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‘I Was A Simple Man’: Hawaiian Ghost Story Recalls Apichatpong Weerasethakul’s Earthly Dreamscapes [Sundance Review]

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Set on the trench that divides waking reality from the subconscious, director Christopher Makoto Yogi’s moody sophomore effort “I Was a Simple Man” achieves the narrative fluidity of dreams in a multigenerational ghost tale that conflates Hawaii’s recent history with one man’s burdensome life—both in irrevocable transition.

READ MORE: 25 Most Anticipated 2021 Sundance Film Festival Premieres Faced with the twilight of his mortal stay, elderly Masao (Steve Iwamoto), the child of Japanese immigrants in rural O‘ahu, Hawaii, begins to experience visits from the great beyond.

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‘Mayday’: Grace Van Patten Shines In A Dreamy Fairy Tale Of Escape & Feminist Revenge [Sundance Review]
Female trauma’s been given a serious workout in cinema, liberally exercised in the fantasy genre of late. The celebrated “Promising Young Woman,” while dark satire, uses hot pink revenge fantasy to acerbically explore unresolved trauma (its we live in a society bias nicely unpacked here), and fellow Sundance film, “The Blazing World,” attempts to fall down the rabbit hole of make-believe and similar flight-or-flight responses to emotional scars, only to grotesquely exploit it with its awkward tumble.
Juliette Lewis Sundance Film Festival Mia Goth Grace Van-Patten Sundance escape
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‘Philly D.A.’ Is A Fascinating Profile Of Progressive Politics In Action [Sundance Review]
What does dismantling the American carceral state look like? How can meaningful and radical police reform actually be enacted? After years of tireless work by activists, acting upon decades of injustice against the poor and People of Color, these issues of now part of mainstream political platforms. On a federal level, President Joe Biden’s recent executive order to phase out the use of private, for-profit prisons is a clear indication of how far things have come….and how much further they need to go.
Joe Biden Larry Krasner Sundance Film Festival USA Sundance 2021
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‘Mayday’ First Look: Mia Goth Teaches Grace Van Patten To Put The Boys In The Crosshairs [Sundance Exclusive Clip]
S.O.S distress calls, fantasy escape from trauma, and forever wars that need to be fought all swirl together in “Mayday,” a dreamy and surreal new feminist fairy tale and revenge film that debuted at the Sundance Film Festival this week. The feature-length filmmaking debut of writer/director Karen Cinorre, “Mayday” centers on Ana, a young woman who is mysteriously transported to an otherworldly and dangerous island.
Juliette Lewis Sundance Film Festival Mia Goth Karen Cinorre Sundance
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‘The Blazing World’ Treats Female Trauma Like An Amusement Park Funhouse [Sundance Review]
Curious is the current emphasis on women’s trauma in American genre film—the way it’s discussed online, marketed, singled out in the headlines—as if trauma were not already deeply embedded in the historical fabric of horror movies. Of course, in a time when more women filmmakers than ever are being given the opportunity to tell their stories, the rise of feminist horror should come as no surprise, especially given the #MeToo phenomenon and efforts to destigmatize mental illness.
Dermot Mulroney Udo Kier Sundance Film Festival USA Sundance
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‘Coda’ Dominates 2021 Sundance Film Festival Awards
For the first time in recent memory, the Sundance Film Festival recruited just three members each for its competition juries. Even in the context of a virtual festival, that might have been a mistake after one film dominated the Dramatic category winning four awards.
Sian Heder Sundance Film Festival coda
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Kelly Reilly & Boyd Holbrook Talk The Joys of Working With Animatronic Wolves For Gothic Horror ‘Eight For Silver’ [Interview]
Reinventing a popular monster myth is central to Sean Ellis’ new horror film “Eight for Silver.” In this adaptation, the creature feature points a jagged mirror back to humanity and establishes itself on Hammer’s sturdy gothic foundations. The film’s stars, Boyd Holbrook and Kelly Reilly, recently spoke to The Playlist about the Sundance selection as well as the major projects in their future.
Boyd Holbrook Sundance Film Festival Kelly Reilly Sean Ellis Sundance 2021
nypost.com
Sundance 2021 review: ‘John and the Hole’ belongs in a ditch
Sundance Film Festival, would more accurately be described as the nihilistic machinations of a tiny psychopath.He’s not a gremlin — he’s John (Charlie Shotwell), a quiet suburban boy who plays tennis video games all day and relies mostly on one long-distance friend for companionship. One day, he stumbles on an unfinished underground bunker in the woods beyond his backyard.
Jennifer Ehle Sundance Film Festival Taissa Farmiga and
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‘Son of Monarchs’: A Biologist Looks For Tranquillity In His Life Work [Sundance Review]
As a child, Mendel explored the nearby forests of Michoacán, a state in Mexico, with his older brother Vicente. The trees there are filled with massive, beautiful clusters of monarch butterflies.
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‘Marvelous And The Black Hole’: An Angsty Teenager Finds Solace In Magic & An Unlikely Friendship [Sundance Review]
13-year-old Sammy Ko (Miya Cech) is a problem child. Prone to skipping class, smoking cigarettes, and mouthing off to her teachers, she’s the opposite of the meek model student Hollywood typically imagines when writing young Asian-American characters.
Sundance Film Festival USA Sundance 2021 Sundance and
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'I Was a Simple Man': Constance Wu, Christopher Yogi on Hawaii's Indie Film Community
Christopher Yogi hopes to introduce audiences to a different Hawaii than the one they have grown accustomed to seeing onscreen. "A lot of movies that take place here take place in hotels and at popular tourist spots," explains the filmmaker.
Constance Wu state Hawaii film audience Love indie film
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‘Human Factors’: Ronny Trocker’s Mystery Gets Lost In Its Non-Linear Structure [Sundance Review]
Freely utilizing a non-linear structure, with mixed results, Ronny Trocker’s sophomore feature, “Human Factors,” is a compelling puzzle-box, showcasing a botched home robbery from five different points-of-view, that never fully synthesizes its twisty structure with a realized narrative. Filmed with an ironic detachment that recalls the work of Michael Haneke, “Human Factors” labyrinthian time-jumps, which freely move backward and forward at a moment’s notice to disorienting results, are more interesting to unpack after the credit roll than they are to keep track of at the moment.
Sundance Film Festival Michael Haneke Sundance 2021
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‘Prisoners Of The Ghostland’: No Brains, But Big TesticaaAARRRGHLs [Sundance Review]
So Nic Cage is a bank robber sprung, naked except for a sumo-nappy, from a lengthy stint in jail by the white-hatted, black-hearted Governor (Bill Moseley) of a fake Japanese cowboy town populated exclusively by caged Geisha prostitutes, one of the favorites of whom, Bernice (Sofia Boutella, being bafflingly good again despite the material) recently escaped, so The Governor straps Cage into a leather suit rigged with explosives on the arms, neck and testicles that are primed to explode if they detect his intention to physically harm – or get turned on by – “a helpless woman,” and sends him off into a neighboring irradiated wasteland where Time doesn’t work properly and which is populated by Mad Max-style bandits, itinerant preachers,
Nicolas Cage Sundance Film Festival Sofia Boutella Japan Sundance 2021
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‘Jockey’: Clifton Collins, Jr. Delivers A Career-Best Performance In This Soulful Drama [Sundance Review]
“Write what you know.” So said Mark Twain once upon a time, or at least that’s the popular belief. One cursory look at this body of work reveals that the guy didn’t follow his own advice, but that doesn’t mean it isn’t advice worth following.
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‘First Date’: Teen Coming-Of-Age Careens Into A Bloody Mess In This Errant Joy Ride [Sundance Review]
For most teens, the scariest hurdle they’ll face is asking their crush out on a first date. But on this night, for the bashful Mike (Tyson Brown), preparing for his first outing with the headstrong Kelsey (Shelby Duclos), courting is the least of his issues.
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Sofia Kappel Is Simply Phenomenal In The Thought-Provoking ‘Pleasure’ [Sundance Review]
You’ve heard this tale of superstar dreams many times before. A young talent comes to Hollywood to make it in the entertainment business.
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‘Land’: Robin Wright Directs Herself Through A Familiar Wilderness Grieving Process [Sundance Review]
Take the nomad out of “Nomadland,” and you’re left with “Land,” Robin Wright‘s feature-directing debut (she previously directed 10 episodes of “House of Cards“), in which she also stars, as a grieving woman who, somewhat ironically given the film bows in the era of mandatory isolation, moves way up into the mountains “to get away from people.” Problem is, take the nomadic element out of “Nomadland” (she moves only once and has done with it) and you’re also left with a less interesting, much more obvious movie, in which not only are we not introduced to a radically different way of living, we’re ultimately confirmed in our safest and most simplistic assumptions about how we live right now.
Robin Wright Sundance Film Festival Demián Bichir Wilderness
nypost.com
Sundance 2021 review: Moving ‘Mass’ has some of the year’s best acting
Hollywood’s favorite thing to do — but instead suggests what the healing process might look like after living through a nightmare.The first remark to really shake us up comes as the couples are sharing old photos, which their therapists have suggested. Gail hands one to Linda and says, “That’s the last Christmas.” Silence.Later on, while talking about the unfathomable challenge of being the parents of a loathed murderer, Linda painfully confides, “The world mourned 10.
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‘The Dog Who Wouldn’t Be Quiet’: A Visually Rich Exploration Of Economic Inequality [Sundance Review]
Literally opening, as the title implies, with “The Dog Who Wouldn’t Be Quiet,” Argentinian director Ana Katz’s melancholic rumination on the life of Sebastian (Daniel Katz, the filmmaker’s brother), a languishing writer turned migrant worker, is a visually stunning, but oftentimes opaque experiment. Filmed in lush black and white, with animated interludes used to portray the more devastating aspects of Sebastian’s life, Katz’s film unfurls as a series of vignettes.
Sundance Film Festival Ana Katz Daniel Katz Argentina Sundance 2021 Sundance inequality
theplaylist.net
‘Wild Indian’: Unfocused Saga of Generational Violence Features A Strong Michael Greyeyes Performance [Sundance Review]
Abuse leaves scars unseen but permanent in director Lyle Mitchell Corbine Jr.’s debut “Wild Indian,” a character study wrapped in larger observations on the generational effects of violence and religious guilt. In it, two men marked by a single crime lead distinctively dysfunctional lives.
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In the aftermath of unprecedented change, it’s anyone’s guess where the planet will be by the conclusion of the 2020s. As the globe shifts into the second year of the oncoming decade, questions regarding the future of the species have arisen, specifically concerning the ever-increasing relationship between humanity and technology.
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‘Superior:’ A Stylish, Droll Noir That Explores Identity [Sundance Review]
With her frayed blonde hair and moody coal-black eye makeup, rock band singer Marian (Alessandra Messa) doesn’t immediately appear to resemble her identical twin sister. Practically a Stepford wife with her demure manner and neat brown bob, Vivian (Ani Messa) lives with her loser husband (Jake Hoffman) in the same house the sisters grew up in.
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Hauling two packages home under both arms, Leonor’s (Amalia Ulman) mother María (Ale Ulman) bursts through the door of their small apartment, proclaiming she will never return Amazon purchases for her again. Her daughter isn’t home.
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‘All Light, Everywhere’: An Unfocused Overview Of The Oncoming Surveillance State [Sundance Review]
You are being watched. In the era of facial recognition, targeted advertising, and social media, the threat of an omnipresent eye on the average human has passed.
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‘Together Together’: A Dramedy About Surrogacy That’s Light On Tension Or Friction [Sundance Review]
After spending the last 10 months at home watching reruns of “The Office” (at least until the show left Netflix at the end of 2020), the idea of spending even another 90 minutes with Ed Helms probably sounds like a punishment inflicted on the slothful in the Fifth Circle of Hell.
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‘Glitch In The Matrix’: Rodney Ascher Makes A Computer-Haunted Doc About Those That Believe ‘The Matrix’ Is Real [Sundance Review]
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‘Prime Time’: A Hostage Flick Shrinks In The Spotlight [Sundance Review]
“Prime Time,” initially, opens with a beguiling premise. It’s New Year’s Eve in Poland, and the world is mere hours from the year 2000, a new millennium.
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Robin Wright Talks Her Directorial Debut ‘Land,’ Grief, Survival & Renewed Hopefulness [Sundance Interview]
After a renowned career of nearly four decades in both film and TV, actor Robin Wright makes a confident feature directorial debut with “Land,” screening this year as part of Sundance Film Festival’s Premieres line-up. An assured, brawny film that melds together a character study, a friendship tale, and a story of survival inside a modern-day Western of sorts, “Land” follows Edee (Wright), a woman that goes off the grid to a mountain in Wyoming to make a fresh, solitary start after experiencing unspeakable tragedy.
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Sean Ellis’ “Eight for Silver” is one of those movies that starts off so well, that shows such promise, that its slow unraveling feels less like a disappointment than a betrayal. It’s a Gothic horror picture that seems to set itself up as ambitious and intelligent, only to succumb to the most tiresome tropes and lazy shortcuts of the genre’s lesser efforts.
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Irene (Tessa Thompson) rarely passes for white. She fears for her safety too much to do so.
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‘Ma Belle, My Beauty’ Is A Sunny Tale Of Love, Heartache, And Polyamory [Sundance Review]
Marion Hill’s “Ma Belle, My Beauty” opens with the kind of aural ecstasy you’d expect from a romantic drama set in the South of France: a lazily looping guitar accompanying a breathy, enchanting vocal. The scene is set – and then it immediately collapses, as the vocalist tells her accompanist, “I hate this song, I’m sorry,” and escapes their rehearsal to take a bath.
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Sundance 2021 review: ‘Cryptozoo’ is an animated instrument of torture
maaaan, it’s pretty hard to root for storming the Capitol these days.It’s a challenge to rally behind anybody here. Lauren and Co., including an old activist-scientist named Joan (Grace Zabriskie) and a gorgon (think Medusa), race to recover the Bakku before it’s too late, but their journey is monotonous.“Cryptozoo” is, from start to finish, a pothead’s pastime.
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theplaylist.net
‘Misha and the Wolves’ Transcends Documentary Format To Tell A Remarkable Story Within A Story [Sundance Review]
Something like a documentary “Inception” with a story inside of a tale that is itself part of a narrative, “Misha and the Wolves” boasts several layers, all of them fascinating. Concerned with notions of legacy, trauma, memory, and deceit, the documentary by director Sam Hobkinson juggles multiple stories, people, and time periods with seeming ease, weaving a fascinating, multi-faceted tale in a tight 85 minutes.
Sundance Film Festival Sam Hobkinson Sundance 2021 and
theplaylist.net
“Mother Schmuckers” is a Chaotic, Unfocused, Brutally Unfunny Waste of Time [Sundance Review]
When a person watches a movie as terrible as “Mother Schmuckers,” the natural thing is to examine the seams to see if this awfulness was indeed the point. The movies that turn into this skid almost always fail because there’s no way to capture the earnest magic that resides in the “so-bad-it’s-good” cannon, much in the same way that one can either see Shoeless Joe Jackson in an Iowa cornfield, or they can’t.
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