Hark! Abandon expectations of logic and expedience all who pass through theater gates this weekend for the Northman. Indeed, Robert Eggers is back with another sprawling folktale drawn from days of yore, delving deeper into the past’s shadowy legends than ever before. With the help of Icelandic poet Sjón, the director who explored the dark forces and menacing sheep of an early America in the VVitch and the madness that befell men who crossed the wrong seagull while tending the Lighthouse, Eggers has returned with a tale of Viking vengeance. Even moreso than usual, ‘tis a realm where the veil between reality and the supernatural remains especially porous. I, for one, will never be mad about a wildly creative artist getting a bunch of money to realize their weird vision, and that’s exactly what Eggers does over more than two gnarly sprawling hours in a deep dive into gray Nordic psychedelia.
Author: Josh
SIFF 2022: Ahed’s Knee
“Y.”, the Israeli filmmaker at the center of Nadav Lapid’s semi-autobiographical tale of overboiling frustrations has a lot on his mind. He’s in the the early stages of conceiving a new film about a Palestinian activist that takes inspiration in reaction to an incendiary tweet. His mother, who’s also happens to be his frequent collaborator and screenwriter who also happens to be his mother is gravely ill; and paid appearance in a tiny remote village to show his previous work for the Ministry of Culture has taken him away from both of these more pressing concerns.
Cow provides a clear-eyed look at the other side of the dairy aisle
In her clear-eyed documentary, Andrea Arnold and her camera follow a “nice-faced dairy cow with a strong attitude” named Luma to depict several years of the animal’s life on a mid-sized British farm. It’s not all bad — polite caretakers, grazing outside, warm summer nights sleeping under the stars — but no narration is needed to accentuate the complete weirdness of modern animal husbandry.
Everything Everywhere All At Once contains multitudes, feel them all.
It’s not often in this age of the hype cycle that a highly anticipated movie exceeds already incredibly high expectations, but I suppose that a film ambitiously (and accurately) titled Everything Everywhere All At Once should damned well be the film to do it. What a tremendous rush to see Daniels doing seemingly whatever they want with an apparently unlimited toolkit.
SIFF 2022: It’s Alive
At long last, a sense of “semi-normalcy” for Seattle and Springtime. After last year’s fully-virtual festivities, the 48th Seattle International Film Festival is upon us, restoring to our fair city an excuse to venture back out into theaters (or to watch from our homes) for eleven straight days and nights. Yes, this April 14-24th sprint is somewhat slimmer than the monthlong marathons of yore, but honestly, it feels a little bit healthier for all parties.
SXSW 2022: Diamond Hands: The Legend of WallStreetBets
My most striking reaction while watching the crisply-packaged incredible true story of that time when an army of Reddit-affiliated retail traders rallied to cause seemingly worthless GameStop stock price to rocket to the moon was that all of this happened just a little over a year ago. I suppose that time flows differently in a pandemic. The burst of trading pitting little internet “apes” against over-leveraged hedge funds captivated the media somewhere between the insurrection on the Capitol and the rollout of the first vaccines, before hot vax summer and the revenge of the omicron. So, something like a million years ago, yet a remarkably quick turnaround to get some of the key players on film and telling their stories of how amateur stock trading during a shutdown transformed their lives.
X marks the spot for classy adult horror
and in extremely capable hands. The camera surveys the scene with deliberation: first the silent sirens of police cars, gradually bringing us closer, with each movement exposing another level of gore and revealing the scale of the unspecified terror. First a blood-soaked corpse covered in a sheet, a spattered wall, more bodies slumped against the wall, the sheriff and his deputies making their way into the house, descending into an ominous basement, and witnessing a horrifying scene that we’ll have to wait about a hundred more minutes to see for ourselves.
SXSW 2022: Under the Influence
A great way to feel ancient is to watch a very thorough documentary about someone who is incredibly famous whose existence you were nevertheless unaware. In this case, it was Casey Neistat’s account of the the rise and fall and rise of an incredibly popular YouTube personality called David Dobrik. Having himself achieved a high degree of notoriety through his own marathon presence on the social networking service, Neistat’s familiarity with the platform, fame, and Dobrik himself ideally positioned Neistat to get an insider’s view of a young star’s stratospheric ascent. When he began filming interviews with him in 2018, neither had any idea what was yet to come.
SXSW 2022: I Love My Dad
“The following actually happened. My dad asked me to tell you it didn’t.” These are the first words that we see as James Morosini opens his autobiographical film. It’s one that he writes, directs, and has cast himself in the lead role, and as the story unfurls in ever-excruciating waves of cringe-inducing parental behavior, audiences will likely cling to this disclaimer in escalating disbelief about the veracity of these claims. As I squirmed through the hour and a half, I frequently found myself wondering about the therapeutic value of a thirty-year-old portraying himself at age seventeen to relive a terrible chapter in his own life. For his sake, I also hoped that the opening lines were themselves untrue.
Sundance 2022: Awards Weekend
The Sundance Film Festival announced all of its awards on Friday afternoon, with audience awards going to Navalny, Cha Cha Real Smooth, Girl Picture, The Territory, and Framing Agnes. Grand jury prizes were awarded to Nanny, The Exiles, Utama, and All That Breathes. I had missed a bunch of these during the premiere and second-screening windows; so I was grateful that the festival dedicated its final weekend to third showings of all of them so that I could catch up with a few more before packing up my virtual snow boots until next year.