BREAKING FAST: just another gay Muslim romantic comedy

Haaz Sleiman and Michael Cassidy in BREAKING FAST. Photo courtesy of Cinequest.

In Breaking Fast, successful physician Dr. Mo (Haaz Sleiman) is a practicing Muslim who is out to his family, friends and work colleagues; although he lives in West Hollywood, he’s not part of the gay club scene. He has a longtime boyfriend Hassan (Patrick Sabongui), and Mo’s most flamboyant behavior is scoring the best desserts from the local Middle Eastern bakery for family gatherings.

Hassan’s family is not so tolerant, and Hassan – buried deep in the closet – believes that he must enter a sham heterosexual marriage, which Mo cannot stomach, and they split. Then, Mo meets meets Kal (Michael Cassidy), sparks fly, and the audience recognizes that Kal is perfect for Mo. But Kal is neither Arab nor Muslim, and Mo is still obsessed with losing Hassan. A romantic dramedy ensues.

The term “Gay-rab” pops up. And there is a stereotypical Gay Best Friend, Sam (Amin El Gamal), who is so gay that his party features a gospel choir singing Happy Birthday.

Sleiman is an adorable lead, and the flawless main characters must navigate a straightforward conflict.

This is a first feature by writer-director Mike Mosallam. He delivers solid entertainment here, elevated with insights into the quandaries faced by LGBTQ Muslim-Americans. Authentic-seeming cultural glimpses in the lives of Arab-Americans, Muslim-Americans and LGBTQ LA are a bonus.

There’s even an effective cameo by Veronica Cartwright. BTW it’s good to see these Arab-American actors getting chance to play something other than terrorists on episodic TV.

Although the most striking aspect of Breaking Fast is its breaking ground on the topic of LGBTQ Muslims, we should note that it’s a romantic comedy about someone on his forties, which isn’t all that that common, either.

So, this is just another gay Muslim romantic comedy…I predict that Breaking Fast will become the Feel Good hit of the 2020 Cinequest. And I wouldn’t bet against Breaking Fast getting a shot at theatrical distribution. Cinequest hosts the world premiere of Breaking Fast.

BEFORE THE FIRE: when sanctuary brings its own terror

BEFORE THE FIRE. Photo courtesy of Cinequest.

In the thriller Before the Fire, this year’s Must See at Cinequest, the only escape from an apocalyptic flu pandemic is a woman’s long-estranged rural hometown – but the scary family who traumatized her childhood is there, too. Written by its female star Jenna Lyng Adams, and the first feature by its female director Charlie Buhler, this indie thriller rocks.

Ava Boone (Adams) is a Hollywood actress who has found some success “pretending to be a vampire”, as she puts it, on a television series. As a killer flu sweeps America’s cities, her photojournalist husband (Jackson Davis) seeks to save her by tricking her into refuge with his family in their sparsely populated childhood hometown.

The problem is that growing up in a family ruled by her abusive father was deeply traumatizing. And it’s only a matter of time until her family finds out that she’s back.

As star and screenwriter Adams has said, “but what if the last place you wanted to go was the only place you could go?”

Veteran Charles Hubbell is excellent as the monstrous dad. The part is written to acknowledge that domestic abuse is about power and control – and not just physical abuse. This guy emanates physical brutality, but he is also a master manipulator.

To make things worse, the dad leads a militia of Deliverance-style yahoos, whose strategy to suppress the flu is to murder outsiders.

Ava was once – and is definitely no longer – a farm girl. For necessity’s sake, she begins repairing fences and doing the other hard, dirty and unglamorous work of the family farm run by her husband’s brother (Ryan Vigilant) and his mother (M.J. Karmi). Along the way, she physically hardens up and develops some skills with firearms.

Unsurprisingly (since she wrote it), the role of Ava is a showcase for Jenna Lyng Adams (The Kominsky Files). When Ava first sees her father again, she’s terrified to her core, which tells us all we need from the back story. Adams’ performance is compelling and credible as Ava has to devise and execute her own survival plan. Adams is on-screen in almost every scene and carries the picture.

“Audiences are thirsty for unconventional, layered, and imperfect women on-screen,” said Adams. “I wanted our protagonist to find her strength by facing the darkest parts of her life in the darkest hours of the world. She reinvents herself over and over again to survive.”

“We fought to make this movie, because we felt that there was a very specific expectation about the types of stories women were able to tell,” says director Charlie Buhler.  “Male directors shift between genres much more fluidly, and I think you can feel it in the types of stories that make it to the screen. But Jenna and I both love action, we both love sci-fi, so we wanted to make a female protagonist that we women could really rally behind.”

Indeed, women filmmakers shouldn’t be left to the high-falutin’ Message Pictures while the guys have all the fun with the genre movies.

Before the Fire was filmed on location in South Dakota. Cinematographer Drew Bienemann (visual effects in Beasts of the Southern Wild) makes the barren wintry landscape work to illustrate the Ava’s isolation and vulnerability.

Cinequest will host the world premiere of Before the Fire, which is the best American narrative feature in the fest.

ANA’S DESIRE: a transgressive slow burn

ANA’S DESIRE. Photo courtesy of Cinequest.

In the Mexican sexual psychodrama Ana’s Desire, Ana (Laura Agorreca) is a conscientious working single mom. She is unsettled by the sudden appearance of her shady younger brother Juan (David Calderón León), who has been out of contact for years. With his motorcycle and his subversion of Ana’s bedtime and dietary routines, Juan becomes that Way Cool, fascinating uncle to Ana’s son Mateo (Ian Garcia Monterrubio).

It turns out that Ana and Juan had a tough childhood, having been raised by a less-than-ideal widowed father. They became very close then, and Ana’s visit back to their hometown rekindles old memories and deep-rooted feelings.

What is going on here between Ana and Juan? Writer-director Emilio Santoyo lets the audience connect the dots in a slow burn compressed into only 80 minutes. The ending pays off.

Cinequest hosts the US Premiere of Ana’s Desire.

3 DAY WEEKEND: an ingeniously constructed thrill ride

Maja Stojan in 3 DAY WEEKEND. Photo courtesy of Cinequest.

The inventively constructed thriller 3 Day Weekend is a storytelling triumph for writer-director Wyatt McDill and a taut 80 minutes of gripping entertainment.

3 Day Weekend begins with a lovelorn Millennial doofus, Ben, on a solo camping trip. Despite a noticeable lack of outdoor skills, Ben pitches his tent in the woods near a remote lake; but other people arrive, and everything that Ben witnesses tells him that he has blundered into a kidnapping in progress, and, possibly, a murder. But all is not as it seems…

We follow what Ben sees for 29 minutes, and then the point of view shifts to that of a second character. The added vantage point provides the audience with more puzzle pieces, and we start understanding that the story is going in another direction. Then a third character, and, finally a fourth, add layers to complete the story.

McDill even takes us from one crime subgenre to another – is this a peril-and-rescue film, a heist movie, a tragic neo-noir or a perfect crime flick?

And McDill tells his story with hardly any dialogue – and essentially none in the first half of the movie, unless you count grunts. The actors – Maya Stojan, Morgan Krantz, Nathan Phillips and Scott MacDonald – ably tell the story without many lines.

This isn’t exactly like Rashomon, where each character’s perspective shapes the facts differently. In 3 Day Weekend, the facts are all the same; it’s just that some characters come to the story knowing things that others don’t, and some characters experience events that others miss.

There’s plenty of humor slyly embedded in this tale, chiefly in the foibles of the male characters. Plus there are two tattoos that the audience will not be expecting.

McDill also cleverly uses the time-stamped notifications and texts from smart phones to set and reset the timeline of the story threads.

This is an ingenuously-constructed story. Cinequest hosts the world premiere of 3 Day Weekend.

WHAT SHE SAID: THE ART OF PAULINE KAEL – the drive for relevance

Pauline Kael in WHAT SHE SAID: THE ART OF PAULINE KAEL

What She Said: The Art of Pauline Kael is the remarkably thorough and insightful biodoc of the iconic film critic Pauline Kael and her drive for relevance.

Documentarian Rob Garver has sourced What She Said is well-sourced with the memories of Kael’s colleagues, rivals and intimates. Garver’s portrait of Kael helps us understand her refusal to conform to social norms as she basically invented the role of a female film critic and what today we might call a national influencer on cinema.

Of course, one of Kael’s defining characteristics was her all-consuming love of movies, a trait shared by many in this film’s target audience. Fittingly, Garver keeps things lively by illustrating Kael’s story with clips from the movies she loved and hated. Garver’s artistry in composing this mosaic of evocative movie moments sets What She Said apart from the standard talking head biodocs.

Kael was astonishingly confident in her taste (which was not as snooty as many film writers). For the record, I think Kael was right to love Mean Streets, Band of Outsiders, Bonnie and Clyde, and, of course, The Godfather. It meant something to American film culture that she championed those films. She was, however, wrong to love Last Tango in Paris. She was also right to hate Limelight, Hiroshima Mon Amour and The Sound of Music. But Kael was just being a contrarian and off-base to hate Lawrence of Arabia and Shoah.

Kael was by necessity an intrepid self-promoter and filled with shameless contradictions. She famously dismissed the auteur theory but sponsored the bodies of work of auteurs Scorsese, Peckinpah, Coppola and Altman. She loved – even lived – to discover and support new talent.

Most of the people we like and admire possess at least some bit of selflessness and empathy. Kael’s daughter Gina James says that Kael turned her lack of self awareness into triumph,. This observation, of course, cuts both ways.

I saw What She Said: The Art of Pauline Kael at the 2019 San Francisco Jewish Film Festival. It’s now playing in theaters in San Francisco and Berkeley.

Stream of the Week: CITY OF HOPE – life is complicated, so are American cities

Joe Morton and Angela Bassett in CITY OF HOPE

John Sayles’ City of Hope, almost thirty years old, is still searingly relevant on race in America and is still one of the most incisive films on American politics.  Life is complicated, so is America and so are politics.  Most political films are NOT complicated, but Sayles respects the audience enough to give us a realistic story in a realistic community setting.

City of Hope features over twenty characters braided together in interlocking story threads.  It’s set in an Eastern US City very much like Newark, New Jersey.  An Italian-American business and political establishment is still clinging to the levers of power, as an emerging black and brown majority pushes for inclusion.  There is racial tension and everyday political corruption – and people must get on with their lives. 

Tony Lobianco and Vincent Spano in CITY OF HOPE

A self-made contractor (Tony Lo Bianco) is trying to finish a big project but the driving forces of race and politics intervene, just as his troubled and immature son (Vincent Spano) is flaming out.  An African-American professor-turned elected official (Joe Morton) is trying to keep his integrity, maintain credibility with the black community and be effective – which is hard to do at the same time.  And that really just kicks things off.

City of Hope has an extraordinary cast that includes many stars early in their careers:  Angela Bassett, Chris Cooper, Gina Gershon, Frankie Faison, Miriam Colon.  Kevin Tighe is absolutely brilliant as a police union official whose every personal interaction is designed to increase his political leverage (this is a guy that I’ve met many times on my day job).  Tom Wright is compelling as Malik, a distrustful activist.  The great David Strathairn, who has appeared in six of Sayles’ films, is unforgettable as Asteroid, a schizophrenic street dweller.

Sayles and Sayles’ life partner Maggi Renzi, who has produced all his films, carved out juicy – and the least sympathetic roles – for themselves. In a hilarious turn, Renzi plays a Greek Chorus in the form of an Italian homemaker (They don’t LISTEN!).  Sayles himself plays Carl, a treacherous and reptilian scumbag of a local crime lord.

City of Hope was released in 1991, right on the heels of 1989’s Do the Right Thing – both remain as insightful on America’s race issues as they were thirty years ago.   City of Hope is said to have influenced The WireCity of Hope may be streamed from iTunes, Vudu, YouTube and Google Play.

Tony Lobianco and John Sayles in CITY OF HOPE

Stream of the Week: COLMA: THE MUSICAL – a refreshing hoot

COLMA: THE MUSICAL

Here’s a heartfelt and funny cinematic dive into the Bay Area’s Filipino community – and it’s a movie musical!  Colma: The Musical is a coming of age story following three Filipino-American kids graduating from high school. 

The characters burst into 13 original songs written by director H.P. Mendoza – and they’re great songs.  As one of the kids, the charismatic L.A. Renigen absolutely soars.

The film was shot on location in Colma, California, the town more known in the Bay Area as the home of San Francisco’s cemeteries.  But almost 2,000 living, breathing folks reside there, and they have their stories, too.

H.P. Mendoza is a Bay Area treasure, having written and directed the genre-bending art film I Am a Ghost and the dark indie comedy on domestic violence Bitter Melon.

Colma: The Musical is refreshing on many levels – and it’s a hoot.  I recommend the delightful Colma: The Musical for anyone, especially Bay Area residents; you can stream it from Vudu, YouTube and Google Play.

1917: why all the fuss?

George MacKay in 1917

The WW I thriller 1917 is a only a solid movie, despite groundbreaking technical achievements. The story is simple – two British soldiers must race across nine miles of enemy territory to prevent a doomed attack. One of them has been cynically selected because his brother would be one of the soldiers to walk into the German deathtrap. Will they survive a series of perils and make it in time?

There are moments which are essentially the equivalents of video games or amusement park rides, especially a tunnel cave-in, a crashing biplane and an unexpectedly roaring river. Now, a viewer knows that there is NO MOVIE HERE AT ALL if at least one of these guys doesn’t reach the objective, or at least come heartbreakingly close; that knowledge removes some of the tension from the dangerous situations in the first three-quarters of the film.

The screenplay, co-written by director Sam Mendes, is very lame; unbelievably, it has been nominated for an Oscar. One of the leads regards his tranquil surroundings with “I don’t like this place,” which is movie foreshadowing as obvious as “It’s quiet…too quiet.” I don’t consider it a spoiler to let you know something bad happens in “I don’t like this place“,

On to the technical achievements. Mendes has constructed the film as if it were one, continuous shot. This is NOT a gimmick; the continuity and the illusion of a single shot is all in service to the story by reinforcing the POV of our protagonists. It is brilliantly photographed by cinematographer Roger Deakins.

Deakins is a lead pipe cinch to win a deserved Cinematography Oscar. He won in 2018 for Blade Runner 2049 and has 12 other Oscar nominations. 1917 is in amazing achievement for Deakins.

At one point, a protagonist is creeping through a decimated town that is filled with enemy snipers. Every so often, a flare lights up the ruins as if it were daylight, and our soldier has to sprint toward darkness, essentially racing the flares. It’s a remarkable visual, and I never seen anything like it before.

There are scenes where we follow the soldiers down miles of trenches – a remarkable job of production design. Mendes also seems to have gotten all of the period details right.

George MacKay is excellent as one of the protagonists, Corporal Scofield. As a character, Scofield spends the movie in fear, determination or both simultaneously, so MacKay doesn’t need to use much range, but he is compelling. MacKay has the kind of face that is well-suited for a character haunted by dread and tragedy.

The always-charismatic Benedict Cumberbatch makes the most out of his two minutes on screen. as does Andrew Scott.

I admired the movie wizardry of 1917, but I wasn’t thrilled or moved by it. 1917 won a Golden Globe and has garnered a zillion Oscar nominations. I see 1917 as this year’s Avatar, a technical marvel that no one will be talking about in five years.

HONEYLAND: bees good, neighbors bad

HONEYLAND

The documentary Honeyland is about a fiftyish Macedonian woman named Hatidze, who lives in an otherwise abandoned mountain village. She cares for her mother, who is blind and bedridden, and she clambers over rocky mountains to collect honeycombs and bees; she sells the honey in a nearby city for a living.

Suddenly, a thoroughly disorganized family moves in next door, sprawling litter and rowdy kids across the previously serene landscape. The father, Hussein, thinks that he will strike it rich raising cattle and bees; the fact that it’s not that easy utterly escapes him. Hussein is foolish, makes the lazy choice at every opportunity and blames the resultant misadventures on others.

Despite Hatidze’s best efforts, her mother’s health declines and Hussein’s self-made disasters continue. That’s all that happens in Honeyland. As my longtime readers will know, I’m more patient with the slowly paced, indie cinéma vérité than the next guy; but but I lost interest in Honeyland. The only reason I watched Honeyland to the end was because The Wife wanted to see if something more interesting was going to happen.

In fact, the only reason that I’m writing about this film at all is that it has somehow been Oscar-nominated for both the Best International Film and the Best Documentary, which I find baffling.

Reportedly, the filmmakers lived in tent in the remote village and filmed Honeyland over four years.

Hatidze is sweet, decent and fully aligned with popular values of sustainability. She has a sense of humor and some measure of snaggle-toothed charm. The film is only one hour 26 minutes, but it seems longer. I streamed Honeyland, but I don’t know why you should.

Stream of the week: CARLITO’S WAY – Pacino illuminates another gangster epic

Al Pacino (right) in CARLITO’S WAY

Brian De Palma’s 1993 neo-noir Carlito’s Way is one of the great crime films.  If you like The Godfather, you’ll like the similarly operatic Carlito’s Way. Al Pacino is brilliant, and we so sympathize with this anti-hero that we’re hoping he will avoid the heartbreakingly noir ending.

Pacino stars as Carlito Brigante, a successful Puerto Rican drug dealer just released back to New York City from prison.  He’s looking to invest in a nightclub and develop a legitimate nest egg so he can retire to the tropics with his girlfriend.  But the crime world he comes from isn’t going to make that easy. This isn’t the bombastic Pacino – his Carlito is ever-watchful and shrewd, like his Michael Corleone in The Godfather films.

Carlito’s Way’s high points are three unforgettable set pieces: a drug deal rendezvous where Carlito senses something is amiss, a nightclub confrontation with an aspiring gangster, and an extraordinary chase scene through Grand Central Station. In the chase, Carlito must escape two skilled and determined Mafia hit men, one of whom is profoundly obese.

Carlito’s Way features top rate supporting performances from Luis Guzman, Sean Penn, Penelope Ann Miller and Viggo Mortensen, along with John Leguizamo’s breakthrough.  Penn’s coke-fueled shady lawyer is the juiciest role, but don’t overlook Jorge Porcel as Sasso; this Argentine comic actor was near the end of his 54-movie and 32 -television series career, and he is perfect as Sasso.

The two hours and 24 minutes never drags.  Carlito’s Way plays frequently on premium television channels and is available on DVD and Blue-Ray from Netflix. Carlito’s Way can also be streamed from Amazon, iTunes, Vudu, YouTube and Google Play.

Sean Penn and Al Pacino in CARLITO’S WAY. Credit:The Kobal/Universal. Collection
John Leguizamo, Luis Guzman and Al Pacino in CARLITO’S WAY.