Aylin Tezel and Chris Fulton in FALLING INTO PLACE. Courtesy of Cinequest.
The absorbing Scottish romantic drama Falling into Place begins on the Isle of Skye when two visiting London creatives meet outside a rowdy pub and flirt. Kira (Aylin Tezel), a theater set designer, is on holiday. Ian (Chris Fulton), a musician, has grown up on Skye and intends to shoehorn in an infrequent visit with his family. Kira is trying to get beyond a recent breakup, while Ian’s relationship is in its final throes.
When Kira hears that Ian has a girlfriend, she puts in the brakes, but she’s drawn enough to Ian that she accompanies him as he faces some family drama. Then, Kira and Ian return separately to London. The audience soon wants these two to get and stay together, but they’ll need to get past some trauma in Ian’s family, his current romantic entanglement, Kyra’s feelings for her ex, an attractive boss with his eyes on Kira and some bad timing.
Utterly devoid of the tropes in conventional movie romances, Falling into Place is profoundly authentic. This is the first feature for German-born writer/director Aylin Tezel (who also stars as Kira), and it’s a very strong and promising debut. As a director, she paces Falling into Place perfectly, keeping us eagerly engaged as the threads if Kira and Ian meet and part and meet again. She is especially adept directing the scenes in the Isle of Skye bar and the London art gallery opening, with lots of moving bodies and ambient sound. But it’s Tezel’s screenplay, without a single false note, that really soars.
I screened Falling Into Place for its US premiere at Cinequest.
Carrete in QUIXOTE IN NEW YORK. Courtesy of Cinequest.
The charming documentary Quixote in New York follows the 82-yer-old Spanish flamenco dance master El Carrete, who wants to cap his career by performing in a major NYC theater. It’s not that easy to mount a theater production, and he doesn’t have unlimited time to pull it off.
El Carrete himself is a hoot, funny AF and even makes rehearsals fun for everybody. Director Jorge Peña Martín has the good sense to give us a big dose of El Carrete. It’s a well-crafted film, especially the cinematography.
There’s a Can’t Miss seen where El Carrete watches a projection of Fred Astaire dance, and then dances himself in front of the screen, mirroring Astaire’s moves-flamenco-style.
This is an audience-pleaser. Cinequest hosts the US premiere of Quixote in New York.
Carrete in QUIXOTE IN NEW YORK. Courtesy of Cinequest.
Raya Burstein and Uri Burstein in CHARM CIRCLE. Photo courtesy of Cinequest.
Inthe superbly structured documentary Charm Circle, writer-director Nira Burstein exquisitely unspools the story of her own bizarre family. At first, we meet Burstein’s father, a sour character who inexplicably is about to lose his rented house, which has become unkempt, even filthy. He is mean to Burstein’s apparently sweet and extraordinarily passive mother, and the scene just seems unpleasant.
But then, Nira Burstein brings out twenty-year-old videos that show her dad as witty, talented and functional. We learn a key fact about the mom, and then about each of the director’s two sisters.
Some of the publicity about Charm Circle describes the family as eccentric, but only one daughter is a little odd – three family members are clinically diagnosable. Charm Circle is a cautionary story of untreated mental illness and the consequences of failing to reach out for help.
This is Nira Burstein’s first feature, and she has two things going for her: unlimited access to the subjects and a remarkable gift for storytelling. Charm Circle works so well because of how Burstein sequences the rollout of each family member’s story.
The Nashville Film Festival returns in a few days, and I attended a screening of Charm Circle, with a Nira Burstein Q&A at NashFilm two years ago. It went on to play both the San Francisco Jewish Film Festival and Cinequest, and can now be streamed on the Criterion Channel.
Jakki Jandrell and Phillip Andre Botello in FALLEN DRIVE. Courtesy of Cinequest.
The neo-noir thriller Fallen Drive begins with some 20-somethings congregating in a suburban Airbnb ranch house, having returned to their hometown for a high school reunion. It looks like the successful Liam is really more interested in reuniting with his mysteriously estranged younger brother Dustin. Tightly wound Charlie (Jakki Jandrell) and her boyfriend Reese (Phillip Andre Botello) arrive, and it’s apparent that they have an agenda that could be more grim than drinking with high school buddies.
Soon we are enmeshed in revenge noir, in a variation of the perfect crime film. Things get more intense – and more unpredictable – as the story evolves. There are Hitchcockian touches – he suspects us.
Fallen Drive is written and directed by Nick Cassidy (who also plays Liam) and David Rice; it’s the first feature for both. A very strong screenplay elevates Fallen Drive from the paint-by-numbers thriller we see so often. Here Cassidy and Rice have made the characters complicated and added some ambiguity to the back story. There are subtle hints about the relationships of Liam and Dustin and of Reese and Charlie, and the audience is asked to fill in the blanks. You’ll never guess the two characters driving off together at the end.
There’s also a minor character who still parties too much, who could have been written merely for comic relief; but Cassidy and Rice make it clear that his alcoholism has left him immature – that’s why he behaves like a jerk.
The performances are strong. Jandrell is superb as the coiled Charlie. Donald Clark Jr. is also excellent as Dustin, who the others have always found creepy. Cassidy makes for a sufficiently smirky Liam.
An uncommonly textured revenge thriller, Fallen Drive should be a crowd-pleaser. Cinequest is hosting the world premiere of Fallen Drive.
Chelsea Bo and Ava Acres in NO RIGHT WAY. Courtesy of Cinequest.
In Chelsea Bo’s affecting family drama No Right Way, Harper (played by Bo herself) is a 27-year-old go-getter in LA. She gets a call from child protective services in Las Vegas, informing her that her 13-year-old half-sister Georgie (Ava Acres)can no longer stay with her mother. Because their father is away on a work assignment, Harper drives to Vegas to pick up Georgie herself.
Harper finds that Georgie’s mother Tiffany (Eliza Coupe of Happy Endings) is a hot mess. There may be no one right way to raise a child, but there are wrong ways, for which Tiffany is the poster girl. Addled by a serious drug addiction, Tiffany runs with scary men and can’t even manage to kep the electricity on; as a result, Georgie, very smart with a big personality, is essentially feral.
A fundamentally decent person, Harper is appalled by Tiffany’s failure to provide Georgie with guidance and stability, let alone a safe environment. The dad is comfortable with his current hands-off parenting and gun shy of engaging with Tiffany, so Harper sees herself as Georgie’s last chance and tries to get custody of Georgie from Tiffany.
But Harper is out of her depth dealing with an addict’s denial and sociopathy, and doesn’t reckon that Tiffany, who has no boundaries at all, will explode in manipulative drama and involve Georgie herself in the vortex. Harper makes a mistake that keeps her from gaining control of the situation, and soon Harper is getting a big dose of no good deed goes unpunished. Even neglected kids often prefer to stay with the parent they know, and teenagers relish the freedom of an unengaged guardian.
Chelsea Bo wrote and directed No Right Way, and the exceptionally smart screenplay indicates that she is a perceptive observer of human nature, and her characters are authentically complicated.
Harper is responsible, but she’s naïve and a little judgy. When she observes the untidy household of Tiffany’s friend Amy, we can see Harper aghast at both red flags (the littlest kid is encamped in a closet) and Amy not meeting middle-class norms (we can see her thinking OMG she’s smoking in front of the kids!); but Amy’s teenagers happily play games with the family after dinner – an accomplishment most American parents would envy.
Amy (Sufe Bradshaw of Veep) naturally relates more to Tiffany than to the privileged Harper. But Amy has seen some bullshit in her day, and her sympathy to Tiffany is tempered by a focus on Georgie’s welfare.
Coupe is brilliantly twitchy and volatile as Tiffany, who, despite mountains of evidence to the contrary, erupts to make everything someone else’s fault.
Both lead actors – Bo and Ava Acres – are believable and relatable. Acres, who already has 57 screen credits on IMDb, is a force of nature as Georgie.
No Right Way is compelling without any tinge of soapiness. A scene where the dad reams out Harper on the phone as disfunction swirls around her is especially strong. This is a remarkably promising debut feature for Chelsea Bo. I screened No Right Way for its world premiere at Cinequest.
Kaymak follows the relationships of two couples in the same apartment building in teeming Skopje, North Macedonia. Eva (Kamka Tocinovski), a rich banker, lives in the penthouse with her husband Metodi (Filip Trajkovic), who wants a child; Eva, not a candidate for Mother of Year, doesn’t want her life disrupted by the bother of pregnancy and childbirth, so she plucks a young relative, Dosta (Sara Klimoska), from the countryside to serve as a surrogate. Dosta is developmentally disabled and lives with her family in an impoverished, backward village. Soon, Eva and Metodi are getting more than they expected and more than they can handle.
The other couple lives in a modest ground floor apartment. Caramba (Aleksandar Mikic ) is a goofy security guard; Danche (Simona Spirovska) is always exhausted from pulling double shifts at a bakery. Day to day drudgery has drained their relationship of passion, and Caramba is always on Danche’s very last nerve. When Caramba meets the comely and oversexed cheese vendor Violetka (Ana Stojanovska), their lives, too, are upended.
The characters have lots of sex, both joyously kinky and cringingly transgressive. It gets very funny, and Manchevski even drops in a delicious nod to the Spaghetti Westerns of Sergio Leone.
Ana Stojanovska and Simona Spirovska in KAYMAK. Courtesy of Kaymak.
However, Manchevski imbues Kaymak with more meaning than a mere sex romp, exploring both the imperative to parent and the elastic strictures of of monogamy. There’s tragedy (and apparent tragedy) here, amid all the absurdity. Manchevski told A Good Movie to Watch, “People usually want their films to have a consistent and predictable tone. Now, my preference as a film viewer, but also as a filmmaker, is more adventurous. I don’t mind disruption. On the contrary, I cherish it.“
All the characters, rich or not, enjoy kaymak, a versatile creamy milk reduction used in the Balkans as an appetizer, a condiment and a fast food breakfast.
Manchevski was Oscar-nominated for his acclaimed 1994 Macedonian feature Before the Rain. That Manchevski debut won the Golden Lion at Venice and was singled out as a masterpiece by Roger Ebert and The New York Times. Since then, Manchevski has been teaching in New York and directed an episode of The Wire.
Kaymak is his third film to play Cinequest, after Bikini Moon, my choice as the best film of the 2017 Cinequest, and Willow, a triptych that plumbs the heartaches and joys of having children. Kaymak is the raunchiest and most overtly comedic of the Manchevski films I’ve seen
The performances in Kaymak are all excellent. (Klimoska bears a passing resemblance to Kristin Stewart.)
Cinequest is hosting the US premiere of Kaymak. Find the trailer on the Cinequest Kaymak page.
Peter S. Kim, Ally Maki and Hayden Szeto in DEALING WITH DAD. Courtesy of 1091 Pictures.
Dealing with Dad is a topical family comedy with an Asian-American cast. Three adult siblings – the super-achiever oldest sister, the passive middle brother and the infantilized youngest brother, a gaming slacker – meet at their parents’ home. The dad, whose harsh and never-bending expectations battered them as kids, has become paralyzed (and defanged) by severe depression.
Although Dealing with Dad is a comedy, its strengths are in addressing two serious subjects – depression and the issues that many second-generation Asian-Americans face because of their immigrant parents’ parenting styles.
The differences between the siblings spawn lots of laughs, but I found the banter a bit too sit-commy for my taste.
Bay Area audiences will appreciate that Dealing with Dad is set in MILPITAS.
I screened for the 2022 Cinequest. It started rolling out in theaters on May 19.
Photo caption: I’M AN ELECTRIC LAMPSHADE. Courtesy of Cinequest.
In the winning and surprising documentary I’m an Electric Lampshade, we meet the most improbable rock star – a mild-mannered accountant who retires to pursue his dream of performing.
60-year-old Doug McCorkle is fit for his age and has an unusually mellifluous voice, like a late night FM DJ or the announcer in a boxing ring. Other than that he looks like a total square.
There may be no flamboyance about Doug McCorkle, but it thrives inside him. His own artistic taste is trippy, gender-bending and daring. Think Price Waterhouse Cooper on the outside and Janelle Monáe on the inside.
We follow Doug as he goes to a performance school in the Philippines (where most of his classmates are drag queens) and the montage of his training resembles those in Fame and Flashdance. Doug is a good enough sport to wear MC Hammer pants in a bizarre Filipino yogurt commercial. It all culminates in a concert in Mexico.
Doug’s quest would be a vanity project except he has no apparent vanity. He must have some ego to want to get up on stage, but compared to subjects of other showbiz documentaries, he is most humble, emphatically not self-absorbed and low maintenance. We can tell from how his co-workers, friends and wife react to him, that he is just a profoundly decent guy.
Eminently watchable, this is a successful first feature for writer-director John Clayton Doyle. The stage-setting profile of one of the Filipino artists could have been trimmed, but Lampshade is otherwise well-paced.
The final score: Doug 1, Expectations 0. I screened I’m an Electric Lmpshade for its world premiere at Cinequest, and it made my Best of Cinequest 2021. It’s now available to stream from Amazon, AppleTV, Vudu and YouTube.
Cinequest’s online festival Cinejoy ran through March 12. Here are the films that in the program that I hadn’t posted about yet:
Egghead & Twinkie: In this remarkably funny, sweet and genuine coming-of-age film, high school senior Twinkie (Sabrina Jie-A-Fa – real talent) is trying to navigate her sexual awakening as a lesbian, and goes on a roadtrip with her lifelong bestie, the neighbor boy who is now sweet on her. Perfectly paced, with just the right amount of whimsical animation sprinkled in, Egghead & Twinkie is an impressive debut feature for writer-director Sarah Kambe Holland. IMO this is one of the best coming-of-age films of the decade.
Catching the Pirate King: The enthralling Belgian documentary is two movies in one. The first is a play by play of the hijacking of a Belgian ship by Somali pirates and the negotiating of their ransom. The second is about the Belgian law enforcement’s dogged campaign to bring the pirates to justice – in Belgium. We meet the ship’s captain and crew, the shipping company’s negotiator, the cops and prosecutors and even some pirates. Absorbing, exceptionally well-sourced and very well-crafted.
Under Water: This dark Dutch dramedy (or extremely dark Dutch comedy) starts out as the insistent effort of a pushy woman and her estranged husband to get her aged mother into residential care. The mother, a paranoid survivalist, resists every entreaty by the woman and her estranged husband to leave her isolated, condemned house – and even imprisons them in her basement. The husband’s role evolves, and we eventually see that this is a portrait of generational mental illness.
Sweet Disaster: This zany German comedy is driven by the protagonist’s ever-unleashed impulsiveness and utter lack of boundaries. Frida (Friederike Kempter) encounters and falls for an airline pilot and audaciously charms him into a relationship; their affair lasts just long enough for her to become impregnated and for him to abandon her for his ex. Consumed by the urge to win him back, Frida throws propriety to the winds. Frida’s zany roller coaster is tempered by sweet relationships with her apartment neighbors, a precocious teenage neighbor and a Greek Chorus of card-playing older women.
Sloane: A Jazz Singer: This is another laudatory doc on an overlooked musical artist. Now 82, she’s a lot of fun. I wasn’t wowed by an advance version that I screened, but I understand that revisions have since made this film very strong.
The Secret Song: This doc is an uncomplicated movie about a visionary and saintly public school music teacher. He has touched hundreds of lives; this movie won’t.
In the very funny sci fi think-piece Share?, an unnamed Everyman (Melvin Gregg) finds himself locked up in his civvies in a high tech cell – and he’s on camera. Through trial and error, he learns that he can acquire necessities – and also on-screen social interaction with other captives – by performing for the camera; the currency is not unlike the likes and follows of social media. There are many layers of metaphor in this exploration of human behavior and the human appetite for bread and circuses.
Our protagonist is able to connect through his screen with others in his situation. One veteran (a great Bradley Whitford) is jaded and burnt out, sometimes a sage life coach and sometimes bursting into a nihilistic frenzy. Another noobie (Alice Braga) is a brilliant, driven strategist who immediately turns to organizing their escape; she proves that rage and fear are clearly the most effective motivators of human behavior (Fox News essentially runs on this fuel), but is the trade off in mental health worth it? A third star of the computer screen (Danielle Campbell) advocates for complacent acceptance and exudes a creepy serenity.
So, how about our current addiction to social media? Is it all one big Distraction that steers us away from addressing real challenges, like injustice, socioeconomic inequality and planetary survival? It’s great to see sci fi that is once again about ideas, not just about blowing shit up in space.
One of the wry ironies in Share? is that the force that is sufficiently technologically advanced to have captured these people without their knowledge and imprisoned them in high tech cells employs a clunky user interface that resembles (and may even be) MS-DOS.
Here’s a novelty – all of Share? is entirely shot from one static camera position. As convenient as this must have been in working from a low budget and perhaps pandemic-driven restrictions, it figures to pose a challenge in keeping the audience interested. But, thanks to the collaboration between director Ira Rosensweig, Assistant Editor Peter Szijarto and Gregg (who’s on screen 99% of the time), that’s not a problem.
Melvin Gregg, with his energy and relatability, does an excellent job carrying the movie. The rest of the cast – Bradley Whitford, Alice Braga, Danielle Campbell – is great, too.
Share? is the first feature for director and co-writer Ira Rosensweig and the third feature for co-writer Benjamin Sutor. Cinequest’s online festival Cinejoy is hosting the world premiere of Share?, which tops my Best of Cinejoy recommendations. You can find the trailer and tickets at Cinequest.
