Films)
“Bad Axe” is more than just a documentary about a family-owned restaurant trying to survive during the COVID-19 pandemic. It’s also an emotionally stirring and heartfelt story about immigration, dealing with bigotry, and the significance of family legacies. “Bad Axe” director David Siev says in the film that this documentary is also a “love letter” to his hometown of Bad Axe, Michigan, where this documentary was filmed. However, the story of his family resonates more in this film than a story about a city, because there aren’t many people outside of the family who are interviewed for this documentary.
“Bad Axe” had its world premiere at the 2022 SXSW Film Festival, where the movie won the Audience Award for Best Documentary Feature, as well as special jury recognition for Intimacy in Storytelling. “Bad Axe” also won the 2022 Critics Choice Documentary Award for Best First Documentary Feature. “Bad Axe” is an admirable feature-film directorial debut from Siev, who manages to weave together two different storylines (the COVID-19 storyline and the immigrant storyline) in a meaningful way. The merging of these two storylines isn’t always seamless (some of the film editing needed improving), but it’s never awkward or confusing. The “Bad Axe” documentary was filmed in the first several months of the pandemic, beginning when lockdowns in the U.S. started in March 2020. A few epilogue scenes were filmed in 2021.
The documentary begins David’s sister Jaclyn Siev reading an angry, anonymous letter from a customer of Rachel’s, the Bad Axe casual restaurant owned by David’s parents Chun Siev and Rachel Siev. Rachel’s is a restaurant that serves American and Asian food and can seat about 50 to 75 people indoors. Chun is a Cambodia immigrant who has been living in Michigan since the mid-1970s, when he, his siblings and their single mother relocated to the United States. Rachel is a Mexican American who met Chun through a Taekwondo class that she took where Chun was the instructor.
According to the 2020 U.S. census, Bad Axe is a city with a population of a little more than 3,000 people, and 95% are white. Most residents of Bad Axe have household incomes that would classify them as working-class or poor. Located in Michigan’s Huron County, Bad Axe is a city whose population has been steadily declining since 1990, according to the U.S. Census Bureau.
Bad Axe was also a conflicted city in 2020, when it came to how the government should have handled certain COVID-19 policies, such as whether or not people should be required to wear masks, and which businesses needed to shut down during the quarantining lockdown period of the pandemic. Michigan was one of the U.S. states where COVID-19 policies sparked the most widespread protests and debates, often divided along political lines.
Supporters of then-U.S. president Donald Trump tended to be the most resistant to government safety policies for the pandemic. People who were against these policies argued that it violated their personal freedom of choice. All of these sociopolitical factors affected countless people, especially during the first two years of the pandemic. “Bad Axe” takes a very up-close and personal look at how it all affected this family’s small restaurant business.
The angry customer letter that Jaclyn reads on camera says, in part: “You are right that many of your customers are Trump supporters, but Bad Axe isn’t changing from traditional American values. My family and others will be changing our restaurant routine, and Rachel’s is no longer a choice. … You can return to Cambodia for opportunity.” The documentary circles back to this letter-reading scene after it shows the reason why this letter was sent in the first place.
As most people already know, the restaurant industry was among the hardest-hit during the lockdown period of the pandemic. Even though restaurants were considered essential businesses that could stay open during the lockdowns, most U.S. states and cities banned indoor sit-down meals at restaurants for several months. (The lifting of this ban depended on the local or state government that issued these regulations.) Most restaurants that stayed open durng these restrictions had to rely on take-out and delivery orders, as well as provide outdoor seating areas, if the restaurants were fortunate enough to have space for outdoor seating.
In “Bad Axe,” David (who lives in New York City) is shown coming back to Bad Axe during the pandemic lockdowns to spend time with his family. Jaclyn (the eldest child in the family) also took time off from her regular life to help out as much as she can in the restaurant. It’s mentioned that Jaclyn and her husband Michael “Mike” Meinhold live in Ann Arbor, Michigan, and their corporate day jobs allowed them to work from home during the pandemic lockdowns. They used this more flexible work schedule to go to Bad Axe and assist in operating the restaurant.
Meinhold says, “Bad Axe is a place where, if you grew up here, you really can’t wait to get out. It doesn’t have a whole lot of things to offer.” He adds, as if attempting not to appear too negative about Bad Axe: “It’s a nice place to raise a family.”
Also featured in the documentary are David and Rachel’s younger sisters Raquel Siev and Michelle Siev, who help out in the restaurant too. At the time the pandemic lockdowns happened, Raquel was about to graduate from the University of Michigan and wasn’t very enthusiastic about the idea of continuing to work at the restaurant after graduation. Michelle seems a little more committed to her restaurant duties, but she also can’t say for sure that she will take over the restaurant when her parents retire.
Family friend/restaurant manager Skyler Janssen is also seen being among the crucial staff who helped keep the restaurant open for business. She is a friendly and loyal employee who is treated almost like a member of the family. Janssen admits later in the documentary that if it weren’t for being employed at the restaurant, she probably wouldn’t have taken the time to get to know the Siev family, whose race and family history are different from hers.
These cultural differences in Bad Axe cause friction in the community when outspoken Jaclyn and mild-mannered Raquel get involved in the Black Lives Matter protests in Bad Axe and nearby cities, after the horrific murder of Goerge Floyd. Raquel’s boyfriend Austin Turmell also gets involved in the protests, and he has a personal reason for advocating for better race relations: He’s an African American whose adoptive parents Denise Turmell and Wayne Turmell are white. All of these family members are featured in the documentary.
During one of these protests, members of extreme white supremacy groups line up with guns as a way to intimidate the peaceful Black Lives Matter protesters. Things get heated as some of the protesters and the white supremacists yell insults at each other. Jaclyn is one of the people who gets caught up in these verbal conflicts.
People are filming this public gathering, which also makes the local news. And even though Jaclyn is wearing a face mask covering the lower part of her face, people in the community recognize her when videos of her at the protest are seen in mass media. The restaurant gets a backlash for these civil rights activities, and the backlash grows when people find out that David has started a crowdfunding campaign for the documentary.
But the conflicts that the Siev family faces aren’t just from external sources. The family had internal conflicts too. It would be easy to assume that a family would be united to help save the family’s restaurant under these circumstances. However, that was not the case with the Siev family.
“Bad Axe” shows that Jaclyn, who has a take-charge personality, often argued with her parents to be quarantined at home, out of concerns that they might get infected by COVID-19, due the parents being in the high-risk group of people over the age of 60. Chun and Rachel eventually agree to the quarantine. And there comes a point where Chun gets so discouraged by the sharp decline in business, he contemplates closing the restaurant permanently. It’s a decision that Jaclyn vehemently opposes.
There are some tearful arguments among family members, with Jaclyn openly saying that she feels the most pressure (as the eldest child) to keep the family business going. Part of her determination to keep the restaurant in business comes from the heartbreak that she and other family members experienced when Chun had a donut shop that failed years ago when his children were underage. Jaclyn tells anyone who’ll listen that she doesn’t want the same thing to happen to Rachel’s. In the documentary, she considers quitting her day job and taking over the restaurant full-time.
Chun says in the documentary that Jaclyn reminds him a lot of his mother. Jaclyn comments on Chun’s mother: “She’s the one who taught me what it means to sacrifice for your family. I just always grew up thinking, ‘If she could survive a genocide and come to this country, the least I can do is help my family run a business.”
Quarantining at home during the pandemic obviously caused Chun to reflect on his life. And that’s where the documentary’s second storyline comes in: Chun talks about his past in Cambodia (he experienced some horrific things) and what it was like to be a refugee immigrant in the United States. The American Dream is a constant theme in “Bad Axe.” And during the pandemic, that dream and so many others were destroyed for many people, often in unexpected ways.
Many directors who make documentaries about their families tend to make themselves (the directors) the stars of these documentaries. David doesn’t follow that usual stereotype. He is seen in some of the footage, and he’s also heard asking some of the interview questions. But he isn’t at the center of the documentary’s story.
Without question, Jaclyn and Chun are the stars of the “Bad Axe” documentary. Their disagreements have a lot to do with something that is obvious to viewers, but it takes a while for Jaclyn and Chun to figure out: This father and daughter, both stubborn and opinionated, have their biggest clashes with each other because their personalities are so much alike.
“Bad Axe” is a story of survival, not just financial but also emotional, during a deadly pandemic. It’s a story about a multiracial family learning more about how they can live in a mostly white community during a time of high racial tension. And most important of all: It’s a story about a family finding new ways to appreciate each other when times are tough and uncertain.
IFC Films released “Bad Axe” in select U.S. cinemas, on digital and VOD on November 18, 2022.
Culture Representation: Taking place in 1984, primarily in Oregon and in North Carolina, the dramatic film “Air” features a predominantly white group of people (with some African Americans) representing the working-class, middle-class and wealthy.
Culture Clash: Against the odds, Nike executives convince a young Michael Jordan to sign with Nike, which makes a historic deal to create the Air Jordan shoe brand entirely around him.
Culture Audience: Besides appealing to the target audience of fans of Michael Jordan, Air Jordan shoes and the movie’s headliners, “Air” will appeal primarily to people who are interested in watching movies about landmark business deals, from the perspectives of the business executives.
Matt Damon and Viola Davis in “Air” (Photo by Ana Carballosa/Amazon Content Services)
“Air” is designed to be an awards-bait movie with mass appeal, but it has a very selective agenda in which characters get the most importance in the story. This dramatic origin story of the Air Jordan business hits many familiar beats of sports underdog movies. The acting and writing are engaging, but Michael Jordan is a sidelined character. His mother is at least given credit for being a smart dealmaker. “Air” had its world premiere at the 2023 SXSW Film and TV Festival.
Directed by Ben Affleck and written by Alex Convery, “Air” takes place in 1984, in the months leading up to the September 1984 launch of Nike’s very first Air Jordan shoes, also known as Air Jordan 1. According to several reports, Nike (which is headquartered in Beaverton, Oregon) had $5 billion in sales from Jordan Brand (Nike’s division Air Jordans shoes) in 2022. In “Air,” the underdogs and main heroes of this sports story are not athletes but the Nike executives who played crucial roles in conceiving and launching this industry-changing athletic shoe brand. It’s a very feel-good, slanted view of a fascinating story, but “Air” is a scripted drama, not a documentary.
The main protagonist of “Air” is Sonny Vaccaro (played by Matt Damon), a Nike basketball recruiter who’s been mainly working with the National Collegiate Athletic Association (NCAA) in selling Nike basketball shoes. Vaccaro is often credited with being the person who came up with the idea to have Nike pay NCAA colleges to have their basketball teams wear Nike shoes as product endorsements meant to influence people to buy the shoes. This type of product endorsement is now commonplace in the NCAA.
Sonny is passionate about basketball. And because he is deeply entrenched in NCAA basketball, he has a knack for being able to predict which NCAA players will be the top recruits by the National Basketball Association (NBA). But getting the top recruits for Nike endorsement deals requires a lot of money that Nike doesn’t have. The problem is that in 1984, Nike is financially struggling from decreased sales and massive money losses.
In terms of basketball shoe sales, Converse was the market leader at the time, with 54% of the market share, according to a statistic mentioned in “Air.” Converse had endorsement deals with NBA stars such as Magic Johnson and Larry Bird. Adidas, which was Converse’s closest competition in 1984, was popular with hip-hop stars, such as Run-DMC. Adidas was also Jordan’s first choice on where he wanted to sign an endorsement deal as a 21-year-old rookie for the Chicago Bulls.
Meanwhile, in 1984, Nike had only 17% of the market share for basketball shoe sales before the historic deal with Jordan. Nike also had an image and reputation of being an outdated company whose specialty was shoes for joggers. Basketball fans come in all different races, but NBA basketball is mostly played by African Americans. As Nike vice president of athlete relations Howard White (played by Chris Tucker), who is African American, half-jokingly comments in the movie: “Black people don’t jog.”
Nike vice president of marketing Rob Strasser (played by Jason Bateman) isn’t as passionate about basketball as Sonny is, but he is passionate about making profits from his marketing ideas. Rob is cynical about Nike’s office politics, and he has a world-weary attitude about him. He gives the impression that he is very annoyed with being part of a losing company, but he doesn’t want to quit Nike because he’s convinced that he can be part of the team that turn things around for Nike. Privately, Rob is afraid that no other company would hire him if he wanted to leave Nike.
“Air” makes a point of showing that middle-aged Sonny (a bachelor with no children) is at a crossroads in his life and at Nike. Sonny’s life revolves around Nike, which is in a slump. And he’s got a lot to prove, because Sonny’s self-esteem is very wrapped up in his job. Observant viewers will also see that Sonny likes to gamble a lot in his free time, which is a possible addiction that the movie never really explores. The parallels are obvious: Sonny is about to make the biggest gamble in his career with the Jordan deal.
Someone else who’s also got a lot to prove is Nike founder/CEO Phil Knight (played by Affleck), who is exactly the type of upper-class jogger that Nike has been courting for years. But there’s no denying that basketball shoes will be a driving force of sales for athletic footwear. Nike has been slow to adapt. Sonny says to Phil: “Basketball is the future.” Phil is skeptical: “Basketball is dead.”
In a Nike executive meeting that includes Sonny, Rob and a few other employees, Rob asks everyone in the room who their top choices are for NBA recruits who should be pursued by Nike. Sonny wants Jordan. Sonny also gets frustrated because everyone else names safe choices of basketball players who probably won’t achieve greatness. Sonny berates the employees by saying: “I have no tolerance for people who have no insight.”
In the men’s restroom, Rob tells Sonny that Sonny should be more diplomatic in these meetings. Sonny brushes off this advice. He is determined to sign Jordan and will do whatever it takes. Sonny thinks Nike should be spending even more money on the Jordan deal, while Phil wants to spend less.
Part of Sonny’s goal includes persuading Phil to spend Nike’s entire $500,000 recruiting budget on Jordan, before Jordan even starts playing for the Bulls. It’s unprecedented. And at the time, its seems like more than a big risk. It seems like financial suicide for Nike.
Sonny reminds Phil that Phil took a big risk by founding Nike. And he needs Phil to take a big risk on Sonny’s gut instinct that Jordan is the one and only NBA player that Nike should sign for this basketball season. Sonny tells Phil that if Sonny is wrong about Jordan, then Sonny will probably resign from Nike.
Sonny’s enthusiasm (or obsession) to sign Jordan means that Sonny inevitably offends people with his aggressive tactics. One of those people is Jordan’s agent David Falk (played by Chris Messina), a fast-talking, foul-mouthed New Yorker, who has some of the funniest scenes in the movie when he has raging meltdowns every time Sonny bypasses David to try to close the deal. David makes threats to Sonny that’s just a lot of empty, blustering talk. David is also one of the naysayers who thinks that Nike won’t be able to afford Jordan. In real life, Falk is credited with coming up with the name Air Jordan, but “Air” pokes a little fun at this claim to fame.
As part of his preparation for the deal, Sonny watches footage of Jordan’s college games and figures out the inner workings of Nike’s competition. He also gets some important advice from Jordan family associate George Raveling (played by Marlon Wayans), who was an assistant coach of the U.S. Olympics basketball team at the time. It’s a short but well-acted scene in the movie, where George tells Sonny a memorable story about being in the crowd during Martin Luther King Jr.’s famous 1963 “I Have a Dream” speech during the March on Washington.
“Air” depicts Sonny as being inspired to create an entire Nike shoe line around Jordan after Sonny sees an old TV ad with tennis star Arthur Ashe talking about his custom-made tennis shoes that have been replicated for people to buy. Ever the wheeler dealer, Sonny makes a bold move to pitch the idea directly to Jordan’s parents Deloris Jordan (played by Viola Davis) and James Jordan (played by Julius Tennon), by driving to the Jordan parents’ home in Wilmington, North Carolina, and showing up unannounced. (Davis and Tennon are married in real life.) Deloris is the outspoken and savvy business person of the couple, and she makes the best power play in the entire story.
And where is Michael Jordan during all of these schemes and deals that wouldn’t exist without him? “Air” depicts Michael Jordan (played by Damian Young) as an occasional bystander who says very little in this story, and he is mostly filmed with his back to the camera. There’s some archival footage of the real Michael Jordan, but the screen time in “Air” for these clips is also very brief.
In the production notes for “Air,” director Affleck explains this choice: “Michael Jordan is so famous that I truly felt if we ever saw an actor playing [him], it would be hard to get the audience to suspend their disbelief, because, in my opinion, there’s no convincing anybody that someone who isn’t Michael Jordan is Michael Jordan. We felt a more interesting way to tell the story would be for him to exist in the ether of the movie. To be talked about by everyone but not seen is somewhat analogous to the experience of celebrities and sports stars in modern life, because most people go their whole lives without ever meeting or seeing their favorite sports star or celebrity in person. So we only see Michael in clips and flashes. We don’t ever fully see him in person because to see him in person would be to put his feet on the ground in a way that the movie doesn’t want to do.”
In other words, Affleck didn’t want any character to overshadow the Sonny character, played by Affleck’s longtime friend Damon. (Affleck and Damon are two of the producers of “Air.”) The fact of the matter is that this movie could have shown a little bit more respect for Michael Jordan’s role in this monumental deal. The “Air” movie depicts Michael Jordan as mostly caring about getting a new red Mercedes 380SL as part of the deal, while his parents (especially his mother) did almost all of the talking for him. It’s hard to believe that Michael Jordan didn’t speak more in these business meetings.
Another thing that looks very fabricated for the movie is how the first Air Jordan design came about, because it’s depicted as a “race against time” over a weekend to get a prototype ready in time for a Monday meeting with Michael Jordan and his parents. It’s the prototype for the shoe that would become Air Jordan 1. Peter Moore (played by Michael Maher) is portrayed as the artistic visionary who came up with the design for the shoe all by himself. The movie mentions a team of designers who worked with Peter to bring his vision to life, but these team members are nowhere to be seen in “Air.”
It’s another misstep that doesn’t properly acknowledge the contributions of an untold number of real-life people who were essential members of the team. “Air “didn’t have to single out all of these people in the movie, but they could have at least been characters seen in the movie as background extras. It’s odd that with so much of Nike’s Air Jordan deal riding on the actual product (the shoes), so little thought in the movie is given to the shoemakers who helped make the first Air Jordans a reality. Instead, “Air” makes it look like it was only Peter Moore in a Nike shoe design room who created the first Air Jordan.
What “Air” does get right is having an infectious energy in the behind-the-scenes drama that went into making this deal happen. The dialogue is snappy and intelligent but accessible. And the performances, especially from Damon and Davis, are above-average for movies of this type of subject matter. “Air” also has excellent soundtrack choices, with well-placed pop songs from the 1980s, such as Bruce Springsteen’s “Born in the USA,” Night Ranger’s “Sister Christian,” Chaka Khan and Rufus’s “Ain’t Nobody” and Squeeze’s “Tempted.” The movie also has Dire Straits’ “Money for Nothing,” which actually wasn’t released until 1985, but that’s a minor dateline error in an otherwise commendable soundtrack.
A movie like “Air” obviously wants to be more important than just a story about how Nike made a comeback by signing a young Michael Jordan in what would turn out to be the most lucrative celebrity endorsement deal in athletic shoe history. (For a deep dive into the cultural impact of Air Jordans, the 2020 documentary “One Man and His Shoes” is worth seeing.) The story depicted in “Air” serves as an example of how some of the best risks are taken by people who’ve got a lot to lose but take the risks anyway. It’s too bad that Michael Jordan’s perspective of this inspirational story is completely erased from the movie.
Amazon Studios will release “Air” in U.S. cinemas on April 5, 2023. Prime Video will premiere the movie on May 12, 2023.
Culture Representation: Taking place in California, the comedy/drama film “Pretty Problems” features a nearly all-white cast of characters (with one African American) representing the working-class, middle-class and wealthy.
Culture Clash: A middle-class married couple looking to spice up ther lives are invited to a party retreat at a vineyard by a flaky rich woman, who introduces the couple to the equally flaky people in her inner circle, including her husband and another couple of shallow partiers.
Culture Audience: “Pretty Problems” will appeal mainly to people who are interested in watching repetitive movies about people who get drunk at upscale retreats.
Britt Rentschler and J.J. Nolan in “Pretty Problems” (Photo courtesy of IFC Films)
A satire such as “Pretty Problems” could have been a clever parody of shallow and materialistic people, but this tiresome movie ends up being as vapid and annoying as the characters it is trying to mock. Watching this movie is like being stuck somewhere for 103 minutes and watching nothing but people acting stupidly drunk and thinking that they’re hilarious. It’s an endurance test, because there’s almost nothing in this movie that is truly unique, while the characters just aren’t interesting. The one-note jokes quickly run out of steam very early in the film. “Pretty Problems” had its world premiere at the 2022 SXSW Film Festival.
Directed by Kestrin Pantera and written by Michael Tennant, “Pretty Problems” strains to keep the comedy momentum that it seemed to have started in the film’s first 15 minutes. In the beginning of the movie, viewers see that married couple Lindsay Simpson (played by Britt Rentschler) and Jack Brown (played by Tennant) are stuck in a rut in their relationship. They aren’t breaking up, but they’ve become a little bored with each other. The movie begins with a sex scene of Lindsay and Jack in bed together and being “out of sync” and not connecting the way in the way they did when they were happier in their relationship. And then, Lindsay and Jack are shown masturbating separately in the shower.
Lindsay works as a sales clerk at a trendy women’s clothing boutique. Jack works as a probation officer. They don’t have children. One day, when Lindsay is at work, a wealthy homemaker named Catherine “Cat” Flax (played by J.J. Nolan) is in the store and strikes up a friendly conversation with Lindsay. The next thing Lindsay knows, Cat has convinced Lindsay to go on her lunch break with Cat. In the back patio, Lindsay and Cat have some wine (one of the many “Pretty Problems” scenes where the characters are drinking alcohol), and they talk about their lives.
Cat is married to a self-made billionaire businessman. They have twin children, who are never seen in the movie. Cat tells Lindsay that Lindsay looks too smart to be a retail sales clerk. Lindsay admits that her dream is to have her own fashion business, with either her own brand of designer clothing or a high-end retail store. Even though they’ve just met, Cat offers to invest in Lindsay’s dream. And that’s how Lindsay finds out that Cat is rich.
But is Cat’s generous offer for real, or is it just drunken rambling from a bored woman with a lot of money? When Cat goes back into the store, she spends a long time lingering and being somewhat of distraction to the store employees. Finally, Lindsay’s supervisor Georgia tells Lindsay: “If your friend isn’t going to buy anything, I’m going to ask you to leave.” Cat then proceeds to buy a massive number of clothing in the store, so that Lindsay can get the credit for selling the merchandise.
When Lindsay is at home with Jack, she enthusiastically tells him about Cat and how they became “fast friends,” as well as the large purchase that Cat made to help Lindsay look like a great salesperson. Lindsay says to Jack: “I sold more in that boutique in six minutes than I sold in six months.” Lindsay also tells Jack that Cat has invited them to an adults-only party retreat at a vineyard in Sonoma, where Cat and her husband have one of their homes.
Jack is skeptical because he thinks that he and Lindsay won’t fit in at this retreat. He’s not just skeptical. He’s also paranoid that they might be targeted to join a weird sex cult. Lindsay is excited and intrigued and says she wants to go to this retreat, with or without Jack. After much whining and hesitation, Jack agrees to go with Lindsay to the retreat. They take their car for the road trip to the vineyard.
When they get to the vineyard, Cat is drunk (as usual) and introduces Jack and Lindsay to her husband Matt Flax (played by Graham Outerbridge), who proceeds to tell Jack that Matt recently bought Jack’s favorite beer distributor. Jack and Lindsay are then introduced to the other couple who are part of this group retreat. Carrie (played by Charlotte Ubben) is a ditzy model/actress, who is the latest fling for Kerry (played by Alex Klein), who is living of off his family’s trust fund. Kerry’s grandfather invented Tater Tots. One of the first things that Carrie and Kerry do after they meet Lindsay and Jack is brag about spending $65,000 on champagne and cocaine.
The rest of “Pretty Problems” is just a series of scenes showing these six partiers getting intoxicated, having mindless conversations (where there’s more boasting and flaunting of wealth and possessions), and making fools out of themselves in various ways. There are some very unoriginal scenes where the group has a “murder mystery game” and then do some karaoke. Lindsay is eager to fit in with this group, but Matt starts out as very uptight and acting like he’s above all the drunken antics. And then, someone puts Ecstasy in Matt’s drink without his knowledge or consent, and he starts acting like an idiot too.
Meanwhile, the employees of Cat and Max have to deal with serving these partiers and staying calm and rational as things get more chaotic. Dan (played by Clayton Froning), who works for the Flax couple as a majordomo, is a former Sea World trainer. He also happens to know Lindsay from when they were in high school together, and he had the name Big Dick Dan. It’s so predictable what kind of history Lindsay has with Dan and what Matt’s reaction will be when he finds out.
Other employees include party planner Becca (played by Katarina Hughes) who is a Rhodes Scholar playwright; master sommelier Georges (played Tom Detrinis); and shaman Gigi (played by Vanessa Chester), who leads a meditation session like a teacher has to lead a classroom of unruly kids. There is nothing special about any of the performances in “Pretty Problems.” In fact, some of the cast members over-act and therefore ruin what could have been hilarious satire.
It doesn’t take long for “Pretty Problems” to run out of ideas after making its point over and over that rich jerks who are drunk or high on drugs are still jerks, but the drinking and drugging just amplify their awful personalities. “Pretty Problems” might have been better off it were filmed like a mockumentary short film, but it still wouldn’t erase the movie’s unremarkable acting and dull dialogue. If people want to see a witty and dark satire of wealthy people behaving badly in gorgeous settings, then viewers are better off watching HBO’s “The White Lotus.”
IFC Films released “Pretty Problems” in select U.S. cinemas, on digital and VOD on October 7, 2022.
Some language in French, Japanese, German and Russian with subtitles
Culture Representation: Taking place in the United States, France, Japan and Germany, the action film “John Wick: Chapter 4” features a predominantly white cast of characters (with some Asians and African Americans) representing the working-class, middle-class, wealthy and criminal underground.
Culture Clash: Notorious mercenary John Wick fights several opponents in various countries, in order to be released from his servitude punishment from the High Table, a council of 12 crime lords who oversee the underworld’s most powerful criminal groups.
Culture Audience: “John Wick: Chapter 4” will appeal primarily to people who are fans of the “John Wick” franchise, star Keanu Reeves, and action-packed movies that can get very violent.
Donnie Yen, Bill Skarsgård and Marko Zaror in “John Wick: Chapter 4” (Photo by Murray Close/Lionsgate)
“John Wick: Chapter 4” is the most stunning and stylish-looking of the “John Wick” movies. Elaborate fight scenes are the movie’s biggest assets, but there’s also plenty of suspense, well-placed comedy and a meaningful story of humanity at the heart of this ultra-violent movie. “John Wick: Chapter 4” is an ending chapter of this franchise, but an end-credits scene in the movie hints that the saga will continue in another storyline.
Directed by Chad Stahelski, “John Wick: Chapter 4” was written by Shay Hatten and Michael Finch. The movie had its world premiere at the 2023 SXSW Film & TV Festival. It’s an epic movie (with a total running time of 169 minutes) that is filled with adrenalin-pumping action that is never boring but can be overwhelming or offensive for people who have a low tolerance for violence in movies. At this point, most people who want to see a “John Wick” movie already that “John Wick” movies have a lot murders and mayhem. Everyone else should be prepared for ths onslaught.
It’s not necessary to see the previous “John Wick” movies, but it helps give better context to some of the relationships in the movie. The plot of “John Wick: Chapter 4” is fairly simple: Notorious mercenary John Wick (played by Keanu Reeves) fights several opponents in various countries, in order to be released from his servitude punishment from the High Table, a council of 12 crime lords who oversee the underworld’s most powerful criminal groups. The current leader of the table is a ruthless sadist named Marquis (played by Bill Skarsgård), who is based in Paris. Even among these criminals, there are rules and codes of conduct that must be followed.
John’s quest leads him from his native United States to various other countries, including Japan, France and Germany. Some of his allies can turn into enemies, while some of his enemies can turn into allies. The characters he encounters include Winston (played Ian McShane), owner of the Continental Hotel in New York City; Continental Hotel concierge Charon (played by Lance Reddick, who died on March 17, 2023, one week before the release date of “John Wick: Chapter 4”); and Bowery King (played by Laurence Fishburne), leader of the Soup Kitchen, a New York City-based underworld intelligence network that is disguised as a homeless shelter.
In “John Wick: Chapter 4,” John has two hit men who have been hired to kill him: blind assassin Caine (played by Donnie Yen) and bounty hunter Tracker (played by Shamier Anderson), who is accompanied by his loyal German Shepherd. While in Japan, John interacts with Shimazu (played by Hiroyuki Sanada), the manager of the Continental Hotel in Osaka, as well as Shimazu’s daughter Akira (played by Rina Sawayama), who is a high-ranking manager at the hotel. Also in the movie are a Russian mafia princess named Katia (played by Natalia Tena); Chidi (played by Marko Zaror), who is Marquis’ second-in-command henchman; and Harbinger (played by Clancy Brown), who is a high-ranking member of the High Table.
Visually, “John Wick: Chapter 4” is the most vibrant of the “John Wick” movies. Dan Laustsen’s exquisite cinematography has gorgeously rich hues and eye-popping camera angles. Some critics might argue that this movie makes violence took glamorous, but there’s no denying that “John Wick: Chapter 4” is an achievement in visual arts for action films. And let’s be clear: The movie has no ambiguity in rooting for who the “good” characters are.
“John Wick: Chapter 4” takes on many qualities of a comic book come to life, such as the way that word fonts look on screen, how the action scenes are choreographed, and the manner in which some of the villains are portrayed. (And to its detriment, “John Wick: Chapter 4” has very simplistic dialogue, similar to a comic book.) Scott Adkins plays a German crime boss named Killa (the leader of the High Table’s German operations), who is a character that looks like he was inspired by the Kingpin villain in Marvel Comics. Killa is a massive thug who wears a business suit and has gold-plated front teeth. You can imagine how those gold teeth will be used as comic relief in one of the fight scenes.
“John Wick: Chapter 4” certainly has some very cartoonish violence. However, the violence gets much more realistic in the last third of the movie. There’s an unusual and somewhat comedic action sequence involving a long flight of stairs that is sure to be one of the most memorable aspects of “John Wick: Chapter 4.” And the last 15 minutes of the movie just might make some viewers cry. “John Wick: Chapter 4” goes beyond what typical action movies do by not just offering unique fight scenes but also stirring up complex emotions for the main characters in ways that can be unexpected.
Lionsgate will release “John Wick: Chapter 4” in U.S. cinemas on March 24, 2023.
After changes made because of the COVID-19 pandemic, South by Southwest (SXSW) Conference & Festivals has switched from being the hybrid in-person/online event that it was in 2022, to being primarily in-person-only event for the 2023 edition of the event, which takes place from March 10 to March 19 in Austin, Texas. SXSW is arguably the best-known event in the U.S. that combines music, film, interactive and convergence programming. Before the COVID-19 pandemic, SXSW was an in-person-only event. In 2020, SXSW was cancelled because of the pandemic. In 2021, SXSW was a virtual-only event.
Here are some of the anticipated highlights of the festival:
The lineup of SXSW keynote speakers includes:
Patagonia CEO Ryan Gellert
Actor/producer/author Priyanka Chopra Jonas with Amazon and MGM head of studios Jennifer Salke
Grammy Award-nominated artist Margo Price with Rolling Stone associate managing editor Angie Martoccio
Oscar-winning actress Tilda Swinton with Sundance Film Festival director Eugene Hernandez
Unfold The Universe: NASA’s Webb Space Telescope: NASA’s James Webb Space Telescope, a partnership with ESA (European Space Agency) and the Canadian Space Agency (CSA), released its first full-color images and spectroscopic data on July 12, 2022. As the largest and most complex observatory ever launched into space, Webb went through a six-month period of preparation before it began science operations with 50 major deployments, careful alignment of the mirrors, and calibrating the instruments. In this session, join NASA Goddard Communications Team Lead for the James Webb Space Telescope Laura Betz, Astrophysicist and James Webb Space Telescope Deputy Project Scientist for Exoplanet Science Dr. Knicole Colón, Planetary Scientist and James Webb Space Telescope Deputy Project Scientist for Planetary Science Dr. Stefanie Milam and Astrophysicist and Deputy Project Scientist for James Webb Space Telescope Science Communications Dr. Amber Straughn as they review Webb’s latest scientific discoveries, discuss how this observatory will continue to explore the uncharted territories of our cosmos, and share a never before seen image from the James Webb Space Telescope.
RZA (Photo courtesy of RZA)
Featured speakers include:
Signal And Cipher CEO/chief futurist Ian Beacraft
University of Texas at Austin chemistry professor Dr. Kate Biberdorf
Founder of Royal/DJ Justin Blau, aka 3LAU
Voices of VR podcast founder/host Kent Bye
Gonzo journalist and Channel 5 creator Andrew Callaghan
New York University’s Stern School of Business professor/author Dolly Chugh
CURRAN founder Tommy Dorfman
Director and screenwriter Julia Ducournau
Harvard Business Review contribtor Amy Gallo
Indeed CEO Chris Hyams
New York University’s Stern School of Business professor/author/podcaster Scott Galloway
Get Lifted Film Co. co-founder/partner Mike Jackson
Luminate CEO Rob Jonas
Grammy Award-nominated artist Valerie June
Wired co-founder/senior maverick Kevin Kelly
KORA Organics founder/CEO and supermodel Miranda Kerr
Grammy-award winning rapper Killer Mike
Actress/director/activist Eva Longoria
Starts With Us and KIND Snacks founder Daniel Lubetzky
Author and former IBM chairman/president/CEO Ginni Rometty
Author/professor/Team Human podcast host Douglas Rushkoff
Rapper/filmmaker RZA
Religion & Society Program at the Aspen Institute executive director Simran Jeet Singh
The Ocean Cleanupfounder/CEO Boyan Slat
Mycologist/author/inventor Paul Stamets
University of California, Santa Barbara associate professor of environmental politics Leah Stokes
Kickstarter CEO Everette Taylor
Chobani founder/CEO Hamdi Ulukaya
Author/professor Aldora.io founder/CEO Joost Van Druenen
Future Today Institute CEO Amy Webb
Software engineer/writer/Web3 is Going Just Great founder Molly White
Strangeworks founder/CEO whurley
23andMe co-founder/CEO Anne Wojcicki
Reddit COO Jen Wong
Athleta chief brand officer Kyle Andrew in conversation track and field Olympian Allyson Felix and podcast host Gloria Riviera
CALLEN founder/CEO Craig Allen in conversation with Marketing Manager at Athletes First Bryan Burney, running back for the Texas Longhorns Bijan Robinson, and Director of the School of Advertising and Public Relations, Moody College of Communication at the University of Texas at Austin Natalie Tindal, Ph.D., APR
Futurist authors Rohit Bhargava and Henry Coutinho-Mason
Sextech School founder/Future of Sex podcaster Bryony Cole in conversation with Josephmark executive creative director Alex Naghavi
Exectuive producers Tara Hernandez and Damon Lindelof (Peacock’s “Mrs. Davis”)
Variety Intelligence Platform executives Gavin Bridge, Heidi Chung and Andrew Wallenstein
Former “Scandal” co-stars/Unpacking the Toolbox podcasters Guillermo Diaz and Katie Lowes
Seven Seven Six founder and former Reddit executive chair Alexis Ohanian in conversation with 776 Foundation and Fellowship Program director Lissie Garvin, Upenndo! Productions founder Maya Penn, and Hydrova Inc co-founder CTO Rostam Reifschneider
Author Cheryl Strayed (“Tiny Beautiful Things”) with showrunner Liz Tigelaar
Bernard Sumner, Stephen Morris, and Gillian Gilbert of New Order in conversation with The Times rock & pop critic Will Hodgkinson
General Motors chair/CEO Mary Barra withCEO, CTO, President, and co-founder of Cruise and co-founder of Twitch Kyle Vogt
Actress/Hello bello co-founder Kristen Bell, Hello Bello CEO Erica Buxton, andactor/comedian/Hello Bello co-founder Dax Shepard
TBWA\North America chief diversity officer Aliah Berman with#MeToo Movement founder Tarana Burke
Joby Aviation founder/CEO JoeBen Bevirt withChief Sustainability Officer at Delta Air Lines Pam Fletcher
Unilever chief digital and commercial officer Conny Braams, Netflix president of worldwide advertising Jeremi Gorman,MediaLink founder/CEO Michael Kassan, and Delta Air Lines senior vice president and chief marketing and communications Tim Mapes
OpenAI co-founder and president Greg Brockman with Dot Dot Dot Media founder/CEO Laurie Segall
United States Secretary of Energy Jennifer M. Granholm
General Partner at Benchmark Bill Gurley withinvestor/author Tim Ferriss
Comedian/author Chelsea Handler withMSNBC host and former White House Press Secretary Jen Psaki
Colossal CEO/co-founder Ben Lamm
Activist/DJ Chelsea Manning
DJ J.ROCC with DJ/Stones Throw Records founder Peanut Butter Wolf
Golden Globe Award-winning actor/author William Shatner
Formula 1 global director of race promotion Chloe Targett-Adams
Featured Sessions
David Chang (Photo courtesy of Netflix)
Descriptions courtesy of SXSW:
2050: Digital Identity is a Human Right: As we become more and more digital as a species, it’s critical that we don’t forget about our human rights. Something as simple as owning your identity becomes a complicated issue in the digital realm of the metaverse, web3 and web5. But in an interconnected digital world, how can we be sure that our Digital Identities won’t be data mined, duplicated, or stolen? In this session, join Senior Vice President at Unstoppable Domains Sandy Carter as she draws on her decades of experience being on the cutting edge to imagine a future where Digital Identity is seen as a Human Right.
The Art of Creating Influence 101: In this crash course, join female trailblazers such as Executive Vice President and General Manager at Young Money Records Karen Civil, rhythm and blues singer Savannah Ré, DJ, producer, and creative curator DJ Rosegold, on-camera host, music journalist, publicist, and founder of Remixd Magazine Tallie Spencer, and founder of Socially Loud Randa Quraan as they offer real and fresh viewpoints on how to navigate a career in entertainment, media, and marketing while building your own brand. Whether you’re looking to work in these fields, or you’re an artist wondering how to market yourself, this panel will discuss tips for getting yourself noticed and marketing your skills in order to grow your brand, and most importantly your influence.
Autonomous Driving: More Time to Do What You Love: The future of mobility will be electric, autonomous, entertaining and above all: exciting. There is a paradigm shift happening as the automotive industry transitions gradually to a safe autonomous driving future and a new sense of freedom is coming for both drivers and passengers sooner than you might think. In this session, join founder and CEO of ZYNC Rana June, founder and CEO of Luminar Austin Russell and Member of the Board of Management of Mercedes-Benz Group AG and CTO Markus Schäfer as they discuss how the software-defined car, autonomous technology and embedded entertainment content aim to give you back your most valuable resource — time — and how this lets you experience your car like never before.
Bijan Mustardson & the Future of NIL Partnerships: In 2022, creative agency CALLEN and Bijan Robinson launched the dijon mustard brand Bijan Mustardson, a partnership made possible by recent changes with NIL rules for college athletes. In this session, join founder and Chief Creative Officer of CALLEN Craig Allen, Marketing Manager at Athletes First Bryan Burney, running back for the Texas Longhorns Bijan Robinson, and Director of the School of Advertising and Public Relations, Moody College of Communication at the University of Texas at Austin Natalie Tindal, Ph.D., APR as they discuss how creative agencies can invest in more than a campaign and build a true business partnership for long-term success, developing a product and growing a brand with a celebrity business partner, and how to adapt to and anticipate where the NIL market is headed.
The Blog Era: Hip-Hop’s Wild Wild West: The Blog Era was the intersection where hip-hop really met the internet. Thanks to a handful of nobodies behind keyboards, the careers of Drake, J. Cole, Nicki Minaj, Kid Cudi and hundreds of cultural centerpieces were launched, entire industries were brought to their knees, and the course of pop culture was changed forever. In this session, ItsTheReal, together known as creators Eric Rosenthal and Jeff Rosenthal, will sit down in a live setting for the first time with artists and insiders of the time and run back the highs, the lows, and the lawsuits ahead of the April premiere of their new podcast series: The Blog Era.
Build the Damn Thing with Kathryn Finney:Founder and Managing Partner of Genius Guild and Wall Street Journal bestselling author Kathryn Finney’s book, Build the Damn Thing: How to Start a Successful Business if You’re Not a Rich White Guy, is a hard-won, battle-tested guide for every entrepreneur who the establishment has left out. In this session, join Finney for a conversation where she will share her storied career as an entrepreneur, inclusion champion, and investor who funds Black founders and women entrepreneurs in pursuit of their entrepreneurial dreams.
Building an Open Metaverse:As it stands today, a sole metaverse does not exist. What does exist are thousands of virtual worlds, many of which are connected through Ready Player Me’s network; an avatar system used by over 3,000 app and game developers. It is this interoperable network that has earned their reputation as a default avatar platform for the metaverse. In this session, join co-founder and CEO of Ready Player Me Timmu Tõke as he focuses on the importance of collaboration and building out partnerships in order to create an open metaverse and what brands need to do in order to make this happen.
Building a Sustainable Economy in the Metaverse: As the metaverse is being created, it is our responsibility to build a sustainable foundation. But, how sustainable is the journey to this virtual landscape? In this session, join co-founder and CEO of VNTANA Ashley Crowder, founder and CEO of Emblematic Group and Director of Arizona State University’s Narrative and Emerging Media program Nonny de la Peña, and founder of Friends With Holograms Cortney Harding, as they discuss what the metaverse is today and explore how to build an inclusive environment, drive a shared value for businesses and creators, empower consumers, and enable ways to measure impact to create digital sustainability.
Creating Happiness: The Art & Science of Disney Parks Storytelling: For nearly 70 years, Disney Parks has created happiness for millions through experiences that bring Disney’s beloved stories to life. Across its theme parks, hotels, cruises and adventures, Disney Parks has curated magical places around the world where a simple moment can become a treasured lifelong memory. The ‘Art & Science’ of storytelling is the secret to how Disney amazes its Guests and delivers memorable experiences. In this session, Disney Parks, Experiences and Products Chairman Josh D’Amaro will share how Disney’s storytelling techniques will build on its legacy of creativity and innovation for a world that can always use just a little more happiness.
Crushing: The Burden of Diabetes on Patients: 1 in 10 Americans live with diabetes, making millions of tiny decisions to keep themselves alive. For the most resourced patients in America, the burden of diabetes still looms large over their heads — so what does that mean for patients without access to the best of the best in tools and treatments? In this session, join Colorado State Representative Leslie Herod, singer, songwriter, actor and member of the Grammy Award-nominated band Jonas Brothers Nick Jonas, Executive Vice President and COO of Dexcom Jake Leach and the Pastor of the Pattison United Methodist Church in Pattison, TX, Rev. Mireya Martínez as they share their perspectives that span the diabetic ecosystem to answer the question: are we doing enough?
Troy Kotsur (Photo courtesy of the Academy of Motion Picture Arts and Sciences)
Daddy Issues in Film: Frank Rossi. Jonathan Kent. Jack Byrnes. Darth Vader. All of these characters add layers of complexity and emotion to their respective films as the stories unfold—and the connective tissue between them is their shared role as father. In this session, join Academy Award-winning actor Troy Kotsur and filmmaker, founder of the Emergent Order Foundation (EOF), and host of the Dad Saves America podcast John Papola as they explore fatherhood in film, the evolution of fathers as integral characters, and how family, in all of its varied forms, remains an important part of how we tell stories on the screen. Emergent Order Foundation will also screen an exclusive clip from their upcoming short documentary about Troy Kotsur’s relationship with his dad.
Data Privacy After Roe v. Wade: The overturning of Roe v. Wade is a watershed moment for the privacy of people seeking reproductive care. A person’s browser history, search history, location, and private messages can now be used by law enforcement or private citizens to pursue people who are suspected of having or aiding an abortion. When people’s most private digital information can be used against them, can tech companies change their practices to better protect their users’ privacy? Plus, as some states try to outlaw websites that tell people how to access abortion care, can advocates ensure that reliable health information remains online? In this session, join co-founder of Supermajority, New York Times bestselling author, and former President and CEO of the Planned Parenthood Federation of America and the Planned Parenthood Action Fund Cecile Richards, President and CEO of the Center for Democracy & Technology Alexandra Reeve Givens, and CEO of The Markup Nabiha Syed for a discussion on ways advocates are working to protect users’ privacy and access to information at this critical moment for reproductive rights.
Dateline 24/7: How the True Crime Powerhouse Became a Podcast Empire: In this session, join Executive Producer of Dateline NBCElizabeth Cole, Senior Executive Producer of Dateline NBCs David Corvo, Correspondent for Dateline NBCJosh Mankiewicz, Correspondent for Dateline NBCKeith Morrison, and actress, comedian, screenwriter, and producer June Diane Raphael for a conversation about how NBC’s longest running primetime program evolved into a true crime powerhouse with a mega podcast hub. With numerous #1 podcasts, including The Thing About Pam, Motive for Murder, Dateline: Missing in America & Mommy Doomsday, along with a Dateline 24/7 streaming channel on Peacock, the team will discuss how the true crime juggernaut is reaching a new generation of fans with its signature storytelling.
Design for a Better Future: In this session, dare to imagine a future where we can hack our bodies, make energy available to every human, create schools for lifelong learning, feed astronauts on their way to Mars, and make disabilities a thing of the past. Through unexpected designs and storytelling, co-founder and Owner of Nonfiction Mardis Bagley and Partner and Creative Director at Nonfiction Phnam Bagley will walk you through the possibilities of unbound imagination, and what it really takes to turn science fiction into reality.
Don’t be a Drag, Just Be a Queen: 2022 saw a record number of anti-LGBTQ bills introduced across the country, and we’ve already seen one Texas lawmaker announce that he will introduce a bill to ban youth from attending drag shows next year. The heated political discourse has led to threats against Pride celebrations and drag shows around the world. We know these debates are negatively impacting LGBTQ youth — and that access to affirming spaces and representation is crucial to mental health. In this session, join drag queen, makeup artist, author and trans rights activist Gottmik, drag queen Jaida Essence Hall, attorney, activist, Adjunct Professor of Law at American University Washington College of Law and Director of Advocacy and Government Affairs for The Trevor Project Preston Mitchum and drag queen and model Symone as they discuss drag’s historical roots and cultural significance today, why promoting self-expression is so important, and how we can all help create a more accepting world.
Driving Personal Health Forward: The Role of Apple Watch and iPhone: Since the release of the Health app in 2014 and Apple Watch in 2015, Apple has introduced a wide array of powerful and innovative features, across areas like heart health, mobility, sleep, mindfulness and menstrual health. In this session, Vice President of Health at Apple Dr. Sumbul Desai and Women’s Health Editor-in-Chief Liz Plosser will discuss Apple’s approach to creating tools that empower people to lead healthier lives and examine how science-based technology can act as an intelligent guardian for health, moving people from being passengers on their own health journey into the driver’s seat.
Evil Dead Rise: Flesh-Possessing Demons Come Home: Join writer/director Lee Cronin, series creator and horror icon Sam Raimi, cult legend and “Ash” himself Bruce Campbell, and stars Lily Sullivan and Alyssa Sutherland for a look at the new film that moves the action out of the woods and into the city…. The panel will discuss how the film not only pays homage to the beloved franchise, it also expands the Evil Dead universe, turning a crumbling apartment building into an urban “cabin in the woods” and putting the action squarely in the hands of two chainsaw-wielding women. Deadites will never be the same again… Evil Dead Rise tells the tale of two estranged sisters, whose reunion is cut short by the rise of flesh-possessing demons, thrusting them into a primal battle for survival as they face the most nightmarish version of family imaginable.
An Imminent Shift In The Plant Based Ecosystem: Consumers are finding themselves at a long-awaited intersection: diets are shifting to prioritize nutrition and environmental impact at a time when food innovation is booming and new brands hoping to address consumer’s fluctuating priorities emerge daily on grocery shelves. However, when food culture drives buying decisions in a sea of indistinguishable plant-based options, how do emerging products bust the paradigm of what people can expect from alt-meat? Where will consumer behavior go and how will the industry keep up? In this session, join founder of Momofuku and Majordomo Media, James Beard Award-winning chef, host of The Dave Chang Show and Recipe Club podcasts, and New York Times bestselling author David Chang, co-founder and CEO of Meati Foods Tyler Huggins, co-founder, Chief Concept Officer of Sweetgreen Nicolas Jammet, and Head of Content at SutherlandGold and lecturer at the Wharton School of the University of Pennsylvania Aditi Roy as they discuss this shift and what the implications are for buyers and the food industry, ending with a hands-on activation where attendees will experience and taste mushroom root.
An Inside Look at “Blindspotting” Season 2 with Rafael Casal and Daveed Diggs: In this session, writer, director, actor, poet, musician, and Co-Creator, Executive Producer and Showrunner of BlindspottingRafael Casal joins Tony and Grammy Award-winning actor, rapper, co-Creator and Executive Producer of BlindspottingDaveed Diggs for a preview of the second season of the critically acclaimed-comedy series Blindspotting, coming to STARZ in April, and to celebrate its world premiere at SXSW.
Have a Good Trip: Psychedelics in Film and TV: Psychedelics are easy to stigmatize and criminalize. Case Study: the last 50 years. Enter GOOD TRIP STUDIOS, the psychedelic company with a mission to destigmatize psychedelics through entertainment and pop culture. Their movie Have a Good Trip: Adventures in Psychedelics was an official 2020 SXSW selection and launched as the #1 Netflix movie worldwide accumulating tens of millions of views in the first month. The documentary features A-list celebrities and artists discussing their personal psychedelic experiences and helped spark the current psychedelic renaissance. In this session, join comedian, actor and Creator and Host of The Eric Andre Show Eric André, Emmy Award-winning writer, producer and director Donick Cary (Have a Good Trip, The Simpsons), Global Impact Officer at MAPS (the Multidisciplinary Association for Psychedelic Studies) Natalie Ginsberg and Executive Producer and Showrunner of The Eric Andre Show Mike Rosenstein as they discuss how psychedelics are portrayed in media and how they have inspired artists and pop culture. They will also share exclusive clips and stories from other planets!
How Music, Entrepreneurship & Independence Intersect: How can artists build careers off their music, own their intellectual property, and transcend into new ventures to build a multi-faceted company? Just ask the team behind EVGLE, a company that brings all verticals in-house spanning records, publishing, media, fashion and ventures. In this session, hear from Billboard R&B / Hip-Hop Rookie of the Year and multi-platinum artist, producer and co-founder and CEO of EVGLE Blxst, co-founder and President of EVGLE Victor Burnett, co-founder and COO of EVGLE Karl Fowlkes and R&B/Hip Hop Reporter at Billboard Heran Mamo on how to take the necessary steps to build a successful entertainment company that transcends cultural boundaries.
The J Dilla Effect: Breaking Barriers Through Beats:James Yancey, aka J Dilla, is one of the greatest all-time hip-hop producers, a musical genius and visionary that inspired artists like A Tribe Called Quest, Pharrell Williams, Erykah Badu, and many others. Dilla made ultimate sacrifices to build opportunities for young, diverse creators to continue breaking down societal and cultural barriers. Curated by Save The Music, this session will feature founder and Chairman of the James Dewitt Yancey Foundation and J Dilla’s mother Ma Dukes and Grammy Award-winning DJ and music producer DJ Jazzy Jeff as they share personal stories of Dilla’s life and how his work changed hip-hop culture, while exploring how to carry on his legacy by investing in culturally rich communities to provide equitable resources for young creators to achieve economic stability and success through music and technology.
José Andrés: The Stories We Tell Can Change the World: Chef and Humanitarian José Andrés founded World Central Kitchen (WCK) with the simple belief that a plate of food is more than a meal—it’s hope and comfort in times of crisis. Since 2010, WCK has provided more than 250 million nourishing meals in response to disasters around the world, most recently the wildfires in Chile, earthquakes in Türkiye, and the ongoing conflict in Ukraine. In the face of unthinkable tragedy, the WCK team sees the best of humanity in the people who show up for their community. This keynote will dive into the responsibility that comes with hearing these stories and the power of storytelling to move people to act.
The Kids Are (Not) Alright: Gun Violence Terrorizing Youth of America: Gun violence is now the leading cause of death for American kids. In 2021, there were 1,572 youths killed in gun violence with an 80% increase in Black youth and 46% in Hispanic youth. February 14th marks the 5th anniversary of the Parkland school shooting that took 17 lives and inspired a global youth movement. Last May, the Uvalde school shooting surpassed Parkland as the deadliest to date with 21 lives lost. In the same month, a manifesto by the shooter of 10 Black victims at a supermarket in Buffalo self identified as a known supporter of white supremacy, voicing support for the far-right “Great Replacement” conspiracy theory in the context of a “white genocide”. For the first time, mass shootings have been described as acts of domestic terrorism. In this session, join co-Founder of Lives Robbed Jazmin Cazares, human rights activist and founder and CEO of Life Camp Erica Ford, first Gen-Z Member of Congress Representative Maxwell Frost, Parkland survivor/activist Samantha Fuentes, and Peabody Award-winning director and producer Kim A. Snyder as theyaddress youth trauma, activism, and what justice looks like in a time of rising hate crimes involving firearms.
John Leguizamo (Photo by Timothy Greenfield-Sanders)
Leguizamo Does America: Next Stop – Austin: In this session, join Director Ben DeJesus, Emmy Award-winning Senior National Correspondent at NBC News Tom Llamas, Emmy Award-winning actor, comedian, and film producer John Leguizamo, and Executive Producer and Showrunner Carolina Saavedra as they preview the upcoming MSNBC Films and NBC News Studios series Leguizamo Does America. Llamas will moderate an in-depth discussion with Leguizamo, DeJesus and Saavedra on Leguizamo’s storied career and the groundbreaking new series that focuses on the unmistakable influence and contributions of U.S. Latinos.
More Than a Joke: The Road from Sitcom Success to iHeartPodcasts Powerhouse: Daytime Emmy Award-winning actor and New York Times bestselling author Brian Baumgartner and SAG & WGA Award-winning actor, writer, producer, and comedian Ed Helms are known as TV and film funny men, but they’ve branched out into podcasting with iHeartPodcasts – in surprising ways. Ed’s show SNAFU tackles the stories of history’s epic screw ups, and Brian’s show Off the Beat gets guests to talk about their favorite jobs. In this session, join the moderator, co-Host of the podcast Stuff You Missed in History Class Holly Frey, as she finds out what led these comedians to seek out meaningful stories in the audio medium, and how they manage to still keep it humorous.
Online Crime: An American Crisis: Cybercriminals, con artists, digital spies. We call them many things, but they all have the same motive – to steal your data, information and ultimately, your money. Last year, Americans lost nearly $7 billion dollars to online crime. There’s no denying that tech has enabled incredible progress, but our increased connectivity comes with great risk. It’s time to take the best of technology and put it to work for protection vs. exploitation and battle back against the relentless onslaught from hackers. In this session, join Academy Award-nominated actor and producer Robert Downey Jr.,New York Times bestselling author Maria Konnikova,former FBI counterintelligence operative, cybersecurity consultant, attorney and authorsecurity consultant, author, attorney, and public speaker Eric O’Neill, and founder and CEO of Aura Hari Ravichandran for a riveting discussion about the true scope of the crisis Americans are facing, a look inside the minds of cybercriminals and how they are able to manipulate our families and wallets, and thoughtful solutions on what can really be done to fight back.
Onyx Collective Presents “UnPrisoned”: Inspired by Tracy McMillan’s Life, UnPrisoned is a half-hour comedy about a messy, but perfectionist relationship therapist and single mom whose life is turned right-side-up when her dad gets out of prison and moves in with her and her teenage son. In this session, join writer and Creator of UnPrisoned Tracy McMillan, actor Marque Richardson, actor Faly Rakotohavana, actress Jordyn McIntosh, and Primetime Emmy Award-winning actress and Executive Producer of UnPrisoned Kerry Washington for an intimate discussion on the new Hulu series produced by ABC Signature.
Open Minds: Innovations in Consciousness, Psychedelics & Mental Health: Psychedelic-based therapies continue to influence the evolving landscape of mental health. As humanity begins to understand the complexity of consciousness and its impact on mental health, these worlds will become increasingly intertwined. In this session, join founder of The Chopra Foundation and Chopra Global, Clinical Professor of Family Medicine and Public Health at the University of California, San Diego, and New York Times bestselling author Deepak Chopra and guests from the upcoming mini-series Open Minds CEO of Cybin Inc. Doug Drysdale, M.D., Psychotherapist at the Multidisciplinary Association for Psychedelic Studies Cristie Strongman MA, Ed.M., and actress, activist, and co-founder of the Never Alone Initiative Gabriella Wright as they explore the connection between consciousness, mental health, and psychedelic therapeutics and the need for humanity to focus on the internal work required to heal.
Own Your Data: Empowering Our Digital Future:In this session, co-founder of the Own Your Data Foundation and author Brittany Kaiser will explain how she decided to become a whistleblower to protect our human rights in the digital space and discuss the issues that Big Tech has presented us with (lack of transparency, uninformed consent, no tracking or traceability, monetization of our data without any value going to us, etc), as well as the solutions she believes are essential to making technology more ethical and congruent with rights protection.
Paul Giamatti’s CHINWAG with Stephen Asma: In this session, Academy Award-nominated actor, comedian and film producer Paul Giamatti and Professor of Philosophy at Columbia College Chicago Stephen Asma will record a special episode of their forthcoming weekly podcast CHINWAG. In front of a live studio audience, Paul and Stephen will dive into one of their favorite topics of conversation — MONSTERS. They will explore the fears and fascinations we share about some of Western culture’s worst nightmares in an unexpected, and maybe even hilarious chat.
Reigniting Fan Engagement at Live Events: The importance of community and human connection was more prevalent than ever when World Wrestling Entertainment (WWE) returned with its biggest event of the year, WrestleMania, in April 2021. This historic event featured the first Black female Superstars to main event WrestleMania, celebrity appearances, live music performances and the unveiling of WWE’s new signature, “Then. Now. Forever. Together.” to recognize and celebrate WWE fans, their community and the message of inclusivity. As WWE prepares to host WrestleMania 39 at SoFi Stadium in Los Angeles this coming April, Chief Content Officer of WWE Paul “Triple H” Levesque will discuss in this session the road to WrestleMania, the importance of the WWE Universe and how this community has evolved.
Social Media Town Hall: In the early to mid 2000s, many of the pioneers of social media gathered at SXSW to brainstorm about the potentials and possibilities of these new platforms for communication. 15 years later, so much of the optimism of those early discussions has fallen by the wayside. So where do we go from here? Is it possible to build a new kind of social media that emphasizes our shared humanity as opposed to our divisions? In this interactive session featuring co-founder and Executive Director of the Sustainable Media Center Steve Rosenbaum and Tech Culture Reporter for The Washington PostNitasha Tiku, attendees are invited to come to the microphone and offer their one minute solution on what a more functional system of scalable networked communication looks like.
To Trip or Not to Trip:The psychedelic science torch is getting passed to the next generation, with fresh perspectives on both ancient and future medicines. In this session, join Writer and Director of Hamilton’s Pharmacopeia, chemist, and science journalist Hamilton Morris, professor of Pharmacology at Louisiana State University Health Sciences Center Charles Nichols, adjunct professor at the University of North Carolina, Chapel Hill and Professor Emeritus at the Purdue University College of Pharmacy David E. Nichols, co-founder and Partner at Palo Santo Tim Schlidt, and endowed professor of Psychiatry and Neuroscience of Trauma and Director of the Center for Psychedelic Psychotherapy and Trauma Research at the Icahn School of Medicine at Mount Sinai and Director of Mental Health at the James J. Peters Veterans Affairs Medical Center Rachel Yehuda as they explore the future of psychedelic science and answer questions such as, can we take the “trip” out of psychedelics, do we want to, and will “next gen” psychedelic compounds have an advantage over today’s medicines?
True Grit: 3 Stories of Overcoming Life’s Challenges To Make It In The Music Business: In this session, join Executive Vice President, General Counsel at Fender Aarash Darroodi, singer-songwriter, producer, activist, writer, orator, model, visual artist, and actress Kam Franklin, Music Writer at the Austin American-Statesman Deborah Sengupta Stith, and co-founder and frontman for the band Delta Spirit Matthew Logan Vasquez as they take a deep dive into the unique life stories of three individuals with very divergent paths, but who share a common theme of overcoming challenges and obstacles in life to ultimately achieve success in the music business.
Understanding the Role of AI in Reshaping the Film & Television Industry: In this thought-provoking session, join Assistant Professor in the Department of Electrical Engineering and Computer Science at the University of California at Berkeley Angjoo Kanazawa,actor, producer, and co-founder and President of Wonder Dynamics Tye Sheridan, filmmaker, VFX supervisor, entrepreneur, and co-founder and CEO of Wonder Dynamics Nikola Todorovic, and Delta Electronics Professor and Head of the AI+D faculty at the Department of Electrical Engineering and Computer Science at the Massachusetts Institute of Technology Antonio Torralba as they examine the latest AI-powered innovations in the film and television industry and explore how it will change the way we create and consume media.
Voting is a Civil Rights Issue: American elections and democracy continue to be attacked in a ploy to justify rolling back civil liberties and voting rights when we should be expanding those rights and making it easier for everyone to participate in the democratic process. In this session, join Michigan Secretary of State Jocelyn Benson, President of the Drum Major Institute Arndrea Waters King, Chairman of the Board of the Drum Major Institute Martin Luther King III, civil rights leader Ralph G. Neas and founder and CEO of Tusk Philanthropies and the Mobile Voting Project Bradley Tusk as they share their insight into how we can expand access to voting for marginalized groups.
Why is America Afraid of Its (Black) History?: William Faulker wrote, “The past is never dead. It’s not even past.” But if the past is still with us, why has learning the true history of the United States become a battleground in our national culture wars? And are we doomed to repeat it? In this session, writer, producer, and founder and CEO of The Who We Are Project Jeffery Robinson, Community Organizer for the Texas Freedom Network Corisha Rogers, andfounder, Owner, and Principal Guide of Black Austin Tours Javier Wallace, Ph.D. will use Robinson’s documentary short How to Rig an Election: The Racist History of the 1876 Presidential Contest (SXSW 2023) as a springboard for a conversation highlighting the efforts of Black truth tellers to shine a light on our country’s past and change the direction of our collective future.
Music Performances
SXSW is considered a premiere showcase for established and emerging artists. Some of the announced artists who will be performing include Armani White, Algiers, Balming Tiger, Beenzino, Edie Bens, iLe, Ladaniva, Max Cooper, Mightmare, Núria Graham, The Orielles, Otoboke Beaver, RVG, Sarah Shook & the Disarmers, Son Rompe Pera, Steam Down, Thao, Yazmin Lacey and Yogetsu Akasaka.
Other music artists set to perform are Ambré, be your own PET, deca joins, English Teacher, The Lemon Twigs, Obongjayar, Oracle Sisters, OSEES, Painted Shield, Paraísos, ROGÊ, Shanghai Baby, Sobs, Sunflower Bean, Tokio Meyers, UNI and the Urchins and The Zombies.
Also in the music showcase lineup are Anwan “Big G” Glover, Coco & Clair Clair, Dende, Diana Burco, DJ_Dave, EKKSTACY, Frankie Rose, Immersion, Isabella Lovestory, Killer Mike, Maiya The Don, Michigander, Militarie Gun, New Order, Peter One, PJ Sin Suela, Protomartyr, Savannah Ré, Tangerine Dream, THUS LOVE, TiaCorine, Venbee and more.
Showcases and presenters include Adult Decisions, Alcopop! Records, Anniversary Group, Aquarium Drunkard, ASCAP, ATC Live, Athens in Austin, Atomic Music Group, Bad Time Records, Bayonet Records, BBC Introducing, BreakOut West, British Music Embassy, CareFreeBlackGirl, The Color Agent, Consequence of Sound, Dance to the Radio, DAWA Heals, Dedstrange, DEL Records, DJ Ace presents Everything R&B, Don Giovanni Records, EMPIRE, End of the Trail, Father/Daughter Records, Fierce Panda Records, Fire Records, Fire Talk, FOCUS Wales, Force Field PR, Gold Diggers, Good Karma Club, Gorilla vs Bear, Holodeck Records, Hundred Palms, Island Wave, Italians Do It Better, Jazz re:freshed Outernational, Keeled Scales, Kill Rock Stars, KUTX The Breaks, Laneway Festival, Leafy Outlook, Levitation, The Line of Best Fit, The Loyalty Firm, M for Montreal, Marca Única, Marshall Music, Mint Talent Group, Music From Ireland, New West Records, Now Wave, Penny Loafer PR, POP Montreal, Post-Electric Artists, Post-Trash, PRIMA Fund, Reeperbahn Festival, Rocky Road Touring, Rolling Loud, Rolling Stone, Scruff of the Neck, Secret Sounds, Selector presents Jamz Supernova, Six Shooter Records, Space Agency, Spaceflight Records, The Spanish Wave, Speedy Wunderground, Taiwan Beats, Traffic Music Group, Vibe Magazine, We Were Never Being Boring, Wide Days Scotland, WISE x STRRR, WOMEX and ZZK Records.
Movie and TV Premieres
Pictured in front: Justice Smith, Chris Pine and Michelle Rodriguez in “Dungeons and Dragons: Honor Among Thieves” (Photo courtesy of Paramount Pictures)
World premieres at the 2022 SXSW Film & TV Festival include:
Opening-night-film “Dungeons and Dragons: Honor Among Thieves” (sci-fi/fantasy/action) directed by Jonathan Goldstein and John Francis Daley; starring Chris Pine, Michelle Rodriguez and Hugh Grant.
“Problemista” (drama), directed by Julio Torres; starring Julio Torres, Tilda Swinton and RZA.
“Flamin’ Hot” (comedy/drama), directed by Eva Longoria; starring Jesse Garcia, Annie Gonzalez and Dennis Haysbert.
“Late Bloomers” (comedy), directed by Lisa Steen; starring Karen Gillan, Margaret Sophie Stein, Jermaine Fowler, Kevin Nealon and Talia Balsam.
“Moustache” (comedy), directed by Imran J. Khan; starring Atharva Verma, Rizwan Manji, Alicia Silverstone and Hasan Minhaj.
“Parachute” (comedy/drama), directed by Brittany Snow; starring Courtney Eaton, Thomas Mann, Gina Rodriguez, Joel McHale, Scott Mescudi and Dave Bautista.
“Geoff McFetridge: Drawing a Life” (documentary), directed by Dan Covert.
“Bloody Hell” (comedy), directed by Molly McGlynn; starring Maddie Ziegler, Emily Hampshire, Djouliet Amara and Ki Griffin.
“Deadland” (drama), directed by Lance Larson; starring Roberto Urbina, McCaul Lombardi, Julieth Restrepo and Chris Mulkey.
“Down Low” (comedy), directed by Rightor Doyle; starring Zachary Quinto, Lukas Gage, Simon Rex, Audra McDonald and Judith Light.
“If You Were My Last” (comedy/drama), directed by Kristian Mercado; starring Anthony Mackie, Zoë Chao and Natalie Morales.
“Being Mary Tyler Moore” (documentary), directed by James Adolphus.
“The Lady Bird Diaries” (documentary), directed by Dawn Porter.
“The New Americans: Gaming a Revolution” (documentary), directed by Ondi Timoner.
“The Wrath of Becky” (action), directed by Matt Angel and Suzanne Coote; starring Lulu Wilson, Seann William Scott and Matt Angel.
TV shows that will have episodes premiering at SXSW 2022 include the Season 2 premiere episode of Starz’s “Blindspotting”; “Slip,” directed by Zoe Lister-Jones; “Mrs. Davis,” directed by Owen Harris and Alethea Jones; and “I’m a Virgo” directed by Boots Riley.
Culture Representation: Taking place in Alabama and briefly in Washington, D.C., the documentary film “Descendant,” which was filmed from 2018 to 2021, features a predominantly African American group of people (with some white people and one Native American) talking about the historical impact of Clotilda, the last-known ship that illegally carried enslaved Africans to the United States in 1860.
Culture Clash: The enslaved Africans on this Coltilda voyage were brought to Alabama, where many of their direct descendants try to come to terms with the ramifications of their families’ legacies and how white supremacist racism still affects their lives.
Culture Audience: “Descendant” will appeal mainly to people who are interested in seeing impactful stories about African American family histories and the damaging repercussions of slavery and racism in the United States.
A scene from “Descendant” with Ramsey Sprague (front row, fifth from left), Joycelyn Davis (front row center, in green shirt), Joe Womack (back row, center, wearing hat), Mary Elliott (front row, third from right) and Kern Jackson (far right). (Photo courtesy of Participant/Netflix)
“Descendant” is a triumphant declaration of an important part of African American history that some people literally tried to bury. There’s a lot of heartbreak in this documentary, but there’s also a lot of hope. “Descendant” had its world premiere at the 2022 Sundance Film Festival, where it won the U.S. Documentary Special Jury Award for Creative Vision. “Descendant” also made the rounds at several other film festivals, including the 2022 SXSW (South by Southwest) Film Festival and the 2022 New York Film Festival.
When “Descendant” director Margaret Brown began filming the documentary in 2018, people had been searching for the remains of a ship called Clotilda for decades. As explained in the beginning of the movie, Clotilda was the last-known vessel to carry enslaved people from Africa to the United States, in an illegal voyage that took place in 1860. The international slave trade was abolished in the United States in 1808. In 1863, the Emancipation Proclamation legally freed enslaved people in the United States.
It is believed that Clotilda carried about 110 enslaved people to Alabama. The voyage was led by Captain William Foster, the owner of Clotilda. A wealthy business owner named Timothy Meaher reportedly bought many of the enslaved people from this voyage. Because this voyage and transaction were illegal, Clotilda was reportedly blown up to destroy evidence. Whatever was left of Clotilda was said to be buried in the water, off of the coast of Mobile, Alabama. (“Descendant” director Brown is originally from Mobile.)
Many of the descendants of the Clotilda captives still live in Mobile, which has a section called Africatown, where many of these descendants live. Karlos Finley, a municipal court judge in Mobile, says that from 1860 to about 1960, people in the area could get in a lot of trouble if they publicly talked about Clotilda. The ship was treated “like a dirty little secret,” according to Garry Lumbers, a descendant of Clotilda captives. The U.S. civil rights movement and the passage of U.S. civil rights laws in the mid-1960s led to more African Americans becoming more active in Black Pride activities, including finding out more about ancestral histories.
And for the descendants of Clotilda captives and other interested people, that meant finding what was left of Clotilda, in order to have a tangible and historical evidence linked to the legacies of an untold number of people. Many people in the United States can trace their family histories back to years before the United States became a nation in 1776. African people who were captured and enslaved in America had their personal histories erased with enslavement. And therefore, the descendants of these enslaved Africans don’t have the privilege of being able to trace back their family histories to the years before their enslaved ancestors were forced to live in America.
“Descendant” shows how, in July 2018, “local, state and national organizations coordinated a first-of-its kind search for Clotilda’s wreckage. Without the physical evidence, the story of the ship’s arrival in 1860, and the 110 captives it carried had been maintained largely by word of mouth,” according to a caption in the documentary. One of the biggest obstacles in finding the remains of Clotilda was conflicting information about where the remains were buried along the coast. In July 2018, the search began in Plateau, Alabama.
Throughout the years, a major resource for the history of Clotilda’s enslaved people came from historian/filmmaker Zora Neale Hurston’s book “Barracoon: The History of the Last ‘Black Cargo’,” which was originally meant to be published in 1931, but it stayed locked in a vault and unread by the public until 2018. “Barracoon” features extensive interviews with Cudjoe Lewis (1840-1935), the last-known survivor of Clotilda’s enslaved captives. Lewis was the unofficial leader of his community when the Emancipation Proclamation outlawed slavery, and formerly enslaved people had to navigate life as people who were legally free but still oppressed by white supremacist racism that denied equal rights to people of color in America.
Emmett Lewis, an Africatown resident and a direct descendant of Cudjoe Lewis, shares stories in the documentary about how his father, Emmett Lee Lewis (who died in 2008, at the age of 61), would take him as a child to a local graveyard in Mobile after midnight and teach him the family histories about their ancestors and other people buried there. “Descendant” has poignant footage of Emmett Lewis returning to this graveyard and visiting his father’s grave. The weight of his emotions can be seen on the screen.
Vernetta Henderson, one of the descendants of Clotilda’s last enslavement voyage, is seen in the documentary commenting in 2018 on the search for Clotilda. She says that she would feel a certain completeness if the remnants of the ship were found, because it would fill the void of unanswered questions. She adds, “The ship is evidence that it took place. It’s a story worth sharing with the whole world.”
By contrast, Joycelyn Davis, another descendant of Clotilda captives, is shown in 2018 commenting on the search for the ship: “I could care less about the ship. Ask the family who built the ship.” Although a few descendants of Clotilda owner Foster are shown and interviewed in “Descendant,” an epilogue in the documentary says that descendants of Meaher did not respond to requests to participate in the documentary.
It’s not spoiler information to say that remnants of Clotilda were eventually found in 2019, and were scientifically confirmed, as shown in the documentary. A documentary caption states, “Clotilda is the most intact wrecked slave ship to exist in America.” This historic discovery was big archaeological news and began a new chapter in the history of the Mobile area.
“Descendant” includes interviews and other footage of journalist/diver Ben Raines, who is largely credited with uncovering the crucial evidence that led to finding what’s left of Clotilda. Not surprisingly, Raines wrote a book about his Clotilda experiences: “The Last Slave Ship: The True Story of How Clotilda Was Found, Her Descendants, and an Extraordinary Reckoning.” The book was published in January 2022, the same month that “Descendant” had its world premiere at the Sundance Film Festival.
The discovery of Clotilda changed how Alabama (particularly Mobile) began to view Clotilda. No longer was it just a local legend that couldn’t be proven. The discovery of the ship also became a tangible piece of the puzzle for many people’s family histories. Imagine being part of a family that was told for generations that there was no proof that the ship that carried your enslaved ancestors even existed, because that ship was believed to be buried at sea. And then that ship was finally discovered.
The documentary includes a scene where a National Geographic-commissioned painting of that 1860 Clotilda voyage is unveiled at a press conference, with the painting showing the enslaved people naked and huddled in fear at the bottom of the ship. Even with the tragedies, abuse and human rights violations associated with slave ships such as Clotilda, the discovery of Clotilda also became a potential moneymaker for those who wanted to profit off of this discovery. Even before Clotilda was found, there were plans to turn whatever was found into a tourist attraction.
What makes “Descendant” a great documentary is that it goes beyond this historic discovery and looks at the bigger picture. It would have been too easy for the movie to focus only on the feel-good aspects of this story. The documentary points out uncomfortable truths about how Clotilda represents the shameful legacy of slavery and white supremacist racism in America.
“Descendant” shows and tells in no uncertain terms that Africatown (and, by extension, many communities where with the majority of the population consists of African Americans) is surrounded by industrial operations that bring pollution to the area. As pointed out in the documentary, the Meaher family is a powerful clan that owns or rents out much of the land and property that is believed to cause this pollution. It’s mentioned that Africatown has a high rate of cancer-related deaths that are believed to be caused by this pollution.
And so, although slavery is no longer legal in the U.S., “Descendant” makes viewers aware that there are other ways that African Americans are being harmed by decisions made by labor-related groups that are largely owned and controlled by white people, many of whom are descendants of people who enslaved Africans and African Americans. Many people in Africatown and similar communities are dying because of these decisions. The documentary gives considerable screen time to this issue in a way that is factual and not preachy.
Land ownership still plays a role today in the “haves” and “have nots” of society, just as it did when slavery was legal in America. Ramsey Sprague of the Mobile Environmental Justice Action Coalition explains why land ownership and environmental zoning are relevant to the legacy of Clotilda and the descendants affected by Clotilda’s last voyage: “The fight over zoning is the fight over destiny.”
The majority of the land in Africatown is owned by the state of Alabama. However, large swaths of the land are owned by the Meaher family, whose Chippewa Lakes company leases the land to industrial companies known for heavy industrial waste. If you think it’s nauseating for the documentary to show how Africatown is surrounded by factories pumping chemical smoke into the air, imagine what it’s like to live there.
Africatown resident Davis, who is living with cancer, went from being apathetic about Clotilda in 2018, to becoming an activist involved in Africatown’s environmental justice issues. She wants people to know about the entire legacy of Clotilda and other ships that carried enslaved people from Africa. Davis says the discovery of Clotilda has now given her more pride about her ancestors, as well as regret that she previously felt some shame about being a descendant of enslaved people from Clotilda.
In one of the highlights of the documentary, Davis goes to Washington, D.C., where she is given a tour of the Smithsonian National Museum of African American History and Culture by museum curator Mary Elliott. It’s an eye-opening and emotionally moving experience, where Davis can see for herself how Clotilda and Africatown are part of many similar stories of African American families and legacies. Elliott encourages Davis to be inspired by the museum and take what she’s learned to the work that Davis is doing to bring more attention to Africatown’s history. The documentary’s epilogue includes an update on Africatown Heritage House (a museum that’s set to open in the fall of 2022) and the Africatown Welcome Center, which is planned to open in 2025.
And although “Descendant” shows that Mobile declared a Descendants of Clotilda Day on February 8, 2020, to honor these descendants, the documentary never lets viewers forget that the irreparable damage caused by slavery still has lingering effects. Michael Foster, one of the descendants of Clotilda owner William Foster, is shown at this ceremony, where he is introduced to Robert Lewis, a descendant of Cudjoe Lewis. The two men have a cordial and brief conversation that is a little awkward. In a separate interview, Foster comments, “It’s kind of odd, because my relative caused all of this. I wouldn’t have come down here if I walked in that room and people were throwing rocks at me.”
After Clotilda is found, Kamau Sadiki, a master diver from the Slaves Wrecks Project, says emphatically, “Now, it’s time for justice.” Mobile municipal judge Finley says that although no one can be criminally prosecuted for Clotilda’s last voyage, there’s a possibility that members of the Meaher family, whose fortune was built from the work of enslaved people, could be held liable in a civil case. The issue of reparations comes up in “Descendant,” but most of the people who talk about reparations in the documentary say it would be very difficult to decide the amount that should be paid, when it should be paid, and to whom.
Henderson’s daughter Veda Tunstall, an Africatown descendant of Clotilda’s enslaved people, comments on the idea of getting and distributing reparations: “I have no idea how it’s supposed to work. As long as Timothy Meaher is not here, I don’t think there’s anyone to punish.” As for any measure of justice, people in the documentary say that, at the very least, historical figures who fought to keep slavery legal in the U.S. and/or were members of white supremacy hate groups should be not be celebrated by having things named after them or by having statues erected in their honor.
Other people interviewed or featured in the documentary include Africatown community leader Cleon Jones; folklorist Kern Jackson; National Geographic archaeologist in residence Frederick Hiebert; marine archeologist James Delgado; Yorktown Missionary Baptist Church pastor Chris Williams; “Barracoon” editor Deborah Plant; Alabama Tourism Department director Lee Sentell; reporter Nick Tabor; East Bay Automotive owner/Mobile resident Joe Turner; Clotilda captive descendants Lorna Woods, Patricia Frazier, Bobby Dennison and Darron Patterson; and Africatown community activists Joe Womack, Mae Jones and Anderson Flen.
“Descendant” doesn’t ignore these questions: “Who benefited the most from slavery and white supremacist racism? And who still benefits, even if it’s indirectly?” “Descendant” shows that events about Clotilda that involve money-making opportunities or media attention tend to attract a lot more white people than meetings intended to help marginalized and oppressed racial groups, such as meetings held by the Clean Health Educated Safe Sustainable group, which aims to bring solutions to the industrial-area Africatown pollution problems that disproportionately affect African Americans.
“Descendant” is the type of documentary that some people will never watch because they just don’t want to see any documentaries that remind anyone of the ugly history of slavery in America. Some people might think that movies like “Descendant” just fuel racism and bring up things that should be left in the past. But people who actually watch “Descendant” can see that it shows, through these very personal stories, racism actually thrives when people want to deny that it exists, but there’s a chance for healing when there are open and honest discussions about it.
Netflix released “Descendant” in select U.S. cinemas and on Netflix on October 21, 2022.
Culture Representation: Taking place in Sonoma County, California, the dramatic film “Gone in the Night” features a predominantly white cast of characters (with some Asians and one African American) representing the working-class and middle-class.
Culture Clash: A woman’s boyfriend abruptly disappears after they’ve rented a vacation cabin in a remote wooded area, and she tries to solve the mystery of what happened to him.
Culture Audience: “Gone in the Night” will appeal primarily to people who are fans of star Winona Ryder and don’t mind watching a dull, convoluted and insipid mystery.
Dermot Mulroney in “Gone in the Night” (Photo courtesy of Vertical Entertainment)
“Gone in the Night” is supposed to be a mystery thriller. But the only baffling mystery is how anyone involved in this tepid and messy dud of a movie thought that it was worth getting made. Winona Ryder fans, you’ve been warned. “Gone in the Night” is one of the worst movies she’s ever done. Not only is Ryder’s talent completely misused and squandered in this wasteland of a film, but all of the cast members are also stuck portraying hollow characters in a sluggish story with a moronic ending.
Directed by Eli Horowitz (who co-wrote the terrible “Gone in the Night” screenplay with Matthew Derby), “Gone in the Night” (originally titled “The Cow”) had its world premiere at the 2022 SXSW Film Festival in Austin, Texas. The change in the movie’s title is the only improvement made to this creatively bankrupt slog of a film, which has barely enough of a story to fill a short film. The reason why the original title was “The Cow” is explained in the last 15 minutes of the movie.
“Gone in the Night” is not a horror movie, although it might try to fool people that it is if you’ve seen some of the movie’s publicity images of Ryder in character, looking terrified with blood spatter on her face. The first third of the film takes place in that constant horror cliché: a house in an isolated wooded area. But don’t expect anything scary to happen in this cabin in the woods.
The monotony of “Gone in the Night” begins with an unmarried couple driving at night to said cabin in the woods, which is located in an unnamed city in Sonoma County, California. (“Gone in the Night” was filmed on location in Sonoma County.) Kath (played by Ryder) is introverted and cautious. Max (played by John Gallagher Jr.) is extroverted and a risk-taker. Their contrasting personalities are on display when they encounter a problem after arriving during the night at their rental cabin, which they got through an unnamed service that sounds like Airbnb.
Kath and Max find out that another couple got booked for the same cabin at the same time. And neither couple wants to leave. At first, Kath wants to leave, since she’s the only one in this couple who has a driver’s license. But then, Kath changes her mind because Max wants to stay, and Kath doesn’t want to drive at night.
The other couple at this cabin are Al (played by Owen Teague) and Greta (played by Brianne Tju), who are both in their 20s. Kath is in her early 50s, while Max is in his late 30s. Kath and Max have been dating each other for about one year, which is the same period of time that Al and Greta have been a couple. It’s mentioned later in the story that Kath (a continuing education teacher) met Max when he was a student in her hydroponics class.
Right from the beginning, it’s obvious that something is off-kilter about Al and Greta, who both wear matching green rain ponchos. Al is a little hostile about the booking mixup, but Greta convinces Al it would be okay to let Kath and Max temporarily stay in a spare room for the night. This is the part of the movie where things could get intriguing. Instead, “Gone in the Night” fizzles and never recovers.
“Gone in the Night” is so shoddily written, not much else is revealed about these two couples during the time that they spend together and have boring conversations. At one point, it’s mentioned that Al and Greta are in an unconventional relationship. Kath mentions that she tried being married once but she didn’t like it. The two couples find a board game called Pillow Talkers, which is supposed to encourage intimacy. Players of the game read cards that dare them to do something semi-erotic.
All it results in is a not-very-interesting scene where a card is read saying, “The elbow is an erogenous zone. Prove it.” And then, Greta licks and kisses Max’s elbow. Kath and Al watch with some discomfort, as Greta and Max mildly flirt and laugh with each other for the rest of the game. Kath eventually has enough and announces that she’s going to go to sleep.
The next day, Kath finds a distressed-looking Al in the woods. Al tells Kath, “They’re gone. Your fucking dude was groping my girlfriend … And they ran off.” And this is where “Gone in the Night” slides further into idiocy. Instead of looking for Max to find out for herself what’s going on with him, Kath goes back to the cabin and assumes that Max’s disappearance is his way of dumping her. She’s very nonchalant (and ignorant) about not caring to find out if what Al said is true.
Instead of finding out what happened, Kath just goes home and complains to her friend Laurel (played by Yvonne Senat Jones) that she’s better off without Max. “It felt like effort,” Kath says of dating Max. “I’m done with effort.” That also describes the “Gone in the Night” filmmakers’ attitude toward crafting a good story for this movie.
After not hearing from Max for a number of days, Kath finally gets an inkling that maybe something is really wrong with Max’s disappearance. Instead of using common sense and contacting Max’s family members and/or friends to find out where he is, Kath calls the owner of the cabin—57-year-old Nicholas Levi Barlow (played by Dermot Mulroney—to try and find out Greta’s address. It’s a dimwitted decision because there’s no guarantee that Max is with Greta at Greta’s address.
Kath’s lie is that Greta left a book behind in the cabin, and Kath wants to return the book to Greta. Its a badly thought-out-fabrication because Nicholas says he doesn’t want to violate Greta’s privacy by giving out her home address, so he offers to give the book to Greta if Kath will give the book to him. Caught in this lie, Kath then admits she wants Greta’s address because she heard that Greta and Max ran off together.
The movie gets even more ludicrous when Nicholas offers to help Kath play detective to find Greta and Max. The rest of “Gone in the Night” consists of embarrassingly dimwitted and tedious scenes of Nicholas and Kath snooping around and acting like stalkers until the full truth is revealed of what happened to Max and Greta. During this investigation, Nicholas crosses paths with a former business partner named Ramon (played by Alain Uy), who worked with Nicholas in a biotech start-up company.
There’s nothing remarkable about anything in “Gone in the Night,” which drags on and on until the movie’s witless ending. The last 15 minutes of the movie give the impression that screenwriters Horowitz and Derby weren’t quite sure how to end the story and rushed through some sloppy thoughts because they wanted to finish the screenplay by a certain time. All of the cast members look like they’re going through the motions. The only motions that viewers will feel compelled to take while watching “Gone in the Night” are falling asleep, or finding ways to endure watching this slow-moving train wreck until the bitter end.
Vertical Entertainment released “Gone in the Night” in select U.S. cinemas on July 15, 2022. The movie was released on digital and VOD on August 2, 2022.
Culture Representation: Taking place in an unnamed city in New York state, the horror film “Bodies Bodies Bodies” has a racially diverse cast of characters (African American, white and one biracial Asian) representing the wealthy, upper-midde-class and working-class.
Culture Clash: During a hurricane, seven people partying in a mansion decide to play a murder mystery game, but then some people at this party really end up getting killed.
Culture Audience: “Bodies Bodies Bodies” will appeal primarily to people who are fans of horror movies that mix raunchy comedy with a suspenseful mystery.
Lee Pace and Pete Davidson in “Bodies Bodies Bodies” (Photo by Gwen Capistran/A24)
“Bodies Bodies Bodies” capably serves up suspense and social satire, despite a few plot holes and an overload of pop culture and slang that will inevitably make this horror movie look very dated. It’s a time capsule of Generation Z (people born between 1997 and 2012) in their 20s, and all the technology that affects their relationships and perceptions of each other. In other words, it’s not a throwback to slasher flicks from the 20th century. This is a horror movie about people who don’t know what it’s like to live life without the Internet, for better or worse. Except for one person, all of the characters in “Bodies Bodies Bodies” are supposed to be in their early-to-mid 20s.
Directed by Halina Reijn and written by Sarah DeLappe, “Bodies Bodies Bodies” had its world premiere at the 2022 SXSW Film Festival in Austin, Texas. The movie makes the most out of the relatively small number of people in the cast and the fact that “Bodies Bodies Bodies” primarily takes place in one location: a mansion in a remote, mountanous area somewhere in New York state. (“Bodies Bodies Bodies” was actually filmed in Chappaqua, New York.)
In many ways, “Bodies Bodies Bodies” follows the same formula of dozens of other horror movies where young people gather in an isolated area; indulge in sex, drugs and mind games; and are killed off, one by one. However, the movie’s snappy dialogue and a twist ending make “Bodies Bodies Bodies” slightly better than the average horror flick. It isn’t a movie where people are killed indiscriminately, because it’s shown exactly why each person was killed.
The opening scene of “Bodies Bodies Bodies” lets viewers know that this is a very queer-friendly movie, where the sexualities of the characters can be fluid, and if other people are uncomfortable about it, they don’t really care. The movie’s first scene is a close-up of new couple Sophie (played by Amandla Stenberg) and Bee (played by Maria Bakalova) passionately kissing each other. They also tell each other, “I love you.” It’s mentioned a little later in the movie that Sophie and Bee have been dating each other for the past six weeks.
Bee and Sophie have almost opposite personalities: Sophie is a risk-taking extrovert. Bee is a cautious introvert. Sophie and Bee are about to take a road trip to the aforementioned remote mansion to party with some of Sophie’s friends who were her schoolmates in high school. Sophie has known a few of these friends before they were teenagers. Bee is very nervous about this trip—and not because she will be meeting Sophie’s friends for the first time.
Bee has some other social anxieties. Bee is an immigrant from an unnamed Eastern European country and comes from a working-class background, while Sophie is an American whose family is rich. (Bakalova, the Oscar-nominated actress from 2020’s “Borat Subsequent Moviefilm,” is actually from Bulgaria.) Sophie is openly queer. However, Bee is also not completely “out of the closet” as a queer woman. Many of Bee’s family and friends don’t know yet that Bee is queer and dating Sophie.
Sophie’s got her own issues. Conversations in the movie reveal that Sophie is a recovering drug addict and alcoholic. When she was a student at New York University, Sophie had at least one overdose and mental breakdown. She has also spent time in drug rehab and psychiatric facilities. It’s never mentioned if Sophie graduated from NYU, but it’s implied she probably dropped out of college because of her personal problems. Sophie doesn’t appear to have any life goals at the moment except to try to stay clean and sober and enjoy life as much as possible.
The mansion is owned by the parents of spoiled and obnoxious David (played by Pete Davidson), who is yet another stereotypical stoner that Davidson seems to play in his most recent movies. Before Sophie and Bee go to the mansion, Sophie tells Bee that David was Sophie’s “pre-school boyfriend, before I realized I was a raging dyke.” No one’s parents are seen in this movie, but it’s mentioned that all of Sophie’s childhood friends come from affluent families.
Because of his abrasive personality, David is someone who has friends who don’t really like him, but they tolerate him because he’s generous when it comes to partying and sharing some of his wealth. Just like Sophie, David doesn’t seem to know what he wants to do with his life, and his family is rich enough to financially support him. David is the type of braggart who has to prove to everyone that whatever they can do, he can do better.
When Bee and Sophie arrive at the mansion, the small party is in full swing in and around the swimming pool. Sophie is warmly greeted by everyone, while Bee shyly offers a party gift: homemade zucchini bread. The other people at the party (except for Sophie) think this gift is very unsophisticated and old-fashioned, and they react with either rude haughtiness or amusement. Sophie tries to make Bee more comfortable, but Bee can immediately sense that she will have trouble fitting in with this group of bratty snobs.
The other people at the party are David’s insecure girlfriend Emma (played by Chase Sui Wonders), an actress who’s been in a relationship with David for the past six years; free-spirited but flaky Alice (played by Rachel Sennott), a podcast host who likes to wear glow sticks as jewelry; scruffily handsome and goofy Greg (played by Lee Pace), who is in his 40s and is having a fling with Alice; and brooding Jordan (played by Myha’la Herrold), who has unresolved romantic feelings for Sophie. Jordan is the only one in the group who is not part of a couple, so her “romantically unattached” status affects some of the tensions and jealousies that happen later in the story.
Some viewers might not like how long it takes for “Bodies Bodies Bodies” to actually get to any horror. The first third of the movie is really about showing the dynamics between these seven people when they’re partying and trying to prove to each other how “cool” they are. Alice met Greg on the dating app Tinder, and they’ve only known each other for less than a week. David is threatened by Greg’s physical attractiveness, so David attempts to demean Greg’s masculinity by trying to make Greg feel “old” and out-of-touch.
A hurricane quickly forces the party to go indoors, where there’s the inevitable electrical power outage, so that people can’t use their phones or WiFi service to communicate. No electricity also means that much of the movie is dark and shadowy, except for lights from candles, flashlights, cell phones or Alice’s ever-present glow sticks. Sophie notices that Jordan has been flirting with Bee. And so, as a distraction and in order to liven up the party, Sophie tells everyone that they should all play a game called Bodies Bodies Bodies.
Bodies Bodies Bodies is a murder mystery game, where slips of paper are distributed to all the players. The player who gets the paper slip marked with “x” is the designated murderer, who has to “kill” as many of the other players as possible. The potential victims can hide wherever they want to avoid being killed. Someone can win the game in one of two ways: By being the first potential victim to prove who the killer is, or by being the killer and getting away with all of the murders. And because “Bodies Bodies Bodies” is a horror movie, the killings turns out to be real.
A potential outlier in the story is a character named Max (played by Conner O’Malley), another friend in this clique, who was at the party the night before. However, no one really knows where Max is during the killings because he left the party the previous night, after getting into a fist fight with David. (It’s why David has a black eye.) The reasons for this altercation are later revealed in the movie. Max is not seen for most of the movie, but his name comes up multiple times in the increasingly paranoid and frantic conversations, and as the body count continues to pile up.
With a soundtrack that’s heavy on electronic dance music and hip-hop, “Bodies Bodies Bodies” wants to have a very “of the moment” vibe to convey a pulse-pounding nightclub of the early 2020s. But at this party, people’s pulses are pounding because they’re terrified that they’re trapped in this mansion with a serial killer on the loose. The hurricane outside won’t put off some people from trying to get away by car. But it should come as no surprise when “Bodies Bodies Bodies” has a horror movie cliché: a car that won’t start when people want it to start.
“Bodies Bodies Bodies,” which has good performances all around from the cast members, is at its best in revealing of some of the secrets and lies within this group of characters. The arguing can get a little tedious and annoying, but not so grating that it overtakes the movie’s horror angles. That’s because there’s enough comedy in the dialogue in the movie’s self-aware way of showing that these self-absorbed and sometimes-cruel characters mostly deserve to be mocked. Bee is the only one who seems to be immune to the group’s ridiculous ego posturing and whiny antics, but she’s no angel either.
Some of the plot developments in “Bodies Bodies Bodies” are a little on the implausible side. On the other hand, it is very believable that people in a panic can do a lot of things without thinking logically. People will either love or hate the ending of “Bodies Bodies Bodies.” Regardless of how viewers feel about how the movie ends, “Bodies Bodies Bodies” offers some sly commentary on some people’s preoccupation with creating lives and images on the Internet that are often quite different from reality. This preocupation can lead to misperceptions and manipulations that can be their own kinds of horror stories.
A24 released “Bodies Bodies Bodies” in select U.S. cinemas on August 5, 2022. The movie’s release expands to more U.S. cinemas on August 12, 2022.
Culture Representation: Taking place primarily in Los Angeles and Mallorca, Spain, the action comedy “The Unbearable Weight of Massive Talent” features a cast of white and Latino characters (with a few African Americans) representing the working-class, middle-class and wealthy.
Culture Clash: Desperate for money, famous actor Nick Cage agrees to a $1 million fee to appear at a wealthy superfan’s birthday party in Mallorca, where he reluctantly gets in the middle of an international espionage case.
Culture Audience: “The Unbearable Weight of Massive Talent” will appeal primarily to fans of star Nicolas Cage and comedies that are satires of real people.
Nicolas Cage, Lily Sheen and Sharon Horgan in “The Unbearable Weight of Massive Talent” (Photo by Katalin Vermes/Lionsgate)
It’s not the comedy masterpiece that some people have been hyping it up to be, but “The Unbearable Weight of Massive Talent” has plenty of hilarious moments in spoofing Nicolas Cage’s public persona and action films. The movie has some genuinely inspired scenes before the film’s last 20 minutes devolve into stereotypical formulas seen in many other comedic spy capers. “The Unbearable Weight of Massive Talent” is also an above-average buddy comedy, with touches of family sentimentality to balance out some of the wackiness.
Tom Gormican directed “The Unbearable Weight of Massive Talent” from a screenplay that he co-wrote with Kevin Etten. It’s Gormican’s second feature film, after he made his feature-film directorial debut with the forgettable 2014 male-friendship comedy “That Awkward Moment.” Gormican’s background is mainly as a TV writer/producer, with credits that include “Scrubs,” “Desperate Housewives” and “Ed.” At times, “The Unbearable Weight of Massive Talent” veers into stale TV sitcom territory, but the movie has enough originality and charm to rise above its repetitive clichés. “The Unbearable Weight of Massive Talent” has its world premiere at the 2022 South by Southwest (SXSW) Film Festival in Austin, Texas.
Cage has said in interviews that he initially rejected the idea of doing this movie. It’s a good thing that he changed his mind, because “The Unbearable Weight of Massive Talent” is easily one of the funniest comedy films that Cage has done in decades. In the movie, he plays two versions of himself: (1) main character Nick Cage, a present-day version of himself, and (2) Nicky Cage, a younger, brasher version of Cage, circa the late 1980s/early 1990s. (According to the movie’s production notes, Nicky’s physical appearance was inspired by how the real Cage looked in his 1990 movie “Wild at Heart.”)
Nicky has de-aging visual effects for his face, and he appears to Nick as a figment of Nick’s imagination, in moments when Nick is feeling insecure. Nicky’s blunt and sometimes crude conversations with Nick (which are either pep talks, insults or both) are among the more memorable parts of the movie. Nicky has a habit of yelling out “I’m Nick fucking Cage!,” in an elongated way, as if he’s a WWE announcer yelling, “Let’s get ready to rumble!” before a wrestling match. In the film’s end credits, the actor listed as portraying Nicky is Nicolas Kim Coppola, which is a cheeky nod to Cage’s birth surname Coppola. (Numerous movie fans already know that Cage is part of the famous Coppola movie family.)
In the beginning of “The Unbearable Weight of Massive Talent,” Nick is a world-famous actor in Los Angeles, but he’s currently not getting the acting roles that he wants. Nick has been struggling with being labeled a “has-been” who’s been doing a lot of low-budget, low-quality movies in recent years. (Real-life filmmaker David Gordon Green has a cameo as himself in an early scene in the movie where Nick tries to impress him with an impromptu monologue reading.)
When Nicky shows up and talks to Nick, it’s usually to remind Nick that his younger self would never have stooped to the level of the type of work that Nick is doing now. In one of the movie’s early scenes, Nicky is lecturing Nick about it during a drive in Nick’s car, with Nick driving. A defensive Nick snaps back: “Hello! It’s my job! It’s how I pay my bills. I have to feed my family.” Nick ends the conversation by telling Nicky, “You’re annoying!” And then Nick kicks Nicky out of the car.
Nick’s fast-talking agent Richard Fink (played by Neil Patrick Harris, in a cameo role) tells Nick about a job offer from a Nick Cage superfan in Mallorca, Spain. This wealthy fan wants to pay Nick $1 million to make a personal appearance at the fan’s birthday party. Nick says no to the idea, because he thinks that these types of personal appearances are beneath him as a “serious actor.”
However, because Nick gets rejected for a movie role that he had been counting on getting, and because he has high-priced divorce payments and other bills, a financially desperate Nick agrees to the birthday party job offer. Nick makes it clear to Richard that this personal appearance better not include anything involving kinky sex. Nick has no idea that what he thinks will be an easy gig will turn out to be a life-threatening, mind-bending experience for him and other people.
Nick isn’t just having problems in his career. His personal life is also messy. Nick has a tension-filled relationship with his ex-wife Olivia (played by Sharon Horgan), a former makeup artist whom he met on the set of his 2001 movie “Captain Corelli’s Mandolin.” It’s revealed in “The Unbearable Wright of Massive Talent” that one of the main reasons why they divorced was because Olivia thought that Nick put his career above everything else in his life.
Nick and Olivia have a daughter named Addy (played by Lily Sheen), who’s about 15 or 16 years old. Addy is usually annoyed with Nick because she thinks he forces her to do things (such as watch movies) that are according to what he wants to do and his personal tastes, without taking into consideration Addy’s own personal wants and needs. For example, Nick has insisted that Addy watch the 1920 horror film “The Cabinet of Dr. Caligari,” even though Addy has no interest in seeing this movie.
Addy also thinks Nick has been a neglectful father for most of her life. That’s why Nick and Addy are in therapy together. But as an example of Nick’s self-centered ways, a therapy session that’s shown in the movie reveals that Nick spends most of the time talking about himself, while Addy sulks in a corner on a couch. Their therapist named Cheryl (played by Joanna Bobin) has to listen to Nick ramble on about his career problems, while she tries to steer the conversation back to how to improve his personal relationships.
Nick is so financially broke, he doesn’t have a permanent home, and he’s living at a hotel. When he gets locked out of his hotel room due to non-payment, he calls his agent Richard to tell him that he’s taking the birthday party job. A self-pitying Nick also tells Richard that he’s going to quit being an actor. On his way to Mallorca, Nick has no idea that he’s gotten on the radar of the CIA, which has been tracking the activities of the fan who has hired Nick to be at the fan’s birthday party. The CIA has this superfan under investigation for being the leader of a ruthless international arms cartel.
Two CIA operatives who have been assigned to the case are named Vivian (played by Tiffany Haddish) and Martin (played by Ike Barinholtz), who are surprised and confused when they see Nick disembarking from the private plane that the superfan has chartered for this trip. Vivian, who has a take-charge and quick-thinking personality, immediately pretends to be an adoring Nick Cage fan, and stops him at the airport to take a selfie photo with him. It’s really a ruse to plant a tracking device on Nick. Vivian and Martin are generic and underwritten roles, so Haddish and Barinholtz don’t do much that’s noteworthy in the movie.
In Mallorca, Nick is taken to a lavish cliffside mansion, where he is greeted by several employees of this rich superfan, who is described as a mogul in the olive grove business. The fan’s name is Javi Gutierrez (played by Pasco Pascal), and he is so unassuming on first impression, Nick initially mistakes Javi for one of the servants, because Javi was the one who drove Nick to this mansion by speedboat. The two people in Javi’s inner circle who are the closest to him are his cousin/right-hand man Lucas Gutierrez (played by Paco León) and a savvy business person named Gabriela (played by Alessandra Mastronardi), nicknamed Gabi, who is Javi’s director of operations.
Nick soon finds out that Javi didn’t just invite him to make an appearance at Javi’s birthday party. Javi has written a movie screenplay, and he wants Nick to star in this movie. Javi is crushed when Nick tells him that he’s going to quit acting, so Javi desperately tries to get Nick to change his mind One of the running gags in “The Unbearable Weight of Massive Talent” is how Nick reacts to Javi’s attempts to befriend Nick and get Nick to read his script. It should come as no surprise that Javi makes revisions to the screenplay, based on a lot of the shenanigans that he experiences with Nick.
As shown in the movie’s trailer, Vivian and Martin recruit/pressure Nick to spy on Javi for the CIA. Meanwhile, things get more complicated with the kidnapping of Maria Delgado (played by Katrin Vankova), a teenage daughter of a politician who’s running for a high office in Spain. There are entanglements with a thug named Carlos (played by Jacob Scipio) and a group called the Carabello crime family. And it should come as no surprise that Addy and Olivia somehow get mixed up in this mess too.
Along the way, there’s some drug-fueled comedy that’s intended to make the most of Cage’s slapstick skills. First, Nick accidentally drugs himself with a potentially lethal dose of gaseous poison. Later, Nick and Javi take LSD together and have a bonding experience where they go through various levels of elation and paranoia.
Nick and Javi’s budding friendship is at the heart of the movie. However, there are also some standout moments involving Nicky, Olivia and Addy and how their relationships to Nick end up evolving. (Nicky spontaneously does something outrageous, when he kisses Nick, in a scene that will have viewers either shocked, roaring with laughter or both.)
Pascal is pitch-perfect in his role as Javi, who might or might not be the movie’s biggest villain. When secrets are revealed, they’re not too surprising, but one of the best things about “The Unbearable Weight of Massive Talent” is that it doesn’t make Javi into a meaningless caricature. Even though Cage is the larger-than-life central character in the movie, Pascal holds his own and can be considered a scene-stealer.
“The Unbearable Weight of Massive Talent” has the expected stream of jokes about previous real-life movies of Cage. Among those that get name-checked or parodied include “Con Air,” “Face/Off,” “Moonstruck,” “Valley Girl,” “The Croods: A New Age,” “Gone in 60 Seconds,” “The Rock,” “Leaving Las Vegas,” “National Treasure” and “Guarding Tess.” Also in “The Unbearable Weight of Massive Talent” is a recurring joke about the animated film “Paddington 2” (which is not one of Cage’s movies) and how this family film sequel about a talking bear affects certain people who watch it.
Cage is a versatile actor who tackles his role in “The Unbearable Weight of Massive Talent” with gusto. (He’s also one of the movie’s producers.) Cage makes this movie work so well because he’s fully on board with laughing at himself. Not too many well-known actors would risk doing a movie where they have to poke fun at their triumphs and failures, but it’s precisely this risk-taking that has made Cage one of the most interesting and unpredictable actors of his generation. “The Unbearable Weight of Massive Talent” does indeed have massive talent, but this talent helps the movie soar instead of sink.
Lionsgate will release “The Unbearable Weight of Massive Talent” in U.S. cinemas on April 22, 2022. The movie is set for release on digital and VOD on June 7, 2022, and on 4K Ultra HD and Blu-ray on June 21, 2022.
The following is a press release from the South by Southwest Conference and Festivals:
The South by Southwest® (SXSW®) Conference and Festivals announced the 2022 Jury and Special Award winners of the 29th SXSW Film Festival. Feature films receiving Jury Awards were selected from the Narrative Feature and Documentary Feature Competition categories. SXSW also announced all other juried sections, including Shorts, Design and XR Experience Awards. Special Awards announced included: Louis Black “Lone Star” Award, Adobe Editing Award, Adam Yauch Hörnblowér Award, ZEISS Cinematography Award, the Mailchimp Support the Shorts Award and the Fandor New Voices Award.
All 2022 film categories will be eligible for category-specific Audience Awards, which will be certified by the accounting firm of Maxwell Locke & Ritter. Online Screenings and Audience Award Voting will conclude at 9am CT on Monday, March 21. Winners will be announced via sxsw.com that week.
“It was extraordinary to gather together in person again after so long and we are so grateful to the filmmakers and audience who joined us at SXSW 2022 in Austin, Texas for our first in-person event since 2019,” said Janet Pierson, VP, Director of Film. “The program was celebrated across the board and tonight we get to give a special shout-out to the award winners.”
The 2022 SXSW Film Festival Juries consisted of:
Narrative Feature Competition: Sheri Linden, The Hollywood Reporter; Siddhant Adlakha, filmmaker and critic; Jenelle Riley, Variety Documentary Feature Competition: Jason Bailey, critic, historian and author; Carlos Aguilar, film critic and journalist; Beandrea July, freelance film critic Louis Black “Lone Star”: Richard Whitaker, The Austin Chronicle; Kathy Blackwell, Executive Editor, Texas Monthly; Karen Valby, author and freelance writer Narrative Shorts Program: Mohammad Gorjestani, filmmaker; Natalie Haack Flores, VP Development, Nuyorican Productions; Inga Diev, GM Ouat Media Documentary Shorts: Greg Rhem, writer, director, producer and creative consultant for MTV Documentary Films; Ryan Harrington, Head of film, Kinema; Yvonne Ashley Kouadjo, series producer, New York Times‘ Op-Docs Animated Shorts: Julia Pott, animator; John Agbaje, SVP of Animation, Bad Robot; Brook Keesling, Head of Animation Talent Development, Bento Box Entertainment Midnight Shorts: Barbara Crampton, actor and producer; Dana Gills, SVP of Development and Production, Monkeypaw; Bea Sequeira, producer, Blumhouse Music Videos: Andrew Unterberger, Deputy Editor, Billboard; Shanna Green, Director of Communications, Commercials and Short-Form Content, Anonymous Content; Meghan Oretsky, Senior Curator, Vimeo Texas Shorts: Cat Cardena, Associate Editor, Texas Monthly; Eric Webb, Entertainment Editor, Austin-American Statesman; Monique Walton, filmmaker Texas High School Shorts: Bart Weiss, Educator and Founder, Dallas VideoFest; Lindsey Ashley, Deputy Director, Texas Film Commission; Dr. Tere Garza, Professor of Communication, St Edward’s University Episodic Pilot Competition: Randi Kleiner, Co-Founder and CEO, SeriesFest; Selome Hailu, Variety; Augustine Frizzell, filmmaker Excellence in Title Design: Victoria Nece, Principal Product Manager, Motion Graphics, Adobe; Hazel Baird, Creative Director and Designer, Elastic; Saskia Marka, independent designer Excellence in Poster Design: Barak Epstein, Texas Theatre in Dallas, producer; Becky Cloonan, illustrator and cartoonist; Kevin Tong, illustrator XR Experience Jury: Nonny de la Peña, founder, Emblematic Group; Kent Bye, Voices of VR; Loren Hammonds, Producer, Co-head of Documentary, TIME Studios
The 2022 Film Festival program includes 100 features including 76 World Premieres, 4 International Premieres, 4 North American Premieres, 2 U.S. Premieres, 14 Texas Premieres + 111 Short Films including 24 Music Videos, 12 Episodic Premieres, 6 Episodic Pilots, 30 XR Experience projects (formerly Virtual Cinema), and 19 Title Design Competition entries.
Films will continue to be available on the SXSW platform until 9:00am CT on Monday, March 21. SXSW will continue running the Online Shift72 Screening Library through March 31, 2021, for those films that have opted-in to the extended timeframe.
The SXSW 2022 Film Festival Awards:
Feature Film Grand Jury Awards
NARRATIVE FEATURE COMPETITION Presented by Panavision
James Morosini and Patton Oswalt in “I Love My Dad” (Photo courtesy of I Love My Dad LLC/Hantz Motion Pictures)
Winner:I Love My Dad Director/Screenwriter: James Morosini, Producers: Bill Stertz, Patton Oswalt, Sean O’Grady, Dane Eckerle, Phil Keefe, Daniel Brandt, Sam Slater
“A bold, funny film that marks an impressive feature debut for writer-director-star James Morosini, I Love My Dad finely threads the needle with its tale of an estranged father (Patton Oswalt) who catfishes his son (Morosini) in an attempt to reconnect. Working from a screenplay based on his own real-life story, Morosini displays massive empathy as a filmmaker to get into the mind of the father he feels betrayed by, and also as an actor portraying the impact of that betrayal. He’s aided by a great cast, particularly Oswalt.”
Special Jury Recognition for Extraordinary Cinematic Vision: Cast and Crew, It Is in Us All
“Every creative element of It Is in Us All, from its editing and music to its performances and cinematography, works in tandem to craft a haunting atmosphere. Writer-director-actor Antonia Campbell-Hughes’ extraordinary feature debut is a remarkable example of how the various artistic facets of a movie can converge to create something cinematic, in the purest and most soulful sense: a work that accesses some part of you that feels hidden away.”
Special Jury Recognition for Breakthrough Performance: Elizaveta Yankovskaya, Nika
“In her first lead role in a feature, Elizaveta Yankovskaya delivers a knockout portrait brimming with rage, joy, despair, uncertainty and 20-something yearning. She plays Nika Turbina, a real-life figure who, after fame was thrust upon her as a child poet, finds herself past her prime before she’s 30. Whatever narrative conjectures the intimate drama might make, there isn’t a moment in Yankovskaya’s breathtaking performance that doesn’t ring true with messy emotional complexity, or that doesn’t feel like unpredictable life itself unfolding before our eyes.”
A big thanks to our Narrative Feature Competition presenting sponsor Panavision, the global provider of optics, cameras, and end-to-end services that power the creative vision of filmmakers.
DOCUMENTARY FEATURE COMPETITION Presented by IMAX
“Master of Light” (Photo by Jurgen Lisse)
Winner: Master of Light Director: Rosa Ruth Boesten, Producers: Roger Ross Williams, Anousha Nzume, Ilja Roomans
“In both substance and form, Master of Light is a gift. The earnest and gifted painter George Anthony Morton embeds viewers in his world as he struggles to render his mother — both on the canvas and in his psyche. Boesten disabuses us of static tropes about America’s merciless drug war and about contemporary art. With astonishing intimacy, the film’s visuals build an artful bridge between two- and three-dimensional realms that are deeply rooted and utterly transcendent. Put this painting of a film in a museum, next to a Rembrandt and a Morton.”
Special Jury Recognition for Exceptional Intimacy in Storytelling: Bad Axe Director: David Siev, Producers: Jude Harris, Diane Quon, Katarina Vasquez, David Siev
“Stories centered on the pursuit of the “American Dream” abound. Rarely do they portray the sacrifices and recurrent trials that the promise of a better life entails the way director David Siev accomplishes with Bad Axe. Examining those closest to him with profound compassion and incisive curiosity, he paints a distinct and easily recognizable portrait of the alienation many feel in the place they call home, by birth or by circumstance. For its ability to reveal something unexpected about the American fabric and the American family, Bad Axe deserves celebration.”
Special Jury Recognition for Acting in a Documentary: Steve Glew, Pez Outlaw “Steve Glew is the kind of colorful character that most documentarians dream of capturing, a born storyteller with a crackerjack sense of scene-setting and comic timing. In the tradition of Muhammad Ali in The Greatest and Evel Knievel in Viva Kneivel!, The Pez Outlaw‘s reenactment sequences cast the only actor who could credibly bring Mr. Glew’s exploits to life: the man himself. There’s something uniquely American about Glew’s mixture of chutzpah, ingenuity, charisma, and grievance that makes him a mesmerizing onscreen presence.”
Since 1970 IMAX Documentaries have immersed audiences in real-life stories told on a grand scale. In 2022 that tradition continues as a new generation of filmmakers turns its lens to a theatrical experience like no other. Today, IMAX is honored to present this year’s documentary award to recognize the future — gifted storytellers who are bringing their stories to audiences in powerful and wondrous ways.
SHORT FILM GRAND JURY AWARDSPresented by IMDbPro
NARRATIVE SHORT COMPETITION
“All the Crows in the World”
Winner: All the Crows in the World Director/Screenwriter: Tang Yi, Producer: Haozheng Li
“The jury recognizes All The Crows in the World as the Jury Award Winner, a film that reminded us of the power of short-form cinema as a stand-alone art form on its own. The film’s balancing of surrealism, bizarreness, tenderness, and reality was only outdone by its inventive narrative and critiques of patriarchal culture, paired with execution by a director who is clearly in command of her craft.”
Special Jury Recognition for Directing and Community Filmmaking: Glitter Ain’t Gold Director/Screenwriter: Christian Nolan Jones, Producers: Maia Miller, T. Popps, O. Valerie Nicolas
“The jury awards Glitter Ain’t Gold a Special Jury Recognition for Directing and Community Filmmaking, which stood out for its vibrant narrative and authentically palpable energy filled with compelling visuals and inventive editing harmoniously coupled with powerfully nostalgic music. It was clear that its level of specificity was a direct result of a community that came together to make a profound piece of art that touched us deeply.”
Special Jury Recognition for Outstanding Performances: Aphrodite Armstrong, Kyle Riggs, West by God
“The jury awards a Special Jury Recognition for Outstanding Performances to Aphrodite Armstrong and Kyle Riggs for West by God. Their dynamic and visceral performances beautifully emulate the powerful themes within the film about the human condition and the need for love, no matter what your walk of life.”
DOCUMENTARY SHORT COMPETITION
“A Long Line of Ladies” (Photo by Sam Davis)
Winner: Long Line of Ladies Directors: Rayka Zehtabchi, Shaandiin Tome, Producers: Garrett Schiff, Pimm Tripp-Allen, Rayka Zehtabchi, Sam Davis, Dana Kurth
“Long Line of Ladies presents an affecting perspective on celebrated generational cultural traditions. The tapestry of beautiful cinematography and vivid character moments elevates the filmmakers’ vision, inviting us into a devoted community that is committed to preserving their heritage.”
Special Jury Recognition for Visual Reflection: not even for a moment do things stand still Director: Jamie Meltzer, Producers: Annie Marr, Jamie Meltzer, Suzanne Brennan Firstenberg
“In a simple, yet profoundly moving way, not even for a moment do things stand still allows us to sincerely reflect on the lives we have lost over the past two years. The poetic visual language gives us a new perspective on a sadly familiar topic of love, life and loss.”
“Moshari is a terrifying, spine-chilling horror tale centering two sisters that renders a fresh take on blood sucking creatures set in an non-traditional post-apocalyptic world. The compelling performances, the haunting visuals and the layered storytelling highlight the director’s command of the genre and make him someone to watch. Nuhash Humayun has the ability to take recognizable elements, flip them on their head and turn them into nightmares. Moshari has created an allegorical story that will resonate with the viewer on a deeper level.”
Special Jury Recognition for Powerful “Short Trip”:Omi Director: Kelly Fyffe-Marshall, Screenwriters: Tamar Bird, Kelly Fyffe-Marshall, Producer: Tamar Bird
“Unexpected, effective and engaging film that in under three minutes manages to set up the lore, get us invested in the characters, while leaving us fulfilled and still craving more. Kelly Fyffe-Marshall has created a grounded supernatural story that is provocative, mysterious and unforgettable.”
ANIMATED SHORTS
“Bestia”
Winner:Bestia Director: Hugo Covarrubias, Screenwriters: Martín Erazo, Hugo Covarrubias, Producers: Tevo Díaz, Hugo Covarrubias
“Bestia is an exquisite, intimate peek at the dreams and memories of a sadistic secret agent, set in a tactile stop-motion non-wonderland, where a porcelain exterior isn’t enough to keep the damage away.”
Special Jury Recognition for Unexpected Emotion: Les Larmes de la Seine Directors/Screenwriters: Yanis Belaid, Eliott Benard, Producer: Carlos De Carvalho
“The magic trick of this film is that it describes great tragedy almost entirely with joy. History comes alive as we are immersed in raw beautiful humanity that jokes, laughs, feels nervous, fights, and dies. By illustrating extreme distress with astonishing euphoria, the directors create a fever dream “photo negative” glimpse of what we’ve missed by living with hatred and abuse rather than love and understanding. Like a sad melody played in major key, the film is both haunting and uplifting while stirring emotions like no film we’ve ever seen.”
Special Jury Recognition for Visceral Storytelling: Something in the Garden Director/Screenwriter/Producer: Marcos Sánchez
“It is so important to keep your brain open to play, and we commend this film’s playful spirit combined with its beautiful animation, reminiscent of a graphic novel. It felt at the perfect cross section of horror and ASMR, using impeccable pacing and sound design to take us on a visceral journey that thrilled, scared and delighted us. A brilliant use of the animated short form medium!”
MUSIC VIDEOS
Ishaval Gill and Kamaldevinder Gill in “Meet You at the Light.”
Winner: Desirée Dawson – ‘Meet Me at the Light’ Director/Screenwriter: Alexander Farah
“Without a single detail wasted, we were all moved to tears by this powerful story from a first-time music video director. Featuring equally beautiful performances, editing, and cinematography, we present the Best Music Video award to Desirée Dawson – Meet Me at the Light by Alexander Farah.”
Special Jury Recognition for Going the Extra Mile: Myd – ‘Let You Speak’ Director/Screenwriter: Dan Carr
“Funny, unexpected, and with a meta wink to the industry, our special jury mention went above and beyond our expectations, taking us around the world to various locations with a group of ragtag misfits that made us LOL along the way. Hence, the ‘Extra Mile’ award. The Special Jury Award for Going The Extra Mile Goes to Myd “Let You Speak” by Dan Carr.”
TEXAS SHORTS
“Folk Frontera”
Winner: Folk Frontera Directors: Alejandra Vasquez, Sam Osborn
“Centered around characters who call the desert borderlands of Texas their home, Folk Frontera turns the traditional documentary form on its head. Filmmakers Alejandra Vasquez and Sam Osborn imbue the documentary with the same magic and surrealism that feels authentic to the Chihuahuan Desert and its communities. Dreamlike visuals and nuanced presentation of the subjects’ stories make for a special experience.”
Special Jury Recognition for Vision: Birds Director/Screenwriter: Katherine Propper, Producer: Sophia Loffreda
“Katherine Propper’s Birds feels both fresh and warmly familiar to anyone who’s grown up during a Central Texas summer. Members of the film’s exceptional young ensemble shine in natural performances that help us see gorgeously shot scenery in a new light.”
TEXAS HIGH SCHOOL SHORTS
Honeybee (Photo by Emilio Vazquez Reyes)
Winner: Honeybee Director/Screenwriter/Producer: Emilio Vazquez Reyes “Honeybee is a beautifully-written, thoughtfully-crafted film that unfolds with a gentle and disciplined reveal, helping to humanize the experience of an undocumented immigrant. We felt this film was a graceful way to tell a difficult story, using all of the important elements like cinematography, music and editing to both advance the story and sincerely engage with the audience.”
Special Jury Recognition for Artistic Expression: It’s Getting Bad Again Director/Screenwriter: Sarah Reyes, Producers: Sarah Reyes, Kenneth Rogers “As an artist, Sarah Reyes captures a roller-coaster of an emotional exploration that balances darkness, humor and music in a poetic and refreshing way, all the while prompting an important dialogue about mental health awareness.”
A big thanks to our presenting sponsor, IMDbPro. Celebrating its 20th anniversary, IMDbPro is the essential resource for entertainment industry professionals. This membership-based service empowers entertainment professionals with information and tools designed to help them achieve success throughout their career. IMDbPro has an ongoing commitment to supporting and collaborating with organizations that create greater diversity, equity and inclusion in the entertainment industry and is a service of IMDb, the #1 movie website in the world. Learn more at www.imdbpro.com and follow @IMDbPro
MailChimp is another proud supporter of the Shorts program and have created their own award to help further the career of one lucky filmmaker, as well as provided financial prize support for all of the SXSW Shorts Jury Awards winners.
EPISODIC PILOT COMPETITION
“Something Undone” (Photo by Marie Davignon)
Winner: Something Undone Director: Nicole Dorsey, Screenwriters: Michael Musi, Madison Walsh, Producers: Max Topplin, Jordan Hayes
“The jury honors Something Undone for cleverly rethinking and repurposing oft-used elements of mystery/horror storytelling. The subtlety of the episode’s writing and acting are complemented by specific and stylized direction and cinematography. And above all, Something Undone sets itself apart with its smart use of diegetic sound, establishing quietly humorous commentary on the sounds of the genre at large — while also totally terrifying us in just ten minutes.”
Special Jury Recognition for Unique Vision in Writing and Directing: Pamela Ribon and Sara Gunnarsdóttir, My Year of Dicks
“For its thoughtful curation of imagery combined with a funny and inventive script, the Special Jury Recognition for Unique Vision in Writing and Directing goes to Pamela Ribon and Sara Gunnarsdóttir for My Year of Dicks. Their bold voices overlap to make for an experience of feminine youth and sexual exploration that is both relatable and entirely its own.”
SXSW Film Design Awards Presented by Adobe
POSTER DESIGN COMPETITION
“More Than I Remember” (Image by Maya Edelman)
Winner: More Than I Remember Designer: Yen Tan, Maya Edelman
“This poster evokes so many feelings at once, from the captivating gaze to the lush swirl of colors that surround you — it draws you in, tempting you to look harder, to try and unlock whatever secret is hidden just beyond reach. The text and illustration are perfectly integrated to create something powerful and mysterious, catching not just your attention, but your imagination as well.”
Special Jury Recognition: The Sentence of Michael Thompson Designer: Juan Miguel Marin
“Understated intensity and a timeless quality make this poster truly effective — from across the room it immediately catches the eye. Type, design, and image work together to form a complete narrative, one you want to know more about. Understated intensity and a timeless quality make it truly effective.”
TITLE DESIGN COMPETITION
“Foundation” (Image courtesy of Imaginary Forces)
Winner: Foundation Title Sequence Designer: Ronnie Koff Company: Imaginary Forces
“A beautifully constructed sequence that encapsulates the show’s futuristic setting as humans have colonized the galaxy. Using a particle system to form these incredible images each frame is a visual triumph as we journey through this vibrant main title.”
Special Jury Recognition:The White Lotus Title Sequence Designers: Katrina Crawford, Mark Bashore Company: Plains of Yonder
“This title’s distinctive design perfectly sets up the audience for the show and reflects the suffering before enlightenment of its protagonists. Its stunning illustrations capture the soul of the story and are enhanced by the flawless score.”
XR EXPERIENCE COMPETITION
“On the Morning You Wake (To the End of the World)” (Image courtesy of Atlas V & Novelab)
Winner: On the Morning You Wake (To the End of the World) Directors: Dr. Jamaica Heolomeleikalani Osorio, Mike Brett, Steve Jamison, Pierre Zandrowicz, Arnaud Colinart, Screenwriters: Mike Brett, Steve Jamison, Jamaica Heolimeleikalani Osorio, Producers: Arnaud Colinart, Mike Brett, Steve Jamison, Jo-Jo Ellison
“On The Morning You Wake (To the End of the World) is an emotionally impactful and beautifully told story, delivered with stunning technical craftsmanship. This project explores the potential of immersive experiences, refining the grammar of spatial narrative. This particular story deals with the urgency of nuclear disarmament that has very unfortunately come into sharp focus due to current events. It effectively presents a massive geopolitical issue and grounds it in emotional and personal stories, translating what are usually abstract concepts into an embodied context.”
Special Jury Recognition for Immersive Storytelling:(Hi)story of a Painting: The Light in the Shadow Directors: Quentin Darras, Gaëlle Mourre, Screenwriter: Gaëlle Mourre, Producers: Charlotte Mikkelborg, Gaëlle Mourre
“(Hi)story of a Painting: The Light in the Shadow receives a Special Jury Recognition for immersive storytelling. This experience uses the medium of VR to transport us into history, revealing the story of a lesser-known female baroque artist, her resistance to the patriarchy and determination in the face of adversity.”
SXSW Special Awards
“What We Leave Behind” (Photo by Monica Wise)
Fandor New Voices Award Fandor is proud to present the first ever Fandor New Voices Award, celebrating an outstanding feature making its worldwide premiere this year at the 35th annual SXSW festival. At Fandor, we are delighted to elevate the work of inspiring, imaginative, and independent storytellers, so it is with great pleasure that we present the Fandor New Voices Award to a female or person of color who is making their directorial debut with a Narrative Feature or Documentary. Fandor is and always will be proud to uplift the work of these amazing filmmakers.
Fandor New Voices Award Presented to:What We Leave Behind Director: Iliana Sosa, Producers: Emma D. Miller, Iliana Sosa, Isidore Bethel (co-producer)
“Chee$e” (Photo by Damian Marcano)
Adam Yauch Hörnblowér Award In honor of a filmmaker whose work strives to be wholly its own, without regard for norms or desire to conform. The Adam Yauch Hörnblowér Award is presented to a filmmaker from our Visions screening category.
Adam Yauch Hörnblowér Award Presented to:Chee$e Director/Screenwriter: Damian Marcano, Producer: Alexa Marcano
Ke Huy Quan, Jamie Lee Curtis and Michelle Yeoh in “Everything Everywhere All at Once” (Photo by Allyson Riggs/A24)
Adobe Editing Award Adobe is committed to celebrating creativity for all and empowering everyone to bring their stories to life. By creating greater opportunity for all voices, we can enact change in our communities and move the world forward. We are proud to celebrate the art and craft of editing as we grant the Adobe Editing Award at the SXSW Film Awards. We are also pleased to spotlight this year’s incredible title and poster designers through the Film Design Awards presented by Adobe.
Adobe Editing Award Presented to:Everything Everywhere All At Once Editor: Paul Rogers
“What We Leave Behind”
Louis Black “Lone Star” Award To honor SXSW co-founder/director Louis Black, a jury prize was created in 2011 called the Louis Black “Lone Star” Award, presented to a feature film world premiering at SXSW that was shot primarily in Texas or directed by a current resident of Texas. (Opt-in Award)
Louis Black “Lone Star” Award Winner: What We Leave Behind Director: Iliana Sosa, Producers: Emma D. Miller, Iliana Sosa, Isidore Bethel (co-producer)
“Iliana Sosa’s exquisite documentary What We Leave Behind is a love letter to her Mexican grandfather, whose final decline she chronicles with artful grace. It is also a moving look at a family disconnected by both border and dreams, and how their patriarch, too old now for his monthly 20-hour bus rides from Durango into Texas, worries who will hold the center once he’s gone. Eighty-nine year old Julian has the face and gravitas of an old time movie star. Sosa has made a profound, gorgeous movie worthy of her precious subject.”
“A Vanishing Fog” (Photo courtesy of @ Schweizen)
ZEISS Cinematography Award ZEISS Cine Lenses is honored to be returning this year to support the SXSW film community in the Cinematography category. We believe that by supporting the art within the frame, ZEISS helps filmmakers realize their creative vision.
ZEISS Cinematography Award Winner: A Vanishing Fog Cinematographer: Gio Park
“The Voice Actress”
Mailchimp Support the Shorts Award Mailchimp is committed to uplifting and supporting creators. We’re so proud to support SXSW by helping short films win big. We congratulate the honorees of the Support the Shorts Award as well as the entire SXSW-invited filmmaking community.
Mailchimp Support the Shorts Award Presented to: The Voice Actress Director/Screenwriter: Anna J. Takayama, Producer: Joe Skinner
“With its impeccable compositions and captivating lead performance, The Voice Actress offers a sensitive peek behind the scenes of an ever-changing industry. This patient study of imagination and aging achieves extraordinary depth thanks to Anna J. Takayama’s soulful direction, and we are delighted to support the career of such a remarkable talent.”
SXSW is proud to be an official qualifying festival for the Academy Awards® Short Film competition. Winners of our Best Animated, Best Narrative and Best Documentary Short Film categories become eligible for Academy of Motion Picture Arts and Sciences awards (Oscars). Any British Short Film or British Short Animation that screens at SXSW is eligible for BAFTA nomination. Films are also eligible for the Independent Spirit Awards, more information on eligibility here.
The South by Southwest® (SXSW®) Conference and Festivals announced the Audience Award winners for the 29th SXSW Film Festival. The Audience Awards follow the previously announced 2022 Jury Awards and the 40 Years of Massive Talent Award presented to Nicolas Cage at TheUnbearable Weight of Massive Talent screening on Saturday night. For the complete list of 2022 Award Winners, visit www.sxsw.com/festivals/film-awards/.
Over the course of nine days the SXSW Film Festival screened 101 features including 76 World Premieres, 4 International Premieres, 4 North American Premieres, 2 U.S. Premieres, 14 Texas Premieres, plus 111 Short Films including 24 Music Videos, 12 Episodic Premieres, 6 Episodic Pilots, 30 XR Experience projects (formerly Virtual Cinema), and 19 Title Design Competition entries.
Films in the SXSW 2022 lineup screened in the following categories: Headliners; Narrative Feature Competition presented by Panavision; Documentary Feature Competition; Narrative Spotlight; Documentary Spotlight; Visions; Midnighters; Global presented by MUBI; 24 Beats Per Second; and Festival Favorites. The Episodic program consisted of Episodic Premieres and the Episodic Pilot Competition. The SXSW 2022 Shorts Film Program presented by IMDbPro featured seven competitive sections. Our XR Experience Competition, Spotlight and Special Events programming were held in-person with a selection of works in our XR Experience World in VRChat, presented by Non-Fungible Labs. All Categories with the exception of Special Events were eligible for section-specific Audience Awards.
Select conference sessions and music festival content is available to registrants through April 17 on the SXSW Online Schedule and Connected TV app. A full list of available content can be found here.
2022 SXSW Film Festival Audience Award Winners:
NARRATIVE FEATURE COMPETITION presented by Panavision
James Morosini and Patton Oswalt in “I Love My Dad” (Photo courtesy of I Love My Dad LLC/Hantz Motion Pictures)
Audience Award Winner: I Love My Dad Director/Screenwriter: James Morosini, Producers: Bill Stertz, Patton Oswalt, Sean O’Grady, Dane Eckerle, Phil Keefe, Daniel Brandt, Sam Slater
DOCUMENTARY FEATURE COMPETITION
“Bad Axe” (Photo by David Siev)
Audience Award Winner: Bad Axe Director: David Siev, Producers: Jude Harris, Diane Quon, Katarina Vasquez, David Siev
NARRATIVE SPOTLIGHT
Audience Award Winner: Pretty Problems Director: Kestrin Pantera, Screenwriters: Michael Tennant, Britt Rentschler, Charlotte Ubben, Producers: Katya Alexander, Britt Rentschler, Charlotte Ubben, Michael Tennant
DOCUMENTARY SPOTLIGHT
Yvonne Bradley in “We Are Not Ghouls” (Photo courtesy of AP-LefterisPitarakis)
Audience Award Winner: We Are Not Ghouls Director: Chris James Thompson, Producers: Jessica Farrell, Jack Turner, Andrew Swant
HEADLINERS
Britt Rentschler and Charlotte Ubben in “Pretty Problems” (Photo by Alyssa Brocato)
Audience Award Winner: Atlanta Director: Hiro Murai, Producers: Donald Glover, Stephen Glover, Hiro Murai, Stefani Robinson, Paul Simms and Dianne McGunigle
VISIONS
“Shadow” (Photo by Jeff Busby)
Audience Award Winner: Shadow Director: Bruce Gladwin, Screenwriters: Michael Chan, Mark Deans, Bruce Gladwin, Simon Laherty, Sarah Mainwaring, Scott Price, Sonia Teuben, Producers: Alice Fleming, Meret Hassenen
MIDNIGHTERS
“Bitch Ass” (Photo by Shane Brown)
Audience Award Winner: Bitch Ass Director: Bill Posley, Screenwriters/Producers: Bill Posley, Jonathan Colomb
GLOBAL presented by Mubi
“Without Prescription”
Audience Award Winner: Without Prescription Director: Juliana Maite, Screenwriter: Marietere Vélez, Producer: Vilma Liella
24 BEATS PER SECOND
Tanya Tucker and Brandi Carlile in “The Return of Tanya Tucker – Featuring Brandi Carlile”
Audience Award Winner:The Return of Tanya Tucker – Featuring Brandi Carlile Director: Kathlyn Horan, Producers: Kathlyn Horan, Julie Goldman, Christopher Clements, Carolyn Hepburn
FESTIVAL FAVORITES
Chris Watts (pictured at left) in “The Art of Making It.” (Photo by Sebastian Lasaosa Rogers/Wischful Thinking Productions )
Audience Award Winner: The Art of Making It Director: Kelcey Edwards, Producer: Debi Wisch
Shorts Film Program presented by IMDbPro
NARRATIVE SHORTS COMPETITION
“Aspirational Slut” (Photo by Michael Greenwood)
Audience Award Winner: Aspirational Slut Director/Screenwriter: Caroline Lindy, Producers: Kate Hamilton, Ellyn Jameson, Maddy Nimoy, Emily Wolfe
DOCUMENTARY SHORTS COMPETITION
“The Sentence of Michael Thompson” (Photo by Logan Triplett)
Audience Award Winner: The Sentence of Michael Thompson Directors: Kyle Thrash, Haley Elizabeth Anderson, Producers: W. Ian Ross, Kyle Thrash
ANIMATED SHORTS COMPETITION
“Five Cents”
Audience Award Winner: Five Cents Director/Screenwriter/Producer: Aaron Hughes
MIDNIGHT SHORTS COMPETITION
“Tank Fairy” (Photo by Danny Wang)
Audience Award Winner: Tank Fairy Director/Screenwriter: Erich Rettstadt, Producers: Anita Tung, C.K. Hugo Chung
TEXAS SHORTS COMPETITION
“Act of God” (Photo by Taylor Camarot)
Audience Award Winner: Act of God Directors/Screenwriters: Spencer Cook, Parker Smith, Producer: Matthew Harrington
TEXAS HIGH SCHOOL SHORTS COMPETITION
“Football.” (Photo by Peyton Randolph)
Audience Award Winner: Football. Director: William Herff, Screenwriters/Producers: William Herff, Nicholas Campos, Peyton Randolph
MUSIC VIDEO COMPETITION
Ishaval Gill and Kamaldevinder Gill in “Meet You at the Light.”
Audience Award Winner: Desirée Dawson – ‘Meet You at the Light’ Director/Screenwriter: Alexander Farah
Episodic Program
EPISODIC PREMIERES
Audience Award Winner: 61st Street Showrunners: Peter Moffat, J. David Shanks, Director: Marta Cunningham, Screenwriter: Peter Moffat, Producers: Annie Rhodes, Frank Baldwin, Allison Davis
EPISODIC PILOT COMPETITION
Courtney B. Vance and Aunjanue Ellis in “61st Street” (Photo by George Burns/AMC)
Audience Award Winner: Brownsville Bred Showrunner/Director/Screenwriter: Elaine Del Valle, Producers: Adrienne Lovette, Elaine Del Valle, Leslie Cohen, Debbie Esko-Gold, Eddie Frente
XR Experience
XR EXPERIENCE COMPETITION
“Gumball Dreams” (Image by Christopher Lane Davis)
Audience Award Winner:Gumball Dreams Director: Deirdre V. Lyons, Screenwriters: Deirdre V. Lyons, Christopher Lane Davis, Producers: Ferryman Collective, Screaming Color
XR EXPERIENCE SPOTLIGHT
“The Choice” (Photo by Tom C. Hall)
Audience Award Winner:The Choice Director: Joanne Popinska, Producers: Joanne Popinska, Tom C. Hall
SXSW Film Design Awards (three-way Tie)
EXCELLENCE IN TITLE DESIGN
“Blade Runner: Black Lotus”
“See”
“WandaVision”
Audience Award Winner (tie): ‘Blade Runner: Black Lotus’ Title Sequence Company: CO3/Method Made / Creative Director: John Likens
Audience Award Winner (tie):‘See’ Season 2 Title Sequence Company: CO3/Method Made / Creative Director: John Likens
Audience Award Winner (tie):‘WandaVision’ Main On End Title Sequence Company: Perception / Creative Director: John LePore
About SXSW Film Festival Now in its 29th year, SXSW Film Festival brings together creatives of all stripes over nine days to experience a diverse lineup and access to the SXSW Music and Comedy Festivals plus SXSW Conference sessions with visionaries from all corners of the entertainment, media, and technology industries.
About SXSW SXSW dedicates itself to helping creative people achieve their goals. Founded in 1987 in Austin, Texas, SXSW is best known for its conference and festivals that celebrate the convergence of tech, film, music, education, and culture. An essential destination for global professionals, the annual March event features sessions, music and comedy showcases, film screenings, exhibitions, professional development and a variety of networking opportunities. SXSW proves that the most unexpected discoveries happen when diverse topics and people come together. SXSW 2023 will take place March 10 – 19, 2023. For more information, please visit sxsw.com. To register for the event, please visit sxsw.com/attend.
SXSW 2022 is sponsored by White Claw, Blockchain Creative Labs, Porsche and The Austin Chronicle.
