You have 1 more weekend at Slamdance's 2022 Virtual Film Festival and I know it seems daunting. It seems like there is way too much to get through in a weekend. Well, do not fret I am here to give you my annual list of what I enjoyed most in several different categories. While I say this is a great way to start I think that's exactly what it should serve you as a great start.
As some of you who have been with us in the past know I like to talk about what I loved about this year's festival. It's really one thing I want to point out so I will make it quick...
THERE IS HOPE IN THE WORLD, EVEN IN MOODY, STARK INDIE FILMS. This year's Slamdance programming was epic and superbly done but it rained evident right from the start of my viewing experiences that filmmakers are not immune to doldrums and fatigue of our world's circumstances over the past couple of years now. Don't get me wrong, this isn't a warm ray of sunshine and rainbows but everyone of these films, especially the ones I am talking about and have seen all have this interesting way about them bringing some sort of idealistic hope and in a lot of that acceptance and tolerance. It has been a welcome direction in Indie film and I am glad, as always Slamdance has found a way to pave that road into bringing to light this next wave and generation of films and filmmakers.
Also just a little note, I am so glad that the program initiatives that were into place, the Unstoppable Program and DIG are not only back but expanded as well. Awesome stuff in all of those programs for sure.
So with that here are 5 standouts for me that I think I would say would be interchangeable among the favorite categories and all would be among my favorite viewing experiences of the year and while I do try and recognize each of them for all of the attributes I did define each of them by my most favorite attribute within them being my favorite overall.
I really just want to get you started in your viewing experience for this final weekend if you need some navigation help or direction. There is so much good stuff beyond these 5 for sure, I highlighted a few in Part 1 of the coverage last week, but once you get going I have a feeling you'll come up with 5 of your own favorites (which you are welcome to leave in the comments on this blog too).
FAVORITE WRITING:
THE EMBER KNIGHT SHOW- "GETTING MAD" EPISODE
Producers: Ember Knight, Bobby McCoy, Mikey Santos, Clara Murray, Dino Stamatopoulos
Cast: Ember Knight, Haley Dahl
WHAT THIS SHOW DOES WELL: Well obviously I am going to talk about the writing here but I will say the visuals, acting, and animation accompaniment are all as incredible as much as anything to do with this production. I also think the sharp editing really helps not just make smooth transitions especially from live action into animation and with the blending of the two but also the subtle balances of speeding up the cuts to get a more frantic pacing, and then shifting gears and staying wide and established to soak in either a punch line or poignant moment. The child like innocence in which the visuals, music, and tone give it that nostalgic Sid & Marty Kroft acid trippy type vibe mixed in with the strength of an "You Can't Do That On Television" sketch (for all you younger folks feel free to look that all up ;) ) . All of that said it's the clever subtext, the sharp wit, all coupled with the acting inflection and expressions that create some of the funniest most impressive and sophisticated nuances you will see on a screen. I really loved the tongue and cheek, warm hearted, daftness that perpetuates nearly from moment one and doesn't let you go until it crescendos and transitions into this almost unbelievably weird pseudo settling "The More That You Know" moment. I marvel at the careful words used and the subtle callbacks within this episode itself. It's that kind commitment to clever sarcasm and parody that really sell this. I went right to watching the other 2 episodes online and they equally as funny and engaging. I hope this leads to a full blown series and more episodes to come.
WHY CHAMPION THIS SHOW: This is the kind of wit and sarcasm that I think could easily be on Adult Swim or even within it's own sketch show on a more premium network like an FX or Showtime. I think if you were a fan of the shows and time period I mentioned above you will get what I was talking about and for those who would be experiencing those avenues for the first time, take a chance on this, its tame enough to ease you in and not insult you either.
YOU CAN FIND THIS EPISODE AS PART OF THE EPISODICS PROGRAM AT SLAMDANCE
FAVORITE CINEMATOGRAPHY:
HANNAH HA HA
Directors/Screenwriters: Jordan Tetewsky, Joshua Pikovsky; Producers: Roger Mancusi, Emily Freire
Cast: Hannah Lee Thompson, Roger Mancusi, Avram Tetewsky, Charlie Robinson, Jake Stern, Petr Favazza, Peter Cole, and Chuck Fazzio
WHAT THIS FILM DOES WELL: I think this film's approach overall is just brilliant. I love its no pulled punches but yet very heartfelt journey that shows life moving on, even when we don't. It does this mainly through the characters, especially Hannah, and the performances in this movie really authenticate both the no pulled punches and heartfelt ideas. Even more so because there is no real "bad guy" in this movie, maybe other than time itself. Even the so called foil or pseudo protagonist isn't malicious or performing with vicious ill content. Much like how most humans are in real life. Along with that, everybody has their moments to kind of navigate the internal strife that befalls all of them in this film. That kind of unique tenderizing helps the cinematography create this almost faux documentary follow around approach that makes us always feel apart of the moment or in the presence and conversation of anyone on screen. That is some next level cleverness that makes a day in the life film not feel like a drab, hit you over the head, woah is me, nothingness but instead you become a hopeful, engaged living soul enraptured and ensnared in a interesting self examination about what is happiness. The foggy filtering feel of an old 16mm 70's film look gives the internal moments an almost perfect accompaniment for the external. Almost like that's how you have to see it to feel it, kind of idea. Moreover why this is some of the best cinematography I have seen in a movie is because the depth of field focuses in on the vibrancy of the environment that draws you into either a very important conversation or an equally important internal moment that each character has. Kind of like outlining what your eyes need to see. The great thing, even though this is a smashing breakout performance by Hannah Lee Thompson ( I literally want her to mc my life with her optimistic and cleverly veiled sarcasm mixed with her just profound ability to listen and be present, such an amazing acting choice there), each character gets their "moment" to draw you in and all do it well. Add in the steadying slight of hand of Jordan Tetewsky and careful guiding of Joshua Pikovsky to frame every shot with the kind of care to move a story along even in static or establishing shots, means the heartbeat of the movie is in all 85 minutes. I couldn't look away or be more interested in what I was experiencing.
WHY CHAMPION THIS FILM: First and foremost this film should introduce you to the immensely talented Hannah Lee Thompson, who just might be a 10 times better musician than she is an actor and I think if you just got done reading the above paragraph you can see how I think of her as an actor. Man though her music, is fucking off the charts, so if this movie does nothing else for you but lead you to Hannah's music, well I think as much as that makes me happy, it probably makes Hannah even more so. This film in many ways, look wise especially, reminds me of Alexander Payne's Sideways, and if you are a fan of that film I don't know how you wouldn't be of this one. Josh and Jordon to me, could easily be the filmmakers to watch, presenting with that clever right in your face but not aggressive, more nuanced subtly, that we may not know we need from our film experiences. However those are the ones that resonate with us on deeper level than most would. I think we are watching the beginning of a Jim Jarmusch, Alexander Payne level film pedigree and that is a special something we don't get very often, so let's champion it, what do you say?
FAVORITE PERFORMANCE:
NATASHA OFILI (THE MULTI)
Directors: Storm Smith, Mikail Chowdhury; Screenwriter: Natasha Ofili; Producers: Natasha Ofili, Mikail Chowdhury
Cast: Natasha Ofili, Lakishia Grant, Jonah Platt
SYNOPSIS: An isolated Black Deaf woman has constructed a world of order to keep a childhood trauma buried deep in her psyche, but an unexpected turn of events forces her to confront demons from her past.
WHAT THIS FILM DOES WELL: Let me take this opportunity to introduce you all to Natasha Ofili. I should have changed well with "Holy crap that was awesome". Natasha's turn as Amara and Sade are just unforgettably powerful. Natasha radiates off the screen, in how I can only describe, like that moment in The Matrix when Neo ingests the agents and time ripples in his presence. The moment you meet both of her characters in this film (yes she has a dual role but I will say no more on that idea, just watch it) you are immediately convinced of who they are almost unflinchingly so. Which, when you see it, you'll wonder how that happened. The clever design of the narrative around that very last sentence really plays into how you are able to feel that way but also straddles you into the front seat of what is about to be a shotput like roller coaster ride. The mere fact that this film can set you up, lift you to the top and drop you ten times quicker than you climbed is so breathtaking that you need a couple watches to appreciate the view of all perspectives. Natasha has that rare gift that transcends you into another person's skin with incredible ease and makes it look so effortless in the process. That is superior acting to the T.
WHY CHAMPION THIS FILM: This is the kind of film to have seen to say "I remember when...". There is little doubt in my mind Natasha will be doing some unforgettable work that will make this look like an exercising of acting muscles. However you can't deny its foundation or roots and this movie really gives you that. I think some may even enjoy the fashion in this film, which is a prominent role as much as Amara and Sade are. I think of worse ways to spend 15 minutes honestly and once you have made that commitment here, you'll be hooked in anyway. So why not attach to this?
FAVORITE SURPRISE:
HONEYCOMB
Director/Producer: Avalon Fast; Screenwriters: Avalon Fast, Emmett Roiko
Cast: Rowan Wales, Sophie Bawks-Smith, Jillian Frank, Destini Stewart, Mari Geraghty, Jaris Wales, Henri Gillespi, Max Graham
SYNOPSIS: Five girls stray from society on the hunt for something more special…. you can find them if you follow the sound.
WHAT THIS FILM DOES WELL: This is the kind of sneaky "great" I crave in watching Horror movies. Going in I wondered for a small while if there was going to be a shift in tone or a stark moment maybe of a more grotesque or campy nature that took me out of it but my instincts to trust the direction Avalon Fast's incredibly well orchestrated crafting paid off in abundance. This film is creepy, moody, and yet so fucking interesting and compelling. What is so fascinating is within this blog I have pointed out a movie that has no bad guys, well this film has no good guys or moreover no good girls. Even the ones who you would maybe consider or fathom having a moment of clarity or conscience really don't sell you of it because it comes from a bitter or more envious place. Also adding to the immense creepiness or stark twists and turns are the foreboding slow burn paces that lulls you in and snap you out in a moment's notice, and those are coupled with the clever design of cuts and pans that push the visual element of that very snapping out of it idea. Then Avalon's commitment to staying the course of the tone, leaves a mark or maybe more apt a festering or lingering of "what the fuck" kind of thoughts and reeling gut punches that I think I am still feeling days after having first seen the film. This is a tour de force of homage to some of those stark 80's film comparisons that dared to shatter the horror slasher movie stereotypes and just serve to creep you out. Beyond the homage though is this daring, refined spectacular narrative that aims in quickly and swiftly and doesn't miss.
WHY CHAMPION THIS FILM: A lot of you may shy away from horror because its seems more and more its either about 2 things, jump cutting to get you to jump, or grossing you out to the nth degree but those of you who like storytelling in your movies might really gravitate to this movie especially and horror done in this vein. It's designed evil is so meticulous that it dares you to defy the logic of finding a likeable character or even moment to redeem your sensibilities. Get ready to be disappointed if you are looking for that (oops I guess that's a spoiler alert, sorry Avalon) but maybe in a weird way if you are feeling down or in a muck this might settle that down. Its that interesting psychology for sure. This film is so clever, and how horror's new faces like Robert Eggers or Ari Aster have come to the forefront, Avalon Fast will not be that far behind and this is a great way to become a fan of hers. Which you probably will if you like it.
FAVORITE DIRECTING:
ULTRAINOCENCIA
Director: Manuel Arija; Screenwriters: Manuel Arija, David Climent, Pablo Molinero; Producer: Alma Prieto
Cast: Sergi Lopez, David Climent, Pablo Molinero
SYNOPSIS: Does God exist? Two blessed and rather bold test subjects, Orión and Adán, intend to prove it in a scientific experiment run by a mysterious religious organization.
WHAT THIS FILM DOES WELL: When you have one of the best opening scenes at the festival, for which the first 15 minutes of this film are untouchable, showing the meticulous nature of what it to be laid out in front of us and how in command Manuel Arija is with his film, you really buy into and take the ride rather easily into the next 75 or so minutes. Add to that a strength of a director often overlooked, putting heavy confidence in 2 actors as skilled as David Climent and Pablo Molinero, who absolutely knock it out of the park during the strongest moments of this film. Sure that is a lot to do with their process, commanding their characters and working through the arcs, but it also aligns with the structure. In a high concept film like this that is almost paramount. Manuel is a maestro, in the 1st and 3rd acts especially, balancing the absurdity of exploring existentialism with the profoundness of it, and sprinkling in foreshadowing right from the get go to pay out in the end. Then allowing the space and moments needed for the actors to take it that step further. Manuel Arija shows a lot of skill in the manner of devices he uses within the framework of imagination especially to keep the audience guessing, even though often the answer is like one of those moments when its on the tip of your tongue. That's a cool way to really hone and tell a story. I think you put this story in the hands of any other director even finding one similar in approaches as Manuel Arija and I am not sure it works as well.
WHY CHAMPION THIS FILM: Questions will be raised and asked about what this film really is trying to say or what its about, some may find the answers unsatisfying even but I don't know how if you watch the first act you won't be hooked in. So I think in that respect the opportunity for it to win you over or win you back is there. At the very least why not take a look at a film that has deeper questions and gives you some perspective on the language of belief. I think if you want to be entrenched in that regard, being able to share that knowledge, I think this film might serve as a reference for you either way you fall on the debate or the idea of the questions raised and the solution offered.
I think you might be seeing some of these films be talked about my me again at the end of the year, regardless this was a another strong year for Slamdance and I am very honored that they gave the opportunity to cover one of the best Film Festivals around for another year. Don't miss your opportunity to take a look at all that is there.
If you need more to check out, do go back and read Part 1 of our 2022 Slamdance Coverage.
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