January 18th at Sundance
There is much to do and much to see on January 18th at the Sundance Film Festival. This is only a snippet.
Girls State
(January 18th at Sundance Film Festival)
From Sundance:
Teenage girls from wildly different backgrounds across Missouri navigate a week-long immersive experiment in American democracy, build a government from the ground up, and reimagine what it means to govern.
Amanda McBaine and Jesse Moss’ anticipated return to the captivating world of teenage-led politics follows ambitions unfolding as hundreds of teenage girls gather to build a representative government in Missouri during a session of Girls State co-hosted alongside Boys State. As the girls run for office, including governor and supreme court seats, they also methodically preside over a reproductive rights case while the real-life overturning of Roe v. Wade hangs in the balance. McBaine and Moss stay embedded in Girls State, following several charismatic candidates, but these aspiring change-makers keenly take note of the Boys State program, and the differences between the programs, sparking outcry and awakening.
Girls State deftly reflects urgent issues around gender equality and our political landscape through the energetic and tenacious lens of youth. The candidates’ resilience and adaptability shine through, revealing that no closed doors are stopping these girls.
Director(s): Amanda McBaine and Jesse Moss
Key Subjects:
Madeline Ruth Rowan, Faith Glasgow, Cecilia Bartin, Emily Rose Worthmore, Tochi Destiney Ihekona, Brooke Ann Taylor, Anna Chellis
On the Film:
Girls State is the much-anticipated follow-up to the critically acclaimed and Sundance Grand Jury Prize-winning Boys State, which takes the same premise, except we’re now looking at a group of girls from Missouri rather than boys from Texas. Given the political polarization we are currently witnessing in the United States, “social experiments” like these are not only interesting – they also provide insight into the future of our democracy. On the surface, it seems fairly uninventive to take the successful formula shown in Boys State and “copy-and-paste” it to a new gender, but that perspective oversimplifies the intention and potential impact here. Girls State does not aim to ignore the work that has been done, but rather, it acknowledges it explicitly, which allows for a more nuanced exploration of gender dynamics and power – both inside and outside of the political sphere. As a result, Girls State should be viewed as one-half of the requisite whole. Just because you have watched (and even enjoyed) Boys State does not mean that Girls State is a redundant watch. In fact, that very attitude is precisely what these young women are up against.
Girls State will be distributed by Apple Original Films.
Stress Positions
(January 18th at Sundance Film Festival)
From Sundance:
Terry Goon is keeping strict quarantine in his ex-husband’s Brooklyn brownstone while caring for his nephew — a 19-year-old model from Morocco named Bahlul — bedridden in a full leg cast after an electric scooter accident. Unfortunately for Terry, everyone in his life wants to meet the model.
Stress Positions is as much a finely tuned time capsule of the frantic fear and formative power of the pandemic as it is a road map out of dark places guided by a profound humanity. A careful balance between a consistent, razor-sharp humor and the development of a distinctive cinematic tone creates a particular mood and energy that is not easily forgotten.
Returning to the Sundance Film Festival after her 2021 appearance as writer-director and star of the Episodic My Trip to Spain, Theda Hammel once again proves herself to be a prolific powerhouse with her directorial debut. Hammel’s clever script, energetic performance, confident directorial style, and beautifully crafted score come together in an exciting whirl of charisma and social commentary. John Early (at Sundance with My Trip to Spain in 2021 and Save Yourselves! in 2020) delivers a hilariously tense performance among a talented young cast. Stress Positions at once ratchets up raw nerves and also helps us release them.
Director(s): Theda Hammel
Key Cast:
Qaher Harhash, John Early, Theda Hammel
On the Film:
Theda Hammel is one of the most interesting emerging directors on the scene right now. She has a master’s degree in music technology (and has released three EPs), has a successful podcast with Macy Rodman (KNFW Nymphowars), and had her first short film premiere at the 2022 Sundance Festival. Stress Positions is her feature film debut, and not only did Hammel direct this project, but she also wrote the script, co-edited the film, wrote the music for the film, and as if the list could get any longer… stars in the film as well. Needless to say, she is one talented human being, which is further evidenced by Neon putting their extremely well-respected indie brand behind her project. Hammel has chosen to reunite with John Early, who starred in her 2022 short film, My Trip to Spain. Like this short film, Stress Positions appears to explore serious social issues while providing timely laughs along the way. Undoubtedly, Hammel is someone to keep an eye on in the coming years.
Stress Positions will be distributed by Neon.
Freaky Tales
(January 18th at Sundance Film Festival)
From Sundance:
In 1987 Oakland, a mysterious force guides The Town’s underdogs in four interconnected tales: Teen punks defend their turf against Nazi skinheads, a rap duo battles for hip-hop immortality, a weary henchman gets a shot at redemption, and an NBA All-Star settles the score. Basically another day in the Bay.
Since premiering their short Gowanus, Brooklyn at the 2004 Sundance Film Festival, Ryan Fleck and Anna Boden have forged careers marked by fresh story sensibilities, rigorous character complexities, and outstanding performances. A mind-blowing mixtape and joyful ode to the ’80s, Freaky Tales imaginatively fuses styles and cinematic influences with giddy abandon, yielding a pastiche of pulp, pop, comic books, anthology horror, Old Testament wrath, and kung fu by way of a bloody crescendo that leaves no appendage unsevered. The supernatural storm brewing above Oakland empowers its ensemble of underdog warriors with a spirit of righteous retribution as they take on bullies, corruption, racism, misogyny, the Man, and the Lakers. A stirring anthem to solidarity and Oakland’s egalitarian, countercultural, and multicultural spirit, Freaky Tales reminds a world of wrongdoing that this is what you get when you mess with the underdogs — after all, there are more of us.
Director(s): Ryan Fleck and Anna Boden
Key Cast:
Pedro Pascal, Jay Ellis, Jack Champion, Keir Gilchrist, Michelle Huang, Ji-young Yoo, Normani K. Hamilton
On the Film:
The second I read the logline for Freaky Tales, I was hooked. These three [seemingly] disconnected narratives force you to ask questions, and that’s before even imagining how they will end up coming together in the end. This film marks the return of Ryan Fleck and Anna Boden to their Sundance roots after a brief hiatus to casually direct the 1.1 billion dollar grossing movie in Captain Marvel. Despite their mainstream success, they owe at least some of their tremendous careers to Sundance, having won a prize for their short film Gowanus, Brooklyn in 2004 and then being invited to the Sundance Writer’s Lab to receive feedback on their undeveloped (at the time) feature film, Half Nelson. Outside of direction, Freaky Tales also brings with it a star-studded cast headlined by one of Hollywood’s fastest-rising stars, Pedro Pascal. Outside of Pedro Pascal, it should be safe to expect strong performances from Jay Ellis (who is serving as Executive Producer on Sue Bird: In the Clutch – also playing at the festival) and the rest of the cast, including the most prominent role to-date from former Fifth Harmony member Normani K. Hamilton. Understandably, this film sold out its showings more quickly than almost any film playing at this year’s festival and will almost certainly lead to a bidding war between potential distributors.
Kneecap
(January 18th at Sundance Film Festival)
From Sundance:
There are 80,000 native Irish speakers in Ireland. 6,000 live in the North of Ireland. Three of them became a rap group called Kneecap. This anarchic Belfast trio become unlikely figureheads of a civil rights movement to save their mother tongue.
Bursting forth from an often unpredictable and raucous post-Troubles Belfast, Liam Óg Ó hAnnaidh, Naoise Ó Cairealláin, and JJ Ó Dochartaigh leap onto the screen to play themselves in this heightened and wildly entertaining tale of Kneecap’s origins, with Michael Fassbender in tow as the charismatic father figure turned political martyr. Armed with a blend of English and native Irish verses and blazing, politically charged rhymes, Kneecap’s music takes us on a ketamine-fueled, rollicking trip to encounter the meaning of pure defiance. Filmmaker Rich Peppiatt captures the untamable essence of this singular trio with unapologetic humor and energy, revealing a generation born out of chaos and ready to reclaim their cultural heritage. Fervent and unforgettable, Kneecap is the rallying cry of a music group poised to take the world by storm.
Director(s): Rich Peppiatt
Teaser:
One week to go! The world premiere of KNEECAP takes place at @sundancefest next Thurs 18th Jan.
Written & directed by @richpeppiatt & starring @kneecapceol, Michael Fassbender, @Simone1Kirby and Josie Walker, it’s based on the origin story of the riotous & ground-breaking… pic.twitter.com/vBijmtJauE
— Wildcard Distribution (@WildCardDistrib) January 11, 2024
Key Cast:
Liam Óg Ó Hannaidh, Naoise Ó Cairealláin, JJ Ó Dochartaigh, Michael Fassbender, Josie Walker, Simone Kirby
On the Film:
Kneecap is shaping up to be one of the most fascinating films of Sundance 2024. It is the first ever Irish language film to play at the festival, which means that its potential cultural impact should not be understated. That being said, its cultural relevance might be combatted only by its potential to stir controversy. Kneecap, as a hip hop trio, has never shied away from controversy themselves, with their origin story stemming from the arrest of group member Móglaí Bap after he refused to speak English to a questioning police officer, resulting in him writing their first song, “C.E.A.R.T.A” in a prison cell. In the years that followed, the group has never stopped being unapologetically themselves, having songs banned from radio, being condemned by Belfast MLAs, and flying Palestinian flags at their concerts. Director Rich Peppiatt himself acknowledged in an interview with The Irish News that the film will “be very controversial in the north”. Expect bold statements, outrageous comedy, and a polarized response back home for Kneecap.
I Saw the TV Glow
(January 18th at Sundance Film Festival)
From Sundance:
Teenager Owen is just trying to make it through life in the suburbs when his classmate introduces him to a mysterious late-night TV show — a vision of a supernatural world beneath their own. In the pale glow of the television, Owen’s view of reality begins to crack.
Writer-director Jane Schoenbrun’s We’re All Going to the World’s Fair (2021 Sundance Film Festival) introduced us to a new genre of their own design: emo horror. Their follow-up feature builds upon that vibe, worming its way into the subconscious with an equally potent autopsy of reality versus fiction. As Owen, Justice Smith exudes a quiet vulnerability, while co-lead Brigette Lundy-Paine displays a confident yet awkward conviction. Schoenbrun has a knack for portraying the trappings of adolescent family life with nuance and a welcome ambiguity, freeing audience members to relate in a way that is best suited to their own experiences. I Saw the TV Glow forces us to consider whether the memories of our youth betrayed us, or if something more sinister is at play.
Director(s): Jane Schoenbrun
Key Cast:
Justice Smith, Brigette Lundy-Paine, Ian Foreman, Fred Durst
On the Film:
Jane Schoenbrun is back after their successful narrative feature film debut at the 2021 Sundance Film Festival, We’re All Going to the World’s Fair. This debut showcased a director willing to take risks and approach filmmaking from an ambitious and unconventional perspective. With I Saw the TV Glow, Schoenbrun has been given a much larger [relative] budget and is bolstered by a production team led by Emma Stone. I’m eager to see what an innovative filmmaker can do when given the tools they had not been previously afforded. From what has been released publicly, it appears that this film will aim to challenge the viewer’s notions of reality, while also building coming-of-age characters that are authentic and nuanced. As I walk out of the theatre after this one, I anticipate being surrounded by a cacophony of “what the…”, and I could not be more excited.
I Saw the TV Glow will be distributed by A24.
