Tribeca Film Festival Archives – Page 10 of 19

2019 Tribeca Film Festival movie review: ‘Wig’

May 5, 2019

by Carla Hay

Nelson Sullivan in “Wig” (Photo courtesy of HBO)

Directed by Chris Moukarbel

World premiere at the Tribeca Film Festival in New York City on May 4, 2019.

The documentary “Wig” is a joyous and sassy love letter to Wigstock (the annual drag festival in New York City) and New York City’s drag culture. The movie comes 24 years after the 1995 documentary “Wigstock: The Movie,” which chronicled the 1994 Wigstock event. Unlike “Wigstock: The Movie,” which was essentially a concert film, “Wig” takes a deeper dive into the history of Wigstock and its underrated impact on pop culture.

Wigstock was launched in 1984 by Lady Bunny, and its first incarnation ran until 2001. The festival was revived in 2018 by Lady Bunny and Neil Patrick Harris. (Harris and his husband, David Burtka, are two of the producers of “Wig,” which had its world premiere as part of the Tribeca Film Festival’s inaugural Tribeca Celebrates Pride, an entire day of LGBTQ-themed programming. Lady Bunny performed after the film’s premiere.)

A lot has changed since Wigstock went on hiatus in 2001. RuPaul, who was one of Wigstock’s original stars, has become an entertainment mogul, as the host/showrunner of the Emmy-winning drag contest “RuPaul’s Drag Race” and the founder of RuPaul’s DragCon event, which currently has annual editions in Los Angeles and New York City. The rise of RuPaul and drag culture is a direct result of LGBTQ culture overall becoming much more visible in the 21st century, with more LGBTQ characters and reality stars on screen; the launch of LGBTQ TV networks, such as Logo and Here; and more LGBTQ celebrities living their lives openly. That visibility and growing public support for LGBTQ rights also had an impact on the U.S. Supreme Court’s 2015 decision to make marriage equality legal for same-sex couples.

In its own unique way, Wigstock has been part of this movement. It’s important to bring up this historical context because “Wig” would have been a very different movie if it had been made in the 1990s. “Wig” director Chris Moukarbel (who directed Lady Gaga’s 2017 Netflix documentary “Gaga: Five Foot Two”) skillfully rises to the challenge of presenting the history of Wigstock in a cohesive, entertaining style that a wide variety of people can relate to and enjoy.

“Wig” includes some prophetic archival footage from the early 1990s showing RuPaul having a bathroom conversation with British filmmaker Fenton Bailey, who asks RuPaul if drag queens will be popular in America. Fast forward decades later, and Bailey’s World of Wonder production company (which he co-founded in 1991 with fellow filmmaker Randy Barbato) is producing the “Drag Race” franchise, drag queen Big Freedia’s self-titled reality series and numerous other film, TV and digital projects. RuPaul is seen frequently throughout the “Wig” movie, including RuPaul’s early club days at New York City’s Pyramid Club (which was a vital part of the city’s drag scene that birthed Wigstock), to directing an impromptu home photo session with fellow drag queen Nelson Sullivan in the late ‘80s or early ‘90s, to on-stage appearances at Wigstock throughout the years.

In “Wig,” many of the drag queens comment on the mainstreaming of drag culture, compared to the early years of Wigstock. Although many of the queens appreciate that drag culture has become more accepted and has become a more viable way to make a living, some of the queens express some wistful nostalgia for the days when the community was much smaller and more tight-knit.

Drag queen Linda Simpson says that “’Drag Race’ was groundbreaking,” but the flip side is that drag culture was “more fun” when it was less mainstream. Simpson adds, “Now, drag is all about de-mystifying drag. It takes away from the insider-y feel that we had before.”

Flotilla DeBarge comments, “There are too many people right now who want to be drag queens, but they don’t know what it’s about,” adding that doing drag should be about passion, not money. “Anybody can do drag, but what kind of drag queen do you want to be?” As drag queen Naomi Smalls puts it: “RuPaul paved the way for me, but who the fuck paved the way for Ru? I love that drag is being normalized.”

For many drag queens, validation outside the drag community is the ultimate sign of success. Willam Belli, also known as drag queen Willam (a former “Drag Race” contestant who landed a cameo in the 2018 remake of “A Star Is Born”), hilariously tells a story about surprising a male intruder who had broken into Willam’s home, and the intruder backed away and called her “ma’am.” Willam laughs when remembering how the intruder acknowledged her as a woman: “I passed!”

Some of the Wigstock devotees also talk about their early influences. Charlene Incarnate says that most of her gay role models were closeted dads in her church. Harris said that drag culture appeals to him as a magician. As drag queen Tabboo! says in the film, “Wigstock was revolutionary because it kickstarted the ‘Come out, come out, wherever you are.’”

Lady Bunny adds, “We were putting something special out there in New York because this was the time of AIDS.” The AIDS crisis and its impact on the LGBTQ community is given a respectful amount of acknowledgement in “Wig,” which includes some heartbreaking testimonials of people who have lost friends and loved ones to the deadly disease.

Hate crimes against drag queens and others in the LGBTQ community are also mentioned in “Wig.” Jeremy Extravagance talks about his longtime friendship with singer/drag queen Kevin Aviance, who was the survivor of a vicious beating in 2006, outside of a gay bar in Manhattan. Aviance, who is interviewed and has some of the movie’s best scenes, describes his attack as, “I never felt so much hate in my life from someone I never met.” He says of being a hate-crime survivor: “Drag is my silver lining.”

As one commentator puts it: “Drag is hyper-femininity in response to aggressive masculinity.” If that’s the case, then Wigstock is the ultimate on-stage clapback. The heart of the movie is still about the thrill and the spectacle of performing at Wigstock, with Lady Bunny as the event’s founding mother. Blondie lead singer Debbie Harry, a previous Wigstock performer, says cheekily of Lady Bunny: “The thing that annoys me about Bunny is that she flirts like crazy…and nothing happened [between us].”

If there’s any one person who’s portrayed as a chief villain in “Wig,” it’s Rudy Giuliani, who was mayor of New York City from 1993 to 2001. (He is not interviewed in the movie.) Giuliani’s crackdown of the city’s nightclubs resulted in numerous closures that directly affected gay nightlife and drag culture. It’s perhaps no coincidence that Wigstock went out of business when Giuliani was in office.

The movie culminates with a dazzling array of footage from Wigstock’s spectacular comeback in 2018, including appearances from Lady Bunny, Bianca Del Rio, Aviance, Ladies of Lips, Amanda Lepore and Harris in full costume from his Tony-winning “Hedwig and the Angry Inch” drag role. If people still don’t understand what drag culture is about, one “Wig” commentator says it best in the movie: “Drag is about putting on the outside what you feel on the inside.”

HBO will premiere “Wig” on June 18, 2019.

2019 Tribeca Film Festival movie review: ‘Other Music’

May 5, 2019

by Carla Hay

“Other Music”

Directed by Puloma Basu and Rob Hatch-Miller

World premiere at the Tribeca Film Festival in New York City on April 26, 2019.

Brick-and-mortar retail stores that sell music—just like video stores and places to develop film—are a dying breed that the Internet and other digital technology have been killing off since the mid-2000s. From 1995 to 2016, Other Music was an independent music store located in New York City’s East Village. The store had a reputation for being a place that championed obscure and non-mainstream music, but Other Music also carried releases from popular artists, with an emphasis on releases that might not be that easy to find. The documentary “Other Music” is a respectful, nostalgic history of the store, including a behind-the-scenes look at the final days before Other Music closed for good on June 25, 2016.

Other Music’s financial woes weren’t just caused by the Internet. Like many other independent retailers in high-priced urban cities, Other Music (which stayed in the same location throughout its 21-year run) couldn’t keep up with the rising rents in the area. But the store’s history is truly a reflection of what was going on in the music business at the time. Other Music was co-founded by Chris Vanderloo, Josh Madell and Jeff Gibson, at a time (the mid-‘90s) when alternative/indie rock was at the height of its commercial appeal. Vanderloo and Madell were former employees of Kim’s Underground Video, an independently run video store in New York City.

In the documentary, Vanderloo is described as the most customer-oriented; he was the Other Music owner who was most likely to be mingling with store customers. Madell was the managerial taskmaster, who was the most involved in employee hiring and training, as well as community outreach and setting up in-store performances. Gibson was the one who was the most enthusiastic about discovering new music—the more obscure, the better. In 2001, Gibson left Other Music and moved to Belgium, where his wife is from, and he declined to participate in the documentary.

The documentary mentions that, at first, many people thought it was crazy for Other Music to open directly across the street from the East Village location of Tower Records, the music-store behemoth that was considered one of the most powerful music retailers in the U.S. for decades. But it turns out that both stores had overlapping customers, and Tower Records’ foot traffic helped Other Music, which was a place to find releases that Tower Records might not have. Ironically, Other Music would outlast Tower Records (which closed all its U.S. operations in 2006), as well as other corporate music retailers that shut down in the U.S., such as Virgin Megastore and HMV. TransWorld-owned music retailers Musicland, Sam Goody, The Wherehouse and Camelot Music also went out of business years before Other Music did.

Other Music was the kind of store that strived to keep its anti-corporate image intact. The store’s labels and signs were hand-written. Most of the inventory was from independent record companies. The store prided itself on having employees who were extremely knowledgeable about non-mainstream music and weren’t shy about making recommendations to customers. But all of that led to Other Music having a “hipster snob” reputation that was a turnoff and intimidated some people, which the documentary rightfully acknowledges. A few of the employees interviewed also admit that they would be impatient and give attitude to customers if they thought the customers didn’t know much about music.

The film predictably includes a number of celebrities who mostly praise Other Music. Depeche Mode’s Martin Gore opens the movie with this glowing statement about Other Music: “Per square meter, it probably had more interest value than any other shop I’d ever been in, in the world.” Oscar-winning actor Benicio del Toro says that shopping at Other Music was “almost like a religious experience.” Vampire Weekend lead singer Ezra Koenig, former Le Tigre member JD Sampson, and Animal Collective singer Avey Tare are among the other artists who share fond memories of Other Music.

A few celebrities, such as Jason Schwartzman and Regina Spektor, admit that although they were fans of Other Music, they often felt like their musical tastes were being judged by the staff. Spektor explains that she always had a feeling of “first-day-of-school nervousness” when she shopped at Other Music, because she didn’t want to feel embarrassed. The National lead singer Matt Berninger said that if people felt uncomfortable shopping at Other Music because of the “snob” factor, it was because Other Music “set the bar high” when it came to musical taste. “They should celebrate stuff that’s better-than-average.”

One of the best things about the Other Music documentary is that is gives a spotlight to some of the store’s unsung heroes. Even though Other Music carried a wide variety of music, it still had an image of being dominated by indie rock. It might come as a surprise to many people who see this film that Other Music’s staff was a lot more diverse than the stereotypical white male music nerd, even though the store’s owners/bosses and many of the employees fit that stereotype. There were plenty of female staffers there too (although they don’t get as much screen time in the movie as the male staffers) and some people of color (usually male) who worked at Other Music. Most of the employees describe themselves as music fanatics and misfits who wouldn’t do well if they had to work at a regular 9-to-5 office job. It’s mentioned in the documentary that it was hard to get a job at Other Music because the standards for music knowledge were high and the employee turnover was relatively low. Co-owner Madell said that if employees got fired, it was often because of chronic tardiness.

Many people in the documentary mention Duane Harriott (a black man) as Other Music’s best employee. Harriott, who worked at Other Music from 1997 to 2008, is interviewed in the film, and he says of Other Music: “It wasn’t just a record store. It was a community center.” He also says he was largely responsible for building Other Music’s hip-hop inventory “from scratch.” Harriott is praised by many people in the documentary for his encyclopedic music knowledge and his sales skills—he had a gift of gab with customers, and he loved to tell trivia factoids and stories about artists, which often resulted in people buying music that they originally didn’t intend to buy.

Many of the employees of Other Music were also musicians, and they were encouraged to promote their own music in the store. One former employee, an African American identified in the movie only as Beans, was notorious for relentlessly suggesting that customers buy his music. Beans, who’s interviewed in the movie, freely admits that he was one of those Other Music employees who would get impatient and give attitude to customers if he thought they seemed clueless. Even though he admits this flaw, he’s also clearly one of Other Music’s most loyal employees: He’s seen in the documentary being one of the last employees to stay behind to help clear out the store after it permanently closed.

The documentary also interviews Vanderloo’s wife Lydia and Madell’s wife Dawn, who are perhaps the biggest unsung heroes of Other Music. The wives reveal that because they had more stable incomes than their husbands, the wives kept the business afloat for years when Other Music was losing money. In other words, if Vanderloo and Madell hadn’t been married to people who could give them money to keep the business going, the store would have closed years before 2016. The wives say that they and their husbands kept the business going because they felt obligated to Other Music’s customers and employees. But when they were losing so much money that the business no longer became sustainable, it was time to shut it down for good.

From the beginning, Other Music had issues with being cash-strapped. As Josh Madell says in documentary, the store didn’t pay most of its employees in its early years (the staff knowingly signed up as volunteers), and not even Lydia and Dawn were exempt from working for free. The wives talk about how their pre-marriage dates with their future husbands involved meeting at the store and being unpaid employees. A “dinner date” would be often be ordering pizza while they worked for free at the store.

The documentary also mentions how Other Music was affected by the 9/11 terrorist attacks, which caused most businesses located in downtown Manhattan to be temporarily closed or severely limited in the weeks and sometimes months after the tragedy. William Basinski’s “DLP1.1” composition (one of his “disintegration loop” instrumental recordings) became Other Music’s unofficial anthem in dealing with aftermath of 9/11, according to the documentary. Other Music co-owner Madell says that the store had its biggest sales in the year 2000, and things never really recovered after 2001.

When Napster and other controversial file-sharing services began to eat away at the music industry’s profits, Other Music responded by launching its own digital music store without digital-rights management, but that wasn’t until 2007, when music retail was already in a major downward spiral, and iTunes was already dominating the online music market. Things also got worse for Other Music when corporate stores such as Best Buy had lower prices for CDs than what Other Music’s wholesalers/distributors would charge. Other Music had its own e-newsletter, and when that also shut down, the owners heard that Lou Reed was despondent over it. Other Music also launched its own record label in 2012.

Financial woes aside, Other Music’s biggest legacy is that it was a home for independent artists, many of whom weren’t mainstream enough for commercial radio or corporate chain stores. The documentary includes footage of in-store performances of artists such as Ghost, St. Vincent and Conor Oberst. Former employee Harriott says his most memorable Other Music performance was by the mysterious and elusive singer/songwriter Gary Wilson, who arrived at the store with a blanket over his face. Before his performance, Wilson poured talcum powder over himself and then performed wearing 3-D glasses.

The documentary also notes that in the aftermath of 9/11, the music community in New York City became more vibrant. It was during this period of time that the New York City music scene had LCD Soundsystem, The Strokes, Interpol, The National, and the Yeah Yeah Yeahs. Other Music helped all of these acts before they broke through to larger audiences.

Although a few people (including Josh Madell) had tears in their eyes and understandably got emotional in the final days and hours before Other Music’s last day in business, the general feeling was one of positivity over all the great experiences they had because of Other Music. There’s plenty of nostalgia and wistfulness, because the closing of Other Music represents a bygone era when most people got their music by physically going to a store and combing through racks of vinyl records, cassettes or CDs. Many of the customers interviewed in the documentary talk about how they prefer the tangible feeling of holding albums in their hands, so that they can better appreciate the artwork or lyrics that came with the packaging.

People who’ve spent countless hours of their lives at a music store know that it’s become an increasingly rare experience to physically be at a store devoted to music where you can find those hidden gems or sought-out items to add to a collection. Unfortunately, it’s becoming increasingly common for small, independent businesses such as Other Music to not be able to survive online competitors, technology’s effects or rising rent.

The documentary ends with the “Other Music Forever” farewell concert that took place at the Bowery Ballroom on June 28, 2016. The event, hosted by Janeane Garofalo, included performances by Yoko Ono, Sharon Van Etten, Bill Callahan, Yo La Tengo, OM, Julianna Barwick and Frankie Cosmos. People who didn’t attend the concert can see a few snippets in the movie, as well as how Other Music co-owner Madell had to practically beg a modest Vanderloo to come up on stage.

“Other Music” co-directors Puloma Basu and Rob Hatch-Miller do a fine job of telling Other Music’s story in a cohesive and entirely conventional manner. There’s some use of animation, which can be hit-or-miss in a documentary, but it works well-enough in this movie because the animation is used sparingly. And although there are some celebrities and other world travelers who no doubt got to experience Other Music firsthand, the movie might not be compelling enough to watch for the average person who’s never heard of Other Music or has never even been to New York City.

And here’s why the movie might have a challenge in finding an audience that’s larger than those who care about a music store in New York City: Unfortunately, there are any number of beloved, independently owned music stores around the world that have closed over the years. Each store had its own unique impact on its community. Other Music just happened to be in America’s largest-populated city, so it had a bigger profile than most indie record stores. The people who have the most emotional attachment to Other Music are those who had a great experience there and/or those whose careers were affected by Other Music—and that’s a very niche audience indeed.

That’s not to say that the “Other Music” documentary isn’t worth watching, and you don’t have to be a former customer or employee to enjoy the movie. But people who never went to Other Music might have a harder time relating to and engaging in the documentary’s sentimental nostalgia over the store. The “Other Music” documentary would make a great double feature with “All Things Must Pass,” director Colin Hanks’ excellent 2015 documentary about the rise and fall of Tower Records, because, at the very least, the “Other Music” documentary shows how a scrappy underdog outlasted a corporate giant.

UPDATE: Factory 25 will release “Other Music” on digital and VOD on August 25, 2020.

2019 Tribeca Film Festival movie review: ‘Nomad: In the Footsteps of Bruce Chatwin’

May 5, 2019

by Carla Hay

“Nomad: In the Footsteps of Bruce Chatwin”

Directed by Werner Herzog

World premiere at the Tribeca Film Festival in New York City on April 28, 2019.

German filmmaker Werner Herzog has directed an eclectic array of documentaries, which feature his deliberate and thoughtful style of narration and on-camera interview techniques. “Nomad: In the Footsteps of Bruce Chatwin” is probably one of Herzog’s most personal documentaries of his career because British writer/adventurer Bruce Chatwin, who died of AIDS in 1989 at the age of 48, was one of Herzog’s good friends.

Before Chatwin died, he gave Herzog a rucksack that Chatwin had carried in his travels around the world. In the documentary, Herzog brings the rucksack and retraces a lot of Chatwin’s journeys to pay tribute to and get a better understanding of his late friend. The documentary includes voiceovers from Herzog and old recordings of Chatwin. Unlike most movies, which are divided into three acts, “Nomad” has eight chapters, all of which are titled in the film.

“Chapter One: The Skin of the Brontosaurus” has Herzog going to Patagonia, Chile, which was the subject of Chatwin’s 1977 travel book “In Patagonia.” He interviews Karin Eberhard, the great-granddaughter of 19th-century explorer Hermann Eberhard, who is credited with discovering the remains of a giant sloth. In this chapter of the documentary, Herzog goes to the Patagonia city of Punta Arenas, where he visits the Lord Lonsdale Shipwreck, as well as the grave for Charles Milward, the British consul who was a cousin of Chatwin’s grandmother Isobel. Milward reportedly gave a piece of giant sloth fur (which was sometimes mistaken for brontosaurus hide) to Isobel as a wedding gift. It was Chatwin’s dream to get a piece of a brontosaurus. In this chapter, Herzog also interviews Chatwin biographer Nicholas Shakespeare.

“Chapter Two: Landscapes of the Soul” has Herzog traveling to Avebury, Wiltshire, in England, where there is a stone many people believe has mythical force and powers. Silbury Hill was Chatwin’s “pivot, his mythical place of origin,” according to Herzog, who includes footage of tourists wearing masks over their eyes for protection from these mysterious forces. There’s also footage of how the magnetic forces work with metal prongs. Herzog also travels to Llanthony Priory in Wales, the location of where Bruce courted his wife Elizabeth, who is interviewed in this chapter.

“Bruce Chatwin was searching for strangeness,” Herzog comments in the film. He also notes that Chatwin liked Herzog’s 1969 “Signs of Life” movie with the windmills scene that Chatwin called “dangerous landscape,” according to Herzog. The filmmaker also travels to Coober Pedy, Australia, where Chatwin and Herzog first met. “We were both fascinated by Aboriginal mythology,” Herzog remembers.

“Chapter Three: Songs and Songlines” explores indigenous sounds in Australia, particularly at the Strehlow Research Centre. People interviewed in this chapter include musician Glenn Morrison and Alyawerre experts Michael Liddle Pula, Marcus Wheeler and Shawn Angeles Penange. “Our songlines are our way of contributing to the health of this planet,” says one of the Alyawerre commentators.

“Chapter Four: The Nomadic Alternative” is named for an unpublished Chatwin manuscript. Herzog travels to Tierra del Feugo in Argentina, where photos of nomads fascinated Chatwin. There’s some great footage of hand imprints on overhanging rocks that were left more than 10,000 years ago, as well as some photos of nomads, such as those showing nomads with painted bodies and a naked man lying down.

“Chapter Five: Journey to the End of the World” finds Herzog in the remote La Isla Navariono in Chile.

“Chapter Six: Chatwin’s Rucksack” has Herzog back in Patagonia, where he carries the cherished rucksack and says that in his 1991 movie “Scream of Stone,” there’s a scene with someone with a rucksack, and that scene was a tribute to Chatwin.

“Chapter Seven: Cobra Verde” is a brief behind-the-scenes commentary on Herzog’s 1987 film “Cobra Verde,” which was based on “Bruce Chatwin’s 1980 novel “The Viceroy of Ouidah.”

“Chapter Eight: The Chapter Is Closed” circles back to Chatwin’s widow Elizabeth, who candidly talks about their open marriage. She says that she didn’t care that her husband Bruce was bisexual, and that he often invited his lovers into their home. Herzog also reads from the notebook containing the last line that Chatwin ever wrote.

“Nomad” is certainly going to appeal to fans of Herzog and Chatwin, as well as people who have a general interest in world travels. This is a quintessential arthouse film, so anyone who isn’t inclined to watch an artsy documentary will find a lot of this movie too slow-moving and dull for their tastes. The cinematography (by Louis Caulfield and Mike Paterson) has many stunning moments, which is to be expected in a Herzog film.

Herzog’s dry wit is present in the movie, but the wistfulness and sadness that he feels over his dear friend’s death can also be felt in the documentary. Above all, Herzog respectfully pays tribute to Chatwin in “Nomad,” and offers unique glimpses into Chatwin’s personality and intellectual curiosity in this celebration of Chatwin’s adventurous and full life.

UPDATE: Music Box Films will release “Nomad: In the Footsteps of Bruce Chatwin” in select U.S. virtual cinemas on August 26, 2020.

2019 Tribeca Film Festival movie review: ‘What Will Become of Us’

May 5, 2019

by Carla Hay

“What Will Become of Us”

Directed by Steven Cantor

World premiere at the Tribeca Film Festival in New York City on May 2, 2019.

In the documentary “What Will Become of Us,” Frank Lowy, the billionaire founder of the Westfield corporation of shopping malls, has a dilemma: Should he sell his beloved business and go into retirement, or should he keep his business, which he plans to leave to his three sons? At first glance, this might seem like a movie about “rich people’s problems.” However, Lowy (who was born in 1930) has a much more emotionally riveting and fascinating story to tell in this film, which clocks in at a brisk 75 minutes.

Lowy, who was born in the country then known as Czechoslovakia, is not a spoiled heir who was handed his wealth by a privileged parent. He literally has a “rags to riches” story as a Jewish refugee of Nazis who invaded his country and tore his family apart. In “What Will Become of Us,” Lowy, accompanied by his biographer David Kushner, goes back to many of the sites from his childhood that still haunt him.

Growing up, Lowy was bullied and beaten up for being Jewish. His childhood experiences are still painful for him to remember, because he calls the country of his birth “a horrible place” with “sad memories.” From 1943 to 1945, Lowy and his family (his parents, his sister and his brother) lived in Budapest, Hungary. Lowy had a very close relationship with his father, who disappeared when Lowy was 14, during the Nazi occupation of Hungary. Lowy says he still grieves for his father, and he is at his most tearful in the documentary when he talks about his father. Later on in the movie, Lowy finds out what finally happened to his long-lost father.

After fleeing Nazi-occupied Hungary, Lowy and his family went their separate ways. He lived in Palestine and Israel from 1946 to 1952. His sister married a lawyer in Australia, where his mother and brother eventually moved. Lowy later joined them in Australia in 1952, when he began his life as a business mogul in Sydney.

Lowy had humble beginnings in Australia, where he started off as a delivery boy. He saved up enough money to eventually buy a deli and a coffee shop, which he sold and used the money to buy real estate. His real-estate dealings evolved into the shopping-mall business that he is known for today. (In 1960, Lowy co-founded Westfield with John Saunders, who sold his interest in the company to Lowy years later.)

“What Will Become of Us” also delves into Lowy’s personal life. Married to his wife Shirley since 1964, Lowy describes their relationship as “love at first sight” for him when he met her at a Hanukkah party. He was 31, and she was 19 when they met, and they married 18 months later. It sounds like an ideal love story, but Shirley now has Alzheimer’s disease. As Frank describes it, “Physically, she’s there, but mentally she’s not.” She is interviewed in the movie, which shows some instances of her memory loss.

Frank also says that he’s been a hardcore workaholic for decades, so that might be why the documentary doesn’t really give much information about the relationships that he’s had with his three sons: Peter and Steven (the co-CEOs of Westfield) and David, a principal of the Lowy Family Group. All three sons are interviewed in the movie, but they don’t reveal anything about the family dynamics in running the business or how they deal with each other on a personal level. Although Frank is shown being a devoted husband tending to Shirley, one has to wonder how small of a fraction of time that is for him, compared to all the time he admits to spending on his business.

At the beginning of the movie, Frank says it’s “painful” for him to open up negotiations to sell Westfield. If you follow corporate business news, then you know what his decision was on whether or not to sell the company. “What Will Become of Us” isn’t really a window into how Westfield is run, but it’s a fairly effective attempt to make billionaire Frank Lowy look more human and emotionally vulnerable than the ruthless image that corporate moguls like him tend to have.

2019 Tribeca Film Festival movie review: ‘Plus One’

May 5, 2019

by Carla Hay

“Plus One”

Directed by Jeff Chan and Andrew Rhymer

World premiere at the Tribeca Film Festival in New York City on April 28, 2019.

Traditional romantic comedies whose two central characters are a man and a woman typically follow this formula: “Boy meets girl. Boy and girl hook up/fall in love. Boy loses girl because of an argument, misunderstanding and/or fear of commitment—take your pick. Boy and girl make up and reunite in the end.” The couple in the story either can’t stand each other when they first meet, or they’re longtime friends who discover they have romantic feelings for one another.

Taking all of these clichés into account, “Plus One” is as predictable as they come for romantic-comedy plots. However, the entertaining dialogue and winning performances of the movie’s cast make the film an enjoyable and breezy ride. It’s also rare to see an American rom-com with an interracial storyline between a white man and an Asian woman. Their racial differences are mentioned for a few jokes in the movie, but it’s not a source of tension in the story, since all the main characters in this movie are accepting of people from different cultures.

In “Plus One”—the first feature film from writers/directors Jeff Chan and Andrew Rhymer—Jack Quaid is Ben King and Maya Erskine is Alice Mori, two friends who have known each other since their college days. Ben and Alice are in an age range (late 20s to early 30s), when many of their peers are getting married, but Ben and Alice are still struggling with finding their life partner. Ben is fairly choosy about what he wants, and most of his relationships end because his partner has a flaw that he can no longer tolerate. Alice is less judgmental about the people she dates, but she might be a borderline alcoholic, and her raunchy, no-filter personality screams “hot mess,” thereby driving away a lot of potential partners. She’s also still hurting from a recent breakup from ex-boyfriend Nate (played by Tim Chiou), who dumped her.

So what are two lovelorn singles to do when they’re invited to several weddings in one summer? They agree to be each other’s date (or “plus one”) to all of the weddings. One of the weddings happens to be that of Ben’s twice-divorced father Chuck (played by Ed Begley Jr.), who’s marrying a woman young enough to be his daughter, much to Ben’s disapproval. To make things even more awkward for Ben, his father asks Ben to be his best man.

The weddings take place in different parts of the world, so it’s unclear how Ben and Alice (who are working professionals) have been able to take all that time off from work to globetrot to all of these weddings. But those are the kind of details that romantic comedies such as “Plus One” aren’t really concerned about explaining. The main concern that these kinds of movies have is to get audiences to root for what we all know is going to happen.

The movie opens with Ben rehearsing his speech as a groom’s best man, so that Alice can critique the speech. Awkward wedding speeches are used as comedic devices throughout the entire film. At this particular wedding, Alice does what she does at pretty much all of the weddings in this movie: She gets drunk.

Since Alice has decided she’s going to be Ben’s “wing woman,” she tries to play matchmaker for him at the wedding receptions. However, Alice’s idea of introducing Ben to a woman is to shove him hard enough to fall down near the woman.

Ben is literally the straight man to wacky Alice, who’s a foul-mouthed, crude partier with immaturity issues. But there are hints that she’s attracted to him. When they have to share a hotel bed, due to a series of events that force them to take the only hotel room available to them, she wants to cuddle with Ben and tickle-scratch him, but he refuses.

Perhaps stung by the rejection, sharp-tongued Alice tries to convince others (and maybe herself) that Ben isn’t a suitable love partner. Some of the zingers that she puts out there include, “Ben doesn’t date people. He dates ideas.” Later, she tells Ben, “Someone as grotesquely tall and skinny as you doesn’t have the right to be picky.” Even with the sarcastic put-downs, Alice shows a vulnerable side to Ben, when she confesses that her long-married parents are miserable together, thus revealing her own issues with commitment.

When Ben finally meets Alice parents, we see a familiar pattern: Alice’s mother Angela (played by Rosalind Chao) is the tactless motormouth who pries into other people’s love lives (just like Alice), while Alice’s father Mitch (played by Tom Yi) is the calmer, more polite partner (just like Ben). People who know the rom-com formula can figure out what happens with Ben and Alice. Are Ben and Alice the type of people you would want to be friends with in real life? Alice’s drunken antics and rants would be embarrassing to any sane adult, but spending less than two hours with her and Ben on screen is amusing enough for some laughs and some sighs of relief that most wedding guests never act like Alice.

RLJE Films will release “Plus One” in select U.S. theaters on June 14, 2019.

2019 Tribeca Film Festival movie review: ‘Crown Vic’

May 5, 2019

by Carla Hay

“Crown Vic”

Directed by Joel Souza

World premiere at the Tribeca Film Festival in New York City on April 26, 2019.

Let’s get the inevitable comparison out of the way first: No, “Crown Vic” doesn’t come close to the quality of 2001’s “Training Day,” the Antoine Fuqua-directed drama about corrupt cops that earned Denzel Washington his second Academy Award. If the Oscar-caliber “Training Day” is like filet mignon, then “Crown Vic” is like a McDonald’s hamburger—cheaply made with a lot of questionable filler, but most people who end up consuming it know in advance that they’re getting lowbrow junk.

“Crown Vic” takes place entirely during a night of patrol duty for the cops who are the two central characters—cynical grouch Ray Mandel (played by Thomas Jane) and his younger rookie partner Nick Holland Jr. (played by Luke Kleintank)—while they tool around the streets of Los Angeles in a Ford Crown Victoria squad car. It’s the first night that Nick and Ray are working together, and the movie will be compared to “Training Day” because both movies take place in Los Angeles and are essentially about how an older LAPD cop shows his shocked younger partner how to be brutal and get away with crimes. The younger partner then must make a decision to stop the madness or go along with the corruption that his partner is teaching him. (In “Training Day,” Ethan Hawke played the rookie to Washington’s older criminal cop.)

During the course of Ray and Nick’s extremely eventful night, we see how they handle various criminal activities. Among the dangerous situations they find themselves in are finding a burning car with a person inside; getting involved in an armed robbery and murder; chasing after and arresting a thug who throws a brick at their car; surprising a prowler before he commits a burglary; intervening in a domestic-violence dispute; and hunting down the people who’ve kidnapped a 9-year-old girl who’s been missing for a month.

Ray (who does the driving, of course) is the type of character who might seem somewhat religious because he has a St. Anthony medal (St. Anthony is the patron saint of finding lost people), but he has no problem committing police brutality and breaking other laws in full view of his partner. Nick is very by-the-book, and he brings some emotional baggage into the partnership: He’s living in the shadow of his father, a respected, high-ranking cop from the LAPD, but Nick is currently estranged from his father for reasons that aren’t made clear in the movie. Nick, who’s been married for two years, is expecting a baby girl with his pregnant wife, who checks in with him by phone every couple of hours as a good-luck ritual. Nick says of their marriage, “I worry about doing something so stupid, she’ll never want to see me again.”

During their ride together, Ray essentially admits that he’s married to his work and is perfectly okay with not having much of a personal life. He also makes some jaded, wise-cracking quips while on patrol duty. When he lights up a cigarette while driving in the car, and Nick declines to smoke, he tells Nick, “I don’t trust a man with no vices.”

Later, when Ray and Nick arrest a drunk woman with a gun in her car, she begins to have a temper tantrum in the back of the police car after she fails to sweet-talk her way out of the arrest. Ray’s response when she starts kicking and screaming: “Don’t underestimate over-privileged chicks from the Valley. It’s all that yoga. It keeps them in shape.”

It’s the case of the kidnapped 9-year-old girl that takes up a good deal of the story. The girl’s mother is a junkie whom Ray and Nick have met at a restaurant to get more information on the child’s disappearance. Because of the mother’s drug problem and because she didn’t report her missing child right away, Nick and Ray suspect that the child might have been sold by her mother into sex-trafficking.

In the type of unrealistic time frame that can happen in a movie, these two cops working together for the first time for only a few hours are close to solving the kidnapping case when they track down a suspect, who gets hit by a car driven by an undercover cop (played by Faron Salisbury), who’s tweaked out on meth. There’s some police brutality, cops pulling guns on each other, and one of the cops trying to commit suicide—all in this one scene. Then, as if to cram in more action, one of the cops is taken hostage toward the end of the film. Just a reminder: All of this is supposed to happen in one night.

But what really stretches the bounds of credibility is when Ray commits a serious, violent crime in plain view (with street lights on) in the middle of a residential street. He says his police recorder was busted as a way to explain why he won’t get caught, but the movie doesn’t take into account that a big city like Los Angeles has street cameras, not to mention the real probability that all the ruckus would be witnessed by people in the neighborhood who could use their phones to video record what’s happening. Even though “Crown Vic” is supposed to take place in the present day, it’s almost like the script (written by first-time feature director Joel Souza) was so influenced by cop movies from previous decades, like “Training Day” and “Colors,” that the screenplay is stuck in an unrealistic time warp when smartphones didn’t exist and street cameras weren’t as widespread as they are today.

“Crown Vic” is mindless B-movie pulp, through and through. To its credit, it doesn’t try to pretend to be anything else. “Crown Vic” star Jane has been making these kinds of movies for quite some time, so people who know his track record should know what they’re signing up for if they watch this film. It’s the kind of movie where Ray gives this speech to Nick to justify Ray’s law-breaking activities: “It’s us against them. You are the sheepdog. They are the sheep. People sleep peacefully at night because rough men do violence on their behalf.”

UPDATE: Screen Media Films will release “Crown Vic” in New York City on November 8, 2019. The movie will be released in additional cities and on VOD on November 15, 2019.

2019 Tribeca Film Festival movie review: ‘Lost Bayou’

May 5, 2019

by Carla Hay

“Lost Bayou”

Directed by Brian C. Miller Richard

World premiere at the Tribeca Film Festival in New York City on April 25, 2019.

“Lost Bayou” is a slow-paced supernatural film whose main characters are as mysterious as the powers they seem to have. The story begins with a woman—only identified in the movie as Gal (played by Teri Wyble)—who shows up at the home where her underage son lives with his father. Gal finds out that she’s a day late in going to her son’s birthday party. Her son’s father is understandably furious at Gal for being so irresponsible, and viewers soon see why she lost custody of her son. During the visit, she drops the contents of her purse, which include pills and a bottle of liquor.

Feeling guilty over her shortcomings as a mother, Gal soon finds herself embroiled in some other family problems: Her father (played by Dane Rhodes)—who lives in a houseboat on the New Orleans Bayou—unexpectedly calls and tells her to come to his home because something has happened to Gal’s mother. Gal’s father, who’s identified in the movie only as Pop, tells Gal when she arrives that her mother has died, and he doesn’t quite know what to do with her body, which is lying in a bed on the houseboat.

The problem is, as Gal reminds her father, her mother died peacefully in her sleep three years ago. The body in the bed is a mysterious young brunette (played by Rachel G. Whittle), and Pop can’t explain how she got there. Gal’s real mother, who’s identified in the movie as Maw (played by Carol Anne Gayle), is shown in flashback scenes.

During the course of the movie, Gal and Pop meet a nameless drifter (played by Hunter Burke) who may or may not have a connection to the unidentified dead woman. We also find out that Pop is a Cajun faith healer, and Gal may or may not have inherited his abilities. There’s some supernatural mumbo jumbo in “Lost Bayou,” which implies that Gal and Pop might have the powers of resurrection.

“Lost Bayou” has a lot of long silences, as if the characters are zonked out on some the pills that Gal has. However, the cinematography (from Natalie Kingston) is very impressive in how it conveys the moody beauty of bayou life in New Orleans. “Lost Bayou’s” screenplay, written by Nick Lavin and Hunter Burke, might have gone a little too far in making the characters so mysterious, because all of the characters are under-developed.

The movie is a solid first feature film from director Brian C. Miller Richard, who could have potential if his next projects have better screenplays. It’s been a long time since there’s been an excellent, supernatural-mystery movie that’s set in New Orleans. (Neil Jordan’s 1994 “Interview With the Vampire” is one that comes to mind.) Unfortunately, “Lost Bayou” isn’t going to end up on a list of classic New Orleans movies or even classic supernatural movies.

UPDATE: Gravitas Ventures will release “Lost Bayou” on digital and VOD on August 23, 2020.

2019 Tribeca Film Festival movie review: ‘It Takes a Lunatic’

May 4, 2019

by Carla Hay

“It Takes a Lunatic”

Directed by Billy Lyons

World premiere at the Tribeca Film Festival in New York City on May 3, 2019.

Wynn Handman might not be a household name, but as an acting teacher and as a co-founder/artistic director of the American Place Theatre in New York City, he’s had an enormous influence on numerous actors who are world-famous and/or highly respected. This talky documentary takes an in-depth, sometimes overly fawning look at Handman’s accomplishments. Even though there’s an impressive array of famous actors who share the experiences they’ve had with Handman, be prepared to sit through a documentary where there’s plenty of interviews and archival photos but unfortunately not enough archival film footage to make it a more vibrant movie.

Handman, who was born in 1922, is also interviewed in “It Takes a Lunatic.” He describes his childhood growing up in Manhattan’s Inwood neighborhood as happy. He wanted to be in the Navy, but enrolled in the Coast Guard instead. As a mentor/leader in the profession of acting, Handman is described as both “rough and tumble” and “intellectual” by past colleagues. The movie describes Handman has having two lives and two legacies: first as an acting teacher and later as artistic director of the off-Broadway American Place Theatre.

The celebrities who give testimonials about Handman as an acting coach or American Place Theatre artistic director include Richard Gere, Alec Baldwin, Susan Lucci, Michael Douglas, James Caan, Chris Cooper, Marianne Leone Cooper, Andre Bishop, Connie Britton, Lauren Graham, John Leguizamo and Aasif Mandiv. Lucci says that as an acting coach, Handman was “so encouraging, never destructive.” Baldwin adds that Handman “never gave someone a critique they couldn’t handle.”

After years as a successful acting teacher, Handman took a big career risk by co-founding the American Place Theatre in 1963, with Sidney Lanier and Michael Tolan, at the location that formerly housed St. Clement’s Church in midtown Manhattan. Handman was told that “it would take a lunatic” to operate this unusual theater, because it was a non-profit company, and its business model was to make money from customer subscriptions, not from individual ticket sales. This uncommon approach to operating a theater allowed Handman and the other theater decision makers to take more artistic risks in the theater’s productions, since the sales were already pre-paid through subscriptions.

The American Place’s first full production in 1964 was “The Old Glory,” a trilogy of one-acts by poet Robert Lowell and starring Frank Langella. “The Old Glory” ended up winning five Obie Awards, including Best American Play and Best Actor for Langella. Another notable production in the American Place’s early years was 1967’s “La Turista,” a two-act play by Sam Shepard and starring Sam Waterston and Joyce Aaron. (The documentary includes an interview with Shepard, who died in 2017.)

But the American Place was also known for controversy. Ronald Ribman’s 1965 play “Harry, Noon and Night,” starring Dustin Hoffman as a transvestite Nazi, was controversial, mostly because the play had a live decapitation of a chicken. After those live beheadings sparked a lot of public outrage, the play switched to using fake chickens. “The Cannibals,” George Tabori’s 1974 play about the Holocaust, was one of the American Place’s most divisive productions. The documentary points out that the play was more controversial in the United States than it was in Germany. In the documentary, Handman remembers getting a lot of hate mail every time the American Place was embroiled in controversy.

The words “true,” “truth” and “truthful” are used a lot in the documentary to describe Handman and the people he inspired. Eric Bogosian, whose third one-man play “Drinking in America” was produced by the American Place, says of Handman: “He’s not a lunatic. He’s a true believer.”

Even with interviews and testimonials that talk about all the brilliant work that Handman can take a lot of credit for influencing, there simply isn’t enough filmed footage of a lot of these stage productions. Plays, rehearsals and acting classes in Handman’s heyday were usually not filmed for posterity, so it’s not director Billy Lyons’ fault that still photos are the main visuals he has to work with to show what people are discussing in the documentary. (And thankfully, Lyons chose not to film re-enactments for “It Takes a Lunatic,” which is his first feature film.) Perhaps “It Takes a Lunatic” would have been better-suited as a podcast instead of a movie.

The lack of archival film footage isn’t the documentary’s main shortcoming. By putting Handman on such a high pedestal, the documentary feels like it was made by a star-struck fan instead of a more objective filmmaker. For example, the controversy that Handman created with some of American Place’s productions is acknowledged in the film, but the movie doesn’t interview any of Handman’s critics, rivals or people he inevitably alienated in his career. The constant praise of Handman is repetitive and the movie’s slow pace makes the documentary duller than it needs to be. “It Takes a Lunatic” should be commended for gathering so many well-respected actors to share their admiration of Handman, but the documentary probably won’t be very appealling to people who have no interest in acting or theater productions.

UPDTAE: Netflix will premiere “It Takes a Lunatic” on October 25, 2019.

2019 Tribeca Film Festival movie review: ‘Seahorse’

May 4, 2019

by Carla Hay

“Seahorse”

Directed by Jeanie Finlay

World premiere at the Tribeca Film Festival in New York City on April 27, 2019.

The documentary “Seahorse,” which is about a pregnant transgender man, gets its name because male (not female) seahorses are the ones who carry and give birth to seahorse babies. The pregnant transgender man in “Seahorse” is Alfred “Freddy” McConnell, a 30-year-old office worker from England, who decides to become a parent and decides that getting pregnant is faster than going through the adoption process. Freddy (who identifies as a gay transgender man) has a live-in transgender boyfriend named CJ Bruce, who plans to help Freddy raise the child. With a ticking biological clock, Freddy goes through the process of medical fertilization, even though he dreads taking the female hormones that will help him get pregnant.

Freddy, who lived between the cities of London and Deal, says that he always wanted to be a parent, and he came out as transgender when he was in college. Raised primarily by a single mother, he describes her as “a massive extrovert with a family of introverts.” Freddy’s mother, Esme Chilton, is supportive of him being transgender. However, Freddy’s estranged father (who split from Freddy’s mother when Freddy was about 8 years old) is having a difficult time accepting that he has a transgender son, and Freddy is afraid to tell his father that he’s pregnant. Childhood photos of Freddy show him to be a tomboyish child. At an early age, Freddy said that he didn’t like to wear dresses and felt that he was trapped in the wrong gender.

Because Freddy is introverted and because his closest family member is supportive of him, “Seahorse” is a quiet movie that doesn’t have a lot of drama and conflict. His fertilization treatments don’t work right away, so he doesn’t get pregnant until halfway through the movie. Waiting this long in the movie to show Freddy finally becoming pregnant is a curious choice that director Jeanie Finlay made—and it has mixed results. On the one hand, it’s a realistic portrayal of how fertilization treatments are rarely effective the first time they are taken. But on the other hand, this is a documentary about a pregnant man, so it drags down the pace of the film to wait until the halfway mark of the movie to show his pregnancy. The process of choosing a sperm donor and the disappointment of failed IVF treatments should have absolutely been included in the film, but better editing would have put all of that in the first third of the movie, not let it go on and on for half of the film.

Freddy goes through a lot of personal angst due to the pregnancy’s effects on his hormones—but, for the most part, he’s not ostracized in his community (because he keeps his pregnancy such a secret) and there are no scenes of him getting strange stares from people. That’s because Freddy goes to great lengths to hide his pregnancy to the outside world. He still dresses as a man, but he wears baggier clothes so that it doesn’t look like he’s pregnant. At one point in the movie, he confesses that he hasn’t told his co-workers and male friends about his pregnancy, and he has taken a leave of absence from his job. In the later stages of the pregnancy, Freddy and his mother relocate to a fairly remote area in Spain, after she spontaneously buys a home there. It’s a convenient move, since Freddy doesn’t have to face any nosy neighbors he might have had in England.

Because Freddy feels like a man, he’s also dealing with the psychological issues of going to back to the feminine physical characteristics that he wanted to get away from as a transgender man. His hips have become rounder, and his breasts are starting to become bigger. As his body goes through these changes, Freddy says, “My appetite has plummeted, my libido has plummeted. I feel softer inside, and I want to talk about my feelings more.”

As Freddy says later in the movie, “If all men got pregnant, pregnancy would be taken more seriously.” Still, because he doesn’t want to have the female biological characteristics that come with pregnancy, he says, “I feel like a fucking alien.” Over a dinner gathering with his mother and some of her friends, the conversation gets a little uncomfortable when one of his mother’s female friends admits that she thinks transgender issues are confusing.

The biggest problem with “Seahorse” is that because the movie takes place in the context of a pregnant man who largely wants to keep his pregnancy a secret, there’s no bigger “real world” insight into what really happens when a transgender man gets pregnant and isn’t afraid to let everyone in his life know about it. Although it’s a much more difficult path to be completely open about this type of pregnancy rather than to keep it a secret, it would also be helpful for people to see a transgender man publicly take those brave steps during the pregnancy in order to lessen the stigma over this type of pregnancy.

Freddy is very isolated from people during his pregnancy; except for CJ, he’s rarely seen with people his own age in this documentary. Even though it’s great that Freddy’s mother thinks he’s “brave,” and she is “in awe of him” for being in this unusual situation, it would have been better to see the reactions of people in Freddy’s world outside his very small inner circle. It’s understandable that Freddy would be afraid to tell people about his pregnancy—and he certainly would have gotten some backlash and criticism from bigots—but his fear could have robbed him of finding out who are the truly compassionate people in his life. The people who accept him as a transgender man are also likely to accept him as a parent. Freddy gives birth at the end of the movie, but “Seahorse” feels almost like a “to be continued” film, because it remains to be seen how Freddy handles the challenges of raising his child, knowing that his unusual pregnancy has been documented for the world to see.

UPDATE: 1091 Media will release “Seahorse: The Dad Who Gave Birth” (formerly titled “Seahorse”) in the U.S. on digital and VOD on June 16, 2020. The film was already released in the U.K. in 2019.

2019 Tribeca Film Festival movie review: ‘After Parkland’

May 4, 2019

by Carla Hay

“After Parkland”

Directed by Emily Taguchi and Jake Lefferman

World premiere at the Tribeca Film Festival in New York City on April 26, 2019.

Tragically, there have been several mass shootings in the U.S. before and after the shooting massacre at Marjory Stoneman Douglas High School in Parkland, Florida, on February 14, 2018. But the Parkland shootings (which killed 17 people) will be remembered as the flashpoint for an unprecedented movement of young people against gun violence. The documentary “After Parkland” shows how some of the more well-known Parkland survivors coped with the tragedy in the months after the shooting, and how they channeled their grief into passionate activism.

The documentary features some of the former Parkland students who have been at the forefront of this activism. They include survivors David Hogg, Victoria Gonzalez, Sam Zeiff and Dillon McCooty. Also included are parents Manuel Oliver (whose son Joaquin was murdered in the shooting) and Andrew Pollack (whose daughter Meadow was also a Parkland murder victim).

Zeiff, who turned 18 the day after the massacre, says in the documentary that his boss told him after the tragedy, “You don’t look like a kid anymore.” Gonzalez, who was Joaquin Oliver’s girlfriend, turns to Joaquin’s best friend McCooty for support, and vice versa. Gonzalez and McCooty end up going to their prom together, as a tribute to Joaquin. She wore a flower crown with flowers from the first bouquet that Joaquin gave her.

The grief, anger and resilience over the shootings are felt throughout the entire documentary. One of the most emotionally powerful moments in the film is when Manuel Oliver, who is an artist, did an art installation that showed Joaquin in a graduation cap and gown carrying a certificate of death instead of a diploma, with a red stain of spray paint, signifying blood from a gunshot wound. Manuel Oliver and his wife, Patricia, have started an anti-gun-violence, non-profit organization called Change the Ref, in memory of their slain son Joaquin.

The documentary also takes a behind-the-scenes look at the March for Our Lives event on March 24, 2018. The event, which was organized largely by Parkland survivors, had its flagship rally in Washington, D.C., but there were hundreds of other March for Our Lives rallies around the world that were part of the event.

“After Parkland” also gives an up-close look at how some of the high-profile and outspoken student survivors have been handling their sudden thrust into the media spotlight—and the criticism they have been getting from some people who say that these survivors have become activists for fame and money. Hogg in particular has become a media darling, as well as a target for extreme right-wing groups that have called shooting survivors and their parents “bad actors.”

We see in the documentary why Hogg has been all over the media: He has a hard time saying “no” to interviews when he’s surrounded by reporters, and his protective mother often has to step in and put a limit on the media interviews that he does. His passion and his eloquent speaking skills make it clear why he’s one of the unofficial leaders of this Parkland movement, and what he’s fighting for isn’t just a “phase” or a “fad” for him and other Parkland survivor activists.

“After Parkland” co-directors Emily Taguchi and Jake Lefferman are directors/producers of ABC’s “Nightline,” so the documentary (which is backed by ABC News) looks more like a TV production than something that was made for movie theaters. And if you’re a news junkie who’s followed what the Parkland survivors and their families and allies have been doing since the shooting, then you probably won’t find out anything new by watching this documentary. But no matter how people feel about gun laws, “After Parkland” is a rallying cry for those who want to do something about preventing more of these tragedies from happening, instead of just hoping that the problem will just go away.

UPDATE: Kino Lorber will release “After Parkland” in New York City and Los Angeles on November 29, 2019. The movie’s release will expand to more cities in 2020.