A Seattle moviegoing lifestyle magazine
Official Competition films There is No Evil and Under the Open Sky had found a perpetual spot on my “watch later” queue, but when I saw that they secured top spots among the audience awards, I knew that I had to use the waning hours of SIFF Privilege to make them my Closing Night double feature (with apologies to Rosa’s Wedding).
My SIFF watchlist hit a patch of coming-of-age movies over the last few days. A couple had me running for the fast-forward button, but these three A few others, though, had enough of a twist on the genre or point of view to hold my increasingly scattered attention.
The finish line is in sight for the 47th Annual Seattle International Film Festival
Short reviews of three documentaries about creative people stuck — due to war, personal turmoil, or prejudice — at home.
Reviews of two films about women in challenging circumstances, both playing as part of SIFF’s Documentary Competition.
There comes a time in every Spider-Boy’s life when he must hang up his Spidey suit and go off to war, become addicted to opioids, rob a bunch of banks, and fly off to have adventures in space to establish himself as a credible grown adult actor who can do so much more, as if being the far and away best friendly neighborhood web-slinger in Marvel’s history wasn’t enough. Alas, this spring has been that time for young Tom Holland, who did all of those things in two not that good spring releases.
After being one of the first festivals of 2020 to go into hibernation when confronted with the uncertainty of the Covid-19 pandemic, the Seattle International Film Festival is returning in (mostly) virtual format for 2021. Running from April 8-18 (early and abbreviated for SIFF, but still a long festival by most standards), most films will be available to at-home festival goers through their screen of choice. We chatted about our first reactions to the virtual festival, suggested strategies for approaching the program, and make some quick picks.
Megan Park’s coming-of-age film starts like a typical high school day that takes a dark turn that’s also increasingly tragically common. The result ing story of the aftermath of a school shooting is a nuanced and emotionally riveting piece of storytelling that won audience and jury awards at this year’s SXSW film festival.
Whenever I’m feeling indecisive at a film festival, I tend to default to documentaries. The highs may not be as high as with a surprisingly revelatory narrative feature, but the lows are rarely as low as a complete indie disaster. Reviews from four pretty-good documentary premieres from this year’s SXSW fit the bill with stories of would be public servants and scam artists.
Two comedies that embrace the aesthetics of the pandemic era premiered — and succeeded — at this year’s SXSW.
