Tribeca with Abe: Souad

I’ve had the pleasure this year of screening a number of selections virtually from this year’s Tribeca Film Festival, which runs June 9th-20th.

Souad
Directed by Ayten Amin
International Narrative Competition – Screening Information

The way people present themselves to the world around them is influenced by many factors. Peer pressure can have impactful and unfortunate results, and it may not even stem from direct action or words from others but from what someone places upon themselves due to their perception of their status or worth. Social media profiles rarely reflect reality accurately or completely, and those who seem happiest and most popular may be harboring secrets with potentially dangerous implications, especially if who they are and how they want to express themselves is incongruent with their culture and community.

Souad (Bassant Ahmed) lives in Zagazig, Egypt. She spends a good chunk of her day online, pining after glamorous stories others post and messaging with her boyfriend Ahmed (Hussein Ghanem), who lives in Alexandria, while finishing up university. What she tells her friends and random strangers on the bus, however, indicates a different truth, one that finds her emulating a more fantastical lifestyle and bolstering Ahmed’s identity, transforming him from an influencer and content creator to a respected military officer. What Souad doesn’t share with anyone, including her younger sister Rabab (Basmala Elghaiesh), reveals much more about who she wants to be and the dangers of secrecy and over-exaggeration.

Living almost entirely through social media profiles is a concerning enough phenomenon in the United States, and this film explores how it’s just as prevalent in other countries. Modesty standards and religious influences further complicate the situation, as what Souad wants to express can’t be done around certain friends and family members, leading her to further mask what is really going on in her life and keep those closest to her in the dark. It’s a cautionary tale that will surely be frightening and unsettling to parents of teenage children who see all too well the possible negative consequences of modern technology.

Ahmed delivers a strong breakthrough performance as Souad, bubbly and energetic in some surroundings and more reserved and melancholy in others. It’s a very universal turn in that who she is can be applied to so many young adults, regardless of where they live in the world, but also one that’s informed by the cultural norms of modern Egyptian society. This film both defies and delivers on expectations, demonstrating the reach of social media and the yearning for connection – and acceptance – that so motivates people to do things that wouldn’t ordinarily make sense or seem safe. The finished product is an unnerving and memorable portrait of youth, vigor, and a harsh and often unforgiving world.

B+

Tribeca with Abe: As of Yet

I’ve had the pleasure this year of screening a number of selections virtually from this year’s Tribeca Film Festival, which runs June 9th-20th.

As of Yet
Directed by Chanel James and Taylor Garron
Viewpoints – Screening Information

The pandemic has been a time fraught with anxiety for most, unsure of whether they would remain safe and, more recently, tentative about returning to normal life. During the worst of it, however, an end was most definitely not in sight, and the notion of continuing protocols forever and never seeing anyone in person became almost too much to bear. Anyone who started a new relationship during the pandemic deserves particular credit since navigating a romance of any sort is difficult enough in a virus-free world, and beginning something with the barrier of social distancing presents a considerably increased challenge.

During the COVID-19 pandemic, Naomi (Taylor Garron) has been playing it safe. She hasn’t gone anywhere and has maintained relationships via FaceTime and Zoom. With her roommate (Eva Victor) in Florida with family, Naomi has starting chatting with a guy she met online and is considering arranging their very first in-person date. As she connects with friends and family for regularly-scheduled check-ins, Naomi ponders the safety of such a decision and the intersection of many societal factors that have affected how she operates and has changed her thinking over the course of quarantine.

This film is the latest in a series of projects filmed during the pandemic that is expressly about life in the pandemic, and it mimics the style of “Language Lessons” and “Coastal Elites,” among others, in that all of its scenes are seen through a camera or computer screen. That device might seem irritating or tiring for those who feel they have spent too long sitting on Zoom over the past year, but it’s actually a marvelous way to get to know Naomi and to see her at her most unguarded, freely conversing with everyone because their physical distance makes it easier to be open and honest, even if that leads to uncomfortable moments and realizations.

Garron, who serves as writer and co-director for the film, is phenomenal, making Naomi seem simultaneously relatable and highly specific, walking through the world with pointed opinions about race, romance, and relationships. Nothing is lost from her performance being directed at a screen rather than at others next to her, and that actually adds tremendously to the experience. Whether isolated filmmaking like this will continue after the pandemic is a mystery, but this film offers a snapshot of this moment in time with an entertaining, witty script and a compelling story woven together from selected scenes that add up to a formidable whole.

B+

Tribeca with Abe: Mark, Mary and Some Other People

I’ve had the pleasure this year of screening a number of selections virtually from this year’s Tribeca Film Festival, which runs June 9th-20th.

Mark, Mary and Some Other People
Directed by Hannah Marks
US Narrative Competition – Screening Information

Two people almost never want exactly the same thing. That’s one of the reasons that a relationship involves compromise and trying to achieve a shared vision of what happiness looks like. There may be times where those two ideals are closer to each other than they are far apart, and that won’t necessarily remain consistent or stable for the course of a relationship. If they are too incompatible, it may not be possible for continue, though the willingness of both parties to work through an impasse and try to find a solution, under some circumstances, can stave off a potential breakup.

Mark (Ben Rosenfield) and Mary (Hayley Law) reconnect in a drug store after meeting in college and get married within a year. Things are going smoothly, but Mary realizes that she may be interested in “ethical non-monogamy,” suggesting that she and Mark set up ground rules for an open relationship in which they both see each other people. Though Mark is initially resistant to the idea, he warms to it as he sees that Mary needs to explore this, and the two begin a series of confrontations designed to strengthen the bond they have but which will inevitably present obstacles to the stability of that connection.

The complexity of adding another member into a two-person dynamic has been explored many times in film and television in projects like “The Freebie” and “You Me Her.” As tends to be the case, it’s a suggestion that comes from only one half of the couple, which of course previews difficulty later when it takes an unexpected course from which there is no easy return. Fortunately, this foray into the subject is more than worthwhile, in part because Mark and Mary are established as an intensely interesting and entertaining couple long before Mary’s game changer is ever formulated.

The success of this film is due in large part to the vibrant, inviting nature of the performances from Rosenfield and Law, whose casual vibes work wonders opposite each other. The supporting cast of friends who comment on and judge their decisions is also great, and writer-director Hannah Marks, herself an actress from terrific projects such as “Dirk Gently’s Holistic Detective Agency,” knows how to utilize them all best. This film is funny, romantic, frustrating, and altogether immensely enjoyable, revisiting a topic that’s been showcased in the past, but rarely in such a fantastic and effective way.

B+

Tribeca with Abe: Poser

I’ve had the pleasure this year of screening a number of selections virtually from this year’s Tribeca Film Festival, which runs June 9th-20th.

Poser
Directed by Ori Segev and Noah Dixon
US Narrative Competition – Screening Information

Everyone wants to be famous, even if they don’t understand exactly what that means and what the implications of being widely recognized and in the public eye may be. People idolize celebrities and give them special treatment, assuming that their high-profile nature makes them better than their average, anonymous counterparts. The inverse also tends to be true, that those who haven’t amassed a substantial following or, in whatever way, proven themselves, aren’t in the same league or worthy of attention. Perception is everything, and relationships and opportunities can change drastically based on what people think, whether or not it has any basis in fact.

Lennon (Sylvie Mix) lives in Columbus, Ohio, and is eager to become a part of the indie music scene. In order to gain access to the most interesting talents and minds, she creates a podcast that allows her to record samples from many people in the area. As she speaks to and hears from a number of subjects, she begins to adopt a larger-than-life persona that she can’t quite back up, one she only seeks to bolster when she meets and becomes entranced by Bobbi Kitten (Bobbi Kitten), an alluring free spirit who pushes Lennon to discover more about herself.

This film features a number of captivating moments in which the audience is able to understand and emulate Lennon’s sense of wonder, acting as a fly on the wall and observing the way in which those who are successful and have worked hard have managed to find their voices and their musical inspirations. A series of conversations and recording sessions feed information to Lennon that she begins to absorb and, as the film’s title suggests, act as if she has considerably more influence and a much more sizable following than is actually the case.

There is a fantastic subtlety to Mix’s breakthrough performance. In her feature film debut, Mix presents Lennon as a sponge, merely taking in everything around her and soaking it in without offering a true sense of who she is. It makes it difficult to hold her completely accountable for what she does and fascinating to watch. Kitten, the frontwoman of the musical duo Damn the Witch Siren, plays an intoxicating version of herself, fully aware of the effect that she has on the impressionable Lennon. This film’s intriguing journey doesn’t possess as formidable a denouement, but accompanying Lennon along the way is still worthwhile and compelling.

B

Weekend Movie Recommendations with Abe

Every Friday, I'll be uploading a Minute with Abe: Weekend Movie Recommendations Edition, surveying new releases on DVD, and on streaming services. Check it out, and subscribe to the movieswithabe channel!

New to Theaters: Asia, Sublet
New to Theaters and VOD: Holler
New to Theaters and Digital: Akilla’s Escape
New to VOD: Dream Horse
New to Virtual Cinemas: Upheaval
New to DVD: True Mothers, City of Lies
New to Netflix: Awake
New to Amazon Prime Video: Pinocchio
New to Hulu: The Croods: A New Age, Two of Us
New to Paramount Plus: Infinite

Interview with Abe: Jessica Barden

I got to speak with actress Jessica Barden, who I interviewed a few months ago for “Pink Skies Ahead,” about her new film “Holler” for Cinema Daily US. Watch our conversation in full below:

Movie with Abe: Infinite

The action film “Infinite” premieres today on Paramount+, and, despite this cool poster, it wasn't one that I loved. I reviewed the film for The Film Experience - head over there to read my review.

Interview with Abe: Deepti Gupta

I got to speak with actress Deepti Gupta and her role in India Sweets and Spices, which premieres this weekend at the Tribeca Film Festival. My review will be up this weekend. For now, watch our conversation in full below:

Interview with Abe: Mark Rosa

I got to speak with director Mark Rosa for Cinema Daily US about his new film Awake, which premieres on Netflix tomorrow. Watch our conversation in full below:

Movie with Abe: Upheaval

The documentary “Upheaval” is an engrossing and informative portrait of Israeli Prime Minister Menachem Begin. I reviewed the film for Awards Radar - head over there to read my review.

Movie with Abe: Undine

The new film “Undine,” out this weekend in theaters and on demand, is an intriguing fantasy tale with a great central performance from Paula Beer. I reviewed the film for Cinema Daily US - head over there to read my review.

Weekend Movie Recommendations with Abe

Every Friday, I'll be uploading a Minute with Abe: Weekend Movie Recommendations Edition, surveying new releases on DVD, and on streaming services. Check it out, and subscribe to the movieswithabe channel!

New to Theaters and VOD: Undine
New to Theaters: Gully
New to DVD: The Courier
New to DVD and Hulu: The World to Come
New to Netflix: Election, Chinatown
New to Amazon Prime Video: Take Shelter, Fight Club, The Wrestler
New to Hulu: Night of the Kings, Face/Off, The Man Who Shot Liberty Valance

NewFest Pride: Boy Meets Boy

Boy Meets Boy
Directed by Daniel Sanchez Lopez
Ticket Information

There is something about traveling and being in a different place that helps people to lose their inhibitions. Actions don’t seem permanent and decisions aren’t consequential, and there may be a desire to do things that wouldn’t otherwise feel right or recommended since they won’t be remembered or impactful upon returning home. Intentions aren’t everything, however, and the strength of a connection formed under those circumstances may still be momentous and enduring. Not wanting to depart from that feeling is understandable, and, in moments of desperation, those who know they have little time away left may do everything possible to preserve it while they can.

Harry (Matthew James Morrison) is in Berlin and has been enjoying himself over the course of the past two days. Just as he is about to leave to head back home to England, he meets Johannes (Alexis Koutsoulis) at a club. The two begin speaking and quickly learn a good deal about one another, unpacking their experiences as gay men, citizens of the world, and strangers destined never to see each other again once Harry heads to the airport.

This is a revitalizing freshness to this film and its casual nature, one that introduces Harry and Johannes and allows the audience to accompany them on their whirlwind tour of Berlin and each other’s personalities. Their conversations are almost entirely one-on-one, though one early moment in which Harry chats up a missionary who also happens to be British reveals a good deal about their conflicting perspectives and how they perceive themselves. Neither is the clear protagonist, and instead this is equally about how energized they feel by the other’s presence, both for the curious visitor and the more grounded local.

The effectiveness of this film, which runs just seventy-five minutes, is enhanced considerably by the performances from Morrison and Koutsoulis. There’s something inherently natural and accessible about their approach to the characters, which invites those watching in to their worlds, showing both how they present themselves to strangers and how they reveal their inner thoughts through body language and speech patterns. This is in many ways a simple story that is conveyed by its direct title, but this film doesn’t stop at the surface level, allowing its protagonists to discover far more about each other than they expect in this rich and rewarding film that makes a sincere impact even with its brief running time.

B+

NewFest Pride Spotlight: See You Then

See You Then
Directed by Mari Walker
Ticket Information

The end of a relationship is usually very difficult for both parties, even if its dissolution isn’t a mutual decision. In order to readjust to life without a partner, time apart is often necessary. The tremendous closeness and intimacy that existed previously must be replaced by distance so that healing can begin. After a considerable amount of time has passed, it may be possible for two people who used to be together to see each other in a new way. It can be therapeutic or painful, especially if those who were once partners are now entirely different people.

Kris (Pooya Mohseni) has returned to her college town for the first time since transitioning. It has been more than a decade since her relationship with Naomi (Lynn Chen), who is now married with two children. They meet at a restaurant to talk about what they’ve done since they last saw each other and what now fills most of their days. Their conversations begin as pleasant and refreshing and slowly reach a more dramatic point as old wounds are once again opened up and the way their relationship ended threatens to derail any hope of a present-day friendship or even a sincere reconciliation.

This film is a marvelously intriguing two-hander, featuring a few faces that pop up over the course of Kris and Naomi’s night spent together but serve only to support the way in which they interact with each other. Who Kris used to be exists only in her memories and in Naomi’s, and in certain moments it feels like they are interacting as two new people, but it’s impossible for them to fully separate who they are now from who they were then. Naomi is a liberal, forward-thinking artist entirely open to who Kris has become, but that doesn’t mean she doesn’t hold her accountable for what she did and how she acted when she was someone else.

Mohseni and Chen convey years of history in the way that they talk to each other, initially guarded and unsure of what to say and then easily able to slip back into old dynamics. What they discuss is both general and highly specific, unpacking the problems that society faces and applying them to what did or didn’t work about their relationship. It’s a riveting and deeply compelling portrait of two people who share many similar values and hold plenty of opinions that complicate who and how they’re able to be with each other.

B+

Video Review: Army of the Dead

I was thrilled to be able to participate in a video review with fellow critic Matthew Schuchman for Cinema Daily US as part of the site's Above the Line vs Below the Line series. Check out our discussion of the film “Army of the Dead,” which is now streaming on Netflix, below:

Movie with Abe: Oslo

I wasn't completely sold on “Oslo,” which is now streaming on HBO Max, but I thought it presented interesting and worthwhile content. I reviewed the film for Cinema Daily US - head over there to read my review.

Movie with Abe: Plan B

I really liked “Plan B,” which features fantastic performances from young actresses Kuhoo Verma and Victoria Moroles and is now available on Hulu. I reviewed the film for Cinema Daily US - head over there to read my review.

Movie with Abe: Shepherd: The Story of a Jewish Dog

Courtesy of JDOG FILMS
Shepherd: The Story of a Jewish Dog
Directed by Lynn Roth
Released May 28, 2021

There is a bond that exists between humans and animals that can’t really be replicated by anything else. The comfort that comes from having someone by your side who doesn’t question your motives and wants – and gives – only affection is sincere and valuable. Their presence also brings back memories of formative moments that were shared and may no longer be represented in reality. The power of that connection shouldn’t be underestimated, and especially in cinema, can be even more transformative as a continued reminder of love in a dark world seemingly devoid of any hope.

Joshua (August Maturo) is ten years old and living in Germany in the 1930s. His parents (Ádám Porogi and Ayelet Zurer) have more puppies than they can handle in their small home, and try to find new owners for all but Kaleb, the beloved German Shepherd that Joshua and his sister Rachel (Viktória Stefanovszky) so adore. When the Nuremberg Laws make it illegal for Jews to own pets, Joshua and Kaleb are separated. After a disastrous stay with a local couple, Kaleb’s energy proves boundless, leading him to a Nazi concentration camp where he serves as a loyal dog for an SS officer (Ken Duken) and encounters his young former owner, now a prisoner, who is rejuvenated by the chance to be reunited with the dog that meant so much to him.

This film’s title conveys its focus, which is on a dog who identifies strongly with the family that raised him and, as can only be the case in movies, does everything possible to stay connected with them regardless of what’s going on in the world. The best comparison for this film might be “War Horse” since there is a very real and disturbing showcase of the horrors of the Holocaust, beginning with the stripping of privileges away from Jewish people before they are moved to concentration camps. Given that this is a film classified primarily as “family,” not much is actually shown, but, to be clear, this is not a lighthearted dog film that will merely make audiences melt with joy.

Those who have personal connections to the Holocaust or merely an aversion to seeing such content portrayed in a somewhat frivolous way may find this experience off-putting since, however uplifting Kaleb’s desire to be with his owner may be, it can’t possibly succeed against the backdrop of a truly awful period of history. Finding moments of hope and wonder in tragedy, however, does have its value, and dog lovers will find plenty of opportunities to celebrate the buoyancy and elation that can be found in this entirely expected film specifically targeted to those with a true and sincere affinity for man’s best friend.

B-

Weekend Movie Recommendations with Abe

Every Friday, I'll be uploading a Minute with Abe: Weekend Movie Recommendations Edition, surveying new releases on DVD, and on streaming services. Check it out, and subscribe to the movieswithabe channel!

New to Theaters: Shepherd: The Story of a Jewish Dog
New to DVD: The August Virgin, The Sound of Silence
New to Hulu: Plan B
New to HBO and HBO Max: Oslo

Human Rights Watch Film Festival Spotlight: Daughter of a Lost Bird

Daughter of a Lost Bird
Directed by Brooke Pepion Swaney
Screening Information

Identity can be a complicated thing for any person, and for someone who belongs to multiple communities, it can be all the more challenging. There are often conflicting values and aspects of different cultures, and someone may find resonance in contradictory notions that speak to various parts of themselves. Adoption often involves transplanting someone from one type of existence to another, and, try as they may to ensure a preservation of a child’s birth heritage, those new parents cannot fully replicate the experience of growing up in a place that speaks to who they are. This documentary offers a mesmerizing and enlightening examination of how new relationships and people can inform the trajectory of a person’s whole life.

This film spotlights Kendra, who is only now as an adult connecting to her Native American background after being raised by loving white parents. Her self-exploration is compounded by meeting her birth mother April, who was also adopted. Kendra’s desire to belong and connect clashes with her lack of knowledge about a culture she doesn’t actually know much about, and watching her work through that with April is enormously rewarding. The focus on the 1958 Indian Adoption Project that sought to actively remove Native children from their families is particularly unsettling, and this film serves as compelling and irrefutable evidence that harm has been inflicted by such policies that, throughout this country’s history, have been all too common and enthusiastically endorsed.

B+