Melvin Gregg, Grace Byers, Antoinette Robertson, Sinqua Walls, Jermaine Fowler, Dewayne Perkins and X Mayo in “The Blackening” (Photo by Glen Wilson/Lionsgate)
Culture Representation: Taking place in the Los Angeles area, the horror comedy film “The Blackening” features a predominantly African American cast of characters (with some white people) representing the working-class and middle-class.
Culture Clash: Nine people gather at remote house in the woods for a Juneteenth weekend and are targeted by a serial killer or serial killers demanding that the house guests answer questions about African American history and pop culture in a bizarre, race-baiting board game.
Culture Audience: “The Blackening” will appeal primarily to people who want to watch a frequently boring comedy full of racist jokes that are corny and stupid.
Yvonne Orji and Jay Pharaoh in “The Blackening” (Photo by Glen Wilson/Lionsgate)
“The Blackening” tries very hard to combine the parody of “Scary Movie” and the social commentary of “Get Out,” but the results are mostly cringeworthy, unimaginative and not very funny. The ending of the movie also drags and has no suspense. Worst of all, the so-called “jokes” sound like they would’ve been rejected from a Wayans Brothers movie in the 1990s. “The Blackening” filmmakers tried to make this dreadfully empty movie look more “modern” by adding in some social media references as part of the plot, but it’s all just a smokescreen for this disappointingly lackluster and stale film. “The Blackening” had its world premiere at the 2022 Toronto International Film Festival and its U.S. premiere at the 2023 Tribeca Festival.
Directed by Tim Story, “The Blackening” was written by Tracy Oliver and Dewayne Perkins, who is one of the co-stars of the film. It should come as no surprise that Perkins wrote the most well-rounded and most believable character for himself in the movie. All of the other characters in “The Blackening” are hollow stereotypes. And that might be acceptable if most of the scenes “The Blackening” were genuinely funny.
Unfortunately, the movie is just one flat soundbite after another, which usually has one of these three themes: (1) the characters comment on or react to white supremacist racism; (2) the African American characters try to prove who’s the most “authentic” in being black; (3) relationship tensions involving mistrust.
“The Blackening” (which was filmed on location in the Los Angeles area) focuses on nine African American friends who have gathered for a getaway at an Airbnb rental house in a remote wooded area for Juneteenth weekend. Morgan (played by Yvonne Orji) and Shawn (played by Jay Pharoah) have arrived ahead of their friends at this house. Inside the house, Morgan and Shawn find an unusual-looking board game called The Blackening that has a racially offensive Sambo face at the center of the board.
Morgan and Shawn start playing the game when the Sambo face begins talking and says that they have to answer trivia questions about black people in history and pop culture. If Morgan and Shawn get any of the answers wrong, then they will die. The Sambo face starts cackling menacingly. None of it is really scary, of course, and the board game looks completely phony and amateurish, like an art project that a child could have made.
An example of a trivia question that Morgan and Shawn get is to name a black character from a horror movie who didn’t die first in the movie. It’s “The Blackening’s” way of poking fun at the cliché that the first person to die in a horror movie is a black person. “The Blackening” over-uses this “joke” to the point where it becomes obvious that the writers ran out of ideas. At any rate, something bad happens to Morgan and Shawn. Morgan and Shawn have gone missing by the time the other seven people arrive at the house.
The other seven people on this getaway trip are neurotic attorney Tracy (played by Antoinette Robertson); her sassy gay best friend Dewayne (played by Perkins); Tracy’s smooth-talking ex-boyfriend Nnamdi (played by Sinqua Walls); crude loudmouth Shanika (played by X Mayo); spoiled diva Allison (played by Grace Byers); laid-back stoner King (played by Melvin Gregg); and socially awkward misfit Clifton (played by Jermaine Fowler), who’s not really a friend, but he says he got a last-minute invitation from Morgan.
During Shanika’s road trip to the house in the woods, Shanika actually meets Clifton at a gas station convenience store, where they debate over which type of phone is better: an Android (Clifton’s preference) or an iPhone (Shanika’s preference). It’s just one of many examples of how the movie’s ideas are often painfully dull and lack creativity in time-wasting dialogue.
“The Blackening” also has the predictable depictions of racially charged encounters with white people being openly hostile to the black travelers. A convenience store clerk (played by James Preston Rogers) gives a hateful stare to Shanika while she’s a customer in the store. A white park ranger with the last name White (played by Diedrich Bader) stops the car that Tracy is driving with Dewayne, Allison and King as passengers. This detainment is for no other reason than Park Ranger White isn’t used to seeing black people in this area, and Tracy has to show proof that she has a legitimate rental for the house.
It’s not long before the seven people are all gathered in the house and find The Blackening game and are subjected to answering a barrage of African-American oriented questions. The disappearance of Morgan and Shawn is often forgotten as the seven house guests get caught up in playing this game. Just like Morgan and Shawn, the seven house guests are threatened with death if they get any of the questions wrong. Some of the questions include “Who is Sojourner Truth?” Viewers might be asking themselves, “Is this a horror comedy or a history test?”
One of the questions asked is: “Name five black people who were in ‘Friends.'” The Sambo face answers that question itself by saying, “I don’t know. I don’t watch that show. I watched ‘Living Single.'” It’s a very outdated joke that would have worked better in the mid-to-late 1990s, when both of those shows were on the air.
“The Blackening” takes a while to get to any real horror in the story. Instead, the movie stretches out its very thin plot with some backstory information on some of the characters. All of these backstories involve a lot of bitterness. Tracy and Nnamdi had a bitter breakup because he cheated on her. Tracy is bitter because Nnamdi has a new girlfriend. Nnamdi is bitter because Tracy was the one who broke up with him.
Dewayne is bitter because he thinks Tracy takes their friendship for granted and only seems to need him after she’s broken up with a boyfriend. Shanika is bitter about being discriminated against for being for a large-sized black woman, even though she lacks self-awareness that her obnoxious attitude is really her problem. Allison is bitter because she’s biracial and always feels that she has to prove to her black friends that she’s “black enough.” King is bitter because he feels he’s misjudged for being married to a white woman, who is never seen or heard in this movie.
“The Blackening” is obviously not meant to be taken seriously. But the movie has so many missed opportunities where it could have been funnier. The friends have a debate about “who’s the blackest person in the group,” in terms of attitude, not physical appearance. This debate drones on and on until it loses its intended impact.
When nerdy Clifton blurts out that he voted for Donald Trump twice and says that “Beyoncé’s Super Bowl performance made me feel unsafe,” the other people in the group are horrified and immediately question if Clifton is really black. This type of racial stereotyping for comedy could have been handled in a wittier way. Instead, it just lazily rehashes jokes that have been done in one form or another in a lot of stand-up comedian routines.
The action scenes in “The Blackening” are poorly staged and insult viewers’ intelligence. The acting performances range from mediocre to irritating. And the answer to the mystery of who the killer is could have been intentionally obvious, but it still drains a lot of the intrigue that “The Blackening” could have had.
“The Blackening” is the type of low-quality movie that is neither great nor the worst of the worst. As far as race-based comedies go, it has nothing new or interesting to say about African American culture or race relations. “The Blackening” just sinks into a cinematic version of noxious quicksand, where weak and unremarkable movies go and are quickly forgotten.
Lionsgate will release “The Blackening” in U.S. cinemas on June 16, 2023.
Some language in Cantonese, Mandarin and Korean with subtitles
Culture Representation: Taking place primarily in Hong Kong, the documentary film “Enter the Clones of Bruce” features a predominantly Asian group of people (with some white people and one African American) discussing how the legacy of martial-arts actor Bruce Lee spawned imitators and a low-budget action films that have some connection to Lee’s history and persona.
Culture Clash: Many actors who became known as Bruce Lee knockoffs experienced exploitation and typecasting.
Culture Audience: “Enter the Clones of Bruce” will appeal primarily to people who are fans of Lee and action movies inspired by him.
Dragon Lee (pictured at left) in “Enter the Clones of Bruce” (Photo courtesy of Severin Films)
“Enter the Clones of Bruce” is a breezy and fascinating deep dive into Bruce Lee-inspired movies and actors who tried to continue the legacy of Lee after his tragic death. The movie’s commentary is superb and includes some people who rarely give interviews. Martial-arts star Lee died of a cerebral edema in 1973. He was 32 years old. This documentary explores how far-reaching his influence was by showing how Bruce Lee imitators and ripoffs flooded the movie industry after his death.
Directed by David Gregory, “Enter the Clones of Bruce” had its world premiere at the 2023 Tribeca Festival. The documentary shows how the enduring popularity of Lee helped fuel a renaissance of Hong Kong-based filmmaking in the 1970s and 1980s. Shaw Brothers Studio, a Hong Kong-based film company that existed from 1925 to 2011, is mentioned frequently in the documentary as the biggest generator of Bruce Lee imitation movies. Although Lee was an American who was born in San Francisco, his parents were from Hong Kong, and they raised him there shortly after he was born. He maintained homes and had dual citizenship in the U.S. and Hong Kong.
Lee’s breakthrough to international audiences was co-starring as Kato in the American superhero TV series “The Green Hornet,” from 1966 to 1967. Movie stardom soon followed. Lee’s best-known films are 1971’s “The Big Boss,” 1972’s “Fist of Fury,” 1972’s “The Way of the Dragon” and 1973’s “Enter the Dragon,” which remains his biggest hit movie. Lee died six days before “Enter the Dragon” was released on July 26, 1973.
“Enter the Clones of Bruce” makes a case in proving that Lee’s sudden and unexpected death left a void that others rushed to fill in the 1970 and 1980s. The overall mindset was that people believed Lee would have soared to even greater movie-star heights if he had lived. Why not make the types of movies that he would have made if he had been alive? In addition to action flicks with fictional Bruce Lee-inspired characters, there were numerous sequels, prequels and spinoffs to biopics about Lee.
The documentary doesn’t sugarcoat that most of the imitation Bruce Lee movies and imitation Bruce Lee actors were fueled by greed. In the documentary and elsewhere, it’s called Bruceploitation. But many of those involved in Bruceploitation also had genuine admiration for Lee and wanted to continue his legacy in some way. A lot of Bruceploitation merchandise came out of this era, but “Enter the Clones of Bruce” focuses mainly on the Bruceploitation movies and the people who made them.
One of the best aspects of “Enter the Clones of Bruce” is how the movie has an impressive array of interviews with people who were involved with or are experts in Bruceploitation. It’s obvious that the documentary filmmakers took a lot of time and care in tracking down many of these people, in order to make the documentary as complete as possible. Although this low-budget movie’s film editing and other production values are little rough around the edges, the documentary’s research is impeccable, while the narrative is easy to understand.
Almost all of the best-known Bruce Lee-inspired, low-budget actors from the 1970s and 1980s are interviewed in the documentary. Bruce Li (real name Ho Chung-tao), who is originally from Taiwan, comments in the documentary about his Bruce Lee-like persona: “It was really a gimmick.” Li starred in movies such as 1975’s “Dragon Dies Hard” and 1976’s “Bruce Lee: The True Story,” also known as “Bruce Lee: The Man, The Myth.” In the documentary, actor/writer Eric Tseng says that Li was good at what he did, but Li’s career would have been better if he hadn’t been typecast as a Bruce Lee imitator. Li says in the documentary that he didn’t think he ever really looked like Bruce Lee.
Dragon Lee (real name: Moon Kyung-seok), also known as Moon Lee, is a native of South Korea. Just like Li, Dragon Lee relocated to Hong Kong for his Bruceploitation career. Dragon Lee says that he met with Bruce Lee’s widow Linda to consult with her about how to portray Bruce. Dragon Lee also says that Bruce Lee’s signature move of thumbing his nose mainly came from a need to wipe sweat from his face. Dragon Lee’s Bruceploitation movies include 1976’s “The Real Bruce Lee,” 1978’s “Enter Three Dragons” and 1981’s “The Clones of Bruce Lee.”
Bruce Le, whose heritage is Chinese, grew up in Macau as a refugee from Burma. He moved to Hong Kong for the Bruce Lee phase of his career. Le, who was a contract player for Shaw Brothers, says of movie producer Bruce Randall, who was behind many Bruceploitation films: “He was like my godfather.” Le’s film credits include 1976’s “Bruce’s Deadly Fingers,” 1977’s “Return of Bruce” and 1977’s “Bruce and the Shaolin Bronzemen.” In archival footage from a TV talk show interview, Le is shown making the far-fetched claim that he drinks snake blood to stay strong.
“Enter the Clones of Bruce” also includes interviews with two martial-arts actors whose careers flourished because of Bruce Lee’s legacy but who aren’t Asian men: Angela Mao, who retired from acting in the 1990s, was considered the “first lady of kung fu” during her heyday movie career. In a rare interview for a documentary, Mao says of how Bruce Lee impacted her life: “I’m very grateful to him.” Meanwhile, Ron Van Clief (who is African American) tells the story in his documentary about how Bruce Lee was the one who gave Van Clief the nickname the Black Dragon.
Other actors interviewed in the documentary include Bruce Liang, Sammo Hung, Lo Meng, Casanova Wong, Eric Tseng, Caryn Wade, David Chiang, Long Ko, Roy Wade, Yasuaki Kurata, Phillip Ko and Mars. Bolo Yeung (also known as Yeung Sze), who is from Hong Kong, is described in the documentary as the actor who did more Bruceploitation movies than anyone else. Yeung isn’t interviewed in the documentary, but his son David Yeung has a short interview clip in the film.
Experts interviewed in “Enter the Clones of Bruce” include Mike Leeder, a Hong Kong expert who has some of the most insightful commentary in the film; Valerie Sou, professor of Asian studies at San Francisco State University; “Bruceploitation Bible” author Michael Worth; and “Fists of Bruce Lee” author Stephen Nogues. Nogues is from France, which is mentioned along with the United States, as the biggest markets for Bruceploitation outside of Asia.
It’s mentioned that many of the Bruceploitation actors were exploited themselves by having to work extremely long hours in non-union jobs, often while injured. Several of the Bruceploitation actors interviewed in the film say that the contracts they signed did not include getting royalties from the movies that they made. In other words, if people got rich from these Bruceploitation films, they weren’t the actors who starred in these movies.
Jackie Chan is mentioned as a next-generation beneficiary of Bruce Lee’s legacy. Unlike the Bruceploitation actors, who portrayed skilled action characters in all of their movies, Chan created an action-hero persona where his character often bumbled his way through fights that he lost until the very end when his character would emerge victorious. As for other action stars directly influenced by Bruce Lee, there is curiously no mention in the documentary of Chuck Norris, whose work with Bruce Lee kickstarted Norris’ career.
The filmmakers interviewed in the documentary include director Godfrey Ho, director Lee Chiu and producer Andre Morgan. Morgan is formerly an executive with Golden Harvest Films (now known as Orange Sky Golden Harvest Films), a company that co-produced several Bruce Lee films, including “Enter the Dragon” and 1978’s controversial “Game of Death.” The movie was controversial because it promised more than it delivered in unreleased Bruce Lee footage. In “Enter the Clones of Bruce,” Morgan doesn’t deny how disappointing “Game of Death” is to many Bruce Lee fans, but Morgan makes no apologies for it either.
There are two different versions of “Game of Death,” both of which cobbled together unreleased footage (about 15 minutes) of Bruce Lee and substituted other actors in scenes that were supposed to have the Billy Lo character portrayed by Bruce Lee. The quality of the filmmaking in “Game of Death” is so low, a cardboard cutout of Bruce Lee’s face was used over another actor’s real face in one of the scenes. Many scenes were badly lit and had terrible film editing. Numerous fans have complained that “Game of Death” is an insult to Bruce Lee instead of it being the fitting tribute to Bruce Lee that it should have been.
Morgan insists in the documentary that there is no hidden Bruce Lee movie footage anywhere that could be released in another movie. Based on everything shown in this documentary, if any of that footage existed, then it would have been exploited and re-exploited years ago. Although there’s no secret treasure trove of Bruce Lee archival movie footage, “Enter the Clones of Bruce” is a gem of a documentary for any fans of Bruce Lee and martial arts films.
UPDATE: Severin Films will release “Enter the Clones of Bruce” in select U.S. cinemas with a tour that begins in Los Angeles on April 12, 2024. The movie will be released on digital and VOD on April 30, 2024, and on Blu-ray on May 21, 2024.
Nick Jonas, Matt Walsh, Brittany Snow and Elisabeth Shue in “The Good Half” (Photo courtesy of The Ranch Productions)
“The Good Half”
Directed by Robert Schwartzman
Culture Representation: Taking place in Cleveland, Ohio, the comedy/drama film “The Good Half” features a predominantly white cast of characters (with a few African Americans and Latinos) representing the working-class and middle-class.
Culture Clash: A 28-year-old aspiring comedy screenwriter returns to his hometown of Cleveland, as he struggles with grief over his mother’s death, as well as tensions with his sister and his stepfather.
Culture Audience: “The Good Half” will appeal primarily to people who are fans of the movie’s headliners and comedy/dramas about complicated family relationships and the effects that a terminal illness has on a family.
Nick Jonas and Alexandra Shipp in “The Good Half” (Photo courtesy of The Ranch Productions)
In the comedy/drama film “The Good Half,” the movie’s “good half” is the latter half, which shows the most emotional depth. Led by Nick Jonas’ admirable performance, it’s a capably acted story about grief, hope and family tensions. “The Good Half” had its world premiere at the 2023 Tribeca Festival.
Directed by Robert Schwartzman and written by Brett Ryland, “The Good Half” jumps back and forth in the story’s timeline to show life in a family before and after the death of the clan’s matriarch. The movie (which takes place in Cleveland, Ohio) is told from the perspective of her son, who had a close relationship with his mother as a child, but as an adult, he drifted apart from the family after he moved to Los Angeles to pursue a career as a comedy screenwriter. In some ways, “The Good Half” resembles a sitcom with a serious side, but the movie improves when it starts to dig deeper into some realistic family dynamics.
“The Good Half” opens with a flashback scene that takes place when protagonist Renn Wheeland (played by Mason Cufari) is 9 years old and with his neurotic mother Lily Wheeland (played by Elisabeth Shue) near a shopping area. Renn is upset because Lily accidentally left him in a store and didn’t return until about two hours later. A remorseful Lily promises Renn that she will never leave him in a store again. This childhood memory is brought up again later in one of the movie’s most emotionally intense scenes.
Renn (played by Jonas) is now 28 years old and somewhat estranged from his family. He has returned home to Cleveland because Lily has died of a terminal illness. (“The Good Half” was actually filmed in New Jersey and Los Angeles.) On the plane to Cleveland, Renn has a “meet cute” moment with a psychotherapist named Zoey (played by Alexandra Shipp), who tells Renn that she’s visiting Cleveland for a psychotherapist convention. Renn tells a partial lie of omission by saying to Zoey that he’s going to Cleveland for a family reunion. He leaves out the detail that the reunion is under the sad circumstances that it’s for his mother’s funeral.
There’s another airplane passenger sitting in between Renn and Zoey, who have a friendly and flirtatious conversation, while the man in the middle looks slightly uncomfortable. Zoey says that she’s afraid of flying. She jokes that she wishes their flight would turn into the 1997 airplane hijack movie “Con Air.” Zoey adds that all the action movies of the 1990s are great films.
Zoey is very talkative and curious. She asks a lot of questions and finds out from Renn that he is an available bachelor. Renn is a little more guarded and won’t disclose much about himself, except basic information, such as Cleveland is where he was born and raised. After the airplane lands, Zoey and Renn exchange phone numbers, because it’s obvious that they feel an attraction to each other.
When Renn takes a rideshare from the airport, he tells the driver to take the longest way to the destination. It’s an obvious sign that Renn is dreading seeing his family again. Renn has a cordial but emotionally distant relationship with his father Darren Wheeland (played by Matt Walsh), who is mild-mannered and easygoing. Darren and Lily got divorced years ago. Darren has not remarried, and he lives by himself.
Renn’s relationship with his married older sister Leigh (played by Brittany Snow) is much more volatile. Leigh is an uptight control freak who has deep resentment toward Renn for a number of reasons. One of the things she’s angry about is that Renn avoided her numerous attempts to contact him when she needed Renn to help make decisions about their mother’s funeral and other after-death arrangements. It also irritates her that Renn doesn’t seem to care about keeping in touch with anyone in his family.
For now, things will be awkward between Renn and Leigh because he’s staying at the house of Leigh and her husband (who doesn’t say much and barely in the movie) while Renn is visiting Cleveland. On the evening that Renn was supposed to arrive in Cleveland, Leigh had a get-together of Lily’s friends and colleagues. However, Renn showed up too late, and everyone has already left.
“We had a lot of people over here paying their respects,” says a grim-faced Leigh, who can barely hide her disgust that Renn was late. “I’m sorry you missed them.” Renn replies sullenly, “I’m not.” There will be more tension-filled scenes like this between this brother and sister, until the inevitable emotional confrontation where long-held resentments erupt to the surface. Renn and Leigh’s big reckoning with each other has more sorrow than anger.
Renn and Leigh don’t agree on a lot, but there’s one thing that Renn, Leigh and their father all agree on: Lily’s second husband Rick Barona (played by David Arquette) is an annoying jerk. Rick is legally considered Lily’s next of kin, so he’s made a lot of decisions about the funeral that Renn is sure that Lily would not have wanted. Lily wanted to be cremated, but Rick has arranged for her to buried. Lily was Jewish, but Rick has arranged for a Catholic priest to officiate at the funeral.
“The Good Half” has a very effective subplot about the eulogy part of the funeral service. The eulogy is symbolic of the power struggles and disagreements in the family over how Lily wanted to be remembered at her funeral. Needless to say, Rick has very different ideas from what Renn thinks should be said in the family’s eulogies.
Rick wants to hire his eccentric spiritual guru Father Dan (played by Stephen Park), who never met Lily, to officiate the funeral and help family members craft their eulogies. (Father Dan, who teaches piano lessons to children out of his cluttered and messy house, doesn’t appear to be a real ordained priest.) Leigh and Darren try not to get into confrontations with Rick, but Renn has no such qualms. Rick wasn’t exactly a devoted husband during the last months of Lily’s life. And you can bet that the question over who really cared about Lily the most will come up in any arguments between Rick and Renn.
There’s a lot of family drama in “The Good Half,” but the movie seamlessly includes the subplot about Renn and Zoey’s possible romance, which is where some (but not all) of the movie’s comic relief occurs. Renn and Zoey see each other again when he calls her and invites her to meet up with him in a bar. Zoey eventually reveals that she has her own personal issues: She’s going through a divorce.
Zoey says that one of the reasons why she broke up with her soon-to-be ex-husband is because he cheated on her. The Zoey/Renn relationship starts off looking very formulaic. But to the credit of “The Good Half” filmmakers, not everything about this possible romance is predictable.
Anchoring the emotional center of the film is Jonas’ memorable performance as Renn, who is more devastated by Lily’s death than he cares to admit. Shue’s performance as Lily in the flashback scenes is heartfelt and compelling. Lily had her share of quirks (including a habit of stealing table utensils every time she went to a restaurant), but there’s no doubt that she truly loved her children, and they loved her.
In one of the flashback scenes, Renn is spending time with Lily, and he knows that she’s in an unhappy marriage with Rick. Renn advises Lily to end the marriage, and he offers to move back to Cleveland to help her with the divorce. It’s an offer that Lily firmly declines because she says that Renn shouldn’t interrupt his life because of her own personal problems.
And then, Lily blurts out the real reason why she doesn’t want to divorce Rick: “I’ll be a 56-year-old, twice-divorced woman living in Cleveland.” It’s a simple sentence, but it speaks volumes about how some women of a certain age feel when society often treats them like their age is an expiration date for desirability.
“The Good Half” has expected tearjerking moments in scenes showing Lily’s medical treatment and the effects that her illness have on Lily and her loved ones. Despite this depressing part of the movie, “The Good Half” still brings moments of comedic whimsy—some of it is better-placed than others. A subplot about breaking into a home looks very much like it belongs in a sitcom; it turns out to be a set-up to end the scene in a sentimental way.
The movie fares much better with its drama, which is the basis for the best scenes in “The Good Half.” A heart-wrenching monologue by Renn has a line in it that explains why the movie has this title. Does “The Good Half” get a little too sappy in the drama and a little too cutesy in the comedy? Sure, it does. But these are minor flaws that don’t get in the way of this mostly authentic-looking story of how a family can be ripped apart or can come together because of grief.
UPDATE: Utopia Films and Fathom Events will release “The Good Half” in U.S. cinemas for a limited engagement on July 23 and July 25, 2024.
Lyana Mytsko and Stepan Burban in “Rule of Two Walls” (Photo courtesy of New City/Old City)
“Rule of Two Walls”
Directed by David Gutnik
Ukrainian with subtitles
Culture Representation: Taking place in Ukraine from April to November 2022, the documentary film “Rule of Two Walls” features an all-white group of people who were affected by the Russian invasion war that began that year.
Culture Clash: Several artists show resistance to the Russian invasion in various ways as their lives remain in danger.
Culture Audience: “Rule of Two Walls” will appeal mainly to people who are interested in watching a documentary about the horrors of the Ukrainian war from an artist perspective.
Lyana Mytsko in “Rule of Two Walls” (Photo courtesy of New City/Old City)
Harrowing and inspiring, the documentary “Rule of Two Walls” sometimes gets unfocused in its cinéma vérité style of showing how some Ukrainian artists responded to and were affected by the war that began in 2022. It’s still very insightful filmmaking. “Rule of Two Walls” had its world premiere at the 2023 Tribeca Festival.
Directed by David Gutnik, “Rule of Two Walls” was originally going to be about Ukrainian refugees in Poland, according to Gutnik’s statement in the “Rule of Two Walls” production notes. He adds, “But by the time I crossed the border into Ukraine, it was clear to me that I was going to make a film about Ukrainians who stayed.” Gutnik is American, but he says most of his family members are from Ukraine.
“Rule of Two Walls” (which was filmed in Ukraine from April to November 2022) opens with a seemingly idyllic scene of two live-in lovers in their 30s waking up together in bed at their home in Kharkiv, in April 2022. They are artist Lyana Mytsko and musician Stepan Burban, who are featured prominently in the movie. Stepan says his gall bladder hurts. Lyana jokes that Stepan must be getting old, “Little Stepanko, 95 years old.”
But this domestic bliss soon gets a harsh reality check, because the Russian invasion war on Ukraine had begun in February 2022. Mytsko comments that in these times, it’s important that the couple’s “windows haven’t been blown out yet.” Later, Mytsko (who describes herself as an “activist” and a “feminist”) is the director of the Lviv Municipal Arts Center, which features some of her own artwork. The fate of the arts center is in jeopardy because of the war. The National Art Museum of Ukraine is also featured in the documentary.
Throughout “Rule of Two Walls,” artists are shown talking about how their lives and their art have been affected by the war. Burban performs industrial rock music and is the lead singer of his band. He begins writing more protest songs. Burban is shown performing with his band to an enthusiastic crowd of mostly young people who are angry about the war.
Photography artist Bob Basset shows his collection of photos of people wearing gas masks. Two young women are shown putting up a handmade poster that reads, “We are not afraid of you, Russia. We hid our monument because we don’t want you to see our shame.” In the documentary, Mytsko explains that since the war began, what she expresses in her art is “to regain some control over all this crazy shit.” Bohdana Davydiuk and Iryna Hirna are two other Ukrainian artists featured in the documentary.
A female artist, who did not want her face shown on camera, seems to have a specialty in painting nude people. The movie’s end credits identify her as Kinder Album. She shows the paintings she made of real horrors of war that she witnessed.
One of her more disturbing paintings shows a naked woman kneeling, with her hands tied behind her back. She is surrounded by standing soldiers, who are seen from the neck down. One of the soldiers has his pants down, as if he is about to rape or just raped the woman. Another painting shows a woman cleaning a large pool of blood on a street.
The overall sentiment of the Ukrainian artists interviewed in the documentary is one of defiance in refusing to let Russia erase or take over their land, their lives and their culture. Art curator/manager Diana Berg, who is also an artist, comments in the documentary: “No war can deprive us of our culture and traditions. When [Russian president Vladimir] Putin says we [Ukrainians] have no culture, we have no nation.” She adds sarcastically, “Does that mean everything we create is Russian?”
Sensitive viewers should be warned that “Rule of Two Walls” also has several scenes of murdered bodies (most are human and some are animals) on streets. In one scene, bodies that were set on fire are seen with smoke still coming out of the ashen remains. It’s a jolting but necessary look at the tragedies and incalculable loss of lives during this terrible war.
Not all of the imagery and subject matter in “Rule of Two Walls” are completely depressing. Mytsko tells a heartwarming story of how people teamed up to rescue a cat that happened to be fairly well-known in the area because of the cat’s Instagram following. It seems that fame has privileges, even for animals in a war. An unidentified man talks about bringing food and other aid from Lviv to Kyiv. He had to send his wife and son away, for their own safety.
Gotnik has a “no frills” approach to this film and only inserts himself into the movie in the last third of the documentary, when he briefly shows himself on camera and talks about how all of his bank accounts have been frozen (he suspects the Russian government is behind it), so he is temporarily stuck in Ukraine. “Rule of Two Walls” sometimes has a rambling tone that occasionally makes the movie look disjointed and in need of tighter film editing. However, the documentary succeeds in its intention to juxtapose the damage of the war with the resilience and vibrant spirit of the Ukrainian people.
Culture Representation: Taking place in the United States, Italy, and South Korea, the documentary “Kim’s Video” features a predominantly white group of people (with a few Asians and African Americans) discussing the legacy and noteworthy inventory of Kim’s Video & Music, a New York City-based retail company that operated from 1995 to 2014, and was known for having thousands of obscure and rare movies.
Culture Clash: “Kim’s Video” co-director Davd Redmon goes on investigative journey to find out what happened to the store’s approximately 55,000 videos that Kim’s Video founder Yongman Kim donated to the small Italian city of Salemi, Sicily, in 2009.
Culture Audience: “Kim’s Video” will appeal primarily to people who are interested in “treasure hunt” type of documentaries and documentaries about the history of video stores.
A photo still from “Kim’s Video” (Photo by Ashley Sabin and David Redmon)
“Kim’s Video” is a love letter to not just one video store but also a bygone era when people gathered at actual video stores to rent and buy movies and TV shows. This documentary’s “gonzo” style sometimes looks staged, but the movie is mostly entertaining. “Kim’s Video” had its world premiere at the 2023 Sundance Film Festival and has since made the rounds at other film festivals in 2023, including the Beijing International Film Festival, the Copenhagen Documentary Film Festival and the Tribeca Festival.
Directed by David Redmon and Ashley Sabin, “Kim’s Video” features Redmon as one of the “stars” of the movie. He can be heard on camera as the narrator and interviewer, but he is almost never seen on camera. Most of “Kim’s Video” is about the hunt to find out what happened to the approximately 55,000 videos that used to be inventory for the New York City-based retail company Kim’s Video & Music (more commonly known as Kim’s Video), whose specialty was selling and renting obscure and rare movies.
“Kim’s Video” begins with Redmon giving a brief summary of his personal history. He says he became “obsessed” with movies from a very early age during his childhood in rural Texas. He explains that his parents were only 17 when he was born, and they sent him to live with his grandmother when he was 6 years old. His grandmother let him watch a lot of movies, which inspired his desire to become a filmmaker.
Redmon says he became so obsessed with movies and filmmaking, “Sometimes I found it difficult to distinguish between fiction and reality.” As an example, he mentions that after seeing director Richard Linklater’s 1990 mumblecore comedy/drama film “Slacker” (which was filmed in Austin, Texas), Redmon drove to Austin and tried to look for the characters in “Slacker,” because he thought they were real people.
He also says that where he lived in Texas (he does not name the city) did not have a video store and the closest that someone could go to be around movies was the local Wal-Mart. He got a job there but got fired after the manager accused him of stealing movies and putting them a dumpster. Redmon moved to New York City and discovered Kim’s Video. “I knew immediately that I found a new home,” Redmon says of this retail business.
Before the documentary gets to the “treasure hunt” part of the story, there’s a fairly long stretch of interviews with former Kim’s Video employees, most of whom were store clerks or store managers. Many of these ex-Kim’s Video employees went on to work in the movie industry in some capacity, including filmmaker Alex Ross Perry, comedian David Wain and journalists Dennis Dermody and Lorry Kitka. All of them have nothing but praise for Kim’s Video, which had a chain of about seven stores in New York City, until all but one named Mondo Kim’s remained open. The other store locations all had the word “Kim’s” in the title, such as Kim’s Underground, Kim’s Mediapolis and Kim’s West.
Dermody describes the selections of bootlegs and obscure releases at Kim’s Video: “It was a treasure trove.” Wain remembers what he felt like when he walked into the store: “I’m stepping into the gold mine of cool.” Anna Thorngate, a former Kim’s Video employee, comments on what made Kim’s Video so special: “It was just this weird little headquarters of watching and thinking about movies. It was the place to get weird movies.” Kitka says that Kim’s Video customers Joel Coen and Ethan Coen—two brothers who would go on to become Oscar-winning filmmakers—had $600 in late fees by the time the last Kim’s Video store shut down.
Although many of the employees paint a rosy picture of Kim’s Video, the company had a shady history of trafficking a lot of bootleg videos, and the company would regularly get fined and raided by the FBI. It’s mentioned in the documentary that Kim would get many of these bootlegs by requesting movies from the U.S. Embassy, making copies of the tapes, and selling those copies. Former Kim’s video employee Ryan Krivoshey says that every time a Kim’s Video store got busted for bootlegs, owner Kim would just replenish the bootleg supply even more.
However, all this bootlegging eventually caught up to Kim’s Video. It’s the main reason why the company shut down having multiple locations and was only left with one, until that final one closed too. Robert Greene, a former Kim’s Video employee, recalls fondly: “We were really proud of those tapes … We felt we were above the law. The law said, ‘Ownership matters.’ We said, ‘Film knowledge matters more.'” Other former Kim’s Video employees interviewed in the documentary include Isabell Gillies, Eric Hynes and Sean Price Williams.
There’s a significant part of the documentary that’s about trying to track down Yongman Kim, the mysterious South Korean entrepreneur who founded Kim’s Video. The company was fully operational from 1995 to 2009, and the very last Kim’s Video retail location officially closed in 2014. The documentary mentions that not much is known about Kim outside of his video business. He served in the Korean military; immigrated to the U.S. in 1979, when he was 21; and he started a laundry business before going into the video retail business. In his youth, Kim went to film school and later also dabbled in filmmaking.
In 2008, Kim did something very unexpected: He announced that the Kim’s Video flagship New York City store Mondo Kim’s would be closing the following year and that he was donating the company’s inventory of about 55,000 movies to the Italian city of Salemi, located in Sicily. Why was Salemi chosen? The city promised to take proper care of the videos, give free rentals to customers, and offer sleeping quarters to people who were in the Kim’s Video membership program.
Salemi hired Glen Hyman, a Kim’s Video customer, to write the proposal to Kim’s Video. In the documentary, Hyman admits he had no idea what he was doing at the time when he got involved in this business deal. Filmmaker/ex-Kim’s video employee Perry says he’s still amazed that this relatively obscure city was chosen instead of a more well-known place. “What on earth was anyone thinking that this [donating the inventory to Salemi] made more sense than NYU [New York University] saying, ‘We’ll take it’?”
And so, off Redmon goes to Salemi (in 2017), in search of these lost movies, which are mostly in the formats of cassette tapes and DVDs. It turns out that finding the inventory in Salemi wasn’t as easy as some people thought it might be. Instead of the video store being a tourist attraction, as originally intended, Redmon shows in the documentary that, in 2017, the videos were stored in a place shrouded in mystery and kept off-limits to the public.
“Kim’s Video” takes a sometimes comical tone when Redmon confronts certain people and demands access to the videos, because he says he’s still a card-carrying member of Kim’s Video. And then, the movie takes a dark turn when it exposes the Mafia connection to this bizarre story. It’s a tale of greed and politics. Leopoldo Falco, who was president of Italy’s Anti-Mafia Investigative Commission, gives one of the most memorable interviews in the film. Redmon also gets help from an Italian journalist named Marco Bora.
During the course of the documentary, Redmon has various run-ins with Salemi police chief Diego Muraca, as well people whose job is to guard the place where the long-lost Kim’s Video movies were kept in Salemi. There’s also some amusing footage of Redmon trying to get an interview with then-Salemi mayor Domenico Venuti. It should come as no surprise that Redmon had to stalk Venuti in public places in attempts to get this interview. At one point, Redmon becomes well-known enough to Venuti’s entourage that Venuti is shown on camera actively avoiding Redmon whenever he sees Redmon.
The second half of the documentary is better than the first half, which wastes a little too much time with repetitive gushing about Kim’s Video from ex-employees. One of the other problems that some people might have with the “Kim’s Video” documentary is that it’s difficult to know how much of an act Redmon is putting on for the camera when he does this type of ambush documentary filmmaking. There’s a break-in scene that looks like it could have been staged and possibly scripted.
Is “Kim’s Video” co-director Redmon a dedicated Kim’s Video fan, or is he a fanatic who’s gone too far? “Kim’s Video” invites viewers to make up their own minds. At the very least, the movie gives answers that a lot of Kim’s Video enthusiasts might have about what really happened to Kim’s Video founder Kim and all the videos that he donated. People who follow the news about a certain Austin-based company with various locations might already know where those videos are now. But the “Kim’s Video” documentary is a mostly entertaining chronicle of the quest to find out answers to a lot of Kim’s Video questions, although cinephiles who are fans of obscure movies are most likely to appreciate this documentary.
UPDATE: Drafthouse Films will release “Kim’s Video” in select U.S. cinemas on April 5, 2024, with an expansion to more U.S. cinemas on April 12, 2024.
Culture Representation: Taking place in Azalea, Oregon, the dramatic film “Acidman” features a predominantly white cast of character (with one African American) representing the working-class and middle-class.
Culture Clash: A married woman in her 30s goes to a remote area to reconnect with her estranged father, who is living in isolation and obsessed with looking for UFOs and outer-space beings that he thinks are visiting Earth.
Culture Audience: “Acidman” will appeal primarily to people who fans of the movie’s headliners and who are interested in watching a boring film about boring people.
Thomas Haden Church and Dianna Agron in “Acidman” (Photo by John Matysiak/Brainstorm Media)
“Acidman” might have been better as a short film. Except for a few emotionally charged moments, this tepid drama about an adult daughter reconnecting with her estranged reclusive father is dragged down by dull and listless scenes. It’s a conversation-driven movie that doesn’t have much to say for most of the film. “Acidman” had its world premiere at the 2022 Tribeca Film Festival.
Directed by Alex Lehmann (who co-wrote the stagnant “Acidman” screenplay with Chris Dowling), “Acidman” wanders from one scene to the next, with mot much purpose but to repeatedly show awkward conversations between this estranged father and daughter. The movie was filmed on location in a woodsy area of Azalea, Oregon, but this gorgeous scenery isn’t enough to elevate the movie from its dreadfully drab tone.
In the beginning of “Acidman,” a woman in her 30s named Maggie (played by Dianna Agron) has driven to this remote, wooded area to visit her father Loyd (played by Thomas Haden Church), whom she hasn’t seen in about 10 years. Loyd lives in a small, run-down trailer house that is very cluttered inside. His only companion is a male German Shorthaired Pointer named Migo.
Viewers find out later in the movie that Loyd used to be an engineer, but he “dropped out” of society when Maggie was about 9 or 10 years old. Loyd quit his job, left his wife and their two children, and lived a nomadic existence where he cut off contact with almost everyone in his previous life. Loyd’s abandonment has left Maggie with lingering feelings of resentment toward her father and insecurity about herself.
Maggie says at one point in the movie that Loyd hadn’t been returning her recent messages, and she went to a lot of trouble to find his current address. When she showed up at the house, Maggie says she wasn’t even sure if she had the correct address. Loyd doesn’t look very pleased to see her, but he isn’t hostile toward Maggie. He asks her how long she plans to stay for her unannounced visit. She says she’ll be staying for no more than two days.
During their conversations, more information emerges about Maggie and Loyd. Maggie is married to a graphic designer named Ben, whom Loyd didn’t know about until this visit. Maggie, who describes Ben as a “good person,” is quick to tell Loyd that she and Ben had a very small wedding ceremony at a local town hall. The guest list was so small, Maggie’s mother and Maggie’s brother Bucky were not invited to the wedding.
As for Loyd, he spends much of his time looking for UFOs, which are his obsession. He also has some music equipment in his home, where he makes music that he describes as “a lot of harmonic distortion” that he mixes with the sound of inanimate objects. It’s never mentioned where Loyd (who doesn’t have a job) gets money to live, but it’s possible that he has a pension, and he looks old enough to be eligible for Social Security benefits.
Loyd makes several comments that indicate he’s taken a lot of mind-altering drugs in his life, which might or might or might not have affected his mental stability. It’s possible he already had mental health issues even if he didn’t take drugs. When Maggie notices that Loyd has numerous yellow objects in his home (including Post-It notes all over the walls), she asks him: “What’s with all the yellow?” Loyd replies, “It’s a safe color.”
At the crack of dawn, Loyd is about to make a his daily visit to a hilly area with Migo, for what Loyd calls a “brain smash.” Maggie doesn’t know yet how obsessed Loyd is with UFOs, but she’s about to find out. Maggie is curious about what Loyd means by a “brain smash,” and she insists on going with Loyd to what she thinks will be a regular walk in the woods.
When they get to the top of the hill, Loyd shows her flashing red lights in the sky. He says these lights are outer-space aliens communicating by Morse code. He also films the lights to add to his large video collection of what he says are UFOs. Loyd tells Maggie: “There’s so much mankind doesn’t want to know about. It’s a shame.” He comments on the UFOs: “They don’t stay long. They just drop by to let me know they’re around. Interplanetary drive-by.”
Loyd adds, “Just to be clear: They reached out to me first, about three years ago … They knew I was listening.” At this point, Maggie doesn’t seem too alarmed by Loyd’s UFO ramblings, but later it begins to sink in with her that Loyd’s life revolves around these UFO sights. And it concerns her that Loyd has such an isolated existence and doesn’t get regualr medical check-ups, even though she knows there’s no chance that she can get Loyd to change his ways.
Why is this movie called “Acidman”? When Maggie first arrived at Loyd’s home, she sees the word “Acidman” written in orange paint on the front of the house. It’s because Loyd has a reputation for seeing UFOs, while the local skeptics think Loyd’s “UFO sightings” are really just hallucinations from LSD (acid) trips. Loyd tells her that some young mischief makers in the area committed this vandalism of his property. As a kind gesture, Maggie eventually paints over this graffiti.
Later, four of these young men drive by the house in a truck, yell “Acidman,” and throw eggs at the house. Loyd fires his shotgun to scare them off, but this scene is not as interesting or dramatic as it could have been. It’s also one of many scenes that are put in the movie as filler and don’t really go anywhere or lead to anything particularly insightful.
During her visit, Maggie and Loyd talk about mundane things, such as a seedling that they planted in the woods that has now grown into a small tree; happy memories of when they used to go fishing together; and Maggie’s experiences playing basketball when she was about 6 to 8 years old. The movie has some generic flashback scenes of Loyd and “Acidman” has flashback scenes of Loyd and Maggie as a child (played by Miranda O’Brien) spending father-daughter time together at places such as the beach.
Loyd used to encourage Maggie’s basketball playing back then, even though she describes herself as a mediocre basketball player, and it’s one of the few memories she has of her Loyd being a good father. The movie has a very tedious subplot about what Loyd and Maggie used to call Slamdunk Tuesdays, which was a family ritual for them: When Maggie was a child, they would spend father-daughter time on Tuesdays to talk about any basketball activities that she had. Maggie used to write in her childhood journal about Slamdunk Tuesdays.
Eventually, this small talk between Maggie and Loyd gives way to bigger issues that need to be confronted. Maggie tells Loyd that she wants to know the real reason why Loyd abandoned his family. Loyd tells her he left because he was tired of dealing with people in his life, including his family and work collegaues, whom he calls “cynics, skeptics and traitors” for wanting to live in what he thinks is a fake society. A tearful Maggie asks if there could have been anything she could’ve done to change his mind about leaving. The expression on Loyd’s face says it all.
Loyd sometimes eats at a local diner, where he knows a friendly waitress named Charlie (played by Sameerah Luqmaan-Harris), who briefly met Maggie when Maggie stopped at the diner before heading to Loyd’s home. Charlie’s screen time in the movie is less than 10 minutes, but she might as well have not been in the movie at all. The conversations between Maggie, Loyd and Charlie are so montonous and pointless, the scenes with Charlie could have been cut from the movie, and it wouldn’t make a difference to the story.
At one point, Loyd has a confrontation with two hunter trespassers on his property. It leads to the only thing in the movie that has a little bit of suspense, but it doesn’t last long. It’s just yet another thing in “Acidman” that happens and then it’s not really spoken about or addressed again in the story.
Maggie has a secret that Loyd is able to figure out from the way that she is acting with him and choosing this particular time in her life to reconnect with him. It’s a secret that’s not too surprising. “Acidman” has moments where Maggie shows she’s worried about Loyd, but then she goes right back into indulging in his UFO obsessions.
The movie gives a little bit of an indication of Maggie’s talent for writing short stories and poems as a child. But that’s the extent of what is revealed about Maggie’s interests. By making her such a vague character, “Acidman” doesn’t show enough of who Maggie is to make viewers care enough about the life she was able to have without her father. As for Loyd, he’s just a stereotype of a self-absorbed grouch who happens to be UFO-obsessed weirdo. By the time that the underwhelming ending of “Acidman” happens, viewers won’t remember much about this bland film because the movie didn’t have much to offer in the first place.
Brainstorm Media released “Acidman” in select U.S. cinemas, on digital and VOD on March 31, 2023.
The following is a press release from the Tribeca Festival:
The 2023 Tribeca Festival, presented by OKX, today announced its lineup of feature narrative, documentary, and animated films. This year’s Festival, which takes place June 7-18, showcases the best emerging talent from across the globe alongside established household names.
The 2023 features program includes 109 feature films from 127 filmmakers across 36 countries. The lineup includes 93 world premieres, one international premiere, eight North American premieres, one U.S. premiere, and six New York premieres. There are 43 first-time directors and 29 directors returning to Tribeca with their latest projects. 41% (45) of all feature films are directed by women and, for the first time, more than half of competition feature films are directed by women at 68% (19). Additionally, 36% (39) of feature films are directed by BIPOC filmmakers, including two indigenous filmmakers.
This year’s Festival also includes a notable number of films directed by actors: world premiere of First Time Female Director by Chelsea Peretti; world premiere of Maggie Moore(s) by John Slattery; world premiere of Bucky F*cking Dent by David Duchovny; world premiere of Downtown Owl by Lily Rabe and Hamish Linklater; world premiere of Eric LaRue by Michael Shannon; world premiere of Fresh Kills by Jennifer Esposito; North American premiere of The Listener by Steve Buscemi; New York premiere of Shortcomings by Randall Park; and more.
There are 53 documentary features across all categories including the world premiere of Marvel’s first original documentary Stan Lee by Tribeca alumnus David Gelb as well as world premieres from Academy Award winners and nominees including Julie Cohen, Waad al-Kateab, Morgan Neville, Sam Pollard, Rob Epstein, and Jeffrey Friedman. As an activist festival rooted in the foundational belief that art can inspire change, the 2023 Tribeca Festival showcases numerous documentary features that shine a light on the ongoing war in Ukraine as well as the silencing of artists in Iran.
For the third year, the Tribeca Festival continues its commemoration of Juneteenth through the “Expressions of Black Freedom” program, sponsored by Indeed, which includes a festival-wide celebration of the 50th anniversary of hip-hop, the world premiere of All Up in the Biz, a documentary about New York hip-hop legend Biz Markie, and the world premiere of Cinnamon, directed by Bryian Keith Montgomery Jr. and starring Damon Wayans and Pam Grier.
“The Tribeca Festival is a celebratory event that honors artists and uplifts attendees, and this year is no exception with a lineup of 109 feature films from 127 filmmakers. Over the course of 12 thrilling days, we invite audiences to explore the magic of storytelling as a powerful tool of democracy, activism, and social awareness,” says Tribeca Festival Co-Founder and Tribeca Enterprises CEO Jane Rosenthal. “We’re also proud to highlight the 50th anniversary of hip-hop as a culture-defining genre that originated right here in New York City, with insightful world premieres about beat-boxing legends and live performances from today’s top-charting musicians.”
The 2023 “Spotlight+” category includes a series of live events that bring the film experience to life following each premiere. A performance from She Is The Music artists, curated by Alicia Keys, will follow the world premiere of Uncharted; Sara Bareilles will give a special performance following the world premiere of Waitress, the Musical – Live on Broadway!; the one and only Gloria Gaynor will perform following the world premiere of Gloria Gaynor: I Will Survive; a conversation with Peabody Award-winning news anchor Dan Rather and director Frank Marshall will follow the world premiere of Rather; Gogol Bordello will perform following the world premiere of Scream of My Blood: A Gogol Bordello Story; a songwriting masterclass by Indigo Girls will follow the New York premiere of It’s Only Life After All; a musical Q&A with Marc Rebillet will follow the world premiere of Songs About Fucking; and a group of dancehall legends will perform following the world premiere of Bad Like Brooklyn Dancehall.
“This year’s slate of films is a joyful celebration of everything we love about the big screen experience,” says Tribeca Festival Director and VP of Programming Cara Cusuamno. “We are bringing to New York eye-popping 3D films and rousing music docs, white-knuckle thrillers and knee-slapping comedies, independent edge and old Hollywood glamour. And as potent as the work is on-screen, we are equally excited to ‘plus up’ the moviegoing experience off-screen with an incredible lineup of live experiences in ‘Spotlight+’.”
The Tribeca Festival is expanding its “Midnight” offering with the introduction of “Escape from Tribeca,” a psychotronic sidebar presenting genre movies from across the globe, including the world premiere of India’s big-budgeted visual feast Adipurush, directed by Om Raut and starring Prabhas and Kriti Sanon. Festival-goers are also invited to a 50th anniversary screening of the global phenomenon Enter the Dragon followed by a talk with co-star Angela Mao and producer Andre Morgan about superstar performer and choreographer Bruce Lee and the production of the film.
The Tribeca Festival is also proud to announce that the second annual Human/Nature Award, a prize established to amplify a film that best exemplifies solution-oriented environmental storytelling, goes to Common Ground, directed by Rebecca and Josh Tickell, and will world premiere at the Festival.
Once again, movie fans can enjoy selections from the Tribeca Festival from the comfort of their homes immediately following the Festival, from June 19 through July 2, via the “Tribeca at Home” online platform: Tribecafilm.com.
The full feature film lineup is detailed below. For more updates on programming follow @Tribeca and #Tribeca2023 on Twitter, Instagram, Facebook, and LinkedIn, and to purchase passes and ticket packages for the 2023 Tribeca Festival, go to tribecafilm.com/festival.
Misty Copeland (center) in “Flower”
The 2023 shorts lineup includes 76 total selections – 62 shorts in competition, eight music videos, and six special screening shorts – from 91 filmmakers across 25 countries. The lineup includes 48 world premieres, three international premieres, two North American premieres, one U.S. premiere, and 22 New York premieres. Six directors return to Tribeca with their latest projects.
With a record-breaking 8,096 total submissions, the lineup’s four categories – narrative shorts, documentary shorts, animated shorts, and music videos – are curated across thematic programs highlighting love, family relationships, LGBTQ+ stories, “Expressions of Black Freedom,” Latin America, resilience, and more.
Premieres include Last Call, which is about a desperate mother needing to reconnect with her son, directed by Harry Holland and starring brother Tom Holland; Shadow Brother Sunday, Alden Ehrenreich‘s directorial debut as he plays a down-on-his-luck musician returning home on the day of his younger brother’s movie premiere to steal his computer and sell it to the paparazzi; For people in trouble, a relationship drama set against the backdrop of impending societal collapse, directed and written by Alex Lawther and starring Emma D’Arcy; the documentary short To My Father, an intimate glimpse into Troy Kotsur‘s relationship with his father and how his tragic accident shaped his life and career, directed by Sean Schiavolin; My Eyes Are Up Here, a romantic comedy starring Jillian Mercado as an international fashion model whose mission to get the morning after pill is complicated by her disability and clumsy but considerate partner, directed by Nathan Morris; and more.
Additionally, the world premiere of Misty Copeland‘s Flower will screen as a special event at Spring Studios. Flower is a poignant take on community, belonging, and intergenerational equity, directed by Lauren Finerman, in which Copeland stars and serves as producer. This film also marks the return to performance for Copeland after a multi-year hiatus. Following the screening, the premiere event will feature live performances by Copeland’s co-star Babatunji Johnson and a group of NYC hip-hop dancers choreographed by the legendary choreographers Rich + Tone Talauega, who also worked on the film, and a Q&A with Copeland and the filmmakers.
“From a staggering record number of 8,096 shorts submissions, we are thrilled to present an incredible range of storytelling in short films and music videos from around the globe,” said Ben Thompson, VP of Shorts Programming at Tribeca Festival. “Thoughtfully curated into 12 distinct programs, my co-programmer VP of Programming Sharon Badal and I hope there is something for everyone. From free-flowing music and dance to crazy late-night comedy, join us for an unforgettable journey through short films.”
Recipients of the Tribeca Festival awards for Best Narrative Short, Best Documentary Short, and Best Animated Short qualify for consideration in the Academy Awards’ Short Films category, provided the film complies with Academy rules. Since the Tribeca Festival’s founding in 2001, 36 short films that have premiered at the Tribeca Festival have been nominated for an Academy Award and 11 have gone on to win, establishing the Festival as a launching pad for emerging filmmakers. Tribeca also grants a Student Visionary Award to a rising filmmaker with emerging talent and potential.
The Tribeca Festival is curated by Festival Director and VP of Programming Cara Cusumano, Artistic Director Frédéric Boyer; VP of Programming Sharon Badal and VP of Shorts Programming Ben Thompson; Senior Programmers Liza Domnitz, Faridah Gbadamosi, and Jarod Neece; Programmers José F. Rodriguez, Casey Baron, Jason Gutierrez, and Jonathan Penner; VP of Games and Immersive Casey Baltes and Immersive Curator Ana Brzezińska; Curator of Audio Storytelling Davy Gardner; Music Programmer Vincent Cassous; and Chief Content Officer Paula Weinstein, along with a team of associate programmers.
The short film lineup is detailed below. For the latest updates on programming follow @Tribeca and #Tribeca2023 on Twitter, Instagram, Facebook, and LinkedIn. Purchase passes and ticket packages for the 2023 Tribeca Festival at tribecafilm.com/festival.
The Tribeca Festival is curated by Festival Director and VP of Programming Cara Cusumano, Artistic Director Frédéric Boyer; VP of Programming Sharon Badal and VP of Shorts Programming Ben Thompson; Senior Programmers Liza Domnitz, Faridah Gbadamosi, and Jarod Neece; Programmers José F. Rodriguez, Casey Baron, Jason Gutierrez, and Jonathan Penner; VP of Games and Immersive Casey Baltes and Immersive Curator Ana Brzezińska; Curator of Audio Storytelling Davy Gardner; Music Programmer Vincent Cassous; and Chief Content Officer Paula Weinstein, along with a team of associate programmers.
ABOUT THE TRIBECA FESTIVAL
The Tribeca Festival, presented by OKX, brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, music, audio storytelling, games, and XR. With strong roots in independent film, Tribeca is synonymous with creative expression and entertainment. Tribeca champions emerging and established voices, discovers award-winning talent, curates innovative experiences, and introduces new ideas through exclusive premieres, exhibitions, conversations, and live performances.
The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. The annual Tribeca Festival will celebrate its 22nd year from June 7–18, 2023 in New York City.
In 2019, James Murdoch’s Lupa Systems bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.
ABOUT THE 2023 TRIBECA FESTIVAL PARTNERS
The 2023 Tribeca Festival is presented by OKX and with the support of our partners: AT&T, Audible, Black Women on Boards, CHANEL, City National Bank, Diageo, Expensify, Indeed, NYC Mayor’s Office of Media and Entertainment, National CineMedia, ServiceNow, Spring Studios New York, The Wall Street Journal, Tubi, and Variety.
2023 TRIBECA FESTIVAL FEATURE FILM SELECTION
U.S. NARRATIVE COMPETITION
Discover breakout independent voices from around the country as these extraordinary world premieres compete for honors in Tribeca’s U.S. Narrative Competition.
Gayle Rankin in “Bad Things” (Photo by Grant Greenberg)
Bad Things, (United States) – World Premiere. A weekend getaway for a few girlfriends at a snowy resort becomes a psychological tailspin and bloody nightmare. Long-deceased guests and the space itself come to life in this haunting thriller. Directed and written by Stewart Thorndike. Produced by Lizzie Shapiro, Lexi Tannenholtz. With Gayle Rankin, Hari Nef, Annabelle Dexter-Jones, Rad Pereira, Jared Abrahamson, Molly Ringwald.
Cypher, (United States) – World Premiere. Documenting the astronomical rise of rapper Tierra Whack, director Chris Mourkabel captures the weird and sinister side of fame. This riveting and enigmatic pseudo-documentary will have viewers questioning everything they see. Directed and written by Chris Moukarbel. Produced by Tony Hernandez, Lilly Burns, John Hodges, Tierra Whack, Sanjay M. Sharma, Roya Rastegar, Anthony Seyler, Chris Moukarbel.
The Graduates, (United States) – World Premiere. After a tragedy, a group of friends faces an unsettling senior year. Feelings of loss, anger, fear, and aimlessness abound in the community at the center of director Hannah Peterson’s debut feature film. Directed and written by Hannah Peterson. Produced by Josh Peters, Saba Zerehi, Taylor Shung, Jessamine Burgum. With Mina Sundwall, Alex Hibbert, Yasmeen Fletcher, Ewan Manley, John Cho, Maria Dizzia, Kelly O’Sullivan.
Lost Soulz, (United States) – World Premiere. Set to a lo-fi, genre-bending soundtrack, Lost Soulz follows a young rapper as he leaves behind his surrogate family and sets out on an expedition across Texas, contemplating new and old friendships. Directed and written by Katherine Propper. Produced by Andres Figueredo Thomson, Juan Carlos Figueredo Thomson, Katherine Propper. With Sauve Sidle, Syanda Stillwell, Micro TDH, Krystall Poppin, Alexander Brackney, Malachi Mabson.
Mountains, (United States) – World Premiere. Xavier works in demolition and dreams of buying a bigger house for his family, while his adult son, caught between two cultures, struggles to find a place for himself. What results is a loving portrait of the Haitian community in Miami. Directed by Monica Sorelle, written by Monica Sorelle, Robert Colom. Produced by Robert Colom. With Atibon Nazaire, Sheila Anozier, Chris Renois.
The Secret Art of Human Flight, (United States) – World Premiere. While mourning the death of his wife and fending off an ambitious detective who thinks he killed her, Ben encounters a man who claims that he can teach him to fly. Directed by H.P. Mendoza, written by Jesse Orenshein. Produced by Grant Rosenmeyer, Tina Carbone, Benjamin Wiessner. With Grant Rosenmeyer, Paul Raci, Lucy DeVito, Nican Robinson, Reina Hardesty, Maggie Grace, Sendhil Ramamurthy.
Smoking Tigers, (United States) – World Premiere. Set in early-2000s SoCal, Smoking Tigers follows a Korean American girl as she navigates derision and growing tensions while balancing the duality of her low-income family and wealthy, elite high school environment. Directed and written by Shelly Yo. Produced by Guo Guo. With Ji Young Yoo, Jung Joon Ho, Abin Shim, Erin Yoo.
Somewhere Quiet, (United States) – World Premiere. In the ominous and tense Somewhere Quiet, a woman readjusts to normalcy after surviving a traumatic kidnapping — but her grounded sense of reality soon starts to deteriorate when she travels with her husband to his wealthy family’s isolated compound. Directed and written by Olivia West Lloyd. Produced by Taylor Ava Shung, Emma Hannaway, Eamon Downey. With Jennifer Kim, Kentucker Audley, Marin Ireland.
INTERNATIONAL NARRATIVE COMPETITION
The New-York based Festival breaks its geographical boundaries with the International Narrative Competition, welcoming filmmakers from abroad to join a global platform for contemporary world cinema.
Scarlet Camila in “Boca Chica” (Photo by Micaela Cajahuaringa)
Boca Chica, (Dominican Republic) – World Premiere. A lively coming-of-age drama, Boca Chica follows twelve-year-old Desi in her pursuit of becoming a famous singer. As Desi braces to leave her hometown, she’s met with deep-seated secrets that have long tormented her family and their coastal Dominican community. Directed by Gabriella A. Moses, written by Marité Ugás, Mariana Rondón. Produced by Sterlyn Ramirez. With Scarlet Camilo, Jean Cruz, Lia Chapman, Xiomara Rodriguez.
Dead Girls Dancing, (Germany, France) – World Premiere. On a road trip across Italy, four recent high school graduates stumble upon an abandoned village. Away from the expectations of parents and teachers, they experiment with the limits of their newfound freedom. Directed and written by Anna Roller. Produced by Katharina Kolleczek, Lea Neu, Laure Parleani, Bérénice Vincent. With Luna Jordan, Noemi Liv Nicolaisen, Katharina Stark, Sara Giannelli.
The Future, (Israel) – World Premiere. Nurit, a criminal profiler, is recruited by Israel’s secret service to interrogate a young Palestinian woman who assassinated a government minister. Over the course of their meetings, Nurit realizes some uncomfortable truths. Directed and written by Noam Kaplan. Produced by Yoav Roeh, Aurit Zamir. With Reymonde Amsellem, Samar Qupty, Dar Zuzovsky, Aviva Ger, Salwa Nakkara.
Je’vida, (Finland) – World Premiere. When embittered Sámi elder Je’vida returns to her childhood home to ready it for sale, she is flooded with the memories of a life shaped by deep systemic racism and the unyielding love of her grandfather, leading to a life-changing epiphany. Directed by Katja Gauriloff, written by Katja Gauriloff, Niillas Holmberg. Produced by Joonas Berghäll, Satu Majava, Anna Nuru. With Agafia Niemenmaa, Heidi Juliana Gauriloff, Sanna-Kaisa Palo, Seidi Haarla, Erkki Gauriloff, Matleena Fofonoff.
Marinette, (France) – International Premiere. Marinette tells the story of pioneering French female soccer star Marinette Pichon. Filmmaker Virginie Verrier’s biopic traces the athlete’s battle to earn her homeland’s respect after achieving success in the United States. Directed and written by Virginie Verrier. Produced by Virginie Verrier. With Garance Mariller, Emilie Dequenne, Alban Lenoir, Fred Testot, Sylvie Testud.
Richelieu, (Canada, France, Guatemala) – World Premiere. After a bad breakup, Ariane moves home and gets a job as an interpreter for seasonal migrant workers. Witnessing workplace abuses, Ariane must decide how far she is willing to go to speak out against injustice. Directed and written by Pier-Philippe Chevigny. Produced by Geneviève Gosselin-G., Miléna Poylo, Gilles Sacuto, Alice Bloch. With Ariane Castellanos, Marc-André Grondin, Nelson Coronado, Marvin Coroy, Maria Mercedes Coroy.
Silver Haze, (Netherlands, UK) – North American Premiere. 23-year-old Franky has spent most of her life seeking justice for the fire that left her with both physical and emotional scars as a child. When Franky falls in love with Florence, it seems her wounds have begun to heal, but the past finds a way of coming back to her. Directed and written by Sacha Polak. Produced by Marleen Slot, Mike Elliott. With Vicky Knight, Esmé Creed-Miles, Charlotte Knight, Archie Brigden, Angela Bruce.
A Strange Path, (Brazil) – World Premiere. A young filmmaker returns to his hometown and attempts to reconnect with his father as the pandemic rapidly accelerates across Brazil. However, their relationship proves to be more complicated with increasingly bizarre phenomena occurring as they get closer. Directed and written by Guto Parente. Produced by Ticiana Augusto Lima. With Lucas Limeira, Carlos Francisco, Tarzia Firmino, Rita Cabaço.
DOCUMENTARY COMPETITION
Experience the cinema of reality with these remarkable non-fiction premieres sure to make waves in the coming year.
Patrick Achucka and Kole Achucka in “Between the Rains” (Photo by Andrew H. Brown)
Between the Rains, (Kenya) – World Premiere. Between the Rains is a coming-of-age documentary following a young member of a formerly nomadic northern Kenyan tribe as it deals with the environmental and psychological effects of climate change. The result is a film woven around the concepts of tradition, culture, and home. Directed by Andrew H. Brown, Moses Thuranira. Produced by Moses Thuranira, Samuel Ekomol, Andrew H. Brown.
Breaking the News, (United States) – World Premiere. Breaking the News follows the determined efforts of women and nonbinary journalists launching a news “startup” to foreground voices omitted from mainstream news. Filmmakers Hernandez, Courtney, and Hairston provide a deep look into bias and inclusion in the ever-shifting media landscape. Directed by Chelsea Hernandez, Heather Courtney, Princess A. Hairston. Produced by Diane Quon, Heather Courtney, Princess A. Hairston, Chelsea Hernandez.
The Gullspång Miracle, (Sweden, Norway, Denmark) – World Premiere. In Maria Fredriksson’s stranger-than-fiction documentary, two pious sisters buy an apartment after having witnessed a divine sign — only to realize that the seller of the apartment looks identical to their other sister, who committed suicide some thirty years before. Directed by Maria Fredriksson. Produced by Ina Holmqvist.
The Lionheart, (United States) – World Premiere. The on-track death of two-time Indianapolis 500 winner Dan Wheldon shook motorsports to its core. Ten years later, Wheldon’s sons Sebastian and Oliver follow in their father’s footsteps, working through their grief behind the wheel at 200 MPH. Directed by Laura Brownson. Produced by Chapman Way, Maclain Way, Laura Brownson.
Maestra, (United States, France, Poland, Greece) – World Premiere. Filmmaker Maggie Contreras follows women from different backgrounds as they compete in the first all-women competition for conducting. Maestra explores gender expectations with poise and warmth. Directed by Maggie Contreras. Produced by Neil Berkeley, Maggie Contreras, Melanie Miller, Lauren Lexton, Emma West.
Q, (Lebanon, United States) – World Premiere. In her exceptional debut feature, filmmaker Jude Chehab potently explores her mother Hiba’s devotion to an all-female, secretive religious order in Syria. With visually striking and haunting imagery, Chehab scrutinizes how this devotion upended their mother-daughter relationship and the dynamic of the whole family. Directed, written and produced by Jude Chehab.
Richland, (United States) – World Premiere. Richland is a sobering,meditative portrait of a nuclear company town that embraces its origins and divisive past, all while reflecting on its future. Filmmaker Irene Lusztig’s patient and inquisitive storytelling expertly navigates themes of security, violence, and community. Directed by Irene Lusztig. Produced by Irene Lusztig, Sara Archambault.
Rock Hudson: All That Heaven Allowed, (United States, United Kingdom, New Zealand) – World Premiere. This timely exploration of Hollywood and LGBTQ+ identity examines the life of legendary actor Rock Hudson, from his public “ladies’ man” persona to his private life as a gay man. Directed by Stephen Kijak. Produced by Will Clarke, George Chignell, Carolyne Jurriaans, Greg Berlanti, Sarah Schechter. An HBO Documentary Films release.
Rule of Two Walls, (Ukraine) – World Premiere. Rule of Two Walls explores the war in Ukraine through the lens of artists living and creating in the midst of unprecedented conflict. Visceral, poetic, and urgent, it illuminates the vital role of cultural and spiritual defiance in times of crisis. Directed by David Gutnik. Produced by Olha Beskhmelnytsina, Sam Bisbee, Stacey Reiss.
Stylebender, (New Zealand) – World Premiere. Israel Adesanya is an out-of-this-world fighter who is as complex as he is powerful. Stylebender follows the Nigerian-born, New Zealand-based MMA Champion as he grows his legend. Directed by Zoe McIntosh. Produced by Tom Blackwell.
Take Care of Maya, (United States) – World Premiere. When Jack and Beata Kowalski are wrongfully accused of child abuse after their 10-year-old daughter Maya visits the ER, a nightmare unfolds. Directed by Henry Roosevelt. Produced by Caitlin Keating. A Netflix release.
Transition, (United States) – World Premiere. Transition follows Australian filmmaker Jordan Bryon as he undergoes transition while embedded with Taliban forces. Directed by Jordan Bryon, Monica Villamizar. Produced by Monica Villamizar.
SPOTLIGHT NARRATIVE
Hannah Gross, Sophia Lillis and Michael Cera in “The Adults” (Photo by Tim Curtin)
A launching pad for the most buzzworthy new films, Tribeca’s Spotlight section brings audiences anticipated premieres from acclaimed filmmakers and star performers.
The Adults, (United States) – North American Premiere. A short trip back home reunites three siblings with a complicated past. The Adults explores the family dynamics that unfold when one of the siblings tries to assert his dominance as the best poker player in town. Directed and written by Dustin Guy Defa. Produced by Allison Rose Carter, Jon Read, Michael Cera, Julia Thompson, Hannah Dweck, Theodore Schaefer. With Michael Cera, Hannah Gross, Sophia Lillis.
Afire, (Germany) – New York Premiere. Leon and Felix travel to a summer home near the Baltic Sea hoping to dive into creative pursuits, but an unexpected guest disrupts their plans. As the sky turns orange from a nearby forest fire, it’s clear that trees aren’t the only thing burning. Directed and written by Christian Petzold. Produced by Florian Koerner von Gustorf, Michael Weber, Anton Kaiser. With Thomas Schubert, Paula Beer, Langston Uibel. A Sideshow and Janus Films Release.
The Blackening, (United States) – US Premiere. Based on the viral digital skit, The Blackening tells the story of old friends who reunite in a cabin in the woods (where have we heard that before?). The fun weekend quickly becomes a fight to survive, and the only way to make it out is to figure out which friend is the Blackest of them all. Directed by Tim Story, written by Tracy Oliver, Dewayne Perkins. Produced by Tim Story, Tracy Oliver, E. Brian Dobbins, Marcei A. Brown, Jason Clark, Sharla Sumpter Bridgett. With Grace Byers, Jermaine Fowler, Melvin Gregg, X Mayo, Dewayne Perkins, Antoinette Robertson, Sinqua Walls, Jay Pharoah, Yvonne Orji. A Lionsgate release.
Blood for Dust, (United States) – World Premiere. Jeff loses his traveling salesman job and decides to take on a risky new opportunity with Ricky, an old acquaintance. Soon, he is submerged into a dangerous underworld in this edge-of-your-seat action thriller. Directed by Rod Blackhurst, written by David Ebeltoft. Produced by Noah Lang, Mark Fasano, Nathan Klingher, Bobby Campbell, Arun Kumar, Ari Novak. With Scoot McNairy, Kit Harington, Josh Lucas, Stephen Dorff, Ethan Suplee, Nora Zehetner, Amber Rose Mason.
Bucky F*cking Dent, (United States) – World Premiere. Aspiring novelist and Yankee Stadium peanut slinger, Ted, discovers his estranged, Red Sox fanatic father is terminally ill. Wanting to mend fences and take care of the old man, Ted returns home with results as wild and unpredictable as the 1978 baseball season. Directed and written by David Duchovny. Produced by Jordan Yale Levine, Jordan Beckerman, Tiffany Kuzon, David Duchovny. With David Duchovny, Logan Marshall-Green, Stephanie Beatriz.
Cinnamon, (United States) – World Premiere. Two young lovers risk it all to chase their dreams. With great performances, including a menacing Pam Grier, Cinnamon deftly brings the Blaxploitation genre to the modern day. Directed and written by Bryian Keith Montgomery Jr. Produced by Oz Scott. With Damon Wayans, Hailey Kilgore, David Iacono, Jeremie Harris, Pam Grier. A Tubi release.
Cold Copy, (United States) – World Premiere. The kinetic drama Cold Copy follows an ambitious journalism student’s tactics to impress, and get into the good graces of, an esteemed yet cutthroat news reporter — even if it involves manipulating her latest story … and truth itself. Directed and written by Roxine Helberg. Produced by Justin Lothrop, Brent Stiefel, Daniel Bekerman, Roxine Helberg. With Bel Powley, Tracee Ellis Ross, Jacob Tremblay, Nesta Cooper.
Downtown Owl, (United States) – World Premiere. Based on the novel by Chuck Klosterman, Downtown Owl is a stylish and energetic adaptation that thrusts viewers into small-town Owl, North Dakota, as a motley crew of characters brace for a historic blizzard. Directed by Lily Rabe, Hamish Linklater, written by Hamish Linklater. Produced by Bettina Barrow, Lily Rabe, Hamish Linklater, Rebecca Green. With Lily Rabe, Ed Harris, Vanessa Hudgens, August Blanco Rosenstein, Jack Dylan Grazer, Arianna Jaffier, Finn Wittrock, Henry Golding.
Eric LaRue, (United States) – World Premiere. In the aftermath of a shocking crime at the hands of their son, two parents seek solace in rival religious congregations in Michael Shannon’s emotional directorial debut. Directed by Michael Shannon, written by Brett Neveu. Produced by Sarah Green, Karl Hartman, Jina Panebianco. With Judy Greer, Alexander Skarsgård, Alison Pill, Paul Sparks, Tracy Letts.
First Time Female Director, (United States) – World Premiere. Chelsea Peretti makes her directorial debut with this hilarious ensemble comedy set in a Glendale theater where a new female director struggles to fill the shoes of her male predecessor, putting her Southern rural drama in jeopardy. Directed and written by Chelsea Peretti. Produced by Deanna Barillari, Chelsea Peretti, Amy Poehler, Kate Arend, Jordan Grief. With Chelsea Peretti, Amy Poehler, Kate Berlant, Benito Skinner, Megan Stalter, Megan Mullally.
Fresh Kills, (United States) – World Premiere. After their patriarch goes to prison, the loyal women of the Larusso family must survive by following the unspoken code of the New York City mafia world in the late ’80s and early ’90s. Directed and written by Jennifer Esposito. Produced by Leslie Owen, Jennifer Esposito, Samantha Sprecher, Christine Crokos. With Emily Baden, Odessa A’zion, Jennifer Esposito, Dominick Lombardozzi, Annabella Sciorra, Nicholas Cirillo.
The Good Half, (United States) – World Premiere. An emotionally distant writer returns home for his mother’s funeral in this tender family dramedy. The Good Half offers an honest and nuanced approach to grief, regret, and healing. Directed by Robert Schwartzman, written by Brett Ryland. Produced by Russell Wayne Groves. With Nick Jonas, Brittany Snow, Matt Walsh, David Arquette, Alexandra Shipp, Elisabeth Shue.
He Went That Way, (United States) – World Premiere. A fateful meeting in 1964 along Route 66 pairs a 19-year-old serial killer with a celebrity animal handler shepherding an American TV darling — his chimpanzee, Spanky. Directed by Jeffrey Darling, written by Evan M. Wiener. Produced by Marc Benardout, Hugh Broder, James Harris, Jeremy Kotin, Mark Lane. With Jacob Elordi, Zachary Quinto.
I.S.S., (United States) – World Premiere. Tensions flare in the near future aboard the International Space Station as nuclear war begins on Earth. Reeling from these events, astronauts and cosmonauts receive similar orders: take control of the station at any cost. Directed by Gabriela Cowperthwaite, written by Nick Shafir. Produced by Pete Shilaimon, Mickey Liddell. With Chris Messina, Ariana DeBose, Pilou Asbæk, John Gallagher Jr., Costa Ronin, Maria Mashkova.
John Early: Now More Than Ever, (United States) – World Premiere. A comedy special by way of The Last Waltz, New York’s alt-comedy godfather John Early performs his silly, surreal, spontaneous stand-up set in front of a live audience, a full band … and his parents. Directed by Emily Allan, Leah Hennessey. Produced by John Early, Dave Kneebone, Tim Heidecker, Eric Wareheim, Janel Kranking. An HBO Original Release.
LaRoy, (United States, France) – World Premiere. After discovering his wife’s affair, Ray Jepsen plans to kill himself, but fate intervenes. Through a bizarre turn of events, he is mistaken for a low-rent hired killer and decides to become one. Directed and written by Shane Atkinson. Produced by Caddy Vanasirikul, Sébastien Aubert, Jérémie Guiraud. With John Magaro, Steve Zahn, Dylan Baker, Megan Stevenson, Matthew Del Negro, Brad Leland.
The Lesson, (UK) – World Premiere. A young novelist eager to make a name for himself begins tutoring the son of one of the most influential writers in the world. Good intentions soon give way to suspicion as darker motivations surface and the lines of master and protégé are blurred. Directed by Alice Troughton, written by Alex MacKeith. Produced by Camille Gatin, Cassandra Sigsgaard, Judy Tossell, Fabien Westerhoff. With Richard E. Grant, Julie Delpy, Daryl McCormack, Stephen McMillan, Crispin Letts. A Bleecker Street release.
The Line, (United States) – World Premiere. Coming-of-age feature The Line explores the moral ambiguity of loyalty to tradition, as seen through a college sophomore in the throes of fraternity culture. Directed by Ethan Berger, written by Ethan Berger, Alex Russek. Produced by Alexandre Dauman, Jack Parker, Adam Paulsen, Lije Sarki. With Alex Wolff, Lewis Pullman, Halle Bailey, Austin Abrams, Angus Cloud, Scoot McNairy, John Malkovich.
The Listener, (United States) – North American Premiere. An understated drama about a night in the life of a mental health helpline volunteer, The Listener is a stirring testament to the power of empathy. Directed by Steve Buscemi, written by Alessandra Camon. Produced by Wren Arthur, Steve Buscemi, Oren Moverman, Lauren Hantz, Tessa Thompson. With Tessa Thompson.
Maggie Moore(s), (United States) – World Premiere. A small-town sheriff is baffled when two women with the same name get murdered days apart. Things quickly ratchet up in this comedy that reunites leading Mad Men alumni. Directed by John Slattery, written by Paul Bernbaum. Produced by John Slattery, Vincent Newman, Dan Reardon, Santosh Govindaraju, Nancy Leopardi, Ross Kohn. With Jon Hamm, Tina Fey, Micah Stock, Nick Mohammed, Happy Anderson, Mary Holland. A Screen Media release.
The Miracle Club, (Ireland, UK) – World Premiere. Three close friends who have never left the outskirts of Dublin (much less Ireland) get the journey of a lifetime – a visit to Lourdes, the picturesque French town and place of miracles. Directed by Thaddeus O’Sullivan, written by Joshua D. Maurer, Timothy Prager, Jimmy Smallhorne. Produced by Joshua D. Maurer, Alixandre Witlin, Chris Curling, Larry Bass, Aaron Farrell, John Gleeson, Osín O’Neill. With Laura Linney, Maggie Smith, Kathy Bates, Agnes O’Casey, Stephen Rea. A Sony Pictures Classics release.
Our Son, (United States) – World Premiere. Fed up with the state of his relationship, Gabriel files for divorce from his partner of thirteen years, Nicky. Thus begins their complex journey to find themselves and support their son along the way. Directed by Bill Oliver, written by Peter Nickowitz, Bill Oliver. Produced by Fernando Loureiro, Eric Binns, Guilherme Coelho, Jennifer 8. Lee, Christopher Lin. With Billy Porter, Luke Evans, Robin Weigert, Andrew Rannells, Isaac Powell, Phylicia Rashad.
The Perfect Find, (United States) – World Premiere. Looking for a fresh start, a forty-year-old returns to the workforce, where she must navigate a challenging workplace, a demanding boss, and a lusty secret romance. directed by Numa Perrier, written by Leigh Davenport. Produced by Glendon Palmer, Gabrielle Union, Jeff Morrone, Codie Elaine Oliver, Tommy Oliver. With Gabrielle Union, Keith Powers, Aisha Hinds, DB Woodside, Janet Hubert, Alani “La La” Anthony, Gina Torres. A Netflix release.
Shortcomings, (United States) – New York Premiere. A biting satire following the romantic journeys of its trio of protagonists, led by an appealingly misanthropic Justin H. Min, Shortcomings is a charming, witty and hilarious directorial debut from Randall Park. Directed by Randall Park, written by Adrian Tomine. Produced by Hieu Ho, Randall Park, Michael Golamco, Margot Hand, Jennifer Berman, Howard Cohen, Eric d’Arbeloff. With Justin H. Min, Sherry Cola, Ally Maki, Debby Ryan, Tavi Gevinson, Sonoya Mizuno, Jacob Batalon, Timothy Simons. A Sony Pictures Classics Release.
SPOTLIGHT DOCUMENTARY
Both onscreen and behind the camera, Spotlight Documentary films represent the most noteworthy names in nonfiction premiering high profile new work.
A re-enactment scene in “All Up in the Biz” (Photo by Ian Reid)
All Up in the Biz, (United States) – World Premiere. In All Up in the Biz, director Sacha Jenkins creates a collage of celebrity interviews, rare film, reenactments, and playful animation to share how Biz Markie left his mark on the history of hip-hop. Directed by Sacha Jenkins. Produced by Andre Wilkins, Djali Brown-Cepeda.
American Son, (United States) – World Premiere. Author Jay Caspian Kang’s astute, incisive directorial debut tells the story of Asian American tennis prodigy Michael Chang, the youngest player to win a men’s Grand Slam tournament. Directed by Jay Caspian Kang. Produced by Laura Dodd, Cora Atkinson. An ESPN Films release.
Anthem, (United States) – World Premiere. What would it sound like to have a national anthem that actually reflects America? Anthem follows composer Kris Bowers and producer DJ Dahi on a road trip across the country to find out.Directed by Peter Nicks. Produced by Peter Nicks, Kris Bowers, Sean Havey, Chris L. Jenkins, Ryan Coogler. An Onyx Collective/Hulu release.
BS High, (United States) – World Premiere. After a nationally televised high school football game between top-ranked IMG Academy and unknown Bishop Sycamore ended with an IMG blowout win, it’s discovered that Bishop Sycamore isn’t at all what it seems. Directed by Martin Desmond Roe, Travon Free. Produced by Jack Turner, Spencer Paysinger, Todd Schulman, Constance Schwartz-Morini, Adam McKay, Michael Strahan, Jay Peterson, Todd Lubin. An HBO Sports Documentaries release.
Comedy of War: Laughter in Ukraine, (United States) – World Premiere. Four Ukrainian stand-up comics tour their homeland, bringing laughter and joy as a form of resistance and recovery amid wartime. This heartfelt documentary beautifully portrays the enduring human spirit and comedy’s healing power. Directed by Christopher Walters. Produced by Krista Liney.
Common Ground, (United States) – World Premiere. Sobering yet hopeful, Common Ground exposes the interconnectedness of American farming policy, politics, and illness. Follow the solution-driven plight of Regenerative Farmers as they make a case for soil health across the continent and beyond. Directed by Rebecca Tickell, Josh Tickell. Produced by Rebecca Tickell, Josh Tickell, Eric Dillon. Recipient of the 2023 Human/Nature Award.
Every Body, (United States) – World Premiere. Three intersex people challenge a heteronormative system of secrecy and non-consensual surgery. Every Body is Oscar-nominated documentarian Julie Cohen’s impassioned battle cry for the rights and dignity of intersex children and adults in the United States. Directed by Julie Cohen. Produced by Tommy Nguyen, Molly O’Brien. A Focus Features release.
Happy Clothes: A Film About Patricia Field, (United States) – World Premiere. With idiosyncratic style and an eye toward the future of fashion, Patricia Field has always been shaping culture. Happy Clothes: A Film About Patricia Field brings us into the mind of the one-of-a-kind visionary and queer icon. Directed by Michael Selditch. Produced by Donald Zuckerman, Samuel J. Paul, Michael Selditch, Lydia Tenaglia, Christopher Collins, Luisa Law, Tricia Weber Youssi, Ryan Price, Lori Zuckerman.
Invisible Beauty, (United States) – New York Premiere. This documentary about the life of model and activist Bethann Hardison is both a fascinating life story and an irrefutable argument for the importance of diversity and inclusion. Directed by Bethann Hardison, Frédéric Tcheng. Produced by Lisa Cortés.
It’s Basic, (United States) – World Premiere. A compelling look at Universal Basic Income pilot programs in U.S. cities, It’s Basic follows those spearheading the movement to combat inequality and poverty. Directed by Marc Levin. Produced by Michael Tubbs, Daphne Pinkerson, Auri Akerele, Elizabeth Sehring.
The League, (United States) – World Premiere. Baseball isn’t the game we know and love without the contribution of Black Americans. Director Sam Pollard explores the incredible history of the Negro Leagues, its impact on the sport of baseball, and the players that still resonate through history to this day. Directed by Sam Pollard. Produced by Dave Sirulnick, Jen Isaacson, Robin Espinola, Byron Motley, Ahmir “Questlove” Thompson, Tariq Trotter. A Magnolia Pictures release.
Milli Vanilli, (United States) – World Premiere. Filmmaker Luke Korem looks back on the origins and eventual fallout of a one-hit-wonder. Milli Vanilli scrutinizes the dreams of singers Rob & Fab, who fell prey to greedy tactics, causing their downfall. Directed by Luke Korem. Produced by Luke Korem, Bradley Jackson.
Minted, (United States, Canada, Cuba, Netherlands, India, Nigeria) – World Premiere. Director Nicholas Bruckman brings a fascinating look at the intersection of art, commerce, and digital ownership through the rise and crash of the NFT market. Directed by Nicholas Bruckman. Produced by Shawn Hazelett, Rahilla Zafar.
Open Heart, (United States) – World Premiere. Open Heart is an intimate profile of New York Rangers goalie Henrik Lundqvist’s struggles to return to hockey after heart surgery. Directed by Jonathan Hock. Produced by Philip Aromando, Erin Leyden, Larry Robbins.
Poisoned: The Danger in Our Food, (United States) – World Premiere. Foodborne pathogens kill thousands of people in the U.S. every year. The urgent documentary Poisoned: The Danger in Our Food is a call to action for the officials who have the power to mitigate this danger. Directed by Stephanie Soechtig. Produced by Ross Girard, Ross Dinerstein, Rebecca Evans. A Netflix release.
Rise – the Siya Kolisi Story, (South Africa) – World Premiere. Chronicling the legendary story of the first Black captain of the South Africa National Rugby Union Team, Rise – the Siya Kolisi Story shows a rebellious young star as he becomes a leader, and ultimately a cultural icon. Directed by Tebogo Malope. Produced by Jon Day.
Ron Delsener Presents, (United States) – World Premiere. Ron Delsener was the most influential concert promoter in New York. In addition to looking back at his career, this documentary shows that the now 86-year-old Delsener still has a spring in his step. Directed by Jake Sumner. Produced by Jake Sumner, James A. Smith, Margaret Loeb.
The Saint of Second Chances, (United States) – World Premiere. The Saint of Second Chances explores the legendary Major League Baseball promoter and owner, Bill Veeck. From “Disco Demolition” to fireworks in the outfield, Veeck’s stunts are credited with forever making watching baseball more fun. Directed by Morgan Neville, Jeff Malmberg. Produced by Danny Breen, Morgan Neville, Jon Berg. A Netflix release.
The Space Race, (United States) – World Premiere. Highlighting the experiences of the first Black astronauts through decades of archival footage and interviews, The Space Race is a reflective illumination on the burden of breaking barriers. Directed by Diego Hurtado de Mendoza, Lisa Cortés. Produced by Keero Birla.
Stan Lee, (United States) – World Premiere. Tracing his life from his upbringing in New York as Stanley Lieber to the rise of Marvel Comics, Stan Lee tells the story of Stan Lee’s life, career, and legacy using his own words and personal archival material. Directed by David Gelb. Produced by David Gelb, Jason Sterman and Brian McGinn. A Disney+ release.
Sunday Best, (United States) – World Premiere. An affectionate documentary about the career of pioneering television host Ed Sullivan, Sunday Best pays particular attention to Sullivan’s platforming of Black musicians during the civil rights era. Directed by Sacha Jenkins. Produced by Rafael Marmor, Margo Precht Speciale, Christopher Leggett, Peter Bittenbender, Mark Monroe.
Taylor Mac’s 24-Decade History of Popular Music, (United States) – World Premiere. This riotous concert film documents New York theater legend Taylor Mac’s joyous, challenging, and ostentatiously queer 24-hour musical performance. Featuring virtuoso musicians, innovative costumes, and the American myth as told by sailor’s ditties, disco, and sugary pop alike, Mac’s cathartic celebration is not to be missed. Directed by Rob Epstein, Jeffrey Friedman. Produced by Joel Stillerman, Linda Brumbach, Alisa Regas, Taylor Mac, Mari Rivera. An HBO Documentary Films Release.
This Is Not Financial Advice, (United States) – World Premiere. Retail investors, including “Dogecoin Millionaire” Glauber Contessoto, navigate the burgeoning, lucrative, and volatile world of cryptocurrency. Directed by Chris Temple, Zach Ingrasci. Produced by Jenna Kelly, Carrie Weprin, Martine Phelan-Roberts.
Untitled Nicky Nodjoumi, (United States) – World Premiere. In this hybrid political thriller and verité portrait documentary, Sara Nodjoumi, working with co-director and husband, Till Schauder, makes her directorial debut with this personal film, diving into the mystery surrounding the disappearance of more than 100 “treasonous” paintings by her father, seminal Iranian modern artist Nickzad Nodjoumi. Directed by Sara Nodjoumi, Till Schauder. Produced by Sara Nodjoumi, Till Schauder. An HBO Documentary release.
We Dare to Dream, (UK) – World Premiere. An inspirational, intimate story of resilience and freedom, We Dare To Dream follows athletes on their journey to become part of the refugee Olympic team in Tokyo 2020. Directed by Waad al-Kateab. Produced by Joanna Natasegara.
Your Fat Friend, (United States, UK) – World Premiere. Popular anonymous blogger Aubrey Gordon spent five years writing about the realities of living as a self-described “very fat person.” Now, she is about to face the public for the very first time. Directed and produced by Jeanie Finlay.
SPOTLIGHT+
Tribeca’s unique Spotlight+ events bring the film experience off the screen with live events, performances, and conversations after each screening.
“Bad Like Brooklyn Dancehall” (Photo by Dutty Vannier)
Bad Like Brooklyn Dancehall, (United States, Jamaica) – World Premiere. New York City is the Fifteenth Parish in this documentary about the city’s role in the evolution of Dancehall, with legends like Shaggy and Sean Paul on hand to help tell the story. Directed by Ben DiGiacomo, Dutty Vanier. Produced by Amy DiGiacomo, Jay Will, Ben DiGiacomo, Ramfis Myrthil, AJ Leon.
After the Movie: Performance by Dancehall legends.
Gloria Gaynor: I Will Survive, (United States) – World Premiere. After 40 years, the singer of “I Will Survive” makes her comeback with a new gospel album. This poignant documentary chronicles Gloria Gaynor’s struggles with ageism and financial ruin on the journey to have her voice heard once more. directed by Betsy Schechter. Produced by Betsy Schechter.
After the Movie: A performance by the one and only Gloria Gaynor.
It’s Only Life After All, (United States) – New York Premiere. A revealing exploration of the beloved duo The Indigo Girls — from their serendipitous meeting at Emory University to their worldwide acclaim — It’s Only Life After All beautifully demonstrates how the musical pair has always remained authentic to their roots as artists, activists, and friends. Directed by Alexandria Bombach. Produced by Kathlyn Horan, Jess Devaney, Anya Rous, Alexandria Bombach.
After the Movie: Songwriting Masterclass by Indigo Girls.
Rather, (United States) – World Premiere. Rather is a long overdue tribute to an icon of journalism, a late-in-life Twitter superstar, father, husband, and voice of reason, compassion and brilliance—Dan Rather. Directed by Frank Marshall. Produced by Frank Marshall, Jenifer Westphal, Joe Plummer, Jeff Hasler, Ethan Goldman, Aly Parker.
After the Movie: A conversation with Peabody Award-winning news anchor Dan Rather and director Frank Marshall.
Scream of My Blood: A Gogol Bordello Story, (United States) – World Premiere. Following the Russian invasion of his native Ukraine, Eugene Hütz recalls the influence Ukrainian and Roma culture had on him in this globe-spanning history of his punk band Gogol Bordello. Directed by Nate Pommer. Produced by Shawn Killebre.
After the Movie: A performance by Gogol Bordello.
Songs About Fucking, (United States) – World Premiere. Songs About Fucking introduces the artist, showman, and robe-clad raconteur Marc Rebillet as he embarks on one of the first live music tours after COVID-19 lockdown. Directed by James Gallagher. Produced by Lizzie Shapiro, Andrew Swett, Gus Deardoff.
After the Movie: A musical Q&A with Marc Rebillet.
Uncharted, (United States) – World Premiere. Filmmaker Beth Aala goes behind the scenes of Alicia Keys’ “She Is The Music” songwriting camp in this revealing look at the music business. Through the experiences of young Black and Brown women, we are shown how hard it is to succeed in a world granting very little access and opportunity for them. Directed and produced by Beth Aala. Executive Produced by Abby Greensfelder.
After the Movie: A performance from She Is The Music artists, curated by Alicia Keys.
Waitress, the Musical – Live on Broadway!, (United States) – World Premiere. The hit Broadway musical about a small-town pie baker with big dreams gets the silver screen treatment. Directed by Brett Sullivan, music and lyrics by Sara Bareilles, book by Jessie Nelson. Produced by Michael Roiff, Barry Weissler, Fran Weissler, Sara Bareilles, Jessie Nelson, Paul Morphos. With Sara Bareilles, Charity Angél Dawson, Caitlin Houlahan, Drew Gehling, Dakin Matthews.
After the Movie: A special performance from Sara Bareilles.
VIEWPOINTS
Tribeca’s home for distinct points of view and bold directorial visions, Viewpoints discovers the most boundary-pushing, rule-breaking new voices in independent film.
Apolonia Sokol in “Apolonia, Apolonia” (Photo by Lea Glob)
Apolonia, Apolonia, (Denmark, Poland) – North American Premiere. The striking character-driven documentary Apolonia, Apolonia dives into the exhilarating lifestyle of a young French painter. Filmmaker Lea Glob’s intimate exploration of Apolonia Sokol’s creative pursuits and setbacks results in poignant and deeply-felt storytelling. Directed by Lea Glob. Produced by Sidsel Siersted.
Asog, (Philippines, Canada) – World Premiere. This unique narrative incorporating documentary elements follows Rey, a 40-year-old non-binary teacher and typhoon survivor, on a roadtrip to fame. With surreal comedy and social portrait realism, filmmaker Seán Devlin explores climate change, LGBTQ+ issues, and the impact of colonialism on contemporary Philippines. Directed by Seán Devlin, written by Seán Devlin, Jaya, Arnel Pablo. Produced by Amanda Ernst. With Jaya, Arnel Pablo, Ricky Gacho Jr.
Break the Game, (United States) – World Premiere. Record-breaking gamer Narcissa Wright grapples with her toxic obsession for attention and her space in the streaming community after coming out as transgender, all while attempting to set a new world record for The Legend of Zelda: Breath of the Wild. Directed and produced by Jane M. Wagner.
Catching Dust, (UK, Spain) – World Premiere. A young couple living through turmoil at a commune in the heart of Big Bend gets a visit from New York transplants seeking a new lease on life. Tensions boil over and egos come to a head, leaving everyone frayed and on the edge of disaster. Directed and written by Stuart Gatt. Produced by Mark David, Jon Katz, Edward R. Pressman, Stuart Gatt. With Erin Moriarty, Jai Courtney, Dina Shihabi, Ryan Corr.
Chasing Chasing Amy, (United States) – World Premiere. A filmmaker goes on a journey of self-discovery while making a documentary on the development and creation of Kevin Smith’s controversial LGBTQ+ film, Chasing Amy. Directed by Sav Rodgers. Produced by Alex Schmider, Carrie Radigan, Lela Meadow-Conner, Matthew Mills, Sav Rodgers.
Deep Sea, (China, Netherlands) – North American Premiere. The visually-remarkable coming-of-age animated film Deep Sea thrusts a young girl down to a dreamlike aquatic world where she encounters bizarre creatures and fights to reconnect with her mother. Employing sumptuous watercolor and 3D animation, Tian’s film is a feast for the eyes and heart. Directed and written by Xiaopeng Tian. Produced by Qiao Yi. With Wang Tingwen, Su Xin, Teng Kuixing, Yang Ting, Ji Jing, Fang Taochen.
Hey Viktor!, (Canada) – World Premiere. Twenty-five long years after his time in the limelight, former child actor Cody Lightning tries to revive his fortunes with a self-produced sequel to Smoke Signals in this smart, irreverent new comedy. Directed by Cody Lightning, written by Cody Lightning, Samuel Miller. Produced by Samuel Miller, Blackhorse Lowe, Joshua Jackson, Kyle Thomas, Sara Corry, Blake McWilliam. With Cody Lightning, Hannah Cheesman, Simon Baker, Adam Beach, Gary Farmer, Irene Bedard, Colin Mochrie.
Kim’s Video, (United States) – New York Premiere. For decades, Kim’s Video was a gold mine of extraordinary films until its collection vanished into Italy amid a mysterious sale. Now, take a deep dive into the unbelievable true story of the New York video store and cultural landmark beloved by cinephiles. Directed by David Redmon, Ashley Sabin. Produced by Francesco Galavotti, David Redmon, Ashley Sabin, Dale Smith, Deborah Smith, Rebecca Tabasky.
The Last Night of Amore, (Italy) – North American Premiere. Lieutenant Franco Amore is about to retire after 35 years dedicated to the Italian State Police, until a tempting offer arrives on his last day on the job. Writer-director Andrea Di Stefano delivers a contemporary mafia tale involving greed, corruption, and, of course, family affairs. Directed and written by Andrea Di Stefano. Produced by Francesco Melzi d’Eril, Gabriele Moratti, Marco Colombo, Marco Cohen, Benedetto Habib, Fabrizio Donvito, Daniel Campos Pavoncelli. With Pierfrancesco Favino, Linda Caridi.
Melody of Love, (Ethiopia, Belgium, Argentina, Germany) – World Premiere. Ethiopian jazz guitarist Michael is called upon by his mother to leave Addis Ababa and join her in Brussels, stoking his deep resentment toward European entitlement in this rich, evocative meditation on the internalized weight of colonialism. Directed and written by Edmundo Bejarano. Produced by Carlos Vargas. With Elijah Akalu.
Öte, (Turkey) – World Premiere. Öte follows Lela, a Black woman from New York City traveling alone through Turkey. In no rush to reach her destination, Lela is happily sidetracked by the chance encounters her journey provides. Directed and written by Edmundo Bejarano. Produced by Carlos Vargas. With Iman Artwell-Freeman, Eren Acili, Gülsüm Ölgen, Ziya Sundançikmaz.
Playland, (United States) – North American Premiere. Haunting, whimsical, and exquisitely realized, Playland pays tribute to a long-lost Boston gay bar and the beautiful queer souls who gave it life. Directed and written by Georden West. Produced by Russell Sheaffer, Hannah McSwiggen, Danielle Cooper.
MIDNIGHT
Surprising, shocking, frightening, and thrilling, Tribeca Midnight is the destination for the best in horror and more for late night audiences.
Laura Galán in “One Night With Adela” (Photo by Diego Trenas)
One Night with Adela, (Spain) – World Premiere. After her night shift ends, Adela goes on a drug-fueled, violent rampage of furious revenge on those who ruined her in this remarkably paced, audacious debut. Directed and written by Hugo Ruiz. Produced by Roberto Valentín Carrera, Pedro Azón Ramón y Cajal, Israel Luengo Arana, Hugo Ruiz, Fausto Arias Figuerola-Ferretti, Tote Trenas. With Laura Galán, Gemma Nierga, Jimmy Barnatán, Rosalía Omil, Raudel Raul, Fernando Moraleda.
Perpetrator, (United States, France) – North American Premiere. Teenager Jonny gains supernatural abilities through a mystical transformation, just as girls from her new school go missing. Jonny takes the investigation into her own hands in this coming-of-age, feminist horror-noir. Directed and written by Jennifer Reeder. Produced by Derek Bishé, Gregory Chambet. With Kiah McKirnan, Alicia Silverstone, Christopher Lowell, Melanie Liburd, Ireon Roach. A Shudder release.
The Seeding, (United States) – World Premiere. When a hiker gets lost in the desert, a gang of feral children propelled by haunting legacies traps him in a sadistic battle for survival with a frightening endgame. Directed and written by Barnaby Clay. Produced by Brian R. Etting. With Scott Haze, Kate Lyn Sheil.
You’ll Never Find Me, (Australia) – World Premiere. During a rampaging storm, a shaken young woman arrives at a stranger’s door in an RV park seeking shelter. They both question motives and desires as things escalate to a deadly, bizarre showdown. Directed by Josiah Allen, Indianna Bell, written by Indianna Bell. Produced by Josiah Allen, Indianna Bell, Jordan Cowan, Christine Williams. With Jordan Cowan, Brendan Rock.
ESCAPE FROM TRIBECA
Our Psychotronic Sidebar presenting genre movies from around the globe, giveaways, and special events sure to please even the rowdiest movie lovers.
“Adipurush”
Adipurush, (India) – World Premiere. Reimagining the epic Indian poem “Ramayana,” the big-budgeted visual feast Adipurush tells the tale of a prince on a mission to rescue his wife from a ten-headed demon overlord. Directed by Om Raut, written by Om Raut, Manoj Muntashir Shukla. Produced by Bhushan Kumar, Krishna Kumar, Om Raut, Prasad Sutar, Rajesh Nair. With Prabhas, Saif Ali Khan, Kriti Sanon, Sunny Singh.
Enter the Clones of Bruce, (United States) – World Premiere. Get ready to play a game of death … and another … and another. The wild documentary Enter the Clones of Bruce dives into the Bruce Lee exploitation craze, otherwise known as Bruceploitation. Directed by David Gregory. Produced by David Gregory, Carl Daft, Frank Djeng, Vivian Wong, Michael Worth. A Severin Films release.
Enter the Dragon, (Hong Kong, United States). One of the most influential crowd pleasers of all time, Enter the Dragon became a global phenomenon along with its beloved star, the legendary Bruce Lee. Join us for this 50th Anniversary screening and celebrate the legacy of this superstar performer and choreographer. Exciting, hilarious and jaw dropping. Directed by Robert Clouse, written by Michael Allin. Produced by Paul Heller, Andre Morgan, Fred Weintraub.
After the Movie: Co-star Angela Mao and Producer Andre Morgan will speak about Bruce Lee and the production of the film, and the Andersons Martial Arts Academy will lead a performance and an audience participation ceremony in honor of his passing 50 years ago.
Final Cut, (France) – New York Premiere. In this clever and raucous “requel” of the Japanese cult hit One Cut of the Dead, a French film crew hilariously struggles to pull off an ambitious, livestreamed, single-take filming of the alien zombie apocalypse. Directed and written by Michel Hazanavicius. Produced by Michel Hazanavicius, Alain de la Mata, Noémie Devide, Brahim Chioua, Vincent Maraval, John Penotti. With Bérénice Bejo, Romain Duris. A Kino Lorber release.
Suitable Flesh, (United States) – World Premiere. After murdering her young patient, a once-esteemed psychiatrist helplessly watches her life spiral into a nightmarish maelstrom of supernatural hysteria and gruesome deaths, all linked to a seemingly unstoppable ancient curse. Directed by Joe Lynch, written by Dennis Paoli. Produced by Barbara Crampton, Bob Portal, Joe Wicker, Inderpal Singh. With Heather Graham, Judah Lewis, Bruce Davison, Johnathon Schaech, Barbara Crampton, Jonah Ray.
2023 TRIBECA FESTIVAL SHORT FILM SELECTION
NARRATIVE SHORTS
Paolo Vargas in “Angelo” (Photo by Alex Plumb)
Angelo, (Bolivia) – New York Premiere. Directed and written by Alex Plumb.
Bellybutton, (United States) – New York Premiere. Directed and written by Hilary Eden.
Blackwool, (Scotland) – World Premiere. Directed and written by Eubha Akilada.
Blood, (Australia) – World Premiere. Directed and written by Vathana Suganya Suppiah.
Brenda and Billy (and the Pothos Plant), (United States) – World Premiere. Directed and written by Dave Solomon.
Burrow, (United States) – World Premiere. Directed and written by Leaf Lieber.
Cuarto de Hora, (France, Chile) – World Premiere. Directed and written by Nemo Arancibia.
Daddy Issues, (United States) – World Premiere. Directed by Matt Campanella and Stephanie Chloé Hepner. Written by Matt Campanella.
Dead Cat, (Canada) – World Premiere. Directed and written by Annie-Claude Caron and Danick Audet.
Ecstasy, (Mexico, United States) – World Premiere. Directed and written by Carolina Costa.
Everybody Dies…Sometimes, (United Kingdom) – International Premiere. Directed and written by Charlotte Hamblin.
Fairytales, (Mexico) – World Premiere. Directed by Daniela Soria. Written by Daniela Soria and Mar Flores.
Feliz Navidad, (Italy) – International Premiere. Directed and written by Greta Scarano.
Ferns, (Chile) – World Premiere. Directed and written by Paz Ramírez.
Fish Out of Water, (United States) – World Premiere. Directed by Francesca Scorsese. Written by Francesca Scorsese, Megan LuLu Taylor, Savannah Braswell.
Flower, (United States) – World Premiere. Directed by Lauren Finerman.
For people in trouble, (United Kingdom) – World Premiere. Directed and written by Alex Lawther.
A Fox In The Night, (United Kingdom) – New York Premiere. Directed and written by Keeran Anwar Blessie.
Hafekasi, (Australia) – World Premiere. Directed and written by Annelise Hickey.
HEARTBEAT, (Switzerland) – North American Premiere. Directed by Michèle Flury. Written by Michèle Flury and Martha Benedict.
Il Fait Beau, (Netherlands) – World Premiere. Directed and written by Leonardo Cariglino.
In Passing, (United States) – World Premiere. Directed and written by Hillia Aho.
Konpa, (United States) – World Premiere. Directed and written by Al’Ikens Plancher.
The K-Town Killer, (United States) – World Premiere. Directed and written by Healin Kweon and Vahan Bedelian.
Last Call, (United Kingdom) – World Premiere. Directed by Harry Holland.
Let Liv, (United States) – World Premiere. Directed by Erica Rose. Written by Olivia Levine.
Mars, (United Kingdom) – North American Premiere. Directed by Abel Rubinstein. Written by Chris Bush.
My Eyes Are Up Here, (United Kingdom) – New York Premiere. Directed by Nathan Morris. Written by Arthur Meek.
Nuit Blonde, (Canada) – United States Premiere. Directed and written by Gabrielle Demers.
Proof of Concept, (United States) – World Premiere. Directed and written by Ellie Sachs.
Rustling, (New Zealand) – New York Premiere. Directed and written by Tom Furniss.
Schettinimous, (Argentina) – International Premiere. Directed by Tomás Terzano. Written by Tomás Terzano and Macarena Rubio.
Sealed Off, (China, Macau, United States) – World Premiere. Directed and written by Tianyu Jiang.
Shadow Brother Sunday, (United States) – World Premiere. Directed and written by Alden Ehrenreich.
Somewhere In Between, (United States) – World Premiere. Directed and written by Kyle Vorbach.
The Sperm Bank, (United States) – World Premiere. Directed by Margaux Susi. Written by Rob Scerbo and Jeremy Culhane.
Spinning, (Mexico) – New York Premiere. Directed by Isabel Vaca and Arturo Mendicuti. Written by Mara Vaca
Thaw, (United States) – World Premiere. Directed and written by Alex Bush
They Grow Up So Fast, (United States) – New York Premiere. Directed and written by John F. Beach.
Tits, (Norway) – World Premiere. Directed and written by Eivind Landsvik.
Upsidedown, (United States) – World Premiere. Directed and written by Razan Ghalayini.
Voice Activated, (Australia) – New York Premiere. Directed by Steve Anthopoulos.
DOCUMENTARY SHORTS
“Ayenda”
Ayenda, (United States) – World Premiere. Directed by Marie Margolius.
Black Girls Play: The Story of Hand Games, (United States) – World Premiere. Directed by Joe Brewster and Michele Stephenson.
Cam’s Mementos, (United States) – World Premiere. Directed by Cam Archer.
Cruzan Cowboys, (United States, US Virgin Islands) – World Premiere. Directed by Douglas Wesley Segars.
Deciding Vote, (United States) – World Premiere. Directed by Jeremy Workman and Robert Lyons.
Dragon Boys, (United Kingdom, Ghana) – World Premiere. Directed by Tom Ringsby.
Goodbye, Morganza, (United States) – World Premiere. Directed by Devon Blackwell.
In the Shadow of Palms, (United States) – World Premiere. Directed by Mischa Meyer.
Letter to Rosie, (United States) – World Premiere. Directed by Ariel Danziger.
Merman, (United States) – World Premiere. Directed by Sterling Hampton IV.
Miss Brown, (United States) – World Premiere. Directed by Christina Burchard.
Over The Wall, (United States) – World Premiere. Directed by Krystal Tingle.
The Right to Joy, (United States) – New York Premiere. Directed by Tim Kressin.
Savi the Cat, (United States) – New York Premiere. Directed by Bryan Tucker and Netsanet Tjirongo.
Then Comes the Body, (Nigeria, United States) – World Premiere. Directed by Jacob Krupnick.
To My Father, (United States) – World Premiere. Directed by Sean Schiavolin.
What Next?, (France) – World Premiere. Directed by Cécile Rogue.
The Winterkeeper, (United Kingdom) – World Premiere. Directed by Laurence Topham and David Levene.
ANIMATED SHORTS
Vishavjit Singh in “American Sikh” (Image courtesy of Studio Showoff)
American Sikh, (United States) – World Premiere. Directed by Ryan Westra and Vishavjit Singh. Written by Ryan Westra.
Corvine, (Canada) – New York Premiere. Directed and written by Sean McCarron.
A Cow in the Sky, (United States) – World Premiere. Directed by C. Fraser Press and Darren Press. Written by C. Fraser Press.
The Night Doctrine, (United States, Afghanistan) – World Premiere. Directed by Mauricio Rodriguez Pons and Almuneda Toral.
Regular Rabbit, (Ireland) – New York Premiere. Directed and written by Eoin Duffy.
Restless Is the Night, (United States) – New York Premiere. Directed by Yuehan Tan and Xiaoxue Meng.
Starling, (United States) – World Premiere. Directed by and written by Mitra Shahidi.
Witchfairy, (Belgium, Bulgaria) – New York Premiere. Directed by David Van de Weyer. Written by Brigitte Minne.
MUSIC VIDEOS
Aina Malvik in “Anoana” (Photo by Øystein Moe)
Anoana, (Norway) – New York Premiere. Directed by Line Klungseth Johansen. Written by Line Klungseth Johansen and Øystein Moe.
Bugs, (United States) – New York Premiere. Performed by The Vindys. Directed by Peter-John Campbell.
I Guess I’m Changing, (United Kingdom) – New York Premiere. Performed by Someone. Directed by David Spearing. Written by Tessa Rose Jackson.
The Light, (United States) – New York Premiere. Performed by Lunarcode. Directed and written by Vincenzo Carubia.
Special, (United States) – New York Premiere. Performed by Lizzo. Directed by Christian Breslauer.
To The Desert, (Israel) – New York Premiere. Performed by Dana Ivgy. Directed by Asaf Yecheskel. Written by Dana Ivgy.
Wait in the Truck, (United States) – New York Premiere. Performed by Hardy. Directed by Justin Clough. Written by Michael Hardy and Justin Clough.
Wild Child, (United States) – New York Premiere. Performed by The Black Keys. Directed by Bryan Schlam.
Cast members of “Somewhere in Queens” Pictured in back row, from left to right: Jon Manfrellotti, Franco Maicas, Adam Kaplan, Sebastian Maniscalco, Dierdre Friel and Jacob Ward. Pictured in front row, from left to right: June Gable, Tony Lo Bianco, Laurie Metcalf and Ray Romano (Photo by Mary Cybulski/Roadside Attractions)
Culture Representation: Taking place in New York City’s Queens borough and in Philadelphia, the comedy/drama film “Somewhere in Queens” features a cast of predominantly white characters (with a few African American, Latinos and Asians) representing the working-class and middle-class.
Culture Clash: A married father deals with several issues in his large Italian American family, including trying to influence his teenage son on what the son will do after graduating from high school.
Culture Audience: “Somewhere in Queens” will appeal primarily to people who are fans of filmmaker/star Ray Romano and dramedies about families experiencing life transitions.
Sadie Stanley and Jacob Ward in “Somewhere in Queens” (Photo by Mary Cybulski/Roadside Attractions)
“Somewhere in Queens” has a lot of expected characteristics of movies about large families who frequently bicker but ultimately have a lot of love and loyalty to each other. It’s a movie with realistic characters but very sitcom-like scenarios that are put into the context of a family drama. Laurie Metcalf is a standout in this entertaining movie directorial debut from Ray Romano. “Somewhere in Queens” had its world premiere at the 2022 Tribeca Film Festival.
Romano has a background in stand-up comedy and is widely known for his starring role in the comedy series “Everybody Loves Raymond,” which was on the air from 1996 to 2005. He is one of the stars, producers and writers of “Somewhere in Queens,” which benefits greatly from comedic pacing that is naturalistic and doesn’t look forced or over-rehearsed. Romano co-wrote the “Somewhere in Queens” screenplay with Mark Stegemann, who’s written mostly for TV series (including “Scrubs” and “Preacher”) and who also makes his feature-film debut with “Somewhere in Queens.”
“Somewhere in Queens,” as the title says, takes place in New York City’s Queens borough, which is the borough that is more likely to have family houses with backyards, compared to the high-rise buildings that populate New York City’s Manhattan borough. It’s in Queens where the Russo family lives. This large Italian American clan is working-class and tight-knight, but sometimes has friction that threatens to unravel some of these family bonds.
Here are the members of the family who are featured in the story:
Leo Russo (played by Romano) works with his two brothers, his two nephews and his father in the family’s Russo Construction business. Leo often feels insecure because he’s never felt like he’s lived up to his father’s expectations.
Angela Russo (played by Metcalf) is Leo’s sarcastic and outspoken wife. She and Leo were sweethearts in high school and are each other’s first love.
Matthew “Sticks” Russo (played by Jacob Ward) is the only child of Leo and Angela. Sticks, who got his nickname because he is tall (6’2″) and thin, is quiet and introverted but he has a passion for playing basketball. In this movie, Sticks is in his last year of high school.
Dominic “Pops” Russo (played by Tony Lo Bianco) is the family’s no-nonsense patriarch who expects all of the men in his immediate family to work with him in the family’s construction business.
Mama Russo (played by June Gable) is Dominic’s wife, who doesn’t talk much, but she is very observant, and when she does say something, it’s usually important.
Petey Russo (played by Jon Manfrellotti) is Leo’s laid-back older brother, who is a never-married bachelor with no children.
Frank Russo (played by Sebastian Maniscalco) is Leo’s competitive and arrogant younger brother, who has had a longtime sibling rivalry with Leo. Frank is Dominic’s favorite child and is the son who is most likely to take over the family business when Dominic retires.
Luigi Russo (played by Franco Maicas) and Marco Russo (played by Adam Kaplan) are Frank’s two wisecracking sons, who are in their early 20s. (Luigi’s and Marco’s mother is mentioned but not seen in the film.)
Rosa Russo (played by Dierdre Friel) is Leo’s youngest sibling. Rosa is often teased by Frank for being a never-married bachelorette with no children. She is self-conscious about her weight and being unlucky in love. Her traditional parents see Rosa’s unmarried marital status as a stigma for a woman of a certain age, and they worry that Rosa will never get married and have children.
Several scenes in “Somewhere in Queens” take place at a local banquet hall called Versailles Palace, which is the type of place that is rented out for wedding receptions and family celebrations. It’s where the movie’s opening scene takes place, showing the Russo family attending the wedding reception of a newlywed couple named Louise and Sebastian. The Russos aren’t close to this couple, but apparently were invited to the wedding anyway.
A videographer (played by Lucas Owen) is going around the room to film guests giving short congratulations speeches for the newlyweds. Leo says in his awkward speech, “The best advice I can give to you is don’t hurt each other, if you can avoid it. God bless you, and God bless to all the children you’re going to make for all of America.” The videographer says in an unimpressed tone, “That was different.” Leo then asks the videographer to delete Leo’s recording.
Viewers will see more of Leo’s insecurities and neuroses throughout the movie. At work, he’s treated like an inferior employee by his father. It doesn’t help that Leo has a habit of showing up late for work and isn’t as skilled in construction as Frank is. Leo regrets being stuck in a job with family members who don’t completely respect him. He doesn’t want to quit because he knows how much of a rift it would cause in the family.
At home, Leo and Angela (who is a homemaker) have been having some issues in their marriage. Their sex life is practically non-existent. They don’t really argue a lot, but they’ve become somewhat emotionally distant from each other. And it has something do with Leo and Angela disagreeing about how she’s been handling a medical issue. Leo thinks that Angela should go to support group counseling, but independent-minded Angela thinks that she doesn’t need it. Angela’s medical issue is revealed later in the movie.
Like many middle-aged married couples who’ve raised children together, there comes a time when these couples will have an “empty nest,” with the children no longer living in the home. Angela in particular is dreading not having Sticks in the family home anymore. She thinks she has a few more years after Sticks graduates from high school, because he is expected to work in the family business and eventually get his own place when he can afford to do so. In the meantime, Leo and Angela are supportive parents who go to Sticks’ basketball games to cheer him on as a member of his school team, the Glendale Cougars.
One day, the Glendale Cougars narrowly lose a game (59-61 was the final score) that would have taken the team to the state finals. After the game, a basketball talent scout named Ben Parson (played by P.J. Byrne) notices that Leo is Sticks’ father, from the way that Leo and other Glendale Cougars fans are behaving during the game. Ben approaches Leo after the game and asks Leo what Sticks’ college plans are.
Leo says that Sticks has no plans to go to college because Sticks will be working in the family’s construction business. Ben is surprised and says that someone with Sticks’ basketball talent could easily get a basketball scholarship—maybe not at a top-tier basketball school, but at a mid-tier basketball school. Ben says he knows a recruiter at Drexel University in Philadelphia and can recommend Sticks to Drexel. Leo says he’ll think about it.
Leo does more than think about it. When he brings up the idea to the family, he gets a lot of resistance from almost everyone else in the family. Dominic and Frank think it’s not worth paying for a college degree that Sticks won’t need in their line of work. Angela is worried about Sticks moving away from New York, even though Philadelphia is only a two-hour drive away. Leo convinces Angela and Sticks to at least visit the Drexel campus with him to see what Drexel has to offer.
Meanwhile, around the same time that these college plans start to take shape for Sticks, he has fallen in love with an extroverted, intelligent and vivacious classmate named Dani Brooks (played by Sadie Stanley), who comes from an upper-middle-class family in the Queens neighborhood of Forest Hills. Dani is Sticks’ first girlfriend, and she’s a lot more experienced in dating than he is. Sticks doesn’t introduce Dani to his parents until after his school’s last basketball game of the season.
Angela is immediately annoyed that Sticks kept this relationship a secret for as long as he did. She also doesn’t trust Dani because she thinks Dani is the “heartbreaker” type. Still, Angela puts up a front of being welcoming and invites Dani over to a family dinner, where Dani gets a full view of what the Russo clan is like. It’s at this dinner that the family finds out that Dani is assertive, adventurous, and not afraid to disagree with people about her own firm beliefs. Dani is very opinionated in telling the family why she thinks it’s a good idea for Sticks to go to college.
Dani says her own plans after high school are to take a cross-country road trip by herself. She mentions that her parents want her to go to a university, preferably an Ivy League university, but Dani doesn’t think that getting a university education is the right decision for her at this time in her life. And she says that her father told her that he will only financially support her if she goes along with her parents’ wishes to got to a university. Dani, who has a part-time waitress job at a local diner, says she took the job to save up for money to buy the car that she wants to take on her road trip.
“Somewhere in Queens” then becomes about how Leo gets obsessed with what Sticks wants to do with his life after graduating from high school. Leo doesn’t want Sticks to have the same life and the same regrets that Leo has. Leo wants Sticks to explore the options that Leo never did. Leo is also excited about the possibility of his son being a college graduate. It’s not said out loud, but it’s obvious that Sticks would be the first person in his family to get a college degree, if he chooses to make that decision.
There are a few unexpected turns in the story that involve Leo crossing a boundary and doing some meddling-parent things that are downright creepy. It leads to some sitcom-ish scenarios that don’t look very realistic. “Somewhere in Queens” also has a subplot about Leo being attracted to a Russo Construction customer named Pamela Carmelo (played by Jennifer Esposito), a lonely widow who seems attracted to Leo too. The outcome of this flirtation is fairly predictable.
Romano’s direction of “Somewhere in Queens” moves the story along at a leisurely but engaging pace. As an actor in the movie, he’s doing a version of the neurotic father he played in “Everybody Loves Raymond,” so there are no real surprises in his performance. Metcalf has the best role in the movie, and she rises to the occasion by going through a myriad of emotions that are authentically portrayed and make Angela a completely believable character.
Angela is an overprotective mother who’s trying to appear strong but is really desperately holding on to the one thing (parenthood) that she feels she’s been good at in her life. She’s also feeling a sense of mortality because of her medical issue. It’s a different type of mid-life crisis than what Leo is experiencing. And it’s affected Leo and Angela’s marriage a lot more than they care to admit.
“Somewhere in Queens” also has very good performances from Ward and Stanley, because Sticks and Dani’s relationship is the catalyst for many things that happen in the movie. This teen romance is also very realistic in all of its ups and downs, especially when it comes to the issue of what will happen to the relationship after they graduate from high school. The character of Sticks is interesting because he’s a star of his school’s basketball team, but he isn’t the typical movie stereotype of a popular jock. Sticks is almost painfully shy, but Dani helps him come out of his shell and express his true feelings.
Above all, “Somewhere in Queens” succeeds in showing how people in the same family can discover in different ways what their own comfort levels or discomfort levels are, when it comes to self-esteem and family relationships. A trite movie would have made it look like the teenagers are the only ones who have a lot to learn. “Somewhere in Queens” shows in charming and poignant ways how there’s no age expiration date on learning self-acceptance and learning to accept people for who they really are.
Lionsgate and Roadside Attractions released “Somewhere in Queens” in U.S. cinemas on April 21, 2023.
Culture Representation: Taking place in Mexico, the horror film “Huesera: The Bone Woman” features a Latino cast of characters representing the working-class and middle-class.
Culture Clash: A woman’s pregnancy and her sanity are threatened when she keeps having nightmarish visions of her bones breaking and women who can contort their limbs and seem to be agents of death.
Culture Audience: “Huesera: The Bone Woman” will appeal primarily to people who are interested in seeing bizarre horror movies with intriguing stories and striking visuals.
Natalia Solián in “Huesera: The Bone Woman” (Photo courtesy of XYZ Films)
“Huesera: The Bone Woman” delivers plenty of creepy images and convincing acting performances. Just don’t expect a clear and complete explanation for all of the disturbing incidents in this effective horror movie. The movie’s sound effects are just as terrifying as the visuals.
“Huesera: The Bone Woman” is the feature-film debut of director Michelle Garza Cervera, who co-wrote the movie’s screenplay with Abia Castillo. The movie had its world premiere at the 2022 Tribeca Film Festival, where Garza Cervera won the awards for Best New Narrative Director and the Nora Ephron Prize, an award given to emerging female filmmakers. Garza Cervera is certainly a talent to watch, since “Huesera: The Bone Woman” is the type of movie that will immediately hook viewers into the story and won’t let go.
The beginning of “Huesera: The Bone Woman” (which takes place in an unnamed city in Mexico) has a stunning visual of people gathered at the feet of La Virgen de Guadalupe (a giant gold statue of the Virgin Mary), somewhere in wooded area in Mexico. This statue (which is about 100 feet tall) doesn’t exist in real life, but it was created through visual effects for the movie. Religion and motherhood are major themes throughout “Huesera: The Bone Woman.”
The movie’s protagonist is a woman in her 30s named Valeria Hernandez (played by Natalia Solián), who has been married to her mild-mannered husband Raúl (played by Alfonso Dosal) for an untold number of years. Valeria (who makes furniture in her home shop) and Raúl (who works in advertising) seem to be happily married. But soon, viewers find out that the only strain in their marriage is that Valeria and Raúl have been trying unsuccessfully for a long time to have a child.
That disappointment is about to change when Valeria visits her gynecologist (played by Emilram Cossío) for a medical exam because she’s fairly certain that she’s pregnant. The doctor confirms that she’s three months pregnant. Valeria and Raúl are ecstatic about this happy news and start making plans for their first child. Valeria wants to make a crib for the baby, even though her doctor advises her to temporarily stop doing any furniture-making work while she’s pregnant.
Not everyone is thrilled about Valeria’s pregnancy. One day, Valeria and Raúl go to visit Valeria’s parents Luis (played by Enoc Leaño) and Maricarmen (played by Aida López), who are excited to hear that Valeria is going to become a parent. However, Valeria’s older sister Vero (played by Sonia Couoh), a single mother who lives in her parents’ household with Vero’s two kids, is skeptical that Valeria will be a good mother. Also in the household is Maricarmen’s sister Isabel (played by Mercedes Hernández), who has never been married and has no children.
Vero makes snide and sarcastic comments every time Valeria talks about the pregnancy, such as saying that she thought Valeria would never get pregnant because Valeria was getting to be “too old” to conceive a child. Vero also says that she wouldn’t trust Valeria to babysit or be alone with Vero’s two children: Jorge (played by Luciano Martí), who’s about 10 or 11 years old and Paola (played by Camila Leoneé), who’s about 9 or 10 years old. Why is so Vero so uptight and hostile about Valeria being around children?
When the family is gathered for a meal at the dining room table, Vero tells Raúl why she thinks Valeria won’t have good parenting skills: When Valeria was younger (perhaps when she was an adolescent), she was asked to babysit an infant, but Valeria dropped the child on the ground. An embarrassed Valeria tells Raúl that the baby wasn’t injured, but viewers later find out that it’s a lie.
After this uncomfortable family gathering, Raúl and Valeria are driving back to their home when a woman stops the car to talk to them. Her name is Octavia (played by Mayra Batalla), who was close to Valeria when they were in high school together. Octavia and Valeria haven’t seen or spoken to each other in years. They make small talk, as Valeria introduces Raúl to Valeria.
Octavia looks at Raúl suspiciously and immediately gives off “jealous ex-girlfriend” vibes. And sure enough, later in the movie, it’s revealed that Valeria and Octavia were lovers when they were teenagers. Raúl doesn’t know, and neither does Valeria’s family. It’s implied that Valeria has been keeping her queer identity a secret from most people in her life.
Flashbacks in the movie show that teenage Valeria (played by Gabriela Velarde) and teenage Octavia (played by Isabel Luna) were both in a rebelllious, hard-partying clique that included other queer people. Valeria and Octavia even made plans to move away together after they graduated from high school. However, Valeria changed her mind, and that’s what ended her relationship with Octavia, who seems to still be heartbroken and bitter over this breakup. Valeria later finds out that Octavia, who still has a hard-partying lifestyle, lives by herself and is not dating anyone special.
Because “Huesera: The Bone Woman” is a horror movie, it doesn’t take long for some frightening things to happen. Valeria begins to imagine that bones in parts of her body (such as a foot) suddenly break. She also sees faceless women who contort their bodies in grotesque ways and seem to be coming after Valeria to attack her or do something violent.
There’s a scene where Valeria is looking at the apartment building that’s directly across from the apartment building where Valeria and Raúl live. Valeria is horrified to see a faceless young woman contort her body, climb on the balcony, and jump to her death. Valeria even sees the bloodied and mangled corpse on the ground. But when Valeria rushes to tell Raúl about what she saw, and they both go to investigate, there’s nothing there.
“Huesera: The Bone Woman” can get a little repetitive with the over-used horror narrative of a woman seeing terrifying visions that no one else can see, and then people start to think that she’s mentally ill. However, many of the images in “Huesera: The Bone Woman” are truly unique, particularly in the movie’s last 15 minutes. Fire and water are both used effectively in some of the film’s best scenes, by tapping into fears of drowning or burning to death.
And get used to the sound of bones being contorted or fractured. Not only does Valeria have a habit of cracking her knuckles, the visions that haunt her almost always include the sounds of bones breaking. It might be too nauseating for some viewers, but the movie’s sound design and sound mixing are top-notch for achieving the intended horror. The cinematography by Nur Rubio Sherwell is also noteworthy for how it creates a foreboding atmosphere, amid what is supposed to be domestic bliss for a new mother.
“Huesera: The Bone Woman” blurs the lines between what is religion and what is pagan witchcraft. More than once, Valeria visits a spiritualist named Ursula (played by Martha Claudia Moreno) for guidance and some rituals. Valeria’s Aunt Isabel, who is treated like a weirdo in the family, because Isabel never got married and has no children, becomes more important to troubled Valeria, as Valeria starts to question her own life choices.
All of the cast members play their parts well, but “Huesera: The Bone Woman” would not be as memorable without the stellar lead performance of Solián. Even when the story gets a little muddled, and viewers will begin to wonder why it’s taking so long to explain why Valeria is experiencing all this terror, Solián maintains an authenticity to her character throughout the movie. Valeria is not a typical “damsel in nightmarish distress” from horror movies, which often care more about the murdered body count than the interior lives of the protagonists.
Is there a bone woman named Huesera in the movie? In real life, there is a fairly obscure Mexican folk tale about an elderly woman named Huesera, who collected bones and brought these bones back to life, but don’t expect that to be part of the movie’s story. “Huesera: The Bone Woman” could have done the most obvious thing and made the movie into a ghost story, with Huesera haunting Valeria. However, by the end of the film, viewers can understand the intended message: Sometimes, what can haunt people the most is when they try to hide from their true selves.
XYZ Films released “Huesera: The Bone Woman” in select U.S. cinemas on February 10, 2023. Shudder premiered the movie on February 16, 2023. “Huesera: The Bone Woman” was released on digital and VOD on February 17, 2023.
Culture Representation: Taking place in various parts of the United States, the comedy/drama film “Next Exit” features a predominantly white cast of characters (with a few African Americans, Latinos and Asians) representing the working-class and middle-class.
Culture Clash: A woman and a man in their 30s, who want to become euthanasia volunteers for a controversial scientist, end up sharing a car for a road trip from New York City to San Francisco, and they bicker and develop a romantic attraction to each other along the way.
Culture Audience: “Next Exit” will appeal primarily to people who are fans of road trip movies that have an “opposites attract” premise for the travelers in a story that can be flawed but entertaining.
Rahul Kohli and Katie Parker in “Next Exit” (Photo courtesy of Magnet Releasing)
“Next Exit” is a road trip movie that can be as erratic and irritating as the would-be couple at the center of the story. The movie would’ve been better with a less predictable ending, but there are enough compelling moments to make this dramedy watchable. Much of the credit can go to how the cast members gamely handle the dialogue and scenarios, which can occasionally be boring and cringeworthy.
Written and directed by Mali Elfman, “Next Exit” is the type of independent film that wants to be adorable and edgy at the same time. It’s a tricky combination to pull off, and “Next Exit” doesn’t always succeed at it. But unless a viewer is completely disconnected from the movie’s characters, “Next Exit” maintains enough interest where viewers will probably be curious to see how the movie is going to end. “Next Exit” had its world premiere at the 2022 Tribeca Film Festival.
“Next Exit” begins by showing a video recording of what a controversial scientist named Dr. Stevensen (played by Karen Gillan) has declared is genuine paranormal activity: A boy named Reo Nakada (played by Gavin Powers), who’s about 7 or 8 years old, is shown playing cards with his father Niko Nakada (played by Joe Powers) in Niko’s bedroom. What’s unusual about this video? Reo is dead. And, according to Dr. Stevensen, this recording is of Neo’s ghost playing cards with his father.
Dr. Stevensen insists that this video is proof that ghosts are real. However, much of the general public and the overall scientific community think the video is a hoax. Dr. Stevensen owns and operates the Life Beyond Institute, based in San Francisco, where she wants to test her theories about life after death by having people volunteer to undergo euthanasia.
Not surprisingly, the U.S. government shuts down all funding for this research. In response to this shutdown, Dr. Stevensen is shown on TV in a pre-recorded statement defending her Life Beyond Institute: “It is a critical, not a criminal, enterprise.”
Despite the controversy, two strangers in their 30s who want to be euthanasia volunteers at the Life Beyond Institute will soon find themselves unexpectedly taking a road trip together from New York City to San Francisco. These two people have different personalities, but they have similar reasons for wanthing to make this drastic decision: They both don’t like their current lives and feel they’ve got nothing left to lose.
Viewers first see Rose (played by Katie Parker) in her New York City apartment committing fraud when she sells her TV to a stranger named Chad (played by Ty Molbak), who has come over to her place to get the TV. After taking Chad’s cash, she throws the TV over the stairwell, where it is immediately destroyed. She then goes back in the apartment, and locks the door behind her, while an irate Chad demands to get his money back. Rose makes an escape out of an apartment window and never looks back.
Rose has no personal attachments and has already made up her mind to go on this road trip by renting a car. But when she gets to the car rental place, Rose finds out that she can’t rent a car because she doesn’t have a credit card. Her offer to pay by cash is strictly denied. Her pleas are ignored.
Just by coincidence, a British immigrant is standing next to her and overhears Rose’s plight. His name is Teddy (played by Rahul Kohli), and he can’t rent a car for a different reason: His driver’s license expires in two weeks, and he wants to rent a car for longer than two weeks. When Rose and Teddy find out that they both plan to drive to San Francisco, they quickly decide that the best solution to their car rental problem is to share a ride. Rose (who has a valid driver’s license) will rent the car in her name, Teddy will pay for the car rental with Teddy’s credit card, and Rose will pay him her half of the car rental expenses.
Of course, in every road trip movie, things don’t go as smoothly as expected. From the beginning, Rose and Teddy have a clash of personalities. They are both very sarcastic, but Rose is a sour pessimist and much more emotionally guarded than Teddy is. In the beginning of the movie, Teddy is shown quitting his job working for a congressman named Milton Lucas (played Michael May), who thinks Teddy is making a big mistake. Teddy has told his former boss that he quit because Teddy wants to be a Life Beyond Institute euthanasia volunteer.
Soon after meeting each other, Teddy opens up to Rose that he used to own his own company, but he’s vague on other details about this company. Teddy, who says he doesn’t have any family members in the United States, also reveals that he doesn’t like his life because he’s been in the U.S. for 10 years, and he hasn’t achieved his goals of finding a wife and making enough money to travel around the world. Rose, who is also unmarried with no children, tells Teddy very little about herself at first, but gradually more details emerge about her personal life.
A long stretch of “Next Exit” consists of Teddy and Rose bickering. An example of their banter happens when they check into a motel for the first time together. And what a coincidence: This motel only has one room available. Rose hates the idea of sharing a room with Teddy and lets him and the front-desk clerk know it in a very crabby way.
Teddy’s response is to try to laugh it off with a joke. He tells the front-desk clerk: “If you find me dead in the morning, she did it. Be sure to thank her for me.” He then says to Rose, “You don’t have to be an asshole the whole time.” Rose shouts back, “We’re not buddies! I don’t want to be your friend!” There’s more tension between Rose and Teddy. And some of it is sexual tension.
“Next Exit” predictably has Rose and Teddy encountering quirky and occasionally alarming characters during this road trip. And the most cliché thing that can happen in a road trip movie happens: The travelers have car trouble. In this case, it’s a flat tire. Rose and Teddy get car tire help from a Catholic priest named Father Jack (played by Tongayi Chirisa), who gets quite an earful when Rose unloads on him with a rant about her issues with the Catholic Church.
In a bar, Rose and Teddy meet a border patrol officer named John (played by Tim Griffin), who makes a drunken confession that is very disturbing. On another occasion, Teddy and Rose pick up a weird hitchhiker named Karma (played by Diva Zappa), who says she’s on the way to meet her psychic aunt in Santa Fe, New Mexico. In Arizona, Rose and Teddy end up visiting Rose’s sister Heather (played by Rose McIver), Heather’s husband Nick (played by Nico Evers-Swindell) and their adolescent daughter Steph (played by Sloane Weber), who all seem to be living a happy suburban life. But things are not at all what they seem, and the movie takes a somewhat dark turn, as some family secrets are revealed.
“Next Exit” missed some opportunities to have better character development for Teddy and Rose. Instead, there are distractions of putting Teddy and Rose in contrived and occasionally outlandish scenarios, for the purposes of getting more comedy or more drama out of the story. However, the movie obviously wants viewers to root for Teddy and Rose to fall in love with each other. Those intentions are sincere, but they don’t always feel earned. If Teddy and Rose fall in love, then what does that mean for their euthanasia plans?
Although “Next Exit” has several supporting characters, their time in the movie is fleeting and presented like characters appearing in sketch segments. The vast majority of screen time is about Rose and Teddy, a would-be couple who aren’t so much Mr. and Ms. Right but are more like Mr. and Ms. Right Now. Cast members Parker and Kohli give solid performances as these two conflicting characters. “Next Exit” tends to have a rambling narrative, but it’s ultimately very easy to see where this story is going and how it’s going to end.
Magnet Releasing released “Next Exit” in select U.S. cinemas, on digital and VOD on November 4, 2022.
