This is my favorite movie from 2024. I compare everything to it, it’s broken my brain in the best way.
Like everyone you know, I’m on a podcast. I’m a regular co-host, and we trade off movies to watch. I’ve been working on some longer pieces to discuss some of the movies we watched, but I felt compelled to stop everything and write about the movie that really took my breath away — Hundreds of Beavers. We did a show about it here.
Like many of my favorite movies, Hundreds of Beavers is an independent film, but luckily for you it’s quite easy to watch. For instance, Amazon Prime has it as a cheap rental and AppleTV has it available as well. It’s easily findable. Here is the trailer.
Hundreds of Beavers is what it says on the tin — it’s got hundreds of beavers. *Taps movie* this baby can fit so many beavers!
And this movie, hands down, is one of my favorite movies ever. I’m not even kidding, it’s in my top 15. I honestly can’t believe how quickly this rose to the top of my movie list, and I wholeheartedly recommend it to anyone and everyone, which is why I’m sitting down to write this now. Normally when I have to watch a movie twice in a row to review it the second watch can be a bit of a slog — but not with this one.
Everything, and I mean everything, about this movie appeals to me. It has amazing aesthetic choices, an independent storytelling style, exceptional music, and a slapstick soul that romps through a simple narrative done extraordinarily well. I’m fan of each of those facets — and Hundreds of Beavers is a gem of a movie that has all of them. I am hoping that this film is taught in film classes for years to come and I hope it has Hollywood trembling in its boots. Hundreds of Beavers proves yet again that amazing films can be created on microbudgets and outside of the studio system.
It’s also a masterclass in storytelling. One of the big lessons I had to learn when I was studying writing was how to bring a story down to its components, and only use things in that served that story. The writers certainly know that, too because every moment, every gag leads to a payoff in Hundreds of Beavers.
Hundreds of Beavers is directed by Mike Cheslik and stars Ryland Brickson Cole Tews. They both wrote the film, and it was filmed in Wisconsin. It follows the story of Jean Kayak — an applejack maker who must face the harsh winter landscape after the destruction of his farm. We watch as he grows his knowledge about trapping and hunting. It takes inspiration from a variety of sources — from Buster Keaton to Jackie Chan.
It opens, as many movies do, with a big musical number — and after that there are few words uttered. They aren’t needed — the story doesn’t need words to be conveyed, nor does it need them to be interesting. It’s rare that a single person on screen can be as animated and captivating as Ryland Brickson Cole Tews is. It reminded me a lot of the energy that Bruce Campbell brought to Evil Dead 2.
When other characters are on screen, it’s a delight to see them play off each other. Whether it’s Doug Mancheski as The Merchant never cutting Jean Kayak some slack, or Wes Tank teaching Jean Kayak the ways of fur trapping, the actors are exceptional at telling the stories with everything but their voices.
Some of the gags are too hilarious to be believed, and the escalation of them ends up in a grand finale of a payoff.
I don’t want to give up too much of the plot or action of Hundreds of Beavers — it’s a movie that is better experienced than described, and is a treasure to talk about with like minded Beaver-Believers. You can certainly listen to me talk about it once our podcast episode drops (check out Cinema Enigma wherever you listen to podcasts).
Just be careful about recommending it, lest you find yourself saying “You should see Hundreds of Beavers” which could be taken in vastly different ways.
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 mylife, myconnections, and myworld.
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.
FACETS theater is an arthouse theater that is part of a non-profit founded in 1975, and their mission is to “connect people to independent ideas through transformative film experiences.” The Indie Discovery LA film series is a perfect fit!
Indie Discovery LA – Chicago will be kicking off with Bristol Fashion, in its Chicago debut. Bristol Fashion is a ‘slice of an interesting life’ film that I’ve reviewed before. Its focus is on Christina, a woman who is not only buying a boat to fix up, but lives in the boatyard while the work is done. Christina is trans, and this movie is a frank, funny, honest look at these pivotal moments in her journey. Featuring thoughtful, evocative cinematography and interesting views that intersect interesting performances and a compelling storyline, Bristol Fashion is a great film that celebrates its setting and reaffirms our beautiful, messy lives.
The next film in the amazing arthouse lineup is Only In Theaters, a film by Raphael Sbarge that explores the Laemmle theaters in Los Angeles – not only their history as a family-run arthouse theater but the challenges faced over a two year span. Originally intended to highlight the stresses brought to theaters by the rise of streaming, Sbarge’s thoughtful documentary also managed to capture the extreme impact of the pandemic on this important theater chain. Like much of Sbarge’s work, Only In Theaters is thoughtful, inspiring and lingers in the mind and the heart long after the credits have stopped rolling. In fact, Only in Theaters is the inspiration for Ekanayake’s Indie Discovery LA film series.
Only in Theaters will be screening at 7 PM and will be followed by a Q&A session with Raphael Sbarge, a long-time talent on stage, screen, video games, and film – and all around amazing person. Don’t miss the chance to see this film in a theater and ask him questions about it!
Rounding out the Chicago-style Indie Discovery LA series is Ekanayake’s film, Cosmic Disco Detective Rene. This quirky, funny sci-fi infused indie film is a sequel to Ekanayake’s The Secret Society For Slow Romance. This disco star of an indie film is a celebration of independent film, New York, and the magical transformation of meaningful conversations. In addition to its cast of characters, Ekanayake once again elevates its New York setting to the status of character. Come along with Rene as he tries to unravel the mystery of immortal time travelers.
Cosmic Disco Detective Rene will be screening at 9 PM and will feature a Q&A with indie filmmaker Sujewa Ekanayake afterwards. Not only is Sujewa the indiest of indie filmmakers, he has an extensive knowledge of the language of film and a deep love of all things indie – don’t miss your chance to talk to him about this quirky sci-fi romp!
I had the chance to sit down and talk with Ekanayake and Sbarge and talk to them about this exciting event. It’s always a great time to talk to two of my favorite people, so check out the interview!
Indie Discovery LA is going to be an amazing arthouse event that features movies that are steeped in the true independent spirit. And, if you bring a copy of Richard Brody’s book, “Everything Is Cinema: The Working Life of Jean-Luc Godard”, or bring a receipt from a recent purchase from Matthew Zoller Seitz’s store, you can get a ticket to Cosmic Disco Detective Rene’s screening for free!
And as Ekanayake said, expect the weird – and I can’t think of a better pitch than that!
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.
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.
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.
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.
Trigger Warning: Perfectly Good Moment is definitely an adult-themed movie – and one that explores sex, abuse, and violence – so this review contains those sorts of subjects (and so does the film!).
Perfectly Good Moment is a smart psychosexual thriller that explores the relationship between Ruby (Amanda Jane Stern) and David(Stephen Carlile) – a relationship that started when she was 19 and he was 34. This film isn’t content to just play to the tropes – instead it refocuses, reinvigorates, and reshapes the entire genre. Perfectly Good Moment is a daring exploration of the power dynamic between Ruby and David. The award-winning, 72 minute long feature will be making its premiere in the Pacific Northwest as part of the three-day West Sound Film Festival. Perfecntly Good Moment will be showing Saturday, August 5th at SeeFilm Cinema in Bremerton, Washington. Tickets for the festival are available here.
Perfectly Good Moment engrossed me from its first moments, where we see Ruby and David meet, until its last. Each moment was effective at building a story I found to be both interesting and moving. The beautiful cinematography and engaging story create a well-paced multi-layered experience that is an effective, visceral exploration of Ruby and David’s toxic (and disturbingly common) relationship dynamic. The original score by Mdou Moctar’s Mikey Coltun is perfect in enhancing the mood of every scene. Instead of playing into the common view point often seen in erotic thrillers, Perfectly Good Moment makes bold and daring decisions that create space (and language) for further conversations.
This was part of the intent of both Lauren Greenhall (the film’s director) and writer/star Amanda Jane Stern. Stern developed and wrote the script from a story she co-wrote with producer Julian Seltzer.
Stern said, “We are in a moment of cultural reckoning about these stories. Time and time again, audiences have seen the age-gap relationship story told from the man’s perspective.”
This intent shines through, and instead of the common exploration of this relationship from the male gaze, Perfectly Good Moment centers Ruby’s expressions and experiences as we watch the relationship develop – and exhibit the common, cyclical patterns of abuse.
Because of the importance of sex and intimacy to the story, which covers challenging themes such as power, abuse, and violence, Greenhall, Stern, and Lead Actor Stephen Carlile all knew an intimacy coordinator was vital. Intimacy Coordinator Acacia DëQueer ensured that everyone’s boundaries were respected and that everyone felt safe during the process of filming.
Amanda Jane Stern and Stephen Carlile not only give stellar performances , but create varying tension between them as we move through their story. It’s so palpable it feels as though the relationship itself is a character in and of itself that holds them in thrall. His abuse escalates from the emotional and mental abuse of dismissing her and her job to something far more dangerous.
Amanda Jane Stern as Ruby in Perfectly Good Moment. Image courtesy of Phaedra To Black.
Every moment of Perfectly Good Moment shows the passion and dedication to the story and a reverence for the feelings and experiences that inspired it. I admire its bravery and emotional intelligence, and the fearless performances of Stern and Carlile make this film a must-watch for those who wish the standard May-December romance story was retold from the feminine perspective. Carlile gives an amazing performance as the insecure control-seeking David, who is ultimately seeking of a life made of only perfectly good moments. Stern shines as Ruby – not only is she able to embody the naive, craving young woman who meets David – but also the abuse-tempered Ruby who returns to see David again. . .
I don’t want to give too much away, because I want you to be able to enjoy this gem for yourself. For sure try and catch it at the West Sound Film Festival – it’s lovely cinematography, conscientious foley (there were some inspired sound moments!), and amazing score would make a positive delight to experience on the big screen.
Perfectly Good Moment Movie Poster, Courtesy of Phaedra to Black Films
A new film festival, Indie Discovery LA (IDLA) Film Series, will be starting in July 2023. It features films from independent filmmakers. Inspired by the documentary Only In Theaters, Sujewa Ekanayake decided the best way to support fellow filmmakers and theaters was to program an entire film series – and the concept for the Indie Discovery LA Film Series was born.
The Indie Discovery LA Film Series will start in mid-July, and features an interesting array of indie films. ‘Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers‘ directed by Ekanayake, ‘Three Worlds‘ directed by Amir Motlagh, and ‘Bristol Fashion‘ directed by Pierre Guillet. The exciting film series will show each movie at Laemmle Theater in Glendale for at least a week. Additionally, Cosmic Disco Detective Rene will be available through limited VOD release through the screening series using Vimeo starting in mid-July, and will have weekly virtual screenings with question and answer sessions through the series and Eventive starting most likely in August.
Inspiration
Sujewa Ekanayake is a prolific filmmaker and tireless advocate for the independent filmmaking community. His blog, DIY Filmmaker is full of insights, interviews, images, and information about the independent films and how to make and distribute them.
After he saw Raphael Sbarge’s exceptional documentary, Only In Theaters, it inspired him to take his advocacy and seemingly indefatigable efforts to uplift the film making community to the next level.
Only In Theaters is an utterly engaging and emotional look at the Laemmle chain of theaters. The Laemmle name has been in Hollywood since Hollywood began, and the Laemmle chain of arthouse theaters in California continues to be an iconic platform for independent voices. Sbarge originally began the documentary intending to capture moments with Greg and Tish Laemmle and their family as they struggled to come to grips with the changing times for theater. The original threat? Streaming. But by the time the documentary was finished it also included the impact of COVID, lockdowns, and economic downturns.
In my original review of Only in Theaters, I said, “Opening at the Laemmle family’s Shabbat table, the documentary weaves images and film from their family archives, interviews with influential figures in film, and family celebrations and reminisces with footage that director Raphael Sbarge captured during 24 extraordinarily turbulent months for the revered theater chain.”
I also said later, “Only in Theaters is engaging with the way it explores the history and challenges faced by the Laemmle family and its business, but what stuck with me more was the movie’s celebration of theater-going itself. It includes many stories of movie-going experiences: first dates, inspirational, life-altering experiences, and important premieres that happened at Laemmle theaters. As the documentary demonstrates, there’s something magical that happens in a movie theater, and central to the documentary is that movie theaters are storytelling spaces of vital importance: and this is true of Laemmle theaters in particular.
I think anyone who has seen a movie in a theater agrees. There’s something special about it: from the beautiful, large spaces to the collective energy of the crowd giving itself over to the fictional dream.”
I wasn’t the only one to feel so inspired by the documentary. For Sujewa Ekanayake, Only In Theaters lit the fires of inspiration.
Dedication
But inspiration isn’t the only thing that is needed to make a film series. It just so happens that thanks to years in the independent movie space, Ekanayake has both the dedication to a vision and the perseverance to make it happen.
I asked him what some of the challenges were in setting up the film series, and he told me, “Finding good movies was difficult. Finding filmmakers who have done some self-distribution work and wanted to collaborate on producing screenings was difficult. I think I spoke with about 20 filmmakers before settling on the current lineup.”
The best moment in the arduous process happened early on he explains, “Favorite early moment was hearing about the possibility of showing 6 new indie films in LA – when Laemmle theaters approved of the project and decided to support it.”
He did an exceptional job programming the series – I’ve had the opportunity to screen and write about most of the lineup (and will be completing that in the coming weeks). The films are diverse in style and subject. Each of them are exceptional films and featuring the innovative techniques and compelling stories. The films are vastly different from each other, which interested me in understanding the curation process. Sujewa told me, “I wanted to show real indie movies that also had somewhat of a mainstream accessible entertainment quality to them and that may review well. So I ended up with 2 sci-fi type movies, a musical, a western/cowboy movie, and 2 dramas. A good mix.”
Despite the challenges, Ekanayake found that working with the Laemmle Theaters helped, “They were very helpful. It is a complex project however – so a lot of work, discussions, emails.”
I have to endorse this curation method – and agree with the mix. I found all the movies to be engaging and interesting – and refreshing in the way that only an indie movie can be. Ekanayake had the perfect blend of inspiration and dedication to independent filmmakers and independent cinemas to create an exceptional series of Interesting films. Indie Discovery LA Film Series is a carefully curated collection of interesting, vibrant films that highlight the best aspects of independent film. The opportunity to see these on the big screen in a Laemmle theater is an amazing opportunity!
Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers
Ekanayake has been making films for years – and last year he premiered his movie The Secret Society for Slow Romance. I’ve written about the film extensively – and this year he’s created a sequel, ‘Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers.’ In this film, Rene, the happiest man in North America and a famous private detective, is hired by the US government to determine if there are Immortal Time Travelers interfering with the past – and if it presents a danger. Are the time bridges a looming threat, or something else?
You can see a trailer for the movie!
I’ll be publishing a more extensive review of Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers coming soon! The film is currently being completed and prepared for VOD availability later this week!
I was a big fan of The Secret Society for Slow Romance. I loved Sujewa’s approach to filmmaking, the slow cinema sensibilities, the philosophical and hilarious conversations that Allyson and Rene had – and the lovely views of New York. From my review of the film, “On the most fundamental level, The Secret Society for Slow Romance is a slow cinema romantic comedy that explores what happens when two extraordinary people go on a few dates in New York City. The slow cinema styling allows us to explore big questions and even larger answers as filmmakers Rene (Sujewa Ekanayake) and Allyson (Alia Lorae) share take-out, conversation, and beautiful views of New York City. Throughout the movie, shots are allowed to linger on interesting spaces, objects, and people — the soft, welcoming glow gives character to the camera itself, which should be no surprise in a movie focused on two filmmakers.”
In another essay exploring the philosophical underpinnings of The Secret Society for Slow Romance, A Most Unusual Schooling, I said “The Secret Society for Slow Romance outlines a guide to creating independent film that includes distribution methods, fundraising, and merchandising ideas. It gives a great run down of amazing places to visit in Sri Lanka, and a fabulous list of independent films to watch for inspiration. But it also spends extensive time exploring spiritual methods to cultivate happiness. The Secret Society for Slow Romance is a study in the application of the Four Brahmaviharas, and it gives practical solutions to cultivating happiness. Not just within its world, but within our own.”
Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers will have its LA theatrical screenings with Indie Discovery LA – dates to be announced. There will also be limited Video On Demand screenings during the IDLA series, in addition to weekly virtual screenings with question and answer sessions through the series and Eventive starting most likely in August. To keep up with the upcoming dates for Cosmic Disco Detective Rene, keep your eyes on the IDLA website.
Three Worlds
LA-based independent filmmaker Amir Motlagh‘s Three Worlds is anengaging and thought-provoking film explores the nature of connection, memory, and self. This fearless film from Iranian-American Motlagh features amazing cinematography, innovative story structure, and beautiful turns of narrative that can take your breath away. Motlagh’s 20 years of independent film making experience gives this genre-bending and mind-bending film the expert hand it needs to guide viewers through the film’s complex story structure.
Three Worldsfeels like a tone-poem and meditation on the nature of memory. It’s beautiful score enhances the lush cinematography, compelling imagery, and organic performances give us a mirrored window into the main character, Saam’s (Motlagh), life and inner worlds. It’s a clever and innovative science fiction movie that brings an emotional and philosophical contemplation to life.
Here’s the trailer!
I’ve had the chance to review this one before, and I said, “The beautiful trick of the raw, emotional work of Three Worlds is that it got me to forget all of the crazy questions I had about the sci-fi part of the movie. The more I saw Saam interact, and heard the family talk, the less I worried about how and the more I wanted to know why. For a work that seems so puzzling on its surface, the undercurrent of relationships and how they color and impact the experience of life remains…The cinematic experience of LA rooftops and its beautiful skies interspersed with carefully framed conversations and the Harmless Room are evocative and inspiring. This isn’t the sort of film for people who are looking for comfortable answers. It displays its raw and sometimes dark emotions in a way that is easy to connect to and challenging to contemplate. Three Worlds asks us what of our lives, our selves – our worlds. What are we? How do our relationships impact our world?”
While Three Worlds asks a lot of viewers, the emotional and intellectual payoff for the investment are huge. As viewers experience the movie, not only do we learn about Saam, but also a bit about the nature of creativity, memory, and connection. Seeing the sumptuous visuals on the big screen should be an utter delight.
Three Worlds will start its run at Laemmle Glendale as part of the Indie Discovery LA Film Series on 8/4/2023 and will run for 7 days.
Bristol Fashion
Bristol Fashion tells the story of Christina (Lea Nayeli), a transgender woman, during a time of extraordinary chaos for her. Christina buys a boat from Esteban (Raul Perez) with the intention to embark on a long journey out of her old life. Once Esteban susses out that Christina doesn’t have a place to stay, he lets her crash on an abandoned houseboat at the boatyard that serves as the main setting.
This sweet slice-of-life movie shows the bigotry, confusion, and awkwardness that she faces from people in her interactions. As she attempts to put her life together in the face of haunting trauma, we learn more about her vulnerability, strength, wit, and warmth.
When I reviewed Bristol Fashion before, I said, “I really enjoyed ‘Bristol Fashion,’ and was grateful to see an affirming story about the power of tolerance and acceptance. The story’s emotional range and depth is accompanied by wry humor and meditative visuals that make sure that the weighty material isn’t too overwhelming. It was refreshing to see a film that actually explored the experiences of a transgender woman beyond just the surface. ‘Bristol Fashion’ is a beautiful contemplative examination of the sort of life often relegated to the margins, but so deserving of our time.”
I appreciated Bristol Fashion’s reverence for the character building process, and its patience in allowing scenes to unfold. Instead of being rushed through the memories and moments, we’re allowed to linger and take in the details – not just of where characters are in their journeys, but of their surroundings as well. Bristol Fashion makes sure we get to know Christina and those who ebb and flow through her life. Even the marina’s presence transcends setting into character.
Bristol Fashion will make its LA theatrical debut with a the Indie Discovery LA Film Series starting on 8/25/23 for 7 days!
As you can see, Sujewa Ekanayake has curated an exceptional series of films to experience at the storied Laemmle Theater. You can find more details and get more information about the Film Series on its website.
What struck me most about Six Days to Die was its fearlessness in being something different. It’s highly stylized, and often I felt as though I was watching a graphic novel spring to life. Six Days to Die is an exciting, innovative, fantastical sci-fi western. This genre-bending film may not be for everyone, but the ones it’s for will love it. It features a rich, fully-realized world with unforgettable characters. If you enjoy emblematic, epic stories like “The Dark Tower,” are a fan of Westerns, have spent hours playing Red Dead Redemption 2, or enjoy highly-stylized productions — this is definitely a film you don’t want to miss.
Six Days to Die. Image Source: http://www.6d2d.com/, Courtesy of Matt Campagna and Goldstrike Films
This isn’t writer / director Matthew Campagna’s first foray into his “6 Verse,” but the story and production of Six Days to Die is so well-designed it didn’t matter that I hadn’t seen its predecessor, Six Reasons Why. Six Days to Die opens on a man known only as The Gambler (Darryl Hinds), as he makes his way through a punishing, viscerally familiar (yet surreal) landscape. He drags a heavy, skin-biting chain as he limps his way eastward. That’s all you need to know. The story unfolds as he navigates a cruel, punishing desert. Not far behind him is a person known as The Marshal (Melissa D’Agostino), who is quickly established to be as bloodthirsty and ruthless as she is relentless in her pursuit eastward. When The Gambler encounters The Boy (Ellery Miki-Petite) in a strange oil town, The Gambler comes to realize he has several tough decisions to make.
The biggest selling point for me with any film is its ability to create and maintain a compelling world, and to follow its rules – and Six Days to Die excels at its world-building. Every element of the production’s design is done in such a way it contributes to the mood and visual language of the story. In addition to its rich visual language, Six Days to Die has sound design and music that adds effective soundscapes to the story.
The costumes are particularly exquisite and detailed – from the design of the Marshal’s deep red ‘hero coat’ to The Gambler’s brocade suit, and including a particularly lovely and sparkly dress, each piece tells a story of its own and adds to the character. I am sure costume designer Vanessa Lee Wishart spent a lot of time stressing over the choices, but the results are sublime.
The performances are evocative and interesting. Darryl Hinds at The Gambler is sympathetic, mysterious, and charmingly funny. Melissa D’Agostino gives a powerful, magnetic performance as The Marshal – her presence is felt even in the scenes she’s not in. Once I met her, thoughts of her relentless character were never far from my mind. Ellery Miki-Petite’s performance is dynamic and interesting. Colm Feore brings the necessary gravitas and force to his character, named ‘The Man in Black.’
I had an amazing time watching Six Days to Die and enjoyed the story so much I immediately wanted more. If you enjoy movies where it feels as if each frame is a work of art within itself, or want a good Western told in an innovative way, you’ll enjoy Six Days to Die.
