The 2018 Sundance Film Festival is winding down and having been a part of the first 5 days, there was a different feel to it this year. The streets weren’t as crowded with pedestrians. The traffic was much less congested. And the lines to attend the films didn’t seem too terribly long. Perhaps the addition of “The Ray” theater and better traffic management explains this calmer, more quiet feeling. Or has attendance dropped precipitously from last year?. Only the final numbers not yet available will tell, but I can attest to the fact that the energy level certainly seemed less intense, overall.

For women in film, that was certainly not the case as numerous panel discussions, presentations, and a significant number of female-written and -directed films were available to festival goers. In addition, the Women’s March took place in town drawing locals, festival attendees, and celebrities. Coincidentally, 6 of the top 10 films of the fest, from my viewpoint, were either written and/or directed by women. Here are my festival favorites:

THE TALE
Jennifer Fox adapts her own life story to tell the tale of sexual abuse as a child. Starring Laura Dern as “Jennifer,” we meet her as an adult, rediscovering through an old English class story her mother found, the reality of what happened more than 30 years ago. Her perspective as an adult and revisiting those memories, sometimes clouded by time and stitched together with the aid of others during that fateful summer, allows Jennifer to confront her thoughts, current fears, and most importantly, herself. Ellen Bernstein portrays Jennifer’s mother, adding a realistic and often-times humorous touch to the movie. But what is most heart-wrenching and painful is the visually emotional manipulation of an adult with a child. The film cuts deeply with the precision accuracy of a surgeon into the mind and emotions of a strong yet damaged woman. It’s a painful journey that is at once genuine, allowing the viewer to begin to understand the depth of sexual abuse.

THE KINDERGARTEN TEACHER
Written and directed by Sara Colangelo, the film stars Maggie Gyllenhaal (Lisa), a kindergarten teacher, mother of two teens, and wife, just going through the motions. She’s struggling with her disappointment in life and the world in general until she finds Jimmy (Parker Sevak), a child prodigy in the art of poetry. Lisa becomes overly involved in this child’s life and skills, crossing moral boundaries for the sake of nurturing a lost appreciation of art. The tension is palpable and the suspense almost unbearable in this uniquely introspective look at society and values. Gyllenhaal’s performance is breathtaking and the final words uttered leave you speechless.

JULIET, NAKED
Tamara Jenkins and her team of writers adapt Nick Hornby’s novel “Juliet, Naked” about a rock legend who inadvertantly falls in love with his biggest fan’s significant other. Directed by Jesse Peretz, this rom-com stars Ethan Hawke (Tucker Crowe), Rose Byrne (Annie), and Chris O’Dowd (Duncan) creating a hilarious situation with dramatic overtones that is thoroughly entertaining. It’s a current day romance that never loses its sense of humor and never a dull moment. I haven’t laughed and been this engaged in a rom-com since “When Harry Met Sally.”

RBG
Who could have suspected that a film about Supreme Court Justice Ruth Bader Ginsburg could be absolutely entertaining? Directors Julie Cohen and Betsy West weave together Justice Ginsburg’s youth, law school career, marriage, family, and legal experience, portraying all the ups and downs of each and we truly get to know this petite yet intellectually formidable woman. At the age of 83 years young, she is more popular than ever, inspiring young women to make a difference in this world. By the end of the film, after a few tears are shed along with many, many laughs, I learned about history and our judicial system. But most importantly, I know the woman that changed my life and every woman in America. Without her, we would still be ironing our husband’s shirts, never feeling valued as a viable person in the workplace.

THE CATCHER WAS A SPY
Paul Rudd takes on an usual role, portraying the real life Moe Berg, a catcher in the professional baseball league and an Office of Strategic Services (OSS) spy. This brilliantly gifted man, speaking more than a half-dozen languages fluently, lead a very secretive life. No one ever really knew this man, but because of his skills, bravery, and intellect, the entire course of WWII may have taken a different path. Rudd immediately creates a believable character, always keeping his emotions close to the vest, but giving viewers those subtle features allowing us to see inside. This film has all the right components to create an informative yet entertaining story.

COLETTE
Kiera Knightley finds a revolutionary role in portraying Sidonie-Gabrielle Colette, a young woman lacking a dowry in the countryside of France. The older and more sophisticated Willy (Dominic West), woos and marries her, taking her to the refined city of Paris. There, the two battle one another as their financial woes worsen. Her eloquent writing skills become their life-line, but she is not allowed the credit. On the surface, it sounds like a typical time-period story, but Colette pushes the day’s viewpoint on sexuality, fidelity, and gender acceptance. It’s an unexpected story filled with beautiful surprises that are relevant even in today’s world. Knightley and West are magical together, even when they are oil and vinegar. Beautiful imagery and costuming bring us into this world as we are captivated by this true story.

LEAVE NO TRACE
Writer and director Debra Granik (“Winter’s Bone”) adapts Peter Rock’s novel of the same name to give us a slow-burn film about a father and daughter living off the grid in the gorgeous mountains of Oregon. AS they are forced to leave their unique “home,” Will (Ben Foster), suffering from PTSD, plunges more deeply into his inner-demons, affecting his relationship with his astute daughter Tom (Thomasin McKenzie). This gorgeously shot film takes you deep inside the confines of society and one’s ability to cope in this world as it explores love, relationships, and mental health.

HEARTS BEAT LOUD
Brett Haley has done it again. He finds a voice that does not imitate his own reflection and creates a story and characters that we are all craving to hear. Frank Fisher (Nick Offerman) and Sam (Kiersey Clemons) are a father and daughter, struggling with the next stage of life. Frank’s failing record store and seeing that Sam is ready to move across the country for college is more than he is able to bear. Discovering his daughter’s amazing songwriting and performing skills during their “jam sesh,” Frank tries to create a band via Spotify which goes viral. It’s a balancing act as Frank pulls Sam back and Sam attempts to cut the apron strings. The film explores topics of young love and sexuality as well as father-daughter relationships using humor and poignancy. Did I mention the music is simply amazing? It is! Haley stated that he is truly proud of this film…and he should be!

COME SUNDAY
Pentecostal preacher Bishop Carlton Pearson (Chiwetel Ejiofor) has a come to Jesus moment as he hears the voice of God one night. Finding a new way to interpret the Bible, Pearson begins to preach a different story—one that his congregation and mentors find to be heresy. Based on the true story originally told by Ira Glass on WBEZ’s ‘This American Life,’ director Joshua Marston (“Maria Full of Grace,” “Complete Unknown”) brings us a human story with divine intervention. Ejiofor, Jason Segal, and Martin Sheen star in this revelatory story that may allow you to see Christianity in a new light.

THE OSLO DIARIES
Mor Loushy and Daniel Siven give us the untold account of two warring people, the Israelis and the Palestinians, and the representatives that secretly met in the hopes of establishing peace. This historical recounting of events in the 1990’s allow us to see the countrys’ attempts to negotiate as well as the conundrum of how to compromise and maintain the constituents’ support. Getting to know these men on a personal basis brings a level of humanity and understanding that we wouldn’t otherwise know.

Check out interview with Claire McCarthy (“Ophelia”), and Q&A responses with Brett Haley (“Hearts Beat Loud”), Julie Cohen and Betsy West (“RBG”) and Debra Granik (“Leave No Trace”) at www.reelhonestreviews.com

Honorable Mentions: OUR NEW PRESIDENT, THE LONG DUMB ROAD, WILDLIFE

Since 1995, the Slamdance Film Festival has taken place simultaneously with the Sundance Film Festival in the same mountain ski town of Park City, Utah.  The festival, began “…when a group of cheerful, subversive filmmakers weren’t accepted into the Sundance Film Festival [and were] unwilling to take ‘no’ for an answer…”  Since that time, the festival has grown exponentially, giving independent and innovative films a chance they may not have otherwise been given.  The fest prides itself on being “By Filmmakers For Filmmakers.”

The 24th annual festival has now come to a close with the winners having been announced.  “Rock Steady Row” won for Best Narrative Feature and Audience Award while “Mr. Fish: Cartooning From the Deep End” won for Best Documentary Feature.  These two films are still on my list to screen, but the winners from the several films I did see are:

PICK OF THE LITTER:

Dana Nachman and Tom Hardy, Jr., are back at Slamdance after a three year hiatus.  Their first documentary feature film that screened at the fest was the heartwarming “Batkid Begins,” a story about a child whose Make A Wish choice brings the entire city of San Francisco together to create a day of pure joy for a young boy.  Now the dynamic duo of Nachman and Hardy give us “Pick of the Litter,” another heartwarming yet educational film about the journey of 5 labrador retriever puppies born to attempt to become a seeing eye guide dog for the blind. 

The film is at once captivating (of course, they’re adorable little fur balls), but it is also thrilling as we see the love and heartbreak that occurs with the temporary owners who give these little pups their start in training.  Following them from home to home, interviewing the possible candidates about receiving a dog, we connect with the people and the animals, rooting for them all, but knowing, like people, they are all different.

This 20 month journey will bring a tear to your eye and a smile to your face as you watch this horse race of dogs attempting to cross that finish line of helping a blind individual become more independent.  Will it be Phil? Potomac? Primrose? Patriot or Poppet?  Check out the film, grab some tissues, and snuggle with your own little buddy as you learn and love what canines can do for their humans.

QUEST:

Becoming aware of adverse childhood experiences (ACE) thanks to James Redford’s film “Resilience,” allowed me to see the importance of  Santiago Rizzo’s  film “Quest” as more than just a wonderful, sweet story about a teacher going above and beyond for a child because he cared.  The film depicts the real life story of Tim Moellering, a teacher who was that one stable adult in a young child’s life whose home life consisted of an abusive step father, an absentee mother, and an environment filled with violence.

This is Rizzo’s directorial debut and also co-writing the story based on his life and Moellering’s.  Dash Mihok (“Ray Donovan”) embodies the look, heart, and “humility” as Rizzo described him to become Moellering.  Other recognizable faces include Lou Diamond Phillips and Lakeith Stanfield as they add their talent to an important story about the need to help a child who is struggling.  The young Greg Kasyan shines in the role depicting a boy who is pulled in different and dangerous directions yet yearning for the chance to succeed in a positive way.  The immediate and genuine connection between Mills (Kasyan) and Moellering (Mihok) evokes a sincere understanding of what it takes to be a teacher and the importance of their role in our children’s lives. 

“Quest” allows us to see that Moellering was an exception to the rule.  He made a difference in one boy’s life and most certainly many more.  We need more teachers willing to step up and into the troubled lives of our youth.  One teacher can and did make a difference.  “Quest” is a film every teacher should see.

COMPANY TOWN:

Directors Natalie Kottke and Erica Sardarian take us to the little southern town of Crossett, Arkansas where the big paper production company Georgia-Pacific resides, employing much of the town and the neighboring ones as well.  The town has a more than remarkable cancer rate, many of these victims working in the mill and/or residing next to contaminated water sources. 

The directors investigate the town, interviewing residents, government officials, and environmental agencies, concluding the obvious.  But big business owned by none other than the Koch brothers, Charles and David, is like fighting Goliath.  The filmmakers lay out the pieces of information as they sometimes candidly film situations and conversations, allowing us to be privy to the discovery, devastation, and frustration this town is experiencing. 

“Company Town” is just one example of how big business takes precedence over the every day worker.  It’s yet another “Erin Brockovich” that we need to be aware of, but more importantly, we need to stand up for and protect one another .

HUMAN AFFAIRS:

Surrogacy is a hot topic right now and filmmaker Charlie Birns takes this topic and delves deeply into how it affects a young couple and the surrogate, Genevieve.  Starring Julie Sokolowski as Genevieve, we experience her emotions and confusion as she becomes a part of Lucinda (Kerry Condon) and Sidney’s (Dominic Fumusa) family.  The boundaries that are crossed  create connections and sever others, bringing us closer to what could possibly occur between a surrogate and the expectant couple.

Sokolowski’s raw performance is unparalleled as she exudes a depth of emotion in this role.  Condon and Fumusa find beautiful compatibility with one another and exquisitely portray the difficulties in a relationship as things begin to spiral out of control.  While surrogacy is the vehicle which drives the plot, the film is ultimately about our relationship with one another and how our choices affect us.

Beautifully shot with an ending that is more than satisfying, “Human Affairs” is a brilliant depiction that exposes our innermost emotions in relationships.  This is Birns first feature film and given its depth and complexity, I certainly hope it’s not his last.

Check back for interviews with many of these exceptionally talented filmmakers!

From the January 26, 2018 publication of FF2 Media:

Director Claire McCarthy who earlier this month was named as one of 10 “directors to watch” in Variety Magazine, sat down to talk with me at the Sundance Film Festival just days before the world premiere of her film Ophelia.

Shakespeare is nothing new to McCarthy having had an immediate connection to the renowned author from her early high school days.  “There was something about the words of Shakespeare that are sublime and the themes that really kind of struck me…I did study Hamlet quite intimately…so I knew it from the perspective of its faithful original text.  Our version is taking the original text and turning it on its head.”

READ THE INTERVIEW ARTICLE IN ITS ENTIRETY AT FF2MEDIA 

Photo courtesy of Sundance Institute

Filmmaker Maxim Pozdorovkin has found a most unusual way of creating a documentary with “Our New President,” one of the opening night films at this year’s Sundance Film Festival.  Taking archival footage only, from YouTube’s Russia Today (RT) and NTV, the two national and only television stations, this revolutionary filmmaker brings us behind the curtain to experience the power of the media upon the Russian people.  Video clips from these shows and from uploaded content posted by Russian citizens, we are brought back to the 1990’s when Hillary Clinton visited Russia.  The story is murky after this point as RT found that Hillary was cursed after this time, invoking fainting spells and other medical conditions.  The ridiculousness of the stories purported and supported by the handpicked newscasters would ordinarily make you laugh if the consequences weren’t so dire.

The film continues along a time line to bring us to the past year’s election, defining Trump’s rise to power.  We witness the democracy of the newspaper in Russia become a spokesperson for the government, threatening those who dare to go against Putin.  From ordinary citizens to representatives living here in the U.S to high ranking Russian officials, we are privy to eye-opening footage that if nothing else, makes you wonder about the realities we have come to accept in our world.

“Our New President” gives us an interesting perspective from which to view Trump and Clinton as well as punctuating the need for democracy within our news organizations.  Without this, we could end up looking at our Chakra’s and our horoscopes to determine the next global decision.

Be sure to check out this cutting-edge style of documentary and then decide for yourself what’s true, what’s real, and what’s an alternative fact.  If that doesn’t work, Mercury is in retrograde right now, so hold off on any major decisions.

Park City visitors do have a choice when it comes to festivals in the coming days as both the Sundance and Slamdance film festivals will be showcasing their best submissions. Sundance gets all the glory, but Slamdance, co-founded by Dan Mirvish, will take place at the Treasure Mountain Inn (TMI) at the top of the Main St. beginning on Friday, Jan. 19- Jan. 25. The festival prides itself on giving new directors and filmmakers a chance to shine. Recognizable names such as Christopher Nolan (“The Dark Knight,” “Dunkirk,” “Interstellar”), Oren Peli (“Paranormal Activity”), Lynn Shelton (“Humpday”) and Seth Gordon (“Horrible Bosses”) all started right here at the TMI in Park City. Who knows which film shown here this week will be the springboard for the next Nolan or Gordon! Reel Honest Reviews, through hours of research, is here to help you find that next great film. Without further ado, here is my list of anticipated highlights from this upcoming Indie Film Fest:

“Quest” tells the true story of a young, troubled graffiti artist with an abusive father (Lou Diamond Phillips) who finds resiliency and hope in his teacher and coach, Tim Moellering (Dash Mihok).

“Pick of the Litter” is Dana Nachman and Don Hardy, Jr.’s newest collaboration documenting the journey of 5 newborn puppies bred to possibly make the cut in being a blind person’s guide dog. If it’s anything like “Batkid Begins,” it’s sure to be a heartwarming tale or should I say, “tail.”

“Human Affairs” takes a hot and controversial topic, surrogacy, and brings an element of emotional reality told from a successful couple’s and a young girl’s perspective. It’s bound to strike a chord in morality, judgment, and legal rights in this drama starring Julie Sokolowski, Kerry Condon, Dominic Fumusa,, and David Harbour.

“Company Town” looks at a small town in Arkansas whose main employer is Georgia-Pacific.  The town is dying.  Literally.  The cause seems obvious, but fighting huge lobbyists, the EPA, the Koch Brothers, and corporations isn’t for the little guy.  Natalie Kottke and Erica Sardarian write and direct this film that promises education and environmental awareness along with possibly a little bit of hope for the underdog.

Also on this critic’s list are: “Funny Story,” “Sunny Side,” “Lovers,” and the short film “Magic Bullet.” Speaking of short films, Slamdance brings things old school, the best way, by showing a relevant short film prior to the feature film. And like most festivals, the writers, directors, and talent in front of the camera will be on hand to ask questions of after the film.

For more information about the festival, go to SLAMDANCE

Ken Loach directs the off-kilter comedian Dave Johns in “I, Daniel Blake,”  a beautiful depiction of healthcare and bureaucracy in England.  Daniel (Johns) suffers a heart attack and wants nothing more than to go back to work, but due to the State’s red tape and edicts regarding fitness to return, he winds up fighting the system in order to receive his deserved Employment and Support Allowance.  It’s a familiar exercise in frustration not limited to healthcare abroad, but the story delves more deeply into humanity as Daniel befriends a young, single mother trying to make ends meet…by any means possible.  The two work through their situations with the support from one another—a father-daughter type of relationship—reminding us all about the importance of connections and love.

WATCH THE TRAILER HERE

Daniel, a 59 year-old carpenter, suffered a heart attack.  Not yet cleared to go back to this type of work, he must find alternative work and times have changed.  Disability compensation is due to Daniel from the State, but the hoops he must jump through are counter-productive and make absolutely no logical sense.  As his frustration understandably builds, as does ours from watching, Daniel sees yet another injustice occurring.  Unlike State workers, he readily sees that no common sense whatsoever is being used.  He winds up in even more trouble as he seeks a little misdemeanor revenge.  This incident bonds Katie (Hayley Squires) who seems to be running away from life and starting anew with her adorable daughter Daisy (Briana Shann) and son (Dylan McKiernan) who has some issues.  Daniel becomes an integral part of their lives, but as in everyone’s life, there are a few bumpy sections along the way.  The story is simply sublime, taking us on a journey through the eyes of another yet allowing us to intimately relate to each of the characters

Johns’ portrayal of Daniel is extraordinary.  He easily represents a man who has worked hard all his life, but in the end, the lack of what he has to show in tangible form is disheartening.  Johns creates a character who is complexly beautiful on the inside.  His performance in frustration and acting out appears to be one that he identifies with readily, allowing viewers to immediately connect with him.   While the dialogue is frequently light, what is said visually is loud and clear.  He also creates a fatherly connection with Squires who demonstrates what many single mothers must experience.  Together, they are an absolute delight as we invest our energy in needing to know how things end.  Shann is exceptional as Daisy.  Finding child actors who understand the situation that they are in and who they must portray is exceedingly difficult, but Shann is a natural.

The talent of screenwriter Paul Laverty to tell such a seemingly simple story with touches of humor and irony, bringing out the subtle but poignantly significant aspects of life to the forefront is genius.  With Loach directing the talented actors, it’s no wonder there is an immediate attachment to each of the characters.  “I, Daniel Blake” is a film that tells a familiar and meaningful story, reminding us of how important we can be in one another’s lives if we take the time to look.  Films like this resonate personally with us and stay with us long after the final credits roll.

“I, Daniel Blake” opens on June 9, 2017 at the Musicbox Theatre in Chicago.  For more information, go to www.musicboxtheatre.com or Facebook www.facebook.com/IDanielBlakeUS/

Women filmmakers and giving them a little louder voice is certainly a part of my agenda while I’m covering the 2018 Sundance Film Festival, but there are plenty more films to add to my “must-see” list.  If you’re lucky enough to attend even one day of this prestigious festival, perhaps one of these recommendations will fit your schedule.

U. S. Dramatic Films:

Garrett Hedlund in BURDEN, photo courtesy of the Sundance Institute

BLAZE, BLINDSPOTTING, BURDEN, I THINK WE’RE ALONE NOW, LIZZIE, NANCY, SORRY TO BOTHER YOU, THE KINDERGARTEN TEACHER, THE MISEDUCATION OF CAMERON POST, THE TALE, and WILDLIFE

U. S. Documentary Films:

BISBEE ’17, DARK MONEY, HAL, ON HER SHOULDERS, and SEEING ALLRED

World Cinema Dramatic Films:

AND BREATHE NORMALLY, HOLIDAY, LOVELING, PITY, UN TRADUCTOR, and YARDIE

World Cinema Documentary Films:

OF FATHERS AND SONS, OUR NEW PRESIDENT, and THE OSLO DIARIES

Premieres:

BEIRUT, photo courtesy of the Sundance Institute

BEIRUT, COLETTE, COME SUNDAY, DAMSEL, DON’T WORRY HE WON’T GET FAR ON FOOT, HEARTS BEAT LOUD, JULIET NAKED, LEAVE NO TRACE, OPHELIA, PRIVATE LIFE, PUZZLE, THE CATCHER WAS A SPY, THE LONG DUMB ROAD and  WHAT THEY HAD

Documentary Premieres:

AKICITA: THE BATTLE OF STANDING ROCK, CHEF FLYNN, GENERATION WEALTH, JANE FONDA IN FIVE ACTS, KING IN THE WILDERNESS, RBG, and WON’T YOU BE MY NEIGHBOR

Spotlight:

FOXTROT, I AM NOT A WITCH, YOU WERE NEVER REALLY HERE and  THE RIDER (see interview in FF2 Media with director Chloe Zhao here)

Next:

306 HOLLYWOOD, CLARA’S GHOST, SEARCH, and WHITE RABBIT

Midnight:

ARIZONA, HEREDITARY, NEVER GOIN’ BACK, PIERCING, and SUMMER OF ’84

This isn’t even the end of the list!  There are promising short films in every category, Indie Episodic films, and virtual reality presentations also available during the festival.  Check back to RHR, FF2 Media, The Daily Journal, and Fete Lifestyle Magazine for full coverage of Sundance 2018!

The Sundance Film Festival, founded in 1981, opens on Jan. 18 in the quaint ski town of Park City, Utah.  The festival will run for 11 action-packed days giving filmmakers, artists, actors, and patrons a non-stop film-related extravaganza including screenings, panel discussions, interactive programming, and even music.  While locals may find it difficult to navigate the narrow mountain town streets on foot or by car, the town’s guests continue to find Sundance one of the premiere festivals in the world.  Why? and What makes this festival shine?

To read the rest of the article as it was published in the January 2018 edition of Fete Lifestyle Magazine, go to Fete Lifestyle Magazine

Curiosity is the main ingredient in Jack C. Newell’s newest film “42 Grams,” a documentary about a chef, Jake Bickelhaupt, his wife Alexa, and the impact of a high-stakes restaurant life. Newell, the Program Director at The Harold Ramis Film School at The Second City and also a commercial director, met with me recently to discuss the film, the subjects, and how this labor of love came to be.

Newell’s curiosity, as he said, “…was rewarded in the biggest ways possible” as “42 Grams” hit the film festival circuit and is now currently available on digital platforms such as iTunes. But Newell cautions that  this isn’t your typical food documentary, defining the it as “…really funny at moments, and really, really sad…you learn something, but you also feel something. It’s complex.”

Complexity in the most satisfying ingredient in “42 Grams” and that word accurately describes this culinary tale. Newell’s keen insight and willingness to share his thoughts about the process were, dare I say, icing on the cake when it comes to savoring the many complicated and delicious layers of this film.

Food is a common theme in Newell’s cinematic endeavors. His first feature film, “Close Quarters,” featured two young baristas and his second feature, “Open Tables” “…was an exploration of food, but from the diners’ point of view. Food is almost incidental…” And now, Newell found Bickelhaupt, a self-trained chef with one of the most impressive resumes you’ve ever seen. Working under Charlie Trotter and creating dishes at the world-renowned Alinea and Schwa in Chicago, this underground chef turned 2-Star Michelin restaurant purveyor is now the focus of a uniquely emotional, delicious, and sometimes volatile story.

Finding Jake seemed serendipitous as Newell and his then-girlfriend Rebecca attended a fundraiser at the  Steppenwolf Theater in 2013. One of the silent auction items was dinner at an underground restaurant called Sous Rising. Newell, a foodie who takes pride in his knowledge of the Chicago restaurant scene, couldn’t believe his luck. The couple “won” the item and were blown away by the food served in this this intimate Uptown neighborhood apartment. “It’s the best food I’ve ever had. Easily. Each course is better than the one before it…” Newell then approached Bickelhaupt after the meal, connected over their common roots of Wisconsin and said, “‘Could I follow you?’ and he said ‘yes.’ So three weeks later I just showed up with my camera and just started filming them do the underground restaurant thing.”

The entire project simmered in the pot for about 3 years. Newell shared that after “…a year and 9 months of solid filming [there was] no solid narrative arc being apparent.” Did he panic? The answer is a resounding “no.” He reiterated his curious nature. “Curiosity isn’t a business plan and no one can make a career on it…but that’s what makes it so special.” He continued, “…[Bickelhaupt’s] wife (Alexa) presenting the food that he’s making…that was a very intimate dynamic that you almost never get at restaurants. It’s like family.”

Capturing that intimacy and finding that narrative arc was no easy task.  Newell confided that after 2 years into filming, becoming a fly on the wall, he encountered a reticence to stay involved by both Jake and Alexa. “I thought I had lost my access…every single question I would ask, they’d give me the same answer. I was running out of steam.” Newell was afraid that might be the end of the road, but his instinct pushed him forward, allowing the couple to view a rough cut of the film.  This was the turning point. Jake left the room at the end of the showing, overwhelmed by emotion as he witnessed some of his outbursts and character flaws. Alexa then told Newell, “‘You’re not done yet. You have way more to film. We have to tell you about our marriage. We have to tell you about our parents’” Newell said, “In showing them [the rough cut] it opened up a whole other avenue…I had actually taken it easy on Jake because I was a little worried about showing it to him.” The full story could now be told making this a more complicated and delectable film.

Emotions ran high in this intense documentary as we became connected with Jake and Alexa. We saw the good and the bad, the real people in front of the camera lens. They weren’t perfect—they were real. And then, Newell happened to capture one of the most dramatic scenes that gave him that needed narrative arc. That particular scene brought me to  tears and Newell shared that he too cries “…every time I see it which is crazy because once you see your movie enough times you get really desensitized to it, but not that part! And then, the very, very end, I cry at that part too!” Newell felt that the film is just like a great meal. “…you’re super satisfied…It’s emotional and true. That’s exactly what the [restaurant] life is. There’s always darkness [and] sacrifice.”  

Newell, a “jack of all trades,” has found that his ability to wear a variety of hats, from actor and editor to director and producer, making him a better filmmaker. Newell described making “42 Grams” as “…a perfect machine. It works on every single level.” And I couldn’t agree more—it’s the appetizer, the palate cleanser, the entree and dessert of movies.   This experience, according to Newell, has given him more confidence in his story-telling abilities and has learned a very valuable lesson: “Tell the story you want to tell. Don’t tell the story you think people want you to tell.” He has done just that with “42 Grams” and I’m confident we will see that in his upcoming documentary “How to Build a School in Haiti,” and a narrative film with the working title “Monuments.”

While you can see “42 Grams” on VOD, Chicagoans have the amazing opportunity to see it in the newly renovated Gene Siskel Film Center  , meet Jack C. Newel,l and ask questions after the film on Jan. 27 and 28 and on Jan. 31 and Feb. 1.  For tickets to this cinematically beautiful and creative delight, go to http://www.siskelfilmcenter.org/42grams

“Kate Can’t Swim” premiered at the 2017 Slamdance Film Festival and will be available on VOD on January 23, 2018.  The film is co-written by Josh Helman and Jennifer Allcott.  Helman also directs and stars alongside Allcott, Celeste Arias, and Grayson DeJesus.  This first-time director and writing pair gives us a striking, complex and provocative film that typifies relationships and sexuality issues with unapologetic clarity.

WATCH THE TRAILER HERE

Kate (Arias) and Pete (DeJesus) seem the happy, young couple, living a predictable life in NYC.  Em (Allcott) returns from living abroad with her new boyfriend, Nick (Helman).  The two couples travel to a remote area of New York to enjoy a weekend in the country in an effort to get to know Em’s new lifestyle and her new beau.  This peaceful backdrop promises to be anything but idyllic as the two couples plunge into the most terrifying place possible—their minds and emotions—putting into question their own morals, choices, and boundaries.

The two couples seem perfectly happy with one another, but it is these close quarters that bring out the true feelings including resentment, jealousy, and an unexpected love.  The film captures each of these characters’ true selves as they discover their own reflection.  Kate struggles with what she sees and how she feels, not quite understanding it herself.  The pressures of expectations Kate feels along with the complexities of sexuality and attraction are peeled away, allowing the viewer to see things from a new perspective.  As Pete, Em, and Nick see her true self, confronting her, it becomes more than she can handle.  Her response leaves the viewer breathless.

“Kate Can’t Swim” is a visually striking film that cinematically captures the atmosphere even when the story and the environment are in complete opposition.  Cinematographer Tommy Agriodimas brings you into the cabin, making you the 5th guest.    Helman and Allcott’s  script is powerful and succinct with tight dialogue and pacing that runs parallel to the emotion of the scene.

The story tackles the concept of love, sexuality, fear of the future, relationships of many types, and expectations within our society as well as within ourselves which sounds like a lot, but it is never overwhelming.  With the story-line focused upon Kate, the supporting cast adds their own stories, augmenting the main focus beautifully.

The cast is stellar with a natural chemistry between not only the two couples, but between Arias and Allcott.  Their gestures and unforced laughter creates a feeling of truly having grown up together.  Arias has a standout performance, skillfully portraying a very complicated character.  While we may not always agree with her decisions, we understand them and feel her pain and internal conflict. Her character development,  a testament not only to the writing and directing, but to Arias’ skills, unfolds beautifully.  Helman also finds a way to express such subtle nuances in his performance transforming himself with absolute ease from an intimidatingly intelligent man to a thoughtful, caring, and insightful one the next moment.  That unpredictability captures your attention and creates an undeniable tension, pulling you deeper into the muddied waters of relationships and truth.

“Kate Can’t Swim” is a standout film this year.  With skillful direction, creatively honed writing, beautiful cinematography, and an amazing cast, the film is one not to be missed.

For more information about the film, go to www.katecantswim.com

Check out the interview I had with Josh and Jennifer RIGHT HERE

The 75th Golden Globes, what many consider the most important indicator of Oscar, is now over, but will it predict what happens on March 4th?  Only time will tell.  What we do know is that women were the focus of the Golden Globes ceremony from Seth Meyers and his sometimes jarring jokes and his heartfelt words of encouragement to the remarkably powerful speeches from Oprah Winfrey and Elizabeth Moss.  The tides have turned and it is evident that not only Hollywood has changed, but our entire nation is looking at gender equality…for the first time in a long time.

Although there were no female directors nominated by the Hollywood Foreign Press Association (HFPA) this year, hopefully, the Academy of Motion Picture Arts and Sciences (AMPAS) will be a bit more open to looking at front-runner female-lead films for these nominations.   The world of film was filled with amazing female-written and directed films that film critic organizations around the country have recognized.  Last night, the FHPA did award “Lady Bird,” directed by Greta Gerwig,  for the Best Motion Picture, Musical or Comedy, and the star of this film, Saiorse Ronan  for Best Actress in this category as well, but unfortunately, this  outstanding film was snubbed for the Best Director.

“Three Billboards Outside Ebbing, Missouri” was the big winner last night with 4 wins followed by 2 wins apiece for “The Shape of Water”and “Lady Bird.”  Allison Janney took home her award for playing Tonya Harding’s mom in “I, Tonya,” and both Gary Oldman (“Darkest Hour”) and James Franco (“The Disaster Artist”) had the pleasure of accepting an award.

The films that were recognized last night and the nominations of all are certainly going to be on the Oscar list when the nominations are announced on Tuesday, Jan. 23rd, but given the strength and power of last night’s show, I believe we are going to see a few more women on the list.  Dee Rees, Greta Gerwig, Agnes Varda, Alice Birch, Petra Biondina Volpe, Patty Jenkins and many more have been the buzz of the town and this critic will be shocked and disappointed if we don’t see these women on that list.

The multiple award-winning documentary KEEP TALKING is Chicagoan Karen Lynn Weinberg’s newest documentary film depicting the efforts of four Alaskan Native women fighting to save the endangered language Alutiiq. Less than 40 fluent speakers remain, placing a heavy burden on them to keep not only the language alive, but the culture and history that is an integral part of it as well. Within the film, we begin to understand the important role indigenous language plays in those seeking a sense of identity and the necessary bonds between the Alutiiq people.

I had an opportunity to talk with Weinberg about her informative and emotional film and how it has impacted her, the Alutiiq community, and other cultures around the world. Her insight and passion will at once inspire you to see the film and see the world in a different and more compassionate way.

The Indiana University graduate found her first passion for langauage in literature, particularly Shakespeare as his writing “…allowed me to personally experience the power of language to elevate and transform.” Weinberg also studied French, Spanish, and Italian, and even when she became a published author and documentary film editor, she found time to tutor English to adults when she could.

Weinberg’s teaching skills crossed over into film editing and Weinberg was invited by the Native Village of Afognak to Kodiak, Alaska to teach a one-week course. Her entire class was comprised of Kodiak Alutiiq as the group wanted to learn the necessary software to preserve their native language and their culture. Weinberg shared, “I was hooked and wanted to know more…At the time, I had wanted to try my hand at producing/directing a documentary, so I went Kari (a language activist) a proposal to take to their Elders, and they granted me see funding and permission to come film their first-ever Dig Afognak camp geared towards immersion.”

Weinberg felt her own background weighing on her as an outsider to this community. She was an outsider and says, “I mean, how many times have Indigenous people been misrepresented in the white media? I felt an enormous responsibility to get it right.” Working with the community, conducting feedback sessions, and finding translators to interpret hours of footage allowed Weinberg to immerse herself, gain the necessary funding, and most importantly, get it right.

“Keep Talking” is powerful, but the one aspect that really is quite emotional is Sadie’s story. She’s a struggling teen who seems to transform her personality and hope for her future when she is among her people, learning her native tongue, and embracing her roots and traditions. Finding and focusing on Sadie gives the viewer a true understanding of the need to not lose our culture. Weinberg shared that she and the film’s cinematographer, Nara Garber, were immediately drawn to her. “As I got to know her, I understood that she was in a tough place emotionally, much as I was at her age. At the same time, the language and Alutiiq dancing was a clear, bright spot in her life.” Weinberg continued, “While we absolutely had more people we were filming with and I wish all the storylines could have fit into this film, it was Sadie’s coming of age story that most clearly illustrated the power of culture to help and heal.”

The film’s impact upon the viewer is tremendous as it exhibits the historical tragedies that continue to effect the culture in negative ways. A reconnection to their beginnings seems to have a healing effect. Weinberg has found from viewers that “…language revitalization work helps to heal historical trauma.” She continued, “In a bigger sense, I hope that the film contributes to discussions of the need for governmental bodies to provide lasting support to programs like language revitalization: this support is sorely needed to help to heal some of the damage done by assimilationist policies practiced by the United States, Canada and countless other countries formed with colonization at their core.”

Weinberg passionately expressed that, “Making this film has me firmly convinced that modern society desperately needs a push towards interpersonal connection and communication, including strengthening people’s sense of identity with an awareness of their own ancestry and heritage.” Perhaps in looking forward, we all need to look backward and see where we began and hold on to our roots, cherish our elders’ and their knowledge, and learn about our ancestry, no matter where we began. It is obvious in “Keep Talking” that this Alutiiq culture is on a more positive path…one that would benefit us all in understanding one another and even ourselves.

In closing, I asked Weinberg what was her favorite word or expression. Her answer brings me to happy tears. She said, “Since I can’t spell or say my favorite word (which means ‘they always tease me’), I will leave you with ‘Tang’rciqamken’- I will see you later. It’s a substitute for goodbye. I love that there is no word for goodbye.” The film screened at the Gene Siskel Film Center on Friday, Jan. 5th for its grand re-opening and will screen again on Jan. 11. For more information about tickets, go to www.siskelfilmcenter.org/keeptalking

For more information about the film go to www.keeptalkingthefilm.com

Jessica Chastain stars as Molly Bloom, Olympic ski athlete turned high-stakes gambling ring leader, in the intensely complicated, fast-paced thriller “Molly’s Game” based on autobiography of the same name. Bloom has been convicted of leading an illegal gambling ring and is arrested by the FBI. Pleading innocense over the last 2 years, after having been arrested the first time, Bloom seeks the legal prowess of the upstanding high-powered and well-respected Charlie Jaffey (Idris Elba). It’s a fight that boils down to integrity and honesty that will leave you speechless.

The story begins in the middle as Bloom is abruptly awoken in the middle of the night to harsh and over-reactive FBI agents. We are then taken back in time to Bloom’s childhood where her parents, particularly her father, Larry (Kevin Costner), drive her to accomplish greatness in skiing. The opposition between the father-daughter duo is obvious and painful to watch, but as Bloom is narrating these scenes, you begin to understand where she gets her determination, strength, and single-mindedness. Pay close attention to every word Bloom utters as this intelligently crafted script brings everything around full circle.

When the audience is caught up to speed, we rejoin Bloom as she meets and convinces Jaffey to represent her in court. Again, to allow Jaffey (and the audience) to understand her current situation, we are brought back to Bloom’s life as she hit the crossroads after a life-threatening and athletic career ending accident. Choosing, against her father’s wishes, to go to L.A. and postpone law school, Bloom finds herself working for a gambling ring leader. With her intelligence and savvy skills, Bloom easily takes over the game and builds it to new levels.

Here’s where it gets complicated. The ring is comprised of high-profile actors, investors, and businessmen. We delve into the background of each of these remarkably interesting personalities and as we do, we learn more about Bloom, her choices, and eventually her final decision. Combining the complicated situations, the fast-paced dialogue and the intensity of the situation leaves you on the edge of your seat, captivated by every important word uttered.

“Molly’s Game” is Aaron Sorkin’s directorial debut and given his brilliant direction, it won’t be his last. Known for his screenwriting skills with award-winning films such as “A Few Good Men,” “The Social Network,” and television shows such as “The Newsroom,” and “The West Wing,” it’s obvious with “Molly’s Game” that he has a vision and can bring that vision to life on the screen via his directorial skills as well.

The right cast is a must and this film is loaded with A-listers who bring humor and depth to even the smallest of roles. Michael Cera portrays “Player X,” a self-absorbed Hollywood big wig and Chris O’Dowd is the lovable loser. Graham Greene finds wisdom and believe it or not, humor, in his role as Judge Foxman and we find ourselves filled with anger as we see the effects of Costner’s harshness as a father to Molly. Every character actor stands out, each giving it all in their performance.

Then we have Chastain who is one of the most versatile actresses in Hollywood. She finds that shrewd intelligence and edginess to her performance that we saw in “Miss Sloane” and the depth to her integrity she exhibited in “The Zookeeper’s Wife.” With Molly, however, there’s a sage and jaded aspect that allows her to rise above those around her while she maintains a connection to her younger and more vulnerable and loving self. The story-line and the character are equally complicated and just as enjoyable as we peel away all the layers to her personality and her story..

In addition, there’s certainly a chemistry between Alba and Chastain on screen. It’s one of respect both in character and one that is exhibited naturally. They are both powerful personalities both on and off the screen and together they create mesmerizing interactions and dialogue. Both Alba and Chastain become their respective characters and deliver performances that are both memorable and meaningful.

“Molly’s Game” uses a non-linear storytelling technique to give us a complete picture. Editing is key in conveying the story, particularly one that is rather complex without making it confusing. However, given the film’s long running time, a bit more editing of non-essential information could have paired down the film, creating an even more intense film that doesn’t have any lulls. While this is a perceived flaw in the film, it is certainly not a detrimental one as the story and performances are exceptionally strong. Whenever you have a film that gives us a ‘truth is stranger than fiction’ premise, it becomes an even more entertaining one.

“Molly’s Game” is an intense and unexpected thriller based on Molly Bloom’s life as a competitive Olympic ski athlete who then ran the largest and most high-profile gambling ring in the world. She must defend her changed and honest ways and has only one hope—her lawyer. Great performances, fast-paced dialogue and a unique storyline make this film one of the top films of the year.

3 1/2 Stars