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Movie Review (Tribeca 2024): ‘Made in England: The Films of Powell & Pressburger’: A Love Letter from Martin Scorsese to Two British Titans of Cinema


Director: David Hinton
Stars: Martin Scorsese, Michael Powell, Emeric Pressburger

Synopsis: Martin Scorsese reflects on the influence of filmmakers Michael Powell and Emeric Pressburger, whose decades-long collaboration led to a series of classics that made the duo a crucial part of British cinema.


When Martin Scorsese charted his early filmgoing escapades in 1995’s A Personal Journey with Martin Scorsese Through American Movies, he structured said journey by splitting films from the directors he highlighted into four categories. There was the director as a storyteller, in which Scorsese focused on Westerns, gangster films, and musicals; as an illusionist, a la D.W. Griffith and F. W. Murnau; as a smuggler, like Douglas Sirk, Samuel Fuller, and Vincente Minnelli, filmmakers who hid subversive messages in their works; and as an iconoclast, filmmakers who take aim at social conventions, including Charlie Chaplin, Orson Welles, Elia Kazan, and Stanley Kubrick. 

The aforementioned filmmakers are all icons, each one deserving of their own individual retrospectives. But it’s fitting that the two men Scorsese has championed the most over the years, Michael Powell and Emeric Pressburger, are the first to receive such treatment from the man himself in the form of David Hinton’s Made in England: The Films of Powell & Pressburger. Scorsese narrates a sprawling history of the duo’s collaboration as he viewed it: with enthusiasm and adoration. His singular connection to Powell & Pressburger’s work turns what might otherwise serve as a by-the-numbers documentary about a legendary filmography into a far more personal tour through an inimitable yet influential body of work. And sure, it helps that Scorsese just so happens to be one of the seminal filmmakers of his generation, if not le grand fromage; all the more reason to enjoy the journey.

For many viewers, that journey may be an uncharted one. Though The Red Shoes will undoubtedly set off alarm bells for most Criterion Channel subscribers, most films from The Archers — Powell and Pressburger’s production company — initially spent years shrouded from mainstream attention. That wasn’t the case for Scorsese, who first caught their work on a colorless television set that dilapidated the pure beauty of Powell and Pressburger’s technicolor fever dreams. No matter; to a young Marty, their films were vibrant on any screen. The Archers’ landscapes, often drenched in red, fed his senses; the duo’s title cards, which always read “Written, produced, and directed by” both Powell and Pressburger, were cause for endless curiosity. Who was actually directing? Who was writing these scripts? How were they getting away with such unique mastery, as a duo no less?

Of course, knowing what we know now, we can answer these questions ourselves. (Powell directed; both contributed to the script using stories from Pressburger; sheer conviction, I suppose?) But Scorsese, as he tells us, had to find out for himself, and set out to learn the truth early on in his career. He met with Powell in 1975, on the heels of Mean Streets and Alice Doesn’t Live Here Anymore. Scorsese recalls expressing his admiration for The Archers’ work, noting that Powell was quiet and reserved, but moved that American filmmakers like Scorsese, Brian de Palma, and Francis Ford Coppola revered his movies. (Powell specifically noted that Scorsese’s praise caused him to feel “blood course through his veins.”) To Scorsese, Powell and Pressburger were unlike the David Leans, Carol Reeds, and Alfred Hitchocks of the world, the so-called “mythical creatures in British filmmaking.” They were doing something wholly different; perhaps that’s what drew the likes of de Palma and Coppola to their work.

But what Scorsese brings to Made in England is something few others of a similar ilk — and there are very few — can offer: A perspective rooted in authorship. Not only does he possess a distinct appreciation for the way The Archers tended to feature a familiar troupe of actors in each of their projects, something Scorsese does himself, but he’s even taken some of Powell and Pressburger’s stylistic calling cards and implemented them into his own films. Mean Streets is as red as it is thanks to, you guessed it, The Red Shoes; Powell even felt it was “too red.” The Age of Innocence and Black Narcissus have more in common than you think; the next time you program a double-feature of Raging Bull and The Life and Death of Colonel Blimp, note the similarities between Jake LaMotta’s long walk from the tunnel to the boxing ring and Colonel Blimp’s early duel. In Made in England, Scorsese notes how Blimp neglects the duel itself in an effort to focus on the relationship between its participants; in Raging Bull, he similarly focuses more on LaMotta’s life than he does the fights in which he partakes. 


Made in England is as much a lesson in filmmaking as it is a celebration of the great works of two collaborators who saw it as their duty to challenge the conventions of modern filmmaking, if not to upend them completely. Scorsese, having had a relationship with and an appreciation for the filmmakers in question, is the only tour guide that makes a lick of sense for such a journey. His attraction to Powell & Pressburger is unrivaled, and that it influenced his work so heavily is a big part of what makes Hinton’s documentary so captivating. Not only will it make any cinephile want to revisit the subject’s films as if for the first time, but it will make you clamor for more filmmakers to be as passionate about their craft as Scorsese manages to be. Authenticity can’t be bought. But it can be showcased.

Grade: B+

Movie Review (Tribeca 2024): ‘Hunters On a White Field’ Shows the Devastating Effects of the Male Ego


Director: Sarah Gyllenstierna
Writers: Sarah Gyllenstierna, Mats Wägeus
Stars: Ardalan Esmaili, Jens Hultén, Magnus Krepper

Synopsis: The story is about three friends who spend a long weekend in a remote cabin, intending to hunt deep in the Swedish woods. However, one day all animals vanish without a trace and the forest turns eerily quiet


For an activity such as hunting, it feels like people’s opinions on it can fall very firmly into one of two possible categories. There are those who are firmly opposed to it, and those who have gone hunting. Whether brought from a young age or discovered later in life and used as a means to feed oneself, hunting doesn’t really feel like an activity that you just stumble into. There’s a rather large barrier of entry, and that’s before even considering how the implications it has on an individual both morally and psychologically. As somebody who has always considered themselves in the former category, I cannot deny my intense fascination behind one of the most inherently compelling stories ever created. I’m referring to “The Most Dangerous Game”, a 1924 short story by Richard Connell. Undoubtedly one of the most influential stories ever written, Sarah Gyllenstierna’s Hunters on a White Field finds itself entering into the halls of the many stories who owe some gratitude to the now century-old tale of a man being hunted by another man.

But the ways in which Gyllenstierna’s debut feature go about capturing such a familiar story is what’s most exciting. Beginning as a gripping drama, Gyllenstierna leaves her audience entranced for a large chunk of the film before completely abandoning all that in favor of goosebump-raising tension and genuine thrill. And the shift occurs in such a way that would completely derail a lesser film. Yet the tone of Hunters on a White Field remains steadfast throughout, regardless of whatever genre it feels Gyllenstierna is dipping her toe into. 

The film begins with two men in a convertible. With the top down, they yelp towards the heavens out of excitement at the isolation they are headed towards. Gregor (Magnus Krepper) and Alex (Ardalan Esmaili) are headed to the home of Henrik’s (Jens Hultén) brother for an annual hunting trip. While Gregor and Henrik have made this trip a yearly tradition, this is Alex’s first time joining. He has just received his hunting license, and it would appear as if he is being inducted into this established posse. Gregor and Alex work together, and Henrik’s life seems a bit more up in the air. He very much feels like a person who always seems  to be traveling from place to place. And while you may admire on some level how he’s able to experience all that life has to offer in the great outdoors, you’re often left with the confused question as to how he’s able to afford such a life. While the details are vague, we at least know that Gregor and Alex work some sort of corporate job. It’s referred to in the most standard of office jargon, but the how and what of this trio of lives doesn’t matter in the slightest. In fact, they could literally be anybody. These characters merely serve as a vessel for Gyllenstierna. When out here, isolated from all of society, all that matters is the why. Why have these men made such a tradition of this retreat into nature? Are they really that in touch with the world around them? Based on how they carry themselves and where the film takes them, it feels like the actual answer is much simpler: ego.

From the opening moments alone, it’s made clear that these men are putting on a bit of a front. The very disregard for nature is made painfully obvious from their actions alone. So to hear them digress into these long-winded details of how to follow the “rules of hunting” which they have created should instantly clue audiences into Gyllenstierna’s angle. These men, on some level, are frauds. They don’t go on this trip to connect with the larger world around them. If that were the case, a weekend-long hike would likely provide just as much fulfillment. This destination, and activity, is chosen for a very specific reason. One can imagine how Gregor handles himself in the office. He appears to be the oldest of the three, and one gets the sense that he feels no control over his life 51 weeks out of the year. It’s only when he finds himself alone with Henrik on this yearly excursion that he gets the chance to “be himself.” On this trip, all we see is their pride taking over their bodies and minds completely. They treat Alex as if he’s a child, teaching him the way of the woods through tough love and light hazing. All in the name of harmless fun, right? Only this weekend isn’t harmless. It quickly devolves into something menacing. It takes on a dark shadow of what hunting represented thousands of years ago. Gyllenstierna even addresses this comparison to ancestral times directly with Gregor’s hobby.

About a third of the way through the film, Gregor takes out his collection of ancient arrowheads and hunting tools. Upon first viewing, he does seem rather passionate about these pieces he has collected over the years. But when taking in the entire film upon its conclusion, it’s comical to think about a scenario in which even these are phony. He merely collects replicas in the hopes of impressing those around him with his hunting prowess. Whatever the actual case may be regarding the authenticity of such items, it’s what these men do in the presence of them that really cracks Hunters on a White Field wide open. Gregor and Henrik begin rough housing with a small axe and arrowhead, respectively. They circle one another, pointing out how skilled these hunters of the past must have been. But slowly, their speech devolves into mere grunts and shouts. The actors play it out as more of a mockery than actual reverence. Tools once used to genuinely feed and protect a hunter are now being used for something warping the name of hunting out of genuine necessity. And in turn, this mockery leads to a quick bout of real violence. It’s a shocking moment, played a bit for tension, but again, feels like a seed that Gyllenstierna is smartly planting. And this is just one of many that aim to dictate exactly what this film, and its characters, are barreling towards.

I once again return to all the ways in which these individuals unintentionally reveal their true selves. Some moments are much more blatantly chilling, but they are placed earlier in the film. For example, Henrik makes a rather unsettling comment about his sister-in-law when the trio are preparing for their first hunt the following morning. Alex is clearly a bit taken aback by the comment, but it’s lightly brushed off as being part of Gregor’s twisted sense of humor. Repeatedly in the first half of the film, we see any instance of discomfort chalked up to “nerves”, and of the few times Alex directly addresses such blatant remarks, it’s essentially understood as “locker room talk.” And over time, we are shown how even Alex, seemingly the most relatable of the three, becomes slowly warped by what his companions are putting him through. The way he carries himself. The way in which he speaks. He changes before our very eyes, but Gyllenstierna directs it in such a way that it’s more of a menacing turn over time as opposed to a sudden one. Any sudden jolt she hopes to achieve is all saved for the final act, which takes such a stark turn in tone and delivery that it’s almost a miracle that it works. But again, we have been in the hands of a filmmaker who set us off on this path from nearly the first frame. Once the surprise and adrenaline wears off, and we begin to accept where we are being taken as an audience, the thrill and excitement of it all rushes into our minds next.

Hunters on a White Field captures the male ego in such a way that feels potent. Even if it leans into some exaggerated tendencies, it feels wildly realistic. What’s most impressive about this is the jump Gyllenstierna expects her audience to take in order to be hit with the full impact of such a conclusion. And the reason it works? The confidence that radiates off the screen. The film completely commits to its new role as an intense psychological thriller. At one point, you expect it to teeter over into full-blown body horror. It becomes much more grimy, covered in dirt, sweat, and blood. These hunters, having lost their ability to display their supremacy over nature itself, turn to something more menacing. When left unchecked, their most sinister behavior that lives hidden behind societal fear breaks loose. And it‘s in that escape that Hunters on a White Field is at its most compelling and exciting.


Hunters on a White Field celebrated its world premiere at the Tribeca Film Festival in the International Narrative Competition section. Tickets for screenings and more information on the film can be found right here.

Grade: B+

Episode 589: The Best Years of Our Lives

This week’s episode is brought to you by Shadow Land. Follow us on social media for your chance to win a FREE digital code!

This week on the InSession Film Podcast, we continue our Best Picture Movie Series with William Wyler’s 1946 film The Best Years of Our Lives! We also talk more box office discourse, a potential new Oscars category for Stunts, the Beatles casting rumor and the new trailer for Alien: Romulus

Check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!

– Box Office Isn’t Dead Yet (2:00)
We open the show once again with a discussion around the box office as Bad Boys: Ride or Die performed wonderfully over the weekend. There may have been panic given how things played out last month, but the theaters aren’t dead yet. Bad Boys did well and Inside Out 2 is poised to continue that momentum. 

– Oscar Stunts / Beatles Casting (12:56)
In the next segment, we talk about how the Academy is openly having conversations with the stunt community about creating a new category for stunts. We’re still a ways away, but there is movement in the right direction. We also talk about the Beatles casting rumor even if it does come from a dubious source. It will likely change, but we thought it would be fun to indulge and talk about why the rumored cast would be fun. 

– New Trailer for Alien: Romulus (34:08)
While we didn’t anticipate it, we ended up having a pretty lengthy debate over the new trailer for Alien: Romulus. The film looks well crafted and it’s clearly taking the franchise back to basics, but is that enough for fans of the franchise? We talk about that and argue over the film’s marketing tactics. 


RELATED: Listen to Episode 516 of the InSession Film Podcast where we discussed our Top 10 Movies of 2023!


– Best Picture Movie Series: The Best Years of Our Lives (53:03)
We continue our Best Picture Movie Series in the 1940s with William Wyler’s 1946 Oscar-winning film The Best Years of Our Lives! After detouring away from the War with Going My Way and The Lost Weekend, the Academy once again awarded a film that spoke to the people, this time aiming at the heart of a post-war America. With the urgency of Mrs. Miniver and the need to enter the war with Casablanca, it just made sense to bring closure to the War with a film about the soldiers coming home and the challenges they faced.

– Music
Tonight – Black Eyed Peas
Reunion – Hugo Friedhofer

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InSession Film Podcast – Episode 588

Next week on the show:

Best Picture Movie Series: Gentleman’s Agreement

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Movie Review (Tribeca 2024): ‘It Was All A Dream’ Takes the Hard Road


Director: dream hampton
Writer: dream hampton
Stars: Ice-T, Q-Tip, Guru

Synopsis: A visual memoir from director dream hampton’s personal archives about the dawn of the golden era of hip hop.


For fans of hip-hop, dream hampton’s It Was All A Dream is going to feel like discovering a treasure trove. Capturing the golden age of the genre, the archival footage from hampton provides unfathomable access to many beloved artists of the early ‘90s.  Many of the rappers featured in the film would go on to be regarded as some of the greatest to ever pick up a microphone. Now, this film could certainly ride the exciting wave of welcoming audiences into the inner chamber. To see their favorite artists in the recording booth, hanging out during downtime, or even preparing for a concert is worth admission. Yet hampton valiantly refused to rely on this, and instead uses this footage to channel thoughts and emotions she’s had for decades based on the narration.

So lucky for us, hampton’s personal archives extend far beyond merely capturing moments in hip-hop history. With the footage rediscovered nearly three decades later, hampton’s film takes on a new life. This is a film about hip-hop made by a clear fan and scholar of the genre, but it is not one exclusively made up of blind reverence and idolization. Now, this is certainly a love letter to a now bygone age of music, specifically the golden era of hip-hop. But importantly, hampton examines these quick, yet pivotal, few years of hip-hop from every angle. It Was All A Dream begs us to examine the very legacy of the golden era of hip-hop, going beyond just thinking of all the classics it birthed.

Composed entirely of archival footage shot by hampton when she was an NYU film student, this film is described as “a visual memoir.” It’s the most apt description imaginable, considering all of the narration included is read directly from hampton’s writing as a journalist in the ‘90s. So this film simultaneously serves as a present-day (now the past) examination of hip-hop during the early ‘90s, but also as a time capsule for a journalist questioning what that legacy will mean in the future (now the present). And quite frankly, it’s a perfect encapsulation of what it means to truly be a fan of something. To blindly accept all the flaws of something we love is not only unfair to the subject of our adoration, but also to ourselves. hampton makes it clear that those around her questioned how she could be so supportive of a genre with such an emphasis on misogyny and criminality. But as anybody well-versed in hip-hop would know, there is far more at play beyond the surface value of the lyrics.

Listening to hampton’s narration juxtaposed against the lyrics of ‘90s hip-hop, one can’t help but think of the hook from “Slam” by Onyx. The group being featured prominently during one section of the film certainly helps with this regard. As they were known to do, the group loudly shouts the lyrics, “Let the boys be boys”, in their classic song. In the decades since the release of that song, that phrase has become examined very often, and for good reason. It’s refreshing to hear hampton, who at this point in the film but also from her storied career, proves herself a bonafide fan, directly addressing these ideas head-on. To blindly accept the status quo of something we love feels disingenuous. With her writing and subsequently this film, hampton sets out to pick apart the following; why rappers possibly choose these lyrics, how they are perceived by the listening public, and what, if any, change is necessary within the world of hip-hop.

It could have been pretty simple to just pose these questions to her readers and eventual viewers. But again hampton refuses to take the path of least resistance. The writing she pulls from is eloquent in both delivery and prose, clearly stemming from personal thoughts formulated over years of time spent listening to hip-hop. But in the footage of It Was All A Dream, we see hampton actively brush up against literal legends. And in the ways that only a true journalist and even more passionate human can do, hampton uses her access to question.

She talks with artists about the worries of hip-hop going commercial. She addresses head-on how male rappers won’t stop using misogynistic lyrics until they’re held accountable by other men, both their peers and their audience. There’s a distinct worry about hip-hop possibly disappearing, and the discussion on how that may come about and what that would mean is fascinating. hampton’s film is many things, but above all, it’s honest. Importantly, it’s complicated. It’s not meant to deify the great classics and legends of the genre. Rather, it’s meant to show that these were just individuals who found a way to escape their circumstances. The Notorious B.I.G. is roughly 22-23 years old in the footage we see of him. The same goes for Snoop Dogg. We’re watching young adults grapple with a new voice, and luckily, hampton is there to guide and nudge in the right direction. As a lifelong fan of hip-hop, I greatly admire and respect what hampton sets out to show with this documentary. And the genre most certainly has a long way to go. But with honest fans such as herself, documentaries such as these, and more and more artists actively speaking out about similar subjects, hip-hop is in capable hands. It’s not too crazy to think of the betterment of rap as being more than a dream.


It Was All A Dream celebrated its world premiere at the Tribeca Film Festival in the Spotlight Documentary section. Tickets for screenings and more information on the film can be found right here.

Grade: B-

Movie Review (Tribeca 2024): ‘Rent Free’ Strikes The Perfect Balance


Director: Fernando Andrés
Writer: Fernando Andrés, Tyler Rugh
Stars: Jacob Roberts, David Treviño, Molly Edelman

Synopsis: After hitting emotional and financial rock bottom, best friends Ben and Jordan come up with a scheme to spend an entire year living “rent free” with the help of friends, family and strangers alike in a rapidly changing Austin.


Fernando Andrés wowed audiences at the 2022 Tribeca Film Festival with his and Tyler Rugh’s debut feature, Three Headed Beast. Without retreading my original review of that film, what most stood out was how bold it set out to be from the very outset. And two years later, Andrés returns to the Tribeca Film Festival with his sophomore effort, Rent Free. Upon viewing the film, I gladly stand by the statement I made when first introduced to his work: we are witnessing the birth of a wildly exciting, and great, contemporary filmmaker. Co-written by Andrés and Three Headed Beast co-writer/co-director Rugh, Rent Free very quickly highlights something that seems to be missing from contemporary cinema. At the very least, it’s a noticeable absence from movies being made today.

There was some online discourse recently questioning why many current filmmakers are choosing to not set their films in the present day. Part of this surely stems from not wanting to address issues plaguing the minds of those living in it at this very moment. If we turn to art as an escape, perhaps it’s better for movies to exist in a time that feels slightly different? Obviously, time and place can also affect a story, but it’s always interesting to note when a film just heads back in time by a handful of years. Then there are films that do take place in modern times, but don’t really attempt to say much of anything about them. That is also fine, of course. But Andrés seems like one of very few filmmakers actively engaging with the very current present. Rent Free, almost immediately, shows itself to be highly indicative of the time many young adults find themselves in. Andrés is a true contemporary filmmaker. With this latest feature, he has again shown himself to be focused on what it means to have grown up, and now lived through, the aughts to the mid-20s. And it’s both refreshing and exciting to see it happening in real time.

Living your life invariably comes with a set of issues. It’s an unfortunate part of reality that pretty much all humans share in common. The issues can stem from a litany of places, but more often than not, it’s safe to say that financial burdens are what have plagued most people at some point or another. And this is certainly true for Ben (Jacob Roberts) and Jordan (David Treviño). Two twenty-somethings from Austin, Texas, they have been friends since childhood, and find themselves on the verge of major life changes. Ben has sold away all his belongings to begin his New York era, while Jordan is preparing to resign a lease in Austin with his girlfriend of two years. Jordan, being the absolute real one that he is, joins Ben on a trip to New York to see his friend off, and spend some time in the big city. And as they assuredly know, New York can be ridiculously expensive.

Andrés makes a point to note this fact by plastering the monthly rent and address where the duo is staying across the screen, in big block lettering. With the added information of how many bedrooms and bathrooms there are, Rent Free quickly begins taking shape. As a lifelong New Yorker who just moved boroughs in search of cheaper rent, the number frightens. And it serves as a painful reminder that wherever we go in life, and whatever problems we’re dealing with, there’s always that dreaded number that looms in the distance. Like clockwork, it rears its menacing head once a month, with apparently no end in sight. Yes, New York City, in particular, can be an astronomically expensive place to live. But it is obviously such a fun place with a ton of opportunities. (I promise, this isn’t just my personal bias). So we get to see Ben and Jordan, who are wildly low on funds, take advantage of all the free activities the city has to offer! Across this free-wheeling montage, Andrés sheds any preconceived ideas fans of his last film might have expected from the filmmaker. Where Three Headed Beast was full of patience and quiet moments, Rent Free is much more frenetic. The reason being? The common anxieties of what it means to be a young adult in this generation!

Without getting into the finer details of the plot itself, Ben and Jordan unexpectedly find themselves without the homes they planned on living in. And after one intoxicated discussion leads to a comically half-baked idea, the two formulate a plan. A better term for it would be a scheme; in their eyes, it’s justified as a “social experiment”. Whatever term fits best, they decide that for the rest of the calendar year, the two will live rent free. They’re well-loved by all of their friends, and they have many across Austin. In the meantime, they’ll save plenty, and surely make some memories with their closest friends during this transitional period of living. So what could possibly go wrong? As it turns out, quite a lot. In the vein of classic buddy comedies/road-trip movies, Rent Free finds the perfect balance of all the best qualities of both comedic sub-genres.

While the film primarily takes place in Austin, the homes and apartments (and subsequent rents) around the city vary wildly. So it’s equally important that the duo experience quite the range of circumstances. It’s also crucial that they experience a range of consequences, brought about either by their own ridiculous actions and mistakes, or simply by those who are hosting the duo. This is a situational comedy at its heart, but its ability to double as both a quiet indictment on capitalism and a mourning for quality-of-life amongst a younger generation will undoubtedly speak to many of its viewers. I have only been to Austin once, but I fell in love with the idea of the city years before I ever had the means to make the trip. I had a phenomenal time spending a week there, and I greatly look forward to returning. But from what I could gather from those who have lived there for years, Austin has found itself in a bit of a flux. Andrés, an Austin-based filmmaker himself, directly addresses this shift in culture with his latest.

There are several conversations in Rent Free which point out the major shift in Austin. With big tech companies slowly embedding themselves into the city, prices everywhere have gone up. It’s a tale as old as American capitalism itself, with lively, exciting cities around the country being slowly consumed not just by rising prices, but by losing the distinct identity it became beloved for in the first place. That’s not to say places like Austin or New York aren’t still great places to live, but there is a clear and noticeable shift as far as people from the respective cities can tell. And as young individuals still trying to find their footing in life, what are we to do? In-person job-hunting and professional opportunities seem all but fruitless endeavors (something Rent Free comedically addresses). The culture around app-based interactions seems all but hopeless and soul-sucking (something Rent Free also pokes fun at).

Having one’s own personal space, or even the concept of a “place” is becoming more and more blurred as people find themselves forced to get one, two, or possibly even three roommates in order to pay a monthly rent that only ever goes up (something Rent Free seems to be fundamentally based around). It never really feels like Ben and Jordan are going to provide an answer to this dilemma over the course of the film. And that’s refreshing, particularly because there’s something reassuring, if ever so slightly painful, about seeing your own predicament honestly depicted on screen. It’s difficult to not think about Wallace Shawn’s musings in My Dinner with Andre (1981), wherein he thinks back on his youthful comfort versus the realization that, later in life, all one is forced to think about is money. It is unfortunately one of the few irrefutable facts of reality. But even with such a dour truth at the core of Rent Free, Andrés and Rugh’s script find a way to make this reflection of life amusing and comical.

Ben and Jordan are very much portrayed as a chaotic duo. To see them sabotage themselves repeatedly earns many laughs throughout. And this feels like the key to Rent Free. It’s the honest truth that, in life, we are sometimes going to irrevocably mess things up for ourselves. There’s no escaping it. And the sooner we accept it, the easier it will be to recover from the stumble in the moment. And more often than not, a stumble is all it is. What may seem dire and impossible to solve is just a scuffed knee or a story to tell. Ben and Jordan both make mistakes in this film. And they do have to face some of the consequences of their actions. But importantly, they address one another’s shortcomings.

And they do so in a way that only longtime friends can do; in a way that is inarguably very blunt, and downright hostile, at times. But after years of knowing one another, sometimes that edge is what is needed to really allow feelings to sink in. It’s something to look back on over breakfast the next day and laugh at, but also never forget how it forced you to confront your own actions. With Rent Free, Andrés makes clear his knowledge that we’re all just trying to figure it out as we go along. It’s in that process we learn about ourselves, our friends, and the world around us. And to see Andrés take us through these processes cinematically, providing reflections for an audience very much in the thick of it, is equally exciting. Whatever dilemma of young adult life Andrés decides to turn his camera towards next, rest assured it will be with a curious, honest, and exciting eye.


Rent Free celebrated its world premiere at the Tribeca Film Festival in the U.S. Narrative Competition section. Tickets for screenings and more information on the film can be found right here.

Grade: B+

Movie Review: ‘Sing Sing’ is a Revolutionary Portrayal of Male Sensitivity


Director: Greg Kwedar
Writers: Clint Bentley, Brent Buell, Greg Kwedar
Stars: Colman Domingo, Sean Dino Johnson, Clarence Maclin

Synopsis: Divine G, imprisoned at Sing Sing for a crime he didn’t commit, finds purpose by acting in a theatre group alongside other incarcerated men in this story of resilience, humanity, and the transformative power of art..


Among the annals of prison films, Greg Kwedar’s Sing Sing posits itself as a first-of-its-kind. Instead of a lingering level of violence and societal breakdown, the film allows the sensitivity and vulnerability of imprisoned men to come to the forefront.

Devoid of sadistic guards, a deranged warden, or the tension of gang violence, this film instead gives a level of humanity and dignity to men who are otherwise deprived of such foundational understandings. The result is a prison film unlike any other before: raw, intense, powerfully performed, and unforgettable.

Colman Domingo stars as John “Divine G” Whitfield, an imprisoned playwright and actor serving a life-sentence at the titular prison. Along with a group of fellow incarcerated persons, Divine G participates in a program to put on plays and musicals called Rehabilitation Through the Arts (a real-life program at Sing Sing). Fresh off their recent performance of A Midsummer Night’s Dream, the group plans their next production.

Divine G, along with best friend Mike Mike (Sean San Jose) partner with program director Brent Buell (Paul Raci) to add members to the group. One such candidate is Clarence “Divine Eye” Maclin (playing a version of himself), a hardened criminal with a talent for acting. Divine G and the group attempt to bring Divine Eye into the quieter realities of the program while attempting to put on their own original production.

It’s easy to be cynical when it comes to male sensitivity inside the walls of a prison, but that is the crux of this film. Divine Eye’s struggles to adjust to the group dynamics are not borne out of stubbornness or defensiveness, but survival. How do you convert from a man who always is looking out for number one instead of relying on his faith in others? What does that adjustment mean in a world where each of these men is looking to escape these walls? The film isn’t interested in prison reform or dynamics, but instead on the humanity of men who the world has forgotten about.

It sounds like a tagline or a cliché, but it’s not about surviving in prison, it’s about living. Whether it’s doing these productions repeatedly or reapplying for parole upon rejection; the goal is forward momentum. No matter how devastating the circumstances or consequences may be, there is always a way forward. This program provides an outlet for these men to thrive and grow as humans.

Domingo continues to prove he’s one of the most gifted actors working today. As the unofficial head of the program, he feels the weight of the responsibility to these men as well as his own insecurities. Domingo has long shown his ability to morph from role to role, and this is yet another example of his mutable style translating to a tender drama.

Maclin is the true acting revelation.  Whether he is reciting Hamlet, threatening a fellow prisoner, or recalling a story about his children, you know there is more than what’s under the surface.  There’s a level of unvarnished naturalism you wouldn’t expect in a first-time actor playing a version of himself.  But Maclin creates a fully-realized character with clear motivations and trepidations.  It might be the supporting performance of the year.

Jose, relatively unknown to mainstream audiences, is more than willing to display his ability.  While many of the inmates look towards their potential release, Mike Mike can only look back in regret.  His quiet sadness engulfs him. Jose balances this sadness with his acting enthusiasm to cultivate a devastatingly effective portrait. Raci crafts the perfect balance of a man who knows how to handle guys like this while also acting as an audience go-between.  Much like his emotionally sensitive performance in Sound of Metal, the veteran character actor is a welcome presence of familiarity.

Among the cast, Domingo, Jose, and Raci are the only “actors” in the film.  Each other character plays a version of themselves, while all being graduates from the actual program.  That certainly doesn’t mean the actors are anything less than stellar.  They all get their own little moments to shine with the presence and authority to perform in this setting.

Kwedar doesn’t overcomplicate things visually, instead giving his actors the breath to perform their roles in an understated way.  No one is going too big or doing too much.  As much as there are acting standouts, they also know how to seamlessly blend into the ensemble. That is due in no small part to Kwedar and co-writer Clint Bentley’s screenplay.  It would have been very easy to add in some overly-dramatic prison subplot, but that never happens. Instead, the structure allows the performances and vulnerability to shine through.

Sing Sing is not the type of film you expect, and certainly not one you will ever forget.  Not only is it a one-of-a-kind prison movie, it’s one of the best films of the year.

Grade: A+

Chasing the Gold: 2024 Cannes Recap (Part 1)

This week on Chasing the Gold, Shadan is joined by our own Héctor González who covered this year’s Cannes Film Festival and he talks about all the movies he saw during the fest! Because there are so many movies to cover, we have split this episode into two parts as we count down Héctor’s list from least favorite to the best films we saw at this year’s Cannes.

Movies Covered in Part 1:
28: Parthenope
27. Emilia Pèrez
26. Holy Cow
25. Simon of the Mountain
24. Rumours
23. Megalopolis
22. Black Pass
21. Bird
20. Christmas Eve in Miller’s Point
19. Ghost Cat Anzu
18. The Girl with the Needle
17. When the Light Breaks
16. Ghost Trail
15. Savanna and the Mountain
14. The Story of Souleymane

On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!

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Chasing the Gold – 2024 Cannes Recap (Part 1)

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Movie Review: ‘Ezra’ is Authentic, but Never Compels


Director: Tony Goldwyn
Writer: Tony Spiridakis
Stars: Bobby Cannavale, Rose Byrne, Vera Farmiga

Synopsis: Comedian Max co-parents autistic son Ezra with ex-wife Jenna. Faced with crucial decisions about Ezra’s future, Max and Ezra go on a life-changing cross-country road trip.


As a neurodivergent person, I find myself relating to people I am not supposed to relate to in films. 

I rarely find myself properly represented, and it frustrates me how definitions, symptoms, diagnoses, and tics intertwine when screenwriters are trying to get it. It’s not every day that I find Mozart and the Whale, one of the few films that captured the magic and the scary existence of being a neurodivergent woman on screen. But since every neurodivergent person existing on the spectrum is different from one another, it’s not my position to accurately analyze how autism is depicted on screen and whether the film honored the characters or not. 

Ezra is a film about a stand-up comedian (Bobby Cannavale) mid-divorce, co-parenting his autistic son (William A. Fitzgerald) and living with his father (Robert DeNiro). He is coming to terms with how he raises his son, getting over separation from his wife (Rose Byrne), whom he adores, while giving his son the freedom and liberty to exist and go beyond what the world perceives of him, something that other people may find problematic at times.

The film is based on writer and director Tony Spiridakis’ relationship with his autistic son, which makes for authentic storytelling but lacks enough compelling elements to appeal to a wider audience. 

The fact that the film is promoted as starring an autistic actor is not a reason to celebrate for me. How many actors are neurodivergent but unwilling to admit it? What are the different types of autism and how do we know who belongs to which? Generally speaking, neurodivergence comes in varying grades of characteristic representations. Multiple people are not diagnosed until later in age (me!), and sometimes people even live and die without knowing who they truly are. People exist on the spectrum for a reason. Other neurodivergent people, unfortunately, self-diagnose celebrities and athletes based on their diagnoses, and some people in the public eye are forced to hide their truths for fear of stereotypes, the ableist culture, or being pigeonholed to a specific role, an existence of oddity that doesn’t promise much in real life. 

As a high-functioning neurodivergent person, it has taken me a lot to get diagnosed, admit it, and even talk to my friends about it. As far as some of the struggles I’ve seen of people dealing with other neurodivergent friends or family members, I like the angle this film is going for. I love Bobby Cannavale and have loved him since Sex and the City and The Station Agent. To see one of my favorite actors take on the role of the caregiver like a pro has made me enjoy the film even further. There’s nothing like a parent who allows their child to be their true self and encourages authentic behavior beyond what is expected of a certain someone during a particular age. “He’s not like the other kids,” that’s what most parents would hear about their neurodivergent kids. While some might go down the road of forcing their kids into a so-called existence of conformity, others like Max (and my mom) and people I’ve known prefer to give complete freedom and high levels of self-expression.

However, this film struggles to find footing. Between being an endearing family drama/road trip movie, it is also a narrative that features a neurodivergent character at the heart of the storytelling. Greedy as this sounds, I might have wanted to see more of Ezra than his bickering parents, but if that states anything, we need more films that positively depict neurodivergent characters on screen.

If anything, Ezra should have been a bigger release, a more solid and compelling script, a better platform to open a conversation on neurodivergence, existing on the spectrum, and an ableist culture that forces people into silence and shame rather than allowing them the pride to exist as they are, not as the world wants them to be.

Grade: B

Movie Review: ‘The Watchers’ Lets Our Imaginations Scare Us


Director: Ishana Night Shyamalan
Writers: Ishana Night Shyamalan, A.M. Shine
Stars: Dakota Fanning, Georgina Campbell, Olwen Fouéré

Synopsis: A young artist gets stranded in an extensive, immaculate forest in western Ireland, where, after finding shelter, she becomes trapped alongside three strangers, stalked by mysterious creatures each night.


Ishana Night Shyamalan makes her feature debut behind the camera with The Watchers. The young filmmaker has limited experience, penning all the episodes of her father M. Night Shyamalan’s series Servant, but also directed a majority of the season. Yet, helming a studio film on a studio budget with minimal experience makes you wonder if nepotism continues to rule in the land known for its Angels.

While watching The Watchers, I couldn’t help but think, if you are old enough to remember, there was a time when there was nothing like the cinematic experience of an M. Night Shyamalan film. From the jaw-dropping The Sixth Sense to the all-consuming Unbreakable to the spine-tingling Signs, we took Shyamalan’s name for granted.

I’m happy to report that Ishana Night Shyamalan’s talent for storytelling means the pen hasn’t fallen far from the thriller master’s hand. The Watcher is an armrest-grabbing genre film that’s an entertaining and pulse-pounding example of an almost textbook combination of tone, style, and pace… until it isn’t. 

The story follows Mina (The Equalizer 3’s Dakota Fanning), a young artist on the verge of turning thirty. Mina has turned to a life of loneliness. She is sullen, sad, and running away from her past. She has no family to speak of except for her sister, Lucy, but she keeps ignoring her phone calls because of their shared family tragedy.

Mina is now in Ireland, working at a local pet shop to earn some cash. Her boss is strange, getting quickly excited over a Meyer Lemon-colored Parrot he has sold. Her boss then asks Mina to deliver the special bird to a remote countryside location. Of course, she drives into an unmapped lush green forest somewhere in Western Ireland. 

She leaves her car after it breaks down and her cell phone runs out of juice. She gets lost, taking her feathered friend with her. Then, she hears ominous noises: a rumbling of birds leaving their nests and a weathered old woman (Fantastic Beasts: The Crimes of Grindelwald’s Olwen Fouéré) telling her she has only a few seconds to get to a mysterious bunker with a large window or she will be killed by whatever ominous presence fills those woods.

The Watchers is an adaptation of the novel by the same name, from author A. M. Shine. Ishana Night Shyamalan wrote the script for the screen, with her father as the producer. As mentioned above, the first act of The Watchers is wonderfully paced, full of tension, and has a stylistically ominous mood. The filmmaking team know something about feature-creature thrillers: it can be more frightening when you cannot see the threat.

The younger Shyamalan creates a psychological atmosphere impossible to shake in the first 45 minutes that’s thrilling fun. The two generations of Shyamalan know that suspense is built from not knowing what is on the other side of that mirror because of the human condition of heightening our imaginations. This is also effective because there is no need to over-explain what is happening; just let the viewer enjoy the ride.

That’s where The Watchers makes its fatal mistake by turning to the Lost playbook, which makes zero sense. To avoid spoilers, it’s hard to explain why the film takes a nosedive into mediocrity. The film explores the backstory of the bunker, which becomes total cornball when it details how it was constructed in the middle of a dangerous location.

It’s the equivalent of trying to dig a hole in the middle of a lion’s den with two steaks tied around your waist and then surviving without a scratch. Then there is the issue of a key character’s office at a university, which, for reasons beyond explanation, has not been touched in nearly two decades for the sole purpose of moving the plot along. That leads to the most glaring issue: the third-act ending and excessive exposition explaining the apparent plot twist to the audience.

The gut feeling is that this is a source material issue, but it’s the director’s job to iron it out. However, the over-explanation in the third act is a ploy to set up a franchise of films for the future, which makes the error even more of a case of cinematic negligence. I will remain steadfast in backing this Shyamalan because, if you remember, even M. Night’s first film was not a Bruce Willis-led classic. With more experience and better source material, she has a bright future ahead of her.

Grade: C-

Podcast Review: Hit Man

On this episode, JD and Brendan are joined by Danny Jarabek from The Rolling Tape to discuss Richard Linklater’s new film Hit Man! We are big Richard Linklater fans, so we would have been excited for this film anyway, but a Linklater and Glen Powell collaboration? Now we’re really cooking with gas.

Review: Hit Man (4:00)
Director: Richard Linklater
Writers: Richard Linklater, Glen Powell
Stars: Glen Powell, Adria Arjona, Austin Amelio

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InSession Film Podcast – Hit Man

Classic Movie Review: ‘Stand By Me’ Remains Sentimental


Director: Rob Reiner
Writers: Stephen King, Raynold Gideon, Bruce A. Evans
Stars: Zoe Ziegler, Luke Philip Bosco, June Walker Grossman

Synopsis: A writer recounts a childhood journey with his friends to find the body of a missing boy.


It’s 1959 and twelve-year-old friends Gordon (Wil Wheaton), Chris (River Phoenix), Teddy (Corey Feldman), and Vern (Jerry O’Connell) go on a hike out of town in search of a rumored dead body – instead learning about their own fears and hopes along the way before standing up to local gang leader Ace (Kiefer Sutherland).

Rob Reiner (The Princess Bride) directs Stand by Me, the 1986 adaptation of the Stephen King story “The Body,” with built-in reflection and nostalgia thanks to the narration from Richard Dreyfuss (Jaws) as the adult Gordon – who perhaps embellishes the junkyard dog chases, dangerous bridges, oncoming trains, and leeches in the wrong places. Although it is not a slow, talkative piece; there’s a lot of background to start Stand by Me with details on first hearing about the dead body of a boy their age and introductions on each boy and their family circumstances. Their small town lives aren’t that great – they know they’ll be punished for lying about their hike but it will be worth it to get their picture in the paper and become local heroes. The adventure starts so fun and carefree as they sing to themselves and quiz each other. It’s also somewhat humorous, as an adult now, to see how unprepared they are for this trip with two dollars and no food. Such eighties does fifties fondness casts a sentimental patina, but the simplicity escalates to climbing fences, dodging trains, and arguing about who is trying to kill themselves. Stand by Me realistically asks questions that weren’t spoken in 1986, much less 1959, and are still not fully addressed today.

The train tracks seem unending in the distance, it’s hot, they’re out of breath and hungry, and somewhere along the way, the journey becomes a somber maturation on the finality of childhood. The end of decade and Labor Day setting invoke this last hurrah as our boys race each other and throw rocks in can – there for each other, hugging and defending friends amid gay and fat insults, jinxes, and jokes about their mothers. Stand By Me has a clever script with each vignette-style chapter of the quest balanced with humorous conversations and well paced action. Time is taken for the serious undercurrent and innocent confessionals, and our boys realize they are seeking a dead body and this shouldn’t be a grand time. They may trespass or steal from their bad parents, but the older teens are much more violent. Our twelve-year-olds are at the pass between becoming problematic as expected or making something of themselves. Certainly, the “Lardass” campfire story’s weight jokes are cringe now. However, we can laugh at the over-the-top pie eating contest because it is a barf-o-rama child’s tale with a deeper satire on the fifties itself. The perfect families at the seemingly so pleasant county fair are lampooned for what they really are – cheering on their own gross fallout and projectile end. Choosing shortcuts leads to mud and swamp dangers yet a solitary moment seeing a deer reminds us how short-lived this experience is. Stand by Me moves fast as our boys find the body and finally grieve over what’s happening in their lives. Knife versus gun standoffs and doing the right thing make for a somber return to a town that now seems small to them.

Our young ensemble has incredible foresight into their characters, and Stand by Me is bittersweet thanks to not just the subsequent death of River Phoenix (My Own Private Idaho), but the surviving cast’s continued struggles. Feldman (The Lost Boys) has spoken about numerous abuse allegations while Wheaton (Star Trek: The Next Generation) is vocal about his mental health issues and O’Connell (Sliders) struggled with body image growing up on television. Nightmares, funeral memories, and fears of being weak for crying accent each boy’s emotional moment. Often they are mean to each other but the jests and jabs are also lighthearted compared to today’s vehemence. 

Thankfully, the narration knows when to be quiet as the boys don’t share everything with each other and already seem to be growing apart. Different boys pair up at times, performing with mature aplomb as they effortlessly curse and complain about their mean drunk dads. Feldman’s reckless Teddy isn’t afraid to cry over his abusive, shell-shocked father but quickly acts tough, apologizes, and wants it forgotten. His friends wonder how he can love a father who hits him but they also ask our young writer what happens next in his pie eating story. Gordon doesn’t know, but Teddy thinks it should be guns and running away to join the Texas Rangers. These wistful metaphors match what they think are such existential campfire questions: What’s Goofy? Why do they never get anywhere on Wagon Train? Why can’t they eat nothing but Pez? It’s just like Twitter! Phoenix’s leader Chris wishes he could go away to where no one knows him, and Gordon feels invisible after his older brother died and his parents wish it had been him. However Chris tells Gordon to make something of his writing. Although they tease one another, they enjoy being together because it’s the best time of their lives.

Numerous familiar faces pepper Stand by Me as the out of touch adults, and John Cusack (Say Anything) as Gordon’s beloved late brother is lit differently in flashback scenes – glowing moments when Denny gives Gordon gifts and tells their parents to notice his little brother’s stories. Kiefer Sutherland (The Lost Boys), on the other hand, as the mailbox baseball swinging, chicken racing bully Ace is somewhat over the top in his tattoo carving, trash talking menace, perhaps embellished on The Writer’s part since all the gang actions happen outside of young Gordon’s point of view. Of course, Stand by Me‘s soundtrack with recognizable radio hits and plenty of doo wop is superb. There’s a naivete to “Lollipop” and “Yakety Yak,” however the instrumental version of the titular Ben E. King staple tugs at the undercurrent throughout the film before the touching, fitting lyrics play in full over the closing credits. Up close angles, wide shots, and natural sounds elevate the train track suspense. Rustic visuals and forested photography contrast our sophisticated eighties writer and his giant computer, too. We don’t hear people say sir or quarter of and quarter to anymore, and little Gordon buys four glass bottle sodas, a bag of rolls, and hamburger for $1.50!Can 21st  century viewers demanding shock and scandal rather than something heartfelt appreciate this layered eighties does fifties nostalgia? Today’s youth have to deal with far worse than a single knife or lone gun, and many little things here that will make older viewers chuckle can seem corny. Unlike watching as a child for the humor and adventure, nowadays I choke up over the disappearing Chris fading away down the road. Fortunately, Stand by Me remains a fascinating sociological time capsule of American youth. It’s okay that Stand by Me‘s framework is rose colored and sentimental with a bittersweet eerie that doesn’t overstay its welcome. Our youths saw the body, now they must face what’s next. That’s life.

Grade: A

Chasing the Gold: A Post-Cannes Look at Best Supporting Actor

There were many surprises at the Cannes Film Festival and much movement throughout the festival.

In the Supporting Actor category, some of the strongest reactions went to Jeremy Strong for his portrayal of Roy Cohn in The Apprentice, in which he manages to imbue redeemable qualities into a fairly irredeemable character and real-life person. Even though the reviews for The Apprentice weren’t overwhelmingly positive, Strong, alongside co-star Sebastian Stan, were both cited as the reasons this film worked in any capacity. Not to mention, in an election year in which one of the main characters will be on the ballot, this will be a movie discussed all season. The ripped-from-the-headlines buzz could bode well for Strong, who, after his spectacular Emmys run on HBO’s Succession (3 nominations and 1 win through 4 seasons), is still looking for his first Oscar nomination. 

The festival’s top acting prize went to Jesse Plemons for Yorgos Lanthimos’s Kinds of Kindness, a movie some call one of the director’s most unhinged since Dogtooth. Plemons’ performance is defined as “explosive.” With the film split into three stories, it would make sense that Plemons would ultimately be lumped into the Supporting Actor category, given the large ensemble cast. As a former nominee, he is liked by the Academy and his peers. As long as Kinds of Kindness isn’t too weird for Academy voters, he could ride this win all season.

Another top prize winner was Sean Baker’s Anora, with newcomer Mark Eydelshteyn giving a breakout performance in a film that surprisingly won the Palm d’Or, marking NEON’s 5th Palm in a row. While most of Anora’s praise was given to co-star Mikey Madison, Eydelshteyn also earned his flowers, portraying the son of a Russian oligarch who enters into a relationship with a sex worker (Madison). Winning the Palm is a good sign for a film’s future awards chances, as 3 of the last 4 Palm winners went on to be nominated in multiple Oscar categories, including Best Picture. The Florida Project earned a Supporting Actor nomination for Willem Dafoe, the only film by director Sean Baker to have received Oscar acclaim. With Anora winning the Palm d’Or, this could pave the way for a big season for the film, and Eydelshteyn could tag along to the ride.

Furiosa: A Mad Max Saga is in theaters now, premiering ‘Out of Competition’ at the Cannes Film Festival. Mad Max: Fury Road was a massive Oscar player, winning 6 of its 10 nominations. While these nominations included Best Director and Best Picture, none came in the acting categories; could that change in George Miller’s latest addition to the saga? Chris Hemsworth has been an A-list actor for years as the face of Thor in the MCU. His performance in Furiosa could be the best work the actor has done yet, as his performance has been said to be completely unhinged and deranged. We have seen this category take some big swings in the past, including nominating Ryan Gosling for portraying Ken in a movie about Barbie. Hemsworth does not have that same rapport with the Academy. Still, if Furiosa is as beloved as Fury Road was, Hemsworth could add Oscar nominee to the front of his name.

Outside of the Cannes films, some performances heralded this year include a few indie standouts. Kieran Culkin has earned significant buzz for Jesse Eisenberg’s A Real Pain, which currently holds a 91% on Rotten Tomatoes and whose aggregate review blurb states Culkin gives a “scene-stealing” performance. Like Jeremy Strong, Culkin is also coming off an impressive run on Succession; they could both be battling it out this awards season for an Oscar instead of an Emmy. Sing Sing premiered at TIFF last September, but A24 held off on the full release until this year. That move could benefit the now Oscars record-holding studio as newcomer Clarence Maclin has been earning high praise alongside his co-star Colman Domingo in what is being called a “star-making performance.” Sing Sing could be a massive Oscars player this year, and Maclin might have the juice to ride the wave to the Dolby Theater.

After this, we start getting into some unknown territories. Samuel L. Jackson hasn’t been Oscar-nominated since Pulp Fiction in 1994, and while he did receive an honorary Oscar in 2022, his role in the adaptation of August Wilson’s play, The Piano Lesson, could not only bring him his second nomination but his first competitive win as well. Denzel Washington already has nine nominations (and two wins) under his belt; his role in Ridley Scott’s Gladiator 2 could push that nomination total into the double digits. While Scott has been hit or miss lately in his directorial projects, the early buzz out of CinemaCon was that Gladiator 2 would be a return to form for the director. Washington has a good amount of screen time as an ex-gladiator searching for power. He is beloved amongst the Academy, and if Gladiator 2 was as thrilling as the early reactions suggest, he could also be back.

Samuel L. Jackson pictured on Broadway in the 2023 revival of ‘The Piano Lesson.’ Photo: Julieta Cervantes

The race becomes more unpredictable as we move further into the potential pool of nominees. Could former nominee Paul Raci come back for his role in Sing Sing? Another former nominee, Brian Tyree Henry, is starring in The Fire Inside, a film written and produced by Barry Jenkins. However, the film has been in production since early 2020, and no new updates have been released since the name was changed from “Flint Strong” in March of this year. Edward Berger’s upcoming Conclave includes a loaded cast of supporting actors, most notably Stanley Tucci and John Lithgow. They could be battling it out for a nomination when the time comes. The uncertainty of these potential nominees adds to the intrigue and excitement of the award season.

Currently, I am predicting Samuel L. Jackson for this award. The previous two August Wilson adaptations (Fences [2016] and Ma Rainey’s Black Bottom [2020]) received multiple acting nominations, including a win for Viola Davis in Fences. The 1995 TV movie adaptation of this play earned 9 Primetime Emmy nominations. Jackson has remained busy over the years, primarily in Marvel projects. Still, as we saw with Robert Downey Jr.’s convincing awards run for Oppenheimer, there is a narrative for former MCU actors and beloved veterans in the field making a “return to form” regarding acting prowess. Clarence Maclin, Denzel Washington, Jeremy Strong, and Jesse Plemons round out my top 5, with Plemons making it in based on the acting win at Cannes. Many ensemble films and beloved actors are seeking recognition, and this category is just starting.

Current Prediction:

  1. Samuel L. Jackson (The Piano Lesson)
  2. Clarence Maclin (Sing Sing)
  3. Denzel Washington (Gladiator II)
  4. Jeremy Strong (The Apprentice)
  5. Jesse Plemons (Kinds of Kindness)

Next Up:

  1. Kieran Culkin (A Real Pain)
  2. Chris Hemsworth (Furiosa: A Mad Max Saga)
  3. Paul Raci (Sing Sing)
  4. Brian Tyree Henry (The Fire Inside)
  5. Mark Eydelshteyn (Anora)

Podcast Review: Babes

On this episode, JD and Brendan discuss the Pamela Adlon comedy Babes, starring Ilana Glazer and Michelle Buteau! Talk about one of the best surprises of the year at the cinema. We talk about how Babes is not only a great comedy, but for one of us, it might as well be a documentary with how strong its depiction of parenthood is in the real world.

Review: Babes (4:00)
Director: Pamela Adlon
Writers: Ilana Glazer, Josh Rabinowitz
Stars: Ilana Glazer, Michelle Buteau, John Carroll Lynch

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InSession Film Podcast – Babes

Interview with D.W. Waterson, Director of ‘Backspot’

D.W. Waterson is a Canadian drummer, musician, disc jockey, and now feature film director. They have previously made an acclaimed web series about Toronto club life and electronica called That’s My DJ which focused on the contributions LGBTQ+ people and female coded POC made to the traditionally male industry.

In Backspot, Waterson turns their camera to a sport which has traditionally been seen as an adjunct to male sports – cheerleading. Waterson never for a moment lets the audience forget that cheerleaders are athletes, first and foremost. 

Starring Devery Jacobs, Evan Rachel Wood, Noa Diberto, Kudakwashe Rutendo, Thomas Anthony Olajide, and Shannyn Sossamon – Backspot is tough, tender, intelligent and visceral. 

Nadine Whitney spoke with D.W. Waterson about queering the gaze and pushing limits.

Nadine Whitney: Riley (Devery Jacobs) is in a battle to be the best. She genuinely loves cheerleading, but she also genuinely loves Amanda (Kudakwashe Rutendo) and Rachel (Noa Diberto, who has played a gymnast before) – yet she becomes willing to physically harm Rachel under Eileen’s (Evan Rachel Wood) instruction. Did you spend a lot of time researching elite performers? 

D.W. Waterson: I spent over five years scouting a cheer squad, which we ended up featuring in the film. They’re the only Black-owned cheer squad in all of Canada; Cheer Fusion All-Stars. Working with them was incredible, we wouldn’t have been able to create Backspot without them. Having them be involved so closely ensured that we were able to understand the hard work that goes into cheer and the high stakes of competitions, while nailing the specifics of the cheer world. 

NW: Riley is dealing with extreme anxiety. She has what is clinically known as trichotillomania. She goes into dissociative states. Her Mom is also dealing with mental health issues. What made you decide to focus on the need to please and be pleasing? And how those expectations – whether internal or external shape the journey of many people in the film.

DW: Backspot delves into many conversations, about the sport of cheerleading and the toll that it takes, about queer elders (Eileen – Evan Rachel Wood and Devon – Thomas Anthony Olajide) and bridging the gap between generations of queer folks, but it also unpacks pressures and mental health. Riley suffers from anxiety, and it’s not without reason. She is the backspot on her squad, which is arguably one of the hardest and most dangerous positions in cheer. She is at the bottom of the pyramid, holding up the girl’s ankles as they’re hoisted, and is the first to catch the girls as they fall, putting their bodies at physical risk of harm. But Riley also suffers from hereditary anxiety, where her mom Tracy (Shannyn Sossamon) suffers from obsessive compulsive disorder. It’s through these difficult navigations, but ultimately from unexpected queer mentorship, that Riley is able to find a healthier balance with herself, her relationships and the sport that she loves.

NW: Which came first? The music or the script? How much of the film comes from your experiences working as a DJ and seeing people move? 

DW: The script and the music unfolded simultaneously. I feel like DJing and directing are very similar, in the sense that you’re trying to get a large group of people on the same page, and to go on a journey together. There were obviously a couple of tracks like “Come On Eileen” that we knew we needed to lock in early. I’m a huge Prodigy fan, and I named the Thunderhawks team after the Prodigy before I even knew I could get that track. But after an impassioned letter to the Prodigy, we were able to license the song and it was one of my personally favorite things to cut in the film; the Thunderhawks cheer montage. 

Throughout the scriptwriting process, I was also working and producing my own electronic music that emanated that “jock” feel, to infuse into the film. Songs like “BodyLimit” ft. T Thomason. 

NW: A character called Nikki (Madison Seguin) comes with her girlfriend to the sleepover in the auditorium. She says to Riley, Rachel, and Amanda that cheerleading is very “male gazey”. When it comes to Backspot do you think that there is a queer gaze? 

DW: The queer gaze has been something I’ve been looking to protect throughout the entire process of creating Backspot. Cheerleaders have too often been viewed through the male gaze, sexualizing and trivializing them. But I feel like being a non-binary and queer director, who admires the fuck out of this sport and the queer actors in the film, it creates a sense of deep respect that bled through the gaze of the film. Being a director, I literally direct the audiences’ eye, and turn it towards where they should be looking, which is moments of pure athleticism and brutality, but also queer joy. 

NW: We are living in an age where people are facing threats for simply existing. How important was it to you as a non-binary artist to make a teen centric film which also stars queer folk and people from diverse backgrounds?

DW: In a primarily white, cis and Christian space, we often overlook the queer athletes of color who are the foundation (and dare I say backspot) to the sport. I wanted to reflect my world, and my co-producer Devery Jacobs’ world in this film, and within the sport of cheerleading. 

Backspot premiered at TIFF and is currently in select cinemas and is available to rent in certain territories. 

Quinzaine des cineastes, Cannes 2024: Capsule Reviews of ‘Christmas Eve in Miller’s Point’, ‘Savanna of the Mountain’, and ‘Something Old, Something New, Something Borrowed’

Created in 1968 by the French Directors Guild, the Quinzaine des cineastes (formerly known as the Quinzaine des réalisateurs), or the Directors Fortnight, aids filmmakers from around the world and contributes to the discovery of their filmographies to a broader audience. They have an eclectic slate covering many perspectives from various styles, ranging from surrealistic to social-realist and experimental. This section of the Cannes Film Festival tends to showcase the new exciting voices of cinema’s future, and (I think some of the names that were a part of this year’s Quinzaine, like Joaquín Cociña, Cristóbal León, and India Donaldson, can be such.) In this capsule review piece, I will discuss three films I saw from the festival’s section: Christmas Eve in Miller’s Point, Savanna and the Mountain, and Something Old, Something New, Something Borrowed

Christmas Eve in Miller’s Point (Directed by Tyler Taormina)

The first film in this capsule review is Christmas Eve in Miller’s Point from Tyler Taormina. It is an ironic comedic piece that constantly teeters between an indie holiday hit and a conflictless miscalculation of tones. The holiday season arrived early in Cannes, although the hot summer weather didn’t change one bit. Although I wasn’t particularly aching for that holly, jolly cheer at this point in time, it sure is welcoming. If I’m being honest, it is quite strange to see a Christmas film not only at the Cannes Film Festival but also at this time and in this weather. But the programmers at the Quinzaine des cineastes have offered to give one of their spots to Taormina and crew to deliver a “warm up” for December. 

Rather unfortunately, the majority of Christmas Eve in Miller’s Point doesn’t manage to capture the feeling of warmth and melancholy that arises during the Holiday season; Taormina opts for a narrative without a precise lead or tone, which keeps the audience away from the tenderness we were expecting from the feature. The story, or lack thereof, is set in Long Island, New York, following the Italian American Balsano family. They spend the night of Christmas Eve in unison, celebrating the Holidays in the matriarch’s (Mary Reistetter) house. However, this may be the last of this sort of gathering, as Grandma Antonia’s health is deteriorating rapidly. 

As each family member deals with their problems and blues, they question the ties that bind them. They ponder the separation and loss of tradition that might occur in this circumstance. Does the house itself have the power to unite this fractured family? Or do they feel compelled to continue without it? From that specific angle, I believe most people can relate to that scenario; something similar happened to my family, and somehow, the holiday season hasn’t been the same. But Christmas Eve in Miller’s Point loses its way amidst the snippets that cover family conversations, which lead nowhere, and overwrought deadpan comedy, which doesn’t land. The performances fit Taormina’s vision of an odd, funny, and brooding Christmas Eve dinner. 

There’s a tactility in their chemistry that allows you to sense the emotions scattered across the canvas. However, none end up engaging enough to get into the emotional core that Taormina wants to show near the end. The film’s sweetness isn’t artificial, but the nostalgia it wants to bask in does have specs of such, which diminishes the Holiday season cache. 

Grade: C-

Savanna and the Mountain (A savana e a montanha) (Directed by Paulo Carneiro)

The second film in this capsule review piece is Savanna and the Mountain (A savana e a montanha) from director Paulo Carneiro. It is a stylistically interesting picture in its combination of documentary and narrative feature filmmaking with some small elements of magical realism scattered across the canvas. It is a portrait of a small town slowly crumbling. Still, its people are holding their might against the mining operations occurring in Covas do Barroso, a village in northern Portugal. This issue has happened for the past few years, and the rest of the world doesn’t know about it. 

This is Paulo Carneiro’s shout to make sure people realize what is happening and how similar situations are happening in other places worldwide. The townsfolk are fighting against a company called Savannah Resources, which is creating lithium queries and looking for a way to rebuild the village based on those actions. This is all seen from the perspective of the townsfolk, as the actual residents are cast in the project, which gives Savanna and the Mountain a nice touch of importance and thematic weight with a bigger personal layer from the people involved’s point of view. They play different versions of themselves with more profound discontent and disquietude as the denizens travel across the grass-covered plains and rocky steppes. 

Their angst and frustration are front and center. The company sends messages about revitalizing job creations and giving them great chances, yet most people are skeptical about these so-called “empathetic communications”. That is why they take matters into their own hands. Carneiro is motivated to depict this development artistically, keeping the political fury present. He does so by not only using vivid imagery that shows the place’s ins and outs but also adding folk songs to the film, which serve as changes with a rebellious tone. And Carneiro doesn’t sugarcoat it; these songs contain very on-the-nose lyricism, for better or worse. 

His play’s style sometimes falters as the structure grows creaky and repetitive, often keeping the audience not so much at a distance but without a precise narrative hook to latch onto outside of the mutinous story elements. For most of the film, I wasn’t entirely captured by the narrative presentation of the picture, even though its cinematography is very vivid due to the realistic portrayal of life – and the injustices occurring – in that small town. Nevertheless, the power of its messaging remains intact. The atmosphere is filled with tension and resistance. Paulo Carneiro culminates on a solid note that leaves the audience with doubts about how everything is still, to this day, going on. 

Grade: C

Something Old, Something New, Something Borrowed (Algo viejo, algo nuevo, algo prestado) (Directed by Hernán Rosselli)

The third (and final) film in this capsule review piece is Hernán Rosselli’s exciting Something Old, Something New, Something Borrowed (Algo viejo, algo nuevo, algo prestado). It is a crime drama with a neo-noir background that isn’t explored due to its focus on the personal and meditative – a blend of elements and dark tones that borrow from a variety of genres, most to its favor, in a way that demonstrates the Argentinian director’s playfulness behind the camera. The film follows the Felpeto family, who are struggling to cope with the death of the patriarch and the underground lottery business that he has left behind – the matriarch, Maribel, now has to handle it forcefully.

The issues between the family arise not only in their conjoined grief but also in the chance that the police might raid them, as has happened to the other illegal businesses that were in contact with the Felpeto. The trepidation comes from their fear of losing it all at a time of sheer frustration and astray amidst passing. In case the worst-case scenario occurs, they burn files, destroy records, and hack into the patriarch’s computer to see if he has money tied up in other dangerous places they don’t know about. This process takes many years of their lives. And we see it through old VHS tapes and camera recordings – hearing the minute details through Maribel’s narration. 

This combination adds a unique layer to the film and separates it from the many crime films released yearly. It is stripped down and more grounded, almost feeling documentary-esque at specific points. Rosselli remains very stylish in how he edits each sequence together, blending past and present through these recordings in ways that immerse you into this story full of uncertainty. In his attempt to break the mold of crime films, the Argentinian director doesn’t want to showcase any violence and keep his film tight and clean, focusing on the family preparing – and managing a forced-upon situation – for a detrimental shift in their lives. 

Something Old, Something New, Something Borrowed’s impact might get knocked down during its last couple of minutes, with an ending that might leave many, including me, looking for a deeper resolution after seeing ten years of their lives encapsulated across such old-school recordings. But the project remains entrancing mostly due to Rosselli’s poignant portrait of a family portrait. At a time of conventionality, we come across yet another director from Argentina who wants to reinvent or experiment with genres that, for the most part, have circled around the same tropes for years. 

Grade: B

Women InSession: The Legacy of River Phoenix

This week on Women InSession, we discuss the legacy of River Phoenix through his performances in Stand By Me and My Own Private Idaho! It’s, of course, tragic what happened to Phoenix, but his performance live on with a deep emotional fervor that will stand the test of time. We talk about that and much more with the great River Phoenix.

Panel: Kristin Battestella, Jaylan Salah

On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!

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Women InSession – Episode 87

Movie Review: ‘Bad Boys: Ride or Die’ is a Nonstop, Bombastic Nostalgia Machine


Directors: Adil El Arbi, Billal Fallah
Writer: Chris Bremner, Will Beall, George Gallo
Stars: Will Smith, Martin Lawrence, Vanessa Hudgens

Synopsis: When their former captain is implicated in corruption, two Miami police officers have to work to clear his name.


Bad Boys: Ride or Die is the fourth installment of the franchise. The original Bad Boys was a breakout hit for Will Smith, proving he could lead a summer blockbuster. It also paved the way for him to be cast in Independence Day, which signified a breakthrough in mainstream Hollywood films. An action franchise with two leading African American actors was born for the first time.

Yet, breaking through the City of Angels’ major studio exclusivity didn’t light a fire under those controlling the money. The studios do what they do. They refused to greenlight the Bad Boys II sequel for almost a decade, then waited another 17 years for the third chapter, Bad Boys for Life. Meanwhile, there have been three The Expendables films from 2010 to 2014, then a fourth less than ten years later.

Thankfully, nearly 30 years after the original, the franchise has a sequel that does Bad Boys justice. Bad Boys: Ride or Die is a nonstop, bombastic nostalgia machine, returning to its roots by adding an equal amount of humor—a revitalized Martin Lawrence—to its jaw-dropping and thrilling action sequences. The latest installment is spectacular fun and full action-packed hilarity, though the filmmakers have trouble keeping a consistent style and tone.

The story continues the saga of two mismatched buddy cop detectives: the uber-cool ladies’ man, Mike Lowrey (Will Smith), and the anxious, wise-cracking family man, Marcus Burnett (Martin Lawrence). Now, the plot returns to its original Bad Boys roots. The duo begins to investigate corruption within their own Miami police department. What spurs these well-respected detectives to break ranks and investigate their own?

After all, the police have a “rat” squad of their own. However, when some bad guys hack their late captain’s computer, it sends a video recording of Conrad Howard (Joe Pantoliano), left, claiming that if they receive it, he was murdered. So, these bad boys (I know, I regret typing it) drop everything, even after Mike’s recent nuptials and Marcus’s health scare.

It turns out that Captain Howard was accused of being in bed with the local cartels (it’s Miami, so if Colonel Jessup walked by, he would say, “Is there another kind?”). However, Mike and Marcus’s investigation soon takes a nosedive (quite literally) as they are set up and accused of being in bed with the cartels and their late captain, turning them into fugitives who must now prove their innocence.

Bad Boys: Ride or Die is directed again by Adil & Bilall, who also helmed the third film (and are probably more famous for the Batgirl debacle at Warner Brothers). Working with a script from Chris Bremner (The Man From Toronto) and Will Beall (Aquaman), this installment is a marked improvement over Bad Boys for Life. For one, that film wasn’t funny; this one is hilarious.

I couldn’t quite recommend the two Bad Boys sequels. For one, they traded Martin Lawrence’s fast-talking humor and friendly friction with Will Smith for ominous tones and an excessive amount of violence. And frankly, the last film’s ridiculous twist of Lowrey’s lost child becoming a Sicario and shooting Lowery’s father figure was getting close to toxic male soap opera status.

Thankfully, Lawrence has abandoned the sleepwalking, cruise-control performances of the last two films. Here, the comedian brings a level of maximum overdrive energy we haven’t seen since the original. Lawrence is spectacularly funny here. He’s over the top in a few spots (alright, a lot), but anyone can do action, and not everyone can do what Lawrence is capable of when he’s on his game.

Several cameos from the original are included, and the team makes it a family affair. Some spectacular action scenes bring back the bombastic quality that is almost a nod to Michael Bay. And, of course, if you are a fan of ’90s action films like I am, seeing the iconic light strike graphic of a Don Simpson/Jerry Bruckheimer production is like a quick hit of nostalgic action bliss. Not to mention the scene-stealing Dennis Greene, whose Reggie steals the film.

I will say the plot doesn’t make a whole lot of sense. I mean, it’s obvious, but when it comes to specifics, there seems to be a healthy dose of very graphic violence to distract you from it being completely contrived. The villain, played by Mr. McSteamy, Eric Dane, is incredibly one-note (and you need to get a sense of his motivation). You immediately know who the “hidden” villain is as soon as they walk on screen. However, Jacob Scipio’s Armando works much better in the story this time.

Seeing this duo back on the big screen with Bad Boys: Ride or Die in fine form is an absolute joy. Smith still brings the same charisma and action-star status. Yes, you turn to Bad Boys for the Bayhem magic (watch out for the Michael Bay cameo), the pastel-colored skies, and the beautiful guys and dolls filling the Miami streets. However, it’s the bromance—LawSmith, if you will—that keeps you coming back time and time again.


Heck, if the Fast and the Furious franchise can do ten movies, why can’t they?

Grade: B-

Movie Review: ‘Robot Dreams’ is Achingly Human


Director: Pablo Berger
Writers: Pablo Berger, Sara Varon
Stars: Ivan LaBanda, Albert Trifol Segarra, Rafa Calvo

Synopsis: The adventures and misfortunes of Dog and Robot in New York City during the 1980s.


Robot Dreams is an empathetic animated tale that captivates with its wordless storytelling. With its meditative pace and immersive 2D visuals, a far cry from current Hollywood counterparts like Illumination, this is an anthropomorphic cartoon for children and parents alike. Transporting the audience with a masterful soundscape to 1980s New York, this deeply human story invites them to experience the world of Dog and Robot with tenderness and heart. 

The film, directed by Spanish filmmaker Pablo Berger, is adapted from Sara Varon’s 2007 graphic novel of the same name. Centered around Dog (Ivan LaBanda), the Twin Towers stand tall in the distance as the film introduces you to the canine protagonist alone in his apartment. The animation style of simple lines and not-too-bright colors match the feeling of its graphic counterpart. The detail is born out of the initial simplicity – this is clear-drawn animation with intent.

Microwaving his dinner and yearning for companionship, Dog watches the television in solitude before seeing an advertisement for an ‘Amica 2000’ robot. Fed up with seeing his reflection as a sole entity, he orders the robot companion. After a fast delivery and DIY construction, his Tinman-looking friend is born with long arms and a loving smile. An unbreakable bond between Dog and Robot instantly sparks – they begin doing everything together.

Strolling through the Zootopia-reminiscent city, sound designer Fabiola Ordoyo crafts an intricate coating of metropolitan sounds that add an immersive and authentic feel to New York. Whether they are eating a hot dog, sitting on a bench looking up at the Brooklyn Bridge, or even roller skating to Earth, Wind & Fire’s “September,” the visual and auditory storytelling achingly paint a beautiful picture of both character and setting.

On a Labor Day holiday, Dog is separated from Robot when a trip to Ocean Beach causes rust to set into Robot’s parts – Dog doesn’t have the strength to lift him. It is also the final day before the beach closes for the season. Dog promises Robot he will return with a box of tools when he can, but the authorities catch him when he attempts to break into the beach the next day.

Over the off season on Coney Island, Robot is left to dream in the sand. It is not an electric sheep he dreams of. Instead, it is his best friend in the whole world. It’s not starting a conversation about AI sentience; it is exploring the obstacles and joys of friendship in any form. So begins a tale of longing and the frailty of connection. 

With needle drops placed with expert precision (“September”  becomes the film’s anthem and will likely have the audience reach for the tissue box), the world of Robot Dreams is bittersweet and expertly storyboarded. Berger told the crew to watch Charlie Chaplin, Buster Keaton, and Harold Lloyd as inspiration, which is evident. As a love letter to the masters of silent cinema, Robot Dreams makes the audience feel deeply invested in characters that don’t utter a single word. There is friendship and love but also regret and loss. It’s never pessimistic, but it allows for melancholy – a traditional tale that speaks volumes about the human experience.

Throughout life, one of the core things we must learn as conscious beings is to seek connection. Loneliness can feel like a dark shadow that never draws in light, but friendship is the opening of the curtain that breathes life and love into one’s existence. The most important aspect of balancing the lonely and the connected is knowing when to let some things and some people pass through. Robot Dreams is the purest and most melancholic amalgamation of this concept. Calling the film ‘Past Lives for best friends’ would not be an unjust statement.

As people grow, mature, and change, they won’t necessarily know the same people they did a decade or two ago. For some, that is a complex concept to grasp. For some lucky ones, they will have lifelong friends. The conflict facing Dog and his journey back to Robot reflects life itself. Maturity comes from accepting that some people will not be in one’s life forever. Rather than grieve the times that were, there is wisdom in musing on what they gave at that time. They look out in the street and find peace seeing them living their lives in contentment. Through its Tintin-inspired visual palette, this film asks for love and thoughtful reflection to replace feelings of regret and remorse. 


We all need to find our people in the world. If a dog and a robot can find their way in amongst the verve of ’80s New York with its busy streets, smoggy stations, and overcrowded beaches- anyone can. Robot Dreams is a triumph of tender, empathetic animated cinema. It doesn’t necessarily give the catharsis one wants, but it certainly provides the outcome that the film, and life itself, deserve.

Grade: A

Movie Review: ‘Nathan-Ism’ Connects The Past and The Present


Director: Elan Golod

Synopsis: At the end of World War II, Nathan Hilu, the son of Syrian Jewish immigrants to New York, received a life-changing assignment from the U.S. Army: to guard the top Nazi war criminals at the Nuremberg trials.


“I’m a memory man,”

With this sentence, Nathan Hilu, the son of Syrian Jewish immigrants, starts the documentary Nathan-ism. As director Elan Golod carefully shoots his hands and features, immersed in the work of art at hand, traces of a world start manifesting in front of our eyes. 

This documentary connects the past with the present through the canvas of art. Fresh off WWII, young Hilu was a soldier on a mission from the U.S. Army: to guard the top Nazi war criminals at the Nuremberg trials. What follows is his unruly imagination turning factual events into works of art. Hilu’s paintings become a parallel visual memory of what happened during those formative years in his life and at a critical time in world history.

This documentary is an archive of a particular human being, at a special time in history. Documentarians are the modern-day historians. They keep a record of what happens in the world. But instead of news channels and social media working on mass reporting, documentarians take a slice of life and put it under the microscope. The Holocaust is a massive humanitarian tragedy, and taking it one slice at a time, one survivor at a time is the right thing to do, to collectively bring together the history of the world saved and protected for the generations to come. 

If there is a lesson to learn, it’s how impactful art is in safekeeping the horrors and massacres taking place all over the world. Filmmakers and artists worldwide must pay attention to every person who has contributed to documenting wars and genocides. If we want something to stand the test of time, let’s write about it and photograph it, but also, let’s make art and seal it with emotions. 

For 90-year-old Hilu, his ultimate victory over Hitler is making fun of him. His paintings are a mockery of bloodthirsty antisemites, brutal ethnic cleansers, and fascists. Art always stands on the right part of history when it does what it does best, belittling the evil and the greedy, and elevating the weak and the oppressed. Golod perfectly captures that through various shots of Hilu’s tools and paintings of Nazi war criminals during the Nuremberg trials. Hilu’s imagination has created a strange, lucid world. His construction of the cells and the prisoners, while leaving space for some of his thought processes to survive the rapid progression of his old age.

Nathan-ism is a tool of resistance. It’s not simply a documentary, but an insight into the mind of a genius recluse. An artist so swallowed and consumed by his art that the outside world seems to vanish in his presence. The inside of Hilu’s mind is a cacophony of events, words, actions, and colors. Golod’s camera perfectly captures his surroundings but helps him retrieve his memories, evoking them and showing them alive and vibrant with the intensity of the past.

This film truly implies that history is the greatest teacher. If the past and the present could be set side by side, only then will people know how suffering looks and feels. When years have passed and the comparisons become eerily similar, the world beholds one tragedy unfolding after the other, leading to worse outcomes but also bringing them back to textbooks and hate speeches, uncovering the root and cause of all problems, prejudice, hostility, unprecedented hatred, violence, and evil in its raw form. The hatred that people carry in their hearts, the grueling intentions to obliterate one group off the face of the big, wide earth, as if life cannot contain all creatures big and small, this hatred that breeds hatred has no place in a modern world where seemingly constant connectivity has made it easier for people to empathize with similarities rather than fuel differences.

Grade: A-

Movie Review: ‘MoviePass, MovieCrash’ is Equal Parts Enlightening and Frustrating


Director: Muta’Ali
Stars: Mitch Lowe, Nathan McAlone, Sydney Weinshel

Synopsis: Exploring the company founding and the implosion of the business by outside investors who took over the company, left it bankrupt and under investigation.


The new documentary MoviePass, MovieCrash, brought up some resentment for me. For one, like many cinephiles, when I heard about MoviePass, it was as if a business and product were finally made for me. This was a time I call the golden age of American life (you know, except for the guy with orange hair running the country at the time).

I mean, for God’s sake, you could hide out from the searing 100-degree-plus heat here in Las Vegas from 9 a.m. to midnight, having access to three square meals a day, unlimited drinks, and bathrooms while lounging in comfortable chairs for $9.95 a month. I saw more movies in three months than in the previous five years.

Then reality set in, and MoviePass turned off its cards, began refusing to respond to customer complaints, and removed the unspoken agreement between owner and customer on the metaphorical handshake to see any movie they wanted on July 17, 2018, shutting down access to a little film called Mission: Impossible—Fallout.

(Side note: I had to buy a ticket to a little film called Blindspotting because of the blackouts which turned out to be my first published film review and sat at the top of my 2018 top ten list.)

Even director Christopher McQuarrie had to issue a tweet saying he had no comment on the MoviePass fallout, pun intended. (Though he should have since members were buying tickets to other films and sneaking into his Tom Cruise action-spectacular, cutting into their reported profits.) By the following year, the dream had ended in the fall of 2019, but the movie industry had changed forever.

That’s the feeling captured and conveyed in MoviePass, MovieCrash, a relatively straightforward and informative *cough* true crime *cough* documentary that is entertaining and can even cause feelings of anger, especially when you look back at the public relations spin put on by MoviePass executives. Remember when we were told the executive was a former co-founder of Netflix? According to the film, all he did was supply the DVDs.

The film reveals that the scheme was to market how well HMNY stock was doing. The only way to do that was to promote a subscription price that was a non-viable market and claim that data was the key to making profits (which was a lie). They then used the subscribers’ monthly contributions to fuel lavish parties and movie productions (do you remember Kevin Connolly’s infamous Gotti?) and even launched an airline version called MoviePass Air.

Yes, it was a thing. According to the film, the scheme’s executives, Mitch Lowe and Theodore Farnsworth, will soon stand trial for fraud charges.

Director Muta’Ali Muhammad’s (Cassius X: Becoming Ali) white-collar crime documentary reflects on the racial divide in American business. It was not Lowe and Farnsworth who started MoviePass; it was Stacy Spikes and Hamet Watt, two African American businessmen who were forced out of the company. 

They even held 80 million dollars worth of company shares at the time, which they could not sell for twelve months after being kicked off the board. By the time they could sell, they were worthless. The documentary is like Fyre: The Greatest Party That Never Happened, but on a grander scale.

Muta’Ali Muhammad’s film is a slick and fun experience, similar to Eat the Rich: The GameStop Saga and Enron: The Smartest Guys in the Room. However, MoviePass, MovieCrash is different because it highlights systemic racism in the minority public. Here, a white businessman took control of a black-owned and led business, then defrauded the American public.

The Max documentary MoviePass, MovieCrash, is tailor-made for anyone who is a fan of the spectacular rise and downfall of public figures and businesses. Some of the film comes across as a puff piece for co-founder Stacy Spikes new venture, who bought back the company last year in a bid to relaunch. (Frankly, to the extent that it made me wonder if a studio like Warner Brothers bought a piece of it. My concerns will be realized if a Max subscription comes with a MoviePass membership in the near future.)


While the story of MoviePass is still incomplete and the future uncertain, the documentary MoviePass, MovieCrash provides a thorough and entertaining coverage of the fraud, offering a nostalgic, enlightening, and frustrating trip down memory lane. Now, excuse me while I run to eBay because the defunct MoviePass MasterCard that I found in my junk drawer is selling for up to a cool grand, and who couldn’t use that kind of money nowadays?

Grade: B-