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Film Festivals

The Fabelmans: Telling Your Own Story

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At the age of 77, Steven Spielberg shows no signs of slowing down. 

However, as he progressives into the later years of his life, his latest film, The Fabelmans is no doubt the filmmakers attempt to tell his own story while he has the opportunity to do so. And, frankly, one cannot be more grateful that he has taken the chance to do so. Spielberg has a way of telling stories with such joy and humility that one cannot help but fall in love with them. 

And The Fabelmans is no different.

Written and directed by Spielberg, The Fabelmans tells the story of Sammy Fabelman (Gabriel LaBelle), a young man in the 1950s who’s life is changed after his first experience in a cinema. Living with his parents (Michelle Williams and Paul Dano) and two sisters, Sammy pours his life into making movies of his own, becoming more intricate and elaborate as he grows up. However, after his family moves due to his father’s work, Sammy’s life slowly begins to unravel. Stresses from outside and within the home put pressure on the young man, leaving him to process his life through the lens of his camera.

Funny, heartfelt and powerful, The Fabelmans is the infectious tale of one man’s love of the arts and the passion he has to impact others through it. In a lot of ways, the film feels as close to an independent film as the director has ever made. Small in scale, Fabelmans has few special effects and doesn’t focus on any world-shattering events. Even so, as the personal tale of his own journey into filmmaking, the film is yet another stunning piece of wonder from the master himself. Like all of his work, the film is fueled by innocence but also willing to dig into the dark corners when needed. Tackling themes of anti-Semitism, marital infidelity and constant bullying, Spielberg does not shy away from the more painful details of his family history.

While LaBelle carries the film with a truly joyful performance as Sam, the entire cast is noteworthy. As his struggling mother, Williams brings an unpredictable wildness and strength to the role. At the same time, Dano also holds his own as his passionate father, as Spielberg portrays him with a sense of grace and responsibility. (Growing up, Spielberg‘s estranged relationship with his own father was challenging to say the least so it is interesting to see how positively he is portrayed within this film.) However, without question, the best performance lies with Judd Hirsch as Sam’s Uncle Boris. Despite the brevity of his appearance, Hirsch quickly becomes the most talked about piece of the film as he pushes young Sam to follow his dreams, even if it means stepping on some people along the way. Despite the limited screen time, Hirsch is such a joy that one cannot imagine him to receive some recognition come Oscar season.

(from left) Reggie Fabelman (Julia Butters) and Sammy Fabelman (Gabriel LaBelle) in The Fabelmans, co-written, produced and directed by Steven Spielberg.

It’s worth noting that the change in family name is significant. (The film isn’t called The Spielbergs for a reason.) By renaming his family the Fabelmans, Spielberg allows himself the freedom to play with history in a way that mythologizes is his own personal journey. Although there are undoubtedly portions of his life that are shared with the utmost of honesty, so too are there aspects of it that have been adapted for storytelling purposes (or Spielberg’s own personal interests). 

This fable is Spielberg’s life but, at the same time, it’s not. 

As a result, Spielberg is allowed to view the events of his past with a certain sense of nostalgia. In this way, The Fabelmans is a film that very much understands the power of storytelling. Young Sam is a man with dreams in his eyes who simply wants to tell stories and live his life with integrity along the way. To him, making short films is as essential as it is to breathe and he takes every opportunity to do so. With grace and conviction, he believes that the camera has the ability to change the way that people see the world. Whether it’s confronting a bully or exposing the secrets of his family, he recognizes that cinema both reveals and shapes the truth. Though his father writes off his love of filmmaking as a hobby, Sam understands that storytelling has a responsibility to communicate the truth about what matters. His passion for filmmaking drives him to see the best in humanity, even amidst their failings and flaws. (In fact, it even helps him view his own family with eyes of affection, even in their most difficult moments.) 

For Spielbe… um… Sam, storytelling allows him to show our scars but still believe that there is good in the world.

Fueled by love, The Fabelmans is a different type of story for Spielberg. There’s no doubt that this project is a labor of for the Hollywood icon, allowing him to share pieces of his own journey while still playing with history. Spielberg clearly understands the impact that he’s had on the industry, yet there also remains a humility about the film that shows that the real power is in the stories themselves. 

And, make no mistake, Fabelmans is very much a fable worth telling.

The Fabelmans is available in theatres on Friday, November 23rd, 2022.

AFIFest 2022 – AFI Conservatory Showcase

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The AFI Conservatory is one of the premier film schools in the world. Its alumni/ae are always represented in each year’s Oscar nominations. As part of AFIFest, there are a number of programs to showcase the short films of recent graduates. It could well be that some of these young filmmakers will bring exciting new stories to our screens in the years to come. I’ll note the director of the films, but in reality these are team projects with Fellows from different disciplines in the filmmaking process. That is a reminder that all films are the creation of many people working together.

Dave the Fiancé, directed by Andrew Jasperson, was a fun film about a young man who is trying to fit in with his in-laws to be, when something goes terribly wrong. He feels guilty and a bit chagrined with the family’s efforts to cover it all up. Nice humor as he tries to deal with people with a much different morality than he has.

Soredia, directed by Julia Ponce Diaz¸ follows a young French woman who is taking a trip to the mountains with friends, although she is a bit of an outsider. She has a growing obsession with her new friend.

The Portrait

The Portrait, directed by Razzaaq Boykin, was a very interesting riff on the Dorian Gray story.  We watch as the Dorian and his portrait go through various emotions.

Under the Roses, directed by Henry Wolf, a lawyer going through a divorce goes to visit an old girlfriend. We see the ways each is struggling with their relationship with their children.

Fire Born, directed by Daniel Carsenty, is the story of a rookie police officer whose mother was killed in a police shooting. She is confronted with a situation that could change many lives.

Suck Hard

Suck Hard, directed by Eva Neuwirth, watches a high school girl trying to cope with a breakup and move on. But how can she put on a brave face when returning her boyfriend’s stuff?

Kissy and the Shark, directed by Lola Blanche Higgins, tells of a girl who lives in poverty near the port with her grandmother and very sick mother. When she comes across an injured shark on the shore, she brings it home to try to save it. It provides her with an interesting discovery about life and death.

Desert Dream

Desert Dream, directed by Dante Jiayu Liu, shows a Korean student who has just been suspended from his American school and about to be deported. He spends what time he has left here living out his dream of being a cowboy.

Lane Five, directed by Matthew Sliger, a young woman is struggling to care for her father with advancing dementia. When he gets carried away with his story of bowling a 300 game, he goes off to recreate his memory. Finding them provides a chance to bond anew.

Zenaida, directed by San-San Onglatco, is the story of an undocumented Filipino-Muslim who works as a caregiver for an aging diva with dementia. He borrows some of her dazzling wardrobe to use in his drag act. But when she mistakes him for a thief, a strange twist is involved.

The Basics of Love

The Basics of Love, directed by Joshua Nathan, shows us Lefty and Liz, co-workers who spend their day in a garbage truck, and the friendship they share. When they get caught in a dangerous robbery, perhaps they will discover there is more than friendship involved.

All of these films show off the skills that the filmmakers (from all the disciplines) have developed at AFI Conservatory. My favorites among the ones I saw were The Portrait, Dave the Fiancé, and Desert Dream. It is a pleasure to see the future as it begins to unfold.

DOC NYC: Lost Angel – The Genius of Judee Sill

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Directed by Andy Brown and Brian Lindstrom, Lost Angel: The Genius of Judee Sill is a powerful story of one woman’s passion to find meaning in a world of madness. Set in 1970s LA, Lost Angel unearths the music—and the legacy—of Judee Sill, one of the most intriguing voices of the folk music era that helped define a generation. Beginning with a  life of addiction, prison and even armed robbery, Sill skyrocketed to fame yet burned out just as brightly.

Lost Angel is a fitting title for the celebrated rediscovery of one of folk music’s most unique and powerful voices. Often times, it can be difficult to give a holistic portrait of a woman who died almost 50 years ago, but Brown and Lindstrom do their best to breathe life into her story with love and care. Through her music and diary entries, the film does an excellent job of allowing her to share her story in her own words. As such, despite the fact that her career ended in 1979, there is something about Sill’s voice that makes her feel current. At a time when the world was being turned upside down by social upheaval, Sill was determined to cry out to God for answers when all she had was questions. 

In this way, Lost Angel is a fascinating—but appropriate—title for the film. Enduring the pain of abuse in her youth, Sill had both a tragic story and immeasurable talent. With reverence and appreciation, Brown and Lindstrom depict Sill as a woman with a pure heart but still burdened by the weight of her soul. Determined to show the world what she could do, her music had a deep-seeded spiritual quest embedded within it that blurred the line between romantic and divine. 

Hers was a voice grappling with the pain of trauma, yet searching for soul.

Lost Angel: The Genius of Judee Sill premiered at DOC NYC.

DOC NYC: The Elephant 6 Recording Co.

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Directed by C.B. Stockfleth, The Elephant 6 Recording Co. is a fascinating documentary that explores the creative explosion of one of music’s most unique collectives. Set in the 1990s, Olivia Tremor Control, Neutral Milk Hotel and The Apples in Stereo grew out of rural Athens, Georgia into a production company fueled by psychedelic sounds and a creative explosion unlike any other.

While the bands of Elephant 6 may not be well known to the general public, their name is held with honour and respect by those in the music industry. Coming during a time of social change, these kids were using their music to distort the system. Embedded in a hotbed of creativity, the bands associated with Elephant 6 felt that nothing was impossible. Often times, there are rules to the creation of ‘popular music’ but the Elephant 6 recordings broke them all. To these young rebels, the whole of life was music and they wanted to play with the toys that they’ve been given. (For example, the film tells the story of one man who wanted to include the dribbling of a basketball in his recordings, even after his teacher discouraged him because it’s simply ‘not how things are done’.) 

In this way, Elephant 6 is an encouraging reminder of the creativity that can take place when the mind is allowed to run free in a healthy environment. For the bands of Elephant 6, the importance of their music begins and ends with fun and mutual admiration. Operating as a collective, there is a sense of community between bands that brings life to their music. From The Apples in Stereo to Neutral Milk Hotel, the music of each band becomes a celebration of its members, allowing everyone to have their moments in the sun, without fear of ego or hesitation. 

And the more they played together, the more exciting their music became.

As a result, in a lot of ways, Elephant 6 is more of a mood than it is narrative. While information is given, it’s not the primary focus. Instead, Stockfleth chooses to adopt the band’s unique style in his approach to filmmaking. Through his use of filtered colours and distorted sound, Stockfleth wants you to feel the vibe of the Elephant 6 recordings as opposed to explain the history in great detail. As a result, Elephant 6 is infused with an infectious joy that helps it become more of a cinematic experience than narrative construct.

In other words, like the bands, it’s one of those films you need to be a part of if you want to truly understand.

The Elephant 6 Recording Co. is now playing at DOC NYC. For screening information, click here.

DOC NYC: Ellis

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Directed by Sascha Just, Ellis is a loving portrait of one of jazz music’s most towering figures. Having lived through the Jim Crow era of New Orleans, Ellis Marsalis used his musical talent to create new fusions that redefined the genre. What’s more, through his music and teaching, Marsalis helped generations to defy the rules of segregation and racist oppression by empowering others to gain a deeper appreciation of their history and to use their voice to break boundaries.

For a man who has left such an incredible impact on the world of music, Marsalis comes across as a person of humility, wisdom, and immeasurable talent. Speaking openly about his struggles growing up and the challenges that his family faced during the time of segregation, Marsalis is open and forthright, displaying his trademark sense of humour and intelligence. 

However, through interviews and old footage, Just also portrayal him as a man who’s legacy extends beyond his own musical ability. From his children to his students, Marsalis has spent a lifetime trying to teach others how to listen so that they, too, can communicate in their own musical voice. Although he’s best known for creating hybrid, jazz styles, his is a life that has shaped the hearts of countless others. 

What surprises most is that Ellis chronicles the relationship between the music industry and historical trauma. From segregation and desegregation in the revolution of the 60s to the devastation of Hurricane Katrina, Ellisconnects the evolving music scene with the struggles of the Black community in New York and New Orleans. There is a very real recognition here that social struggles impact its cultural and musical voice and thus, the impact that creativity can have on a community. From music to filmmaking, Ellis recognizing the cathartic and healing nature of the arts. There is a beauty in speaking into the culture through creativity through the arts that echoes beyond any particular album or story. (At one point, Marsalis even refers to it as a spiritual act.) In Ellis, Just captures this tension and recognizes the importance of sharing our struggles through  storytelling of all types.

Ellis premieres at DOC NYC on Thursday, November 10th, 2022.

AFIFest 2022 – Let the Show Begin!

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I am always happy to take part in AFIFest.

AFIFest 2022 is set to begin, running November 2nd-6th, 2022. It is the first time since 2019 that it will be a fully in-person festival. (In 2020, it was entirely virtual, and 2021 was a hybrid festival.) It is wonderful that things are beginning to return to normal, although this year’s festival is only five days, rather than eight as it was before the pandemic. Even so, there will be some wonderful films being played at Los Angeles’s premier film festival. The festival will 125 titles.

From Selena Gomez: My Mind and Me

Of course, there will be red carpet excitement, with films such as the world premiere of Selena Gomez: My Mind and Me, which opens the festival. Other red carpet events will include the U.S. premieres of Steven Spielberg’s The Fablemans, and Guillermo del Toro’s Pinocchio. Other red carpet screenings include Alejandro González Iñárritu’s Bardo, False Chronicles of a handful of Truths, as well as The Son, Living, and She Said.

From The Volcano: Rescue from Whakaari

Among the films that I’ve made plans to see at the festival are some documentaries: The Volcano: Rescue from Whakaari, about the 2017 rescue from an island that erupted; Geographies of Solitude, about a scientist who is one of the few inhabitants of Sable Island; and The Corridors of Power, a look at U.S. foreign policy since the end of the Cold War.

From EO

I’ll also be seeing some of the films submitted for Best International Feature Oscar consideration, including EO, Poland’s entry which allows us to see the world through the life of a donkey; and Close, Belgium’s entry about the fragile friendship between two thirteen year old boys. Other world cinema I’ll be seeing include Godland, a story of faith and colonization; No Bears, from imprisoned Iranian filmmaker Jafar Panahi; One Fine Morning from Mia Hansen-Løve; and The Eternal Mother, with Tilda Swinton in a dual role.

And of course, the festival has shorts to see, including many by recent graduates of the AFI Conservatory.

 I’m looking forward to being able to share my impression of these films with you over the coming days and weeks.

My Policeman: The Jury is Out

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I have a few charges against My Policeman.

Directed by Michael Grandage, My Policeman is a love story that wants to demonstrate the height of passion yet leaves the viewer disappointed. Despite its willingness to show graphic scenes of sexuality, the film feels less like a breakthrough for the LGBTQ community and more of a failed opportunity to process the pain of the past.

Set in the 1990s, married couple Tom and Marion (Linus Roache and Gina McKee) live a contented and quiet life. However, their tranquility is threatened with their friend Patrick (Rupert Everett) suffers a severe stroke that requires Marion to invite him into their home to care for him. When she tells him of her decision, Tom is furious at his wife and refuses to speak with their old friend. Sitting in their grief and anger, Tom, Marion and Patrick reflect upon their youth (played by Harry Styles, Emma Corrin and David Dawson) and the complex and complicated relationships that set their world into motion.

In many ways, the most divisive aspect of Policeman will remain its cast. Led by Styles and Everett, the film has a certain sense of chemistry within the two groupings that helps their performances on screen. However, at the same time, there’s also seems to be something missing. Of course, many are pointing the figure at Styles who, despite his fame, remains a relative newcomer to the film industry. Though, frankly, this seems largely unfair and a response to his mega-stardom. In fact, while Style, Dawson and Corrin don’t exactly heat up the screen together, they offer some solid performances that show promise for all of their careers. No, if there’s a criticism to be made about this Policeman, it seems to lie within the writing. While fairly well executed, the script itself often leaves its cast with little to do. (This is especially noticeable within the performances of the older cast members who simply spend much of their time brooding about the past.) 

My Policeman – Teaser Trailer | Prime Video

Written by Ron Nyswaner, Policeman has an excellent opportunity to explore the injustice of oppression against the homosexual community. Set primarily during a time when homosexuals were thrown into prison for their behaviour, the film highlights their desire to express their love without fear or persecution. At this time, to be known as a homosexual meant imprisonment or worse and they are left to find one another amongst the shadows. Even so, within Nyswaner’s script, this potentially compelling conversation settles for bland romance and leaves its cast adrift in the process.

However, beyond the questions of injustice, My Policeman is very much a film about accepting who you are and living that out in with pride. Even in his old age, Tom struggles to come to terms with his sexuality. Having grown up during an era of oppression, Tom still clings to the shame that was put upon them because of their relationship and it has broken his spirit. Despite his marriage to Marion, Tom’s heart still belongs to his former flame yet he also blames him for the pain within his soul. In this way, the film grapples with the scars of psychological damage that have been left from a history of cultural abuse and points to the power of coming to terms with the truth about one’s self.

My Policeman – Teaser Trailer | Prime Video

In the end, while My Policeman never commits any grand offense, neither is it particularly worth thanking for its service. As a result, ladies and gentlemen of the jury, I encourage you to make your deliberation regarding this Policeman with great care. 

Because, unfortunately for this viewer, the verdict is still out.

My Policeman premieres on Amazon Prime on Friday, November 4th, 2022.

All Quiet on the Western Front: Horrors of War; Peace of the Moment

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By Daniel Eng

All Quiet on the Western Front follows the barely grown Paul (Felix Kammerer) as he joins the German army with his high school friends in the middle of WWI. This 2 1/2 hour war epic follows Paul as he finds himself on a horrific adventure where he witnesses the damaging violence that kills his fellow soldiers. His orders command him to continue to commit escalating acts of hatred. Paul lives but the guilt and pain erodes at this soul. His story is intercut with the German and Allied Leaders deal with the pettiest of grievances to end the war, showing the failure of power in the wrong hands.

In his opening sequence, director Edward Berger displays his intentions to display the innocence that is dismantled by the war on a vast environmental and deeply intimate level. In the very first shot of the film, we witness the beauty of nature through grand establishing shots which are later contrasted by shots overlooking the destruction and horror of the battlefield scattered with the dead. Then, the film follows a young soldier named Hans who introduces the viewer to the cruel, subjective experience of trench warfare and the brutality of hand-to-hand combat before cutting to the title card.

As Paul continually tries to recover from the trauma and grief of his friends who die early in the war, he starts to find camaraderie with his new company. Together, they indulge in the small, guilty pleasures of war, stealing a goose for Christmas, reading a letter from a spouse and smelling a woman’s stolen scarf. The amount of joy that they experience from consuming the delights of battle creates an effective shared empathy with the audience. Berger then uses these moments of quiet and joy to shatter any sense of contentment as Paul is continually thrusts us back into the chaos of battle where only yards are gained yet thousands die.

As Paul and his comrades kill in order to survive, the scarring nature of death reveals itself. In these conditions they have become subhuman. Rats crawl around their trenches and they walk sit in muddy water for days. The film’s score foreshadows this before they even reach the war zone with its memorable 3-beat synth. The theme contains a deep rock bass that invokes a youthful energy, a youthfulness that’s about to be fractured forever. These come in contrast to its traditional orchestral arrangements which bring both a sense of grief and peace over the audience. The opposing music genres create a more inconsistent tone throughout the film. The quiet moments become filled with these peaceful themes, leaving me to wonder if complete silence in contrast to the synth heavy theme would have a greater effect.

As the German Ambassador (Daniel Bruhl) signs the treaty to end the war, it seems the movie should follow suit, yet it doesn’t. The film’s de-escalation of obstacles puts the characters in a place of stasis. The writing then gives Paul and his friend Kat unconvincing desires that lead to risky decisions that I cannot empathize with. Then, we’re thrust right back into the war as Berger depicts an egotistical abuse of power by a German general to end his loss with a victory. What transpires creates a melancholic–though not at all unexpected–ending as Berger finishes his escapade on indicting the violence, cruelty, pride, and waste that was WW I.

All Quiet on the Western Front is a searing anti-war epic which finds its power in its most personal and grand moments. Solemn shots of Paul beside his fallen enemy and standing in a forest are reminders of the beautiful and tragic power of silence. While we may not be fighting a war, we often find ourselves rushing to finish work, enjoying life and still making room for those who matter the most to us. I hope that, as you witness Berger emphasize the beauty of silence, you may use those moments of solace to think about times you may need it in your own life.

All of us need quiet, it’s just a matter of when.

All Quiet on the Western Front is available on Netflix now.

The Computer Accent: The Truth about Digital Art

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We’ve all heard stories about the robot uprising. From SkyNet in Terminator to Hal 9000 in 2001: A Space Odyssey, there seem to be endless tales of the dangers of artificial intelligence and the consequences for humanity that may result. Even so, we still keep pushing the boundaries of science in an effort to bring science fiction to life.

But, in The Computer Accent, the world of science treads into the world of the arts. And the results are fascinating.

Directed by Riel Roch-Decter and Sebastian Pardo, the new documentary The Computer Accent follows pop group Yacht as they entrust their entire creative process to artificial intelligence in order to make their next album. Working with leading AI researchers, Yacht uses state-of-the-art technology to allow their digital artist to create an entire project, from music and lyric to artwork. However, what is the role of the artist in a world where their work can be manufactured by machine?

Wisely, Roch-Decter and Pardo keep the keep the focus on the band themselves, as they wrestle with hard questions as they engage in their experiment. We are allowed to see the moments where they are thrilled with the results and the moments where they debate their own rules and decisions. This isn’t the first documentary that follows a band as they unpack their next musical endeavor, nor will it be the last. (Last year’s Get Back by Peter Jackson may have set the gold standard for this style of filmmaking.) However, whereas other films (Get Back included) allow the viewer the opportunity to see the magic of the band unravel before them, Accentattempts to do the opposite. Here, the interest lies with whether or not a digital recreation of art can find the meaning without the artist.

And, more importantly, how the artists will deal with that reality.

One of the most interesting conversations taking place within Accent is whether or not one can create art without soul. It is noted within the film that ‘art stems from experience’. But if one can simply run popular melodies and lyrics through a machine in order to create something new, does it lose a sense of truth in the process?

Accent ties the power of the arts to the human soul, believing that influence gives meaning to the act of creation. Somewhat terrified by their own actions, there is a very real question of whether or not this form of writing renders the members of Yacht obsolete. As musicians, their natural impulse is to create yet they have resigned themselves to the rules that they have set out for themselves. For example, in one telling scene, the band continues to wrestle with whether or not they are allowed to bring their own input into the process. As artists, there is an innate desire to shape their art. Though they also have to remind themselves that any changes that they make potentially damage the goals of their digital work. 

For them, this album is much of a philosophical process as it is an act of creation. 

As The Computer Accent grapples with some surprisingly massive questions, it also understands that the human experience amounts to more than simply 1s and 0s. Although human art may be replicated, there’s something more profound at work. Experiences like pain, love and suffering may be able to communicated with lyric from a machine, but the heart behind them give them an added sense of power.

And that is something that Skynet can never replicate.

The Computer Accent is available in theatres on Friday, October 21st, 2022. For information on screenings, click here.

SF Radio 9.03: Romancing the BROS

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Directed by Nicolas Stoller, BROS tells the story of Bobby (Billy Eichner), a podcaster who is content to live his life on an endless string of online hookups instead of investing in a long-term relationship. But that may change when he meets Aaron (Luke McFarlane), a handsome lawyer to whom he’s instantly attracted. The more that they see each other, the more they can’t deny their feelings and the two may even commit to one another. This week, Adam Howard and Allen Chabot join Steve to talk about authentic representation of the LGBTQ community, deciphering Bros’ target audience and whether or not ‘love is love’.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

9.03-BrosDownload