I did so much work on this analysis!
Category: Film
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Cinema Enigma Podcast: Vampire’s Kiss and Renfield
I’m now a co-host on Cinema Enigma.
Here we are, talking about two movies I selected – a Nic Cage Vampire Feast with Vampire’s Kiss and Renfield.
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Young Ali: Those Were The Days
Amir Motlagh’s new film, Young Ali: Those Were The Days, is an engaging, uncompromising, intimate portrait of a man whose life is changing. While it is quiet, contemplative, and meditative it deals with large and turbulent emotional issues in a beautiful, relatable way. Like many of Motlagh’s films, it explores the essence of connection, re-connection, and disconnection: not only with the world, but the people in it. What sticks with me the most is the bravery of dissecting the complex emotional world of such a messy time for a character.
Ali is facing a big change after a divorce, and like many who do so, he returns to his parents’ home to recover and contemplate. During this time he is challenged — not just by his own feelings following the harsh disconnection, but also the difficulty in reconnecting to himself. We are invited to be with him and witness the time he spends evaluating not only who he is, but who he was — and ultimately who he wants to become. It’s a relatable story and one that we’ve all faced at sometime or in some way or another. We have all connected, and then disconnected. Motlagh’s adept storytelling connects us not only with those everyman moments, but allows us to experience and understand the specific challenges Ali faces. Not only is he facing his past, present and future and determining how he will connect with the world — but he must do so as the first born son to Persian parents in the US. The emotional truths laid bare have rung in my mind long after I’ve finished watching, and the juxtaposition of the specific nuances of Ali’s plight have stayed with me.
Motlagh’s performance as Ali is nuanced, careful, and naturalistic. Every moment with him feels real and grounded, even as he rides out the tumult of his emotional life. His performance is fierce and brave: Ali is both vulnerable and irascible, shaky yet stable. We are always close enough to him to understand why. Yousef Motlagh gives a beautiful performance as Ali’s father and infuses his scenes with an emotional complexity that feels both gentle and firm — strong and questioning. He plays perfectly with both Amir Motlagh as Ali and Atefeh Galladari’s rich performance as Ali’s concerned yet quiet mother.
While we are so very close to Ali, each scene giving us a deep intimacy with him and the moment, there is still distance. It’s enough distance to be tantalizing, and it reminds us of the gulf between ourselves and those in our world. Conversations with his friend Mikey (played by Michael Flowers), on the other side of a phone call and in pictures, give us glimpses into who Ali was. His one-sided conversations leaves clues to what he is trying to escape. The conversations with his mother and father allow us to see so much more of Ali — and it is through this canvas of conversation, contemplation, and motion that we’re able to see Ali’s struggle and progress towards . . . well, himself.
There’s something magical about Motlagh’s films for me, and the immersion he creates into rich worlds with sound and visuals is a celebration of the medium of film. The music he composed as the score for Young Ali is in perfect synch with the performances and visuals. The music emphasizes but never overwhelms the piece. The cinematography and framing are exquisite, giving the entire film that feel of intimacy while still maintaining a captivating distance. Motlagh doesn’t waste one piece of the frame, he uses every moment of the film to build to a larger truth not only for Ali, but for us as the audience. The lovely story unfolds at the right pace, and the grand emotional scale and truths reached feels larger than is possible within its run time. It’s the intimacy that I find the most staggering — how Motlagh brings us so very close to Ali while still separate enough for contemplation. I could understand exactly where Ali was not just because of what I was being shown, but for the mirror the movie held up for me. The entire piece feels utterly relatable while still being large enough to be grand.
People who have read my work about film know of my adoration of slow cinema. I love movies that tell greater stories from smaller, quiet moments. My favorites are slice-of-life films that allow me feel as if I’m so close to the characters I can breathe in their air. Young Ali: Those Were The Days is a perfect example of what I love: it’s an emotionally huge story made of quietly impactful moments told in a rich, beautiful, and innovative way. It is complicated yet inviting — challenging yet uplifting. It has a cozy intimacy that will bring me to watch it again and again. It’s not so often that such a beautiful story is told so well — and I find that when it happens, it’s important I take note. The film reminded me that my experiences are very different from Ali’s, but our emotional truths are the same. It did what great cinema and stories do: it used a lens directed elsewhere to tell me a larger truth about my life, my connections, and my world.
To keep up with where you can see Young Ali: Those Were The Days and which film festivals it will be a part of, follow the film’s website. You can also follow Amir’s impressive body of work and sign up for updates at his website here.
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Strangers in A Room
The power of independent film is in telling stories that don’t often get told, and Strangers in a Room is just that sort of powerful cinema. Directed by Andre Rehal, Strangers in a Room focuses on veteran actor Jae (Jonathan Kim), as he explores a large life choice. Its beautiful cinematography enhances Kim’s engaging performance, and reflects Jae’s turbulent inner world.
Strangers in a Room is a physically beautiful film that tells the sort of story Hollywood doesn’t want you to hear. Its name is a reference to the audition process – where actors and actresses are judged by strangers in a room – and the audition in question is particularly difficult one for Jae, who is already struggling with questions of what happens when dreams and identity collide. Jae, who is a veteran actor, attends an audition, where he gives his name as Jacob – but that’s not all that he must do to secure a role.
Beyond the microagressions (and I’d even say macroaggressions – there’s no doubt about the racism in play at his audition), the entire situation grows more complicated when a video about the incident goes viral. What should be an exposure of how nasty industry politics collides with systemic racism instead becomes an emotionally devastating catalyst for Jae. Now Jae not only has to face dawning realizations about his hopes, careers, dreams, and nightmares – but he must do so knowing that video of those moments is being shared (and commented on) around the world. This unflinching, powerful work about the emotional cost of art and artistry focuses on Jae’s inner turmoil at a time when he has to reconsider his entire life. Within his inner world is a demon he must face – and the cost of that encounter has the potential to forever change him. Jae wrestles with whether or not he can continue forward to chase his dreams facing unbelievably difficult odds – and whether or not he even wants to.
Because the video goes viral, he isn’t able to sit privately with what happened. Instead he’s forced to talk about this difficult experience with Alisha (Shreya Patel), his ex-partner and current influencer / TV host hopeful. As he works through his emotional turmoil, we are asked to contemplate the masks we wear – and those that we force on others for our comfort. Jonathan Kim’s range of talents are on display in this engaging film – not only does he act, but he also sings. The many physical elements he brings to his performance really drive our sense of Jae’s constant inner struggle. Regardless of the interaction, we can see the damage done by his horrible experience at the audition, and the continued price he pays because of it.
The cinematography and camera work in Strangers in a Room is as exciting as it is lovely. Long, beautiful shots of a world doused in red are interspersed throughout the film, giving us insight into Jae’s rich inner world as he faces his choice. The music and soundtrack is the perfect fit for the stunning visual representation of Jae’s inner turmoil and the battle that rages between his hopes and our reality.
Strangers in a Room is an exceptionally beautiful and emotionally vivid film about a difficult and uncomfortable topic – and represents some of the best facets of independent film. Thoughtful, complex, and haunting, this one will stay with you for a while.
Striking and singular, this would be a beautiful film to see on the big screen – which you can do right now at Laemmle Glendale.
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Shudderbugs
I admire meditative films that explore the depth of emotion in a situation – and Shudderbugs is a wonderful example of just such a film. Written, starring, and directed by Johanna Putnam, Shudderbugs is a beautiful, sensitive, and subtle psychological thriller that chronicles a woman’s unraveling psyche as she deals with the death of her mother. I’m not the only one to be smitten – the film has won several awards – including the Indie Spirit, Rising Star (Naples International Film Fest), Best Actress (Kansas City Film Fest), Best Director, Best Screenplay (Idyllwild International Fest), Indie Auteur of the Year (Bare Bones International Film Fest), Festival Director’s Choice (Cinema on the Bayou), and Special Jury Mention (Oxford Film Fest). And I’m certain that there are more awards to come for this one!
Shudderbugs‘ opens with a soundscape that envelops the mind before the visuals start, finding its way to the question, ‘Miss Cole…Miss Cole, do you know where you’re going?’ and this is the very question we spend exploring with Sam Cole (Johanna Putnam) throughout Shudderbugs. The layered, compelling sounds and bright image of Sam staring upwards at us feels Lynchian, and that feeling continues as the score seeps in and we see Sam driving through a rural landscape. The deliberate and pacing of Shudderbugs allows for an air of disquiet as Sam approaches her childhood home.
Sam’s mother died suddenly, but that isn’t the only mystery that Sam discovers once she arrives at the house. The mysteries continue as Sam explores her childhood home, where her mother’s presence and intentions are felt throughout. While this was her home, the score, soundscape, and atmosphere make it feel instead like a liminal space residing between her childhood and her future that she must traverse. She finds things never before seen and things missing, and is left with more questions than when she arrived.
The creeping feeling of dread mounts as she interacts with her only neighbor, Noah, played by Brennan Brooks, who is also the Director of Photography and a Producer on the film. Noah was the one to find the body, and he isn’t forthcoming with information – and is obviously uncomfortable with Sam’s presence. As the grief-stricken Sam seeks answers, she’s gripped more and more by paranoia. She questions her own ability to handle the quickly escalating situation. The more she is isolated, the more she is pulled by the forces of grief and a growing paranoia that she must process. To find the answers she is frantically seeking will require her to follow trails of clues left around her – and more importantly, to not lose herself in the sea of grief.
Shudderbugs was filmed during the pandemic. Putnam, Brooks, and editor/producer Jamie Unruh embraced the limitations that the lockdowns created, and remained focused on the elements available to them: a beautiful location, compelling and organic performances . . . and lots of noisy, fluttery, beautiful bugs. Their years of experience and love of cinema created an poignant and emotional film that stays in the mind and near the heart. The original score by Eric Elterman elevates and heightens the atmosphere, without overwhelming some of the other delicate moments of sound design.
Shudderbugs is an achingly beautiful film – each detail lends itself to the story and atmosphere. Heartfelt and sincere, I shared Sam’s grief, triumphs, and fears on her journey. Johanna Putnam conveys the ravages of grief in such a compelling way I found myself shedding a cathartic tear more than once. Brennan Brooks’ performance as Noah was so true to life it felt as if he had stepped out of my own small-town past.
While Shudderbugs explores the character of grief and a host of other uncomfortable emotions, it’s never so much as to turn maudlin – the humor sprinkled throughout is perfectly timed to give release after exceptionally tense moments. It is a powerful portrayal of a woman who is tossed about by her grief in an isolated world of mystery, paranoia, and discovery.
It will be screening at the upcoming Macon Film Festival August 17 – 20, the Middlebury New Filmmakers Festival on Friday, August 25th, and the Richmond International Film and Musical Festival on September 27th. You can find out more information about upcoming screenings on their linkpage, or their website.
Shudderbugs is a stunning, multi-layered film that bravely explores the strange places that grief can lead us. If you enjoy beautifully textured movies with a strong emotional center, immersive soundscapes, lovely landscapes, and compelling performances that you can’t help but feel straight in your heart, Shudderbugs is a beautifully crafted film that is well worth your time.
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Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers
Cosmic Disco Detective Rene is a sequel to The Secret Society for Slow Romance, but it’s not the type of sequel that retreads the beats. Instead, NYC-based independent filmmaker Sujewa Ekanayake treats us to the same characters in an entirely different genre: a sci-fi comedy romp. Just as I loved The Secret Society for Slow Romance, I instantly fell in love with this quirky, funny slice-of-an-interesting life film.
Cosmic Disco Detective Rene While it’s a sci-fi comedy, at the heart of Cosmic Disco Detective Rene is a mystery: Are there immortal time travelers? Are they a threat? Do they meant to disrupt the past? What should be done?
You might look at the above and think, “but what does that have to do with disco?” I’m so very glad you asked — Rene (Sujewa Ekanayake), the independent filmmaker that also happens to be North America’s happiest person, is also a detective – and a busy one at that. Rene solves his cases by listening to the background noise of the universe, which just so happens to be disco music. The government has a problem – and they need an innovative detective like Rene to help them determine how to proceed. Independent Filmmaker / Government Agent Ithihasaya (Genoveva Rossi) engages Rene to help advise the government on how to proceed. That’s not all that Rene has on his plate, as we also meet Chitrapati (Natalie Osborne), an independent filmmaker / film critic / theater owner who is interviewing Rene about the history of New York City independent cinema. The film covers his search for the answers to why the time travelers are among us and we get a glimpse of that process – from brainstorming the possibilities with Allyson (Alia Lorae), to checking the groove of the universe.
Alia Lorae as Allyson and Sujewa Ekanayake as Rene in Cosmic Disco Detective Rene. Image used with permission. If you read a lot of my film reviews or hear me talk about film, I often talk about how effective an filmmaker is at building a world and sticking to its rules – and here Ekanayake builds an immensely entertaining world very close to ours – with a mystery all of its own. The funny, hopeful, and spirited sci-fi comedy explores concepts such a simulation theory and multiple dimensions without bogging down the text with technical details. Instead, we’re free to explore philosophical ideas with Rene as he tries to solve the mystery of these immortal time travelers, and what they might be doing in our time. As in its predecessor, we also spend a lot of time with Allyson as she navigates her evolving life and interests. Cosmic Disco Detective Rene reveres its characters as much as it relishes its New York City setting, elevating the city, and specifically Sunset Park, to near-character status.
Alia Lorae as Allyson in Cosmic Disco Detective Rene. Image used with permission. One of the things that captivated me about The Secret Society for Slow Romance was how the characters talked and related to each other – and Cosmic Disco Detective Rene delivers even more amazing conversations, and introduces two brand new characters to get to know. Every character is an independent filmmaker with a different focus, and each brings a unique perspective on a range of topics – from the impact of colonialism on movie reviews to how Hollywood excludes the voices of those with unique stories and ideas. These ideas are important, and relevant to our conversations around the stories we humans tell ourselves – and it’s refreshing to have them explored outright.
One of the reasons I love independent film is that it allows people to tell more interesting and daring stories that aren’t forced to conform to the interests of a boardroom. I have learned more about my world and the people in it since exploring independent film.
Delightfully, Cosmic Disco Detective Rene is smart and laugh out loud funny without pretension or artifice, and instead allows the audience space to relish life’s absurdities. The movie’s performances were engaging and organic, and each detail within the scenes enhanced and supported the story. It stayed true in moments to its slow cinematic roots from the Secret Society for Slow Romance by allowing frames and moments to linger.
While the Secret Society for Slow Romance asked if independent film solve world poverty – Cosmic Disco Detective Rene demonstrates that independent filmmakers can bring insight and clarity to many other problems.
Cosmic Disco Detective Rene is a feel-good, uplifting movie that has an unmistakable vibe, and entertaining characters. It celebrates its setting of New York City, and its medium of independent film. It’s lovingly crafted, and features several homages to its inspirations and roots. Cosmic Disco Detective Rene isn’t just a sci-fi comedy -it also explores a variety of unexpected subjects with depth, and a big dose of humor. It isn’t just a celebration of independent cinema, it represents the exact sort of stories that people who love indie film seek.
If you’re looking for a fun, interesting story that has a lot of rewatchability, laugh out loud moments, and memorable characters – you’ll really enjoy Cosmic Disco Detective Rene.
Cosmic Disco Detective Rene will be screening at the Laemmle Theater in Glendale as part of the Indie Discovery LA Film Series (IDLA), where it will have 7 theatrical screenings. There will also be weekly virtual screenings with Q&A’s following the film. For more information go to the Indie Discovery LA Film Series website.