LUNE: funny, searing, and richly authentic

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Aviva Armour-Ostroff (left) in LUNE, world premiere at Cinequest. Photo credit: Samantha Falco.

The Must See in this year’s Cinequest is the Canadian indie Lune, an astonishingly authentic exploration of bipolar disorder. Miriam and her teen daughter Eliza must navigate the impacts of the mom’s illness. Played by writer and co-director Aviva Armour-Ostroff, Miriam is the most singular movie character I’ve seen recently.

Miriam is her disease but not just her disease. Smart and funny, and devoted to her daughter without smothering her, she would be the Cool Mom if she weren’t always on be edge of mortifying everyone.

But then there is the bipolar disorder. Miriam’s streams of manic speech have the rhythm of poetry. When she becomes totally absorbed in a manic episode, she tries to enlist everyone she knows in wildly impractical schemes, like a spur-of-the-moment trip back to her native South Africa to vote for Nelson Mandela. And it can get inappropriate, as when she invites Eliza’s high school boyfriend to tag along to Africa.

Aviva Armour-Ostroff and Vlad Alexis in LUNE, world premiere at Cinequest. Photo credit: Samantha Falco.

Having survived previous episodes, Eliza is forced to parent her own mom, always beseeching her to take her meds. The illness has led to their being evicted countless times, and Eliza bears the emotional scars. Miriam often makes Eliza cringe, but Eliza knows that it can get even worse. Eliza’s boyfriend, with no reason to expect otherwise, vastly underestimates the consequences of Miriam’s illness.

Armour-Ostroff has made Miriam funny, but not only a subject of comedy, and neither harmless nor a dangerous monster.

Now, this authenticity is not easy to achieve. Having had family members with mental illness, I particularly despise the exploitation of mental illness for entertainment. I am painfully knowledgeable about multiple personality disorder, and I can tell you that it may be unpredictable, but it sure isn’t amusingly entertaining like in The United States of Tara. (The Three Faces of Eve, on the other hand, is acceptable to me.)

Chloe Van Landschoot in LUNE, world premiere at Cinequest. Photo credit: Samantha Falco.

I asked Armour-Ostroff what drew her to the topic of bipolar disorder? She replied “My dad is Miriam. The character of Eliza is based on me.” Wow. There you have it – the key to the authenticity of Lune.

Armour-Ostroff’s performance is riveting. The rest of the cast is excellent, including Chloe Van Landschoot as Eliza and Vlad Alexis as Eliza’s boyfriend.

Lune, which she co-directed with her partner. Arturo Pérez Torres, is the first feature as a director for Armour-Ostroff. The two co-produced 2017’s The Drawer Boy, which Pérez Torres directed. The Drawer Boy can be streamed on Amazon.

I screened Lune for its world premiere at Cinequest, and it made my Best of Cinequest 2021 as the Must See of the festival. Lune‘s next stop on the festival tour is RapidLion – the South African International Film Festival. There’s one more night to stream Lune at Cinequest for only $3.99.

MAKING THE DAY: will anyone see his movie?

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Steven Randazzo (center) in MAKING THE DAY. Photo courtesy of MCM Creative.

In the showbiz comedy Making the Day, a no-longer-in-much-demand character actor (a brilliant Steven Randazzo) struggles to put together the financing for an independent film. Director and co-writer Michael Canzoniero, who is clearly familiar with this problem, begins with the titles “Much inspired by true events. The rest is improvised.”

Our sublimely earnest hero is trying to make a film about his beloved late wife. You just know that, not only is no one going to invest in this film, no one is going to want to see it. But he’s so driven to make his movie that he takes money from a very scary hood (whose primary cinematic interest is in laundering ill-gotten loot).

Things go awry and he needs even more money. A neurotic actress (Juliette Bennett) promises the money if she can star in the movie. Is she going to be ultimately more dangerous to the movie than the mobster? It’s a tossup.

The plot is kind of like an indie movie version of The Producers, only if Zero Mostel’s Max Bialystock were understated and sincere.

The core of Making the Day is the hangdog performance by Randazzo. His character’s sincerity and desperation are so genuine, that he’s the perfect counterpoint to all the screwballs surrounding him.

I screened Making the Day for its world premiere at Cinequest.

IN THE SHADOWS: are we totally controlled?

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Numan Acar in IN THE SHADOWS. Photo courtesy of Cinequest.

The gripping Turkish dystopian fable In the Shadows imagines a place where people slave in a 19th century-type industry but are monitored by 21st century surveillance equipment. An unseen power dominates and controls the workers. But does it have an Achilles heel?

In the Shadows works largely because of the powerful performance by the Turkish-born German actor Numan Acar. Acar, who played the scary Taliban villain in Homeland, has the charisma and acting chops to move a compelling story with very little dialogue.

This is the third feature for writer-director Erdem Tepegoz, and it’s impressive movie-making.

There are than a few tastes of Orwell’s 1984 in In the Shadows. If you admired the 1984 Super Bowl commercial introducing Apple’s Macintosh, you’ll like this Turkish film. It won last year’s Turkish Film Critics Association Award.

I screened In the Shadows for its North American premiere at Cinequest and it made my Best of Cinequest 2021; you can stream it during the festival for only $3.99 at Cinequest’s online Cinejoy.

Select Closed Caption to get the English subtitles in the trailer.

WELCOME TO THE SHOW: looking for sensation, finding ennui

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WELCOME TO THE SHOW. Photo courtesy of Cinequest.

The indie comedy Welcome to the Show plunges the characters and the audience into a puzzle. Four college-age guys, always up for a party, blow off Thanksgiving with their parents to party, but the joke is on them.

They score an invitation to The Show, which they assume will be a party; after getting a little high, they sure like being frisked and blindfolded by sexy women, and driven to an undisclosed location. Now they don’t know where they are or what is supposed to be next in this increasingy mysterious experience.

What is being done to them? By whom? Why? And just where the hell are they? Are they in a elaborate party game or inside a piece of performance art? Or is this a prank or something more sinister? They don’t know and neither does the audience.

The surreal experience exhausts them. And, as is fitting for a surreal film, they stumble around completely spent, resembling the iconic walk on the road to nowhere in The Discreet Charm of the Bourgeoisie.

One of the satisfying running jokes is that, having given up their smart phones at upon admission to The Show, these Millennials are utterly lost without the navigation apps. They have not been air-dropped into the Yukon wilderness, but are in Richmond Virginia, a city with a major river, railroad tracks, highways, landmarks and street signage.

Keegan Garant is the most interesting among a cast of newcomers.

This is the second film for writer-director Dorie Barton, and she resists the temptation to reveal everything to the audience.

I screened Welcome to the Show for its world premiere at Cinequest. You can stream it during the festival for only $3.99 at Cinequest’s online Cinejoy.

ECHOES OF VIOLENCE: turnabout is fair play

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Michaella Russell in ECHOES OF VIOLENCE. Photo courtesy of Cinequest.

In the well-crafted revenge thriller Echoes of Violence, a woman (Michaella Russell) entangles an Everyman (Heston Horwin) to help her escape a series of deadly hit men (the first one is played by Chase Cargill). Loyalties change and lethal new skills (and a novelty weapon) are revealed as her position pivots from defense to offense.

The woman has been done a very evil wrong, and she’s clawed herself to some degree of safety, she launches a campaign of vengeance. Michaella Russell is a compelling enough screen presence to drive the story.

Russell is South African and, in real life, found navigating the US immigration system to be fraught with frustration. That experience (not as horrific as in the movie) inspired Nicholas Wood to make the villain an immigration attorney.

The venerable Frank Oz is effective in a turn as the main villain’s even more monstrous father.

Echoes of Violence is the second feature for writer-director Nicholas Wood and demonstrates that he can bring originality to a genre film.

I screened Echoes of Violence for its world premiere at Cinequest, and it made made my Best of Cinequest 2021; you can stream it during the festival for only $3.99 at Cinequest’s online Cinejoy.

Movies to See Right Now (at home)

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I’M AN ELECTRIC LAMPSHADE, world premiere at Cinequest. Photo courtesy of Cinequest.

We’re in the final four days of Cinequest, so take a gander at my Best of Cinequest. And here are my remembrances of Yaphet Kotto, George Segal and Jessica Walter.

ON VIDEO

Anthony Hopkins and Olivia Colman deliver heartbreaking performances in The Father, an unsettling exploration of memory loss. I saw The Father while covering the virtual Mill Valley Film Festival in October, and it’s now widely available to stream (just before the Oscars). It’s on my list of Best Movies of 2020.

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

ON TV

Jean Gabin (right) in PEPE LE MOKO

On March 27 and 28, Turner Classic Movies brings us one of the greatest movie stars, Jean Gabin in a pre-noir film, Pépé le Moko. Probably the greatest male French movie star ever, Gabin had dominated prewar French cinema with La Grande Illusion, Port of Shadows and Le Bete Humaine.  After the war, he aged into noir (Touchez Pas aux Grisbi, Razzia) and, in the 1960s, into neo-noir (Any Number Can Win, The Sicilian Clan).  Gabin oozed a seasoned cool (like Bogart) and imparted a stately gravitas to his noir and neo-noir characters.

Jean Gabin is on my very short list of the most perpetually cool humans to ever walk the planet, along with Dean Martin, Ben Gazzara, Joan Jett and Barack Obama.

In Pépé le Moko, Gabin plays the titular Algiers gangster who operates, immune from police interference, in the Casbah. The cops have been trying to lure him out of the Casbah for ages – and then they learn that he is obsessed with a woman…

Pépé le Moko was filmed in 1937, four years before the emergence of the film noir movement, an American cinematic phenomenon soon appreciated, named, and joined by the French. Pépé le Moko foreshadows noir with its elements of the dark, shadowy underworld setting and, of the course, the protagonist who has a dame for a weak spot. TCM is airing Pépé le Moko on TCM’s addictive Noir Alley, with intro and outro by Eddie Muller.

Mireille Balin and Jean Gabin in PEPE LE MOKO
Jean Gabin in PEPE LE MOKO

Three remembrances

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Richard Pryor and Yaphet Kotto (right) in BLUE COLLAR

In the past week, we’ve lost three fine screen actors, Yaphet Kotto, George Segal and, today, Jessica Walter.

REMEMBRANCE

Actor Yaphet Kotto has died at 81. Kotto made plenty of big movies (Alien) and is most remembered for starring in the television series Homicide: Life on the Street, as the Bond villain in Live and Let Die and as Idi Amin in the superb TV movie Raid on Entebbe. I most appreciate his performance in Paul Schrader’s 1978 Blue Collar, with Richard Pryor and Harvey Keitel, set in an auto factory. The Movie Gourmet comes from an autoworker family, and I have worked in a plant like the one in the movie, so I found the film especially evocative. Kotto was also excellent as the FBI agent shepherding Charles Grodin in Midnight Run.

George Segal (right) with Elliott Gould in CALIFORNIA SPLIT

George Segal’s big screen breakthrough came in that most searing exploration of toxic marriages, Who’s Afraid of Virginia Woolf? My favorite George Segal performance came in what is arguably Robert Altman’s best movie, California Split. Segal and Elliot Gould played two compulsive gamblers; as usual, Gould had the flamboyant part, but Segal was masterful as his more contained character slipped bit by bit into the vortex of addictive behavior.

Jessica Walter in PLAY MISTY FOR ME

Jessica Walter was an incredibly prolific television actress with one great movie performance. That performance was as Evelyn, Clint Eastwood’s nightmare of a one night stand in Play Misty for Me. Walter topped off her career as Lucille Bluth in 84 episodes of Arrested Development. I don’t know what the record is for guest spots in 1972-76 detective shows, but Water appeared in Banyon, Cannon, The F.B.I. (six times), Mannix, Columbo, Ironside, Barnaby Jones, Hawaii Five-O, Banacek, McCloud, The Streets of San Francisco, and MacMillan & Wife.

THE FATHER: as reality shifts

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Olivia Colman and Anthony Hopkins in THE FATHER

Anthony Hopkins and Olivia Colman deliver heartbreaking performances in The Father, an unsettling exploration of memory loss.

As we meet the elderly Anthony (Hopkins), he is insisting on independence that he can no longer sustain. That makes it hard on his daughter Anne (Colman), who is trying to keep him safe and healthy, despite his resistance. But Anthony is losing his memory and becoming ever more suspicious. Soon, all the characters are experiencing disorentation, even fantasies and hallucinations.

The Father is the directing debut for Florian Zeller, who wrote the original play. Along with the superb acting, the key to The Father is Zeller’s ever shifting of reality as understood by the characters and by the audience. As we think we understand what is going on and then have it unraveled, we, like Anthony, lose confidence in our orientation.

Anthony Hopkins has an Oscar and a long list of great performances (The Silence of the Lambs, The Remains of the Day, Nixon, The Human Stain, The Two Popes), but none is better than this one. His Anthony is a man whose characteristic wilfulness is finally self-defeating; he is a man ever confident of his opinions, but the factual basis for those opinions is eroding. He is a man who firmly believes he is always right, facing a new reality in which he demonstrably is not.

Colman is also superb as the able and devoted daughter who is hurt by her father’s perception that she is betraying him. The rest of cast – Rufus Sewell, Imogen Poots, Mark Gattis and Olivia Williams – is impeccable.

The Father, which I saw while covering the virtual Mill Valley Film Festival in October, will be widely available to stream on Friday. It’s on my list of Best Movies of 2020. It has earned six Oscar nominations, including Best Picture and acting recognition for Hopkins and Colman.

HOLLYWOOD FRINGE: be careful what you wish for…

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Justin Kirk and Jennifer Prediger in HOLLYWOOD FRINGE. Photo courtesy of Sleeper Cell Films.

Hollywood Fringe is about a married couple of hopeful creatives (Justin Kirk and Jennifer Prediger). They have been pitching their projects to Hollywood execs in futility; (she’s turned forty and her mom still helps with their rent). Popular interest in their experimental theater performances has been (ahem) limited. They give themselves one last chance to make it – but when a studio buys their idea for a series, things don’t go as planned…

We’re used to seeing Hollywood execs lampooned as tasteless capitalist barbarians who always reach for the lowest common denominator, and Hollywood Fringe does skewer the suits. But nobody gets a pass from writer and co-director Wyatt McDill and co-director Megan Huber. The funniest bits send up the artistes for projects that are overly obscure, overly precious or both. And even an impoverished artist on the lowest rung of showbiz can get a comeuppance for White privilege.

The added dimension in Hollywood Fringe is the dynamic of a married couple working in the same competitive industry and often in the same creative projects.

Led by Prediger and Kirk (Mitchell’s boss Charlie Bingham in Modern Family), the entire cast is excellent. Given that the actors live in the world that they get to send up, they must have had a blast shooting Hollywood Fringe.

Filmmakers Megan Huber and Wyatt McDill returned to Cinequest with a complete change of pace from last year’s inventively constructed thriller 3 Day Weekend. No strangers to the Hollywood fringe milieu, Huber and McGill shot some of the scenes in their own Los Feliz apartment.

Hollywood Fringe made my Best of Cinequest 2021 as the best comedy I’ve seen in the fest. You can stream it during the festival for only $3.99 at Cinequest’s online Cinejoy.

EVERYTHING IN THE END: accepting the inevitable

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EVERYTHING IN THE END

The “End” in the title Everything in the End means, literally, the end of the world. Set in a future where climate change has made human extinction certain and imminent, the story imagines how people would react as they understand that they have only a few days left.

A young man, Paolo (Hugo de Souza), whose mother has died, decides to meet his fate in Iceland, the land of the father he has never met. Paolo meets one stranger after another, each of whom is contemplating the situation in their own way. By now, everyone is beyond the shock, denial, anger and bargaining.

What Paolo doe NOT find is overt rage or a paroxysm of hedonism. One guy swigs from a bottle of booze, but in a half-hearted way.It’s too late for political or commercial exploitation. And this is not a disaster action movie, so heroism does not take the form of battles or chases. More profound than grim, End of Everything takes the sensationalism out of the apocalypse and leaves the humanity.

Lilja Þórisdóttir is especially good as a local who greets Paolo with with kindness and wisdom.

This is the first feature from writer-director Mylissa Fitzsimmons, and it’s a remarkable showcase for the intelligence of her writing and her eye for landscapes. Without her clarity of mission, the story could have easily veered into a downer or an overwrought disaster saga. Fitzsimmons does let us glimpse the actual apocalypse, but in just the perfect number of seconds.

Set in the stark beauty of Iceland, this is a visual stunner. The cinematographer is Todd Hickey.

Everything at the End is a powerful think piece and made my Best of Cinequest 2021; you can stream it during the festival for only $3.99 at Cinequest’s online Cinejoy.