SIFF Event: An Afternoon w/ Molly Shannon

Molly Shannon is a Superstar. Maybe not in the same way that Beyonce or Lady Gaga are Superstars – she’s not an ethereal, looming presence, so much as an awesome person who also happens to be a tremendously gifted comedic and dramatic actor. She first gained notoriety in 1995 when she joined the cast of Saturday Night Live, where she remained for 6 seasons. During that time, she introduced the world to such indelible characters as Mary Catherine Gallagher (“When I get nervous, I stick my hands in my armpits and smell ‘em like this”) and Sally O’Malley (“I’M 50!”). Her characters were hilariously offbeat, but also oddly inspirational because of their unwavering drive and confidence.

On Sunday, May 22nd, the Seattle International Film Festival presented “An Afternoon with Molly Shannon.” After a brief retrospective of her work, (including clips from film and television comedies like SuperstarWet Hot American Summer and Seinfeld, and comedic dramas like Me, Earl, and the Dying Girl and Addicted to Fresno), Variety deputy awards and features editor Jenelle Riley introduced the effervescent actress, who revealed that she was fulfilling a childhood dream by sitting in front of a large audience, answering questions whilst sipping a hot beverage from a mug. “Sorry, your drink is cold,” Riley apologized. Even Molly Shannon can’t have everything…

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SIFF Review: Finding Kim

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There has been a recent surge in films about trans people, both narrative and documentary. And it’s about time. Trans rights have long been either lumped in with the rest of the LGBTQ issues, or ignored altogether. According to Kim, a trans man and the subject of Aaron Bear’s first feature documentary, Finding Kim, the Ls, Gs, Bs, and Qs have been some of the worst offenders for undermining trans equality. Trans women in particular have been excluded from women’s events as if they were devious cisgender men in disguise.

Fortunately for Kim, he lives in Seattle, where he has a supportive group of friends and can utilize his health insurance to cover his first surgical procedure, done by a sympathetic specialist. This has been a long time coming for Kim, who didn’t come to terms with being trans until his late 40s. Raised as a girl, Kim was often called a boy by peers, as if it were an insult. His classmates also barred him from using the bathroom at school – any bathroom. He never told his parents what he was going through, resulting in a very lonely existence. When he was older, he thought he might be a lesbian, but after spending time in that community, he still didn’t feel quite right. He finally had his life-altering breakthrough when he met a therapist who told him that all those masculine feelings he had were because he was a man. Within a couple of months, he was taking daily testosterone shots (called “T”) and finally starting to feel at home in his own body…

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SIFF Review: Another Evil

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There are things in this world more problematic and scary than being haunted by ghosts. One of those things is realizing you accidentally hired an unhinged person to provide a home service for you. Another Evil, a character-driven horror comedy written and directed by Carson Mell (writer for HBO’s Silicon ValleyEastbound & Down), has ghosts in it, but they mostly exist to set events in motion. The real meat of the film involves the man who has dedicated his life to exterminating them. Even in a universe in which ghosts unequivocally exist, it takes a special brand of nutcase to choose a career in ghost hunting…

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SIFF Review: The Lure

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Mermaid stories have never been the most feminist of folktales. They’re either presented as evil temptresses with the sole intent of luring men to their doom, or as lonely creatures who are themselves drawn to land by a strange man, never hesitating to give up everything to be with someone who barely registers their existence. Polish horror rock opera, The Lure, is a bit of both, but with some extremely creative motifs and appropriately alluring imagery to make the more misogynistic aspects of being a fish lady more palatable…

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Double SIFF Review: Frank & Lola; Microbe and Gasoline

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Matthew M. Ross wrote and directed his debut feature about two emotionally raw people (Michael Shannon and Imogen Poots) who fall hard before letting their troubled pasts erode their relationship. Despite the title, the script sticks with Frank’s point of view, shifting the tone mid-way from indie romance to psychosexual thriller as he seeks to learn the full story behind Lola’s trepidation. Shannon and Poots are so natural in their roles that some of the noir contrivances seem unbefitting. But viewed as a fable about the perils of male jealousy and having a sense of entitlement over the women they love, it works.

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Microbe & Gasoline

Michel Gondry’s most personal, reality-based film to date follows two teenage misfits who embark on a road trip through rural France to escape their troubled lives. Daniel, a.k.a. Microbe, is ridiculed for being small and feminine. He’s a loner who spends his days drawing wanking material. His life changes when he meets Theo, an older transfer student, dubbed Gasoline for his omnipresent odor, thanks to his mechanical tinkering. The boys disguise their car as a small house to remain “inconspicuous” on their journey, with mixed results. This time, Gondry leaves the creativity and whimsy to his characters, resulting in his best work in ages.

Originally published on Hammer to Nail.

SIFF Review: The Return

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Despite our founding principals, the United States is generally terrible at taking care of our own, especially if they suffer from mental illness or addiction. Newly released prisoners are just one of the many groups the system fails on a regular basis. Kelly Duane de La Vega and Katie Galloway’s vital documentary, The Return, details just one aspect of the myriad flaws in the American criminal justice system.

Following the voter-approved repealing of California’s Prop 184, also known as the Three Strikes Law, thousands of non-violent prisoners with life-sentences suddenly qualified for appeals. But you can’t strip someone of their humanity, as our prison system does, then dump them on the outside and expect them to thrive…

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SIFF Review: The Family Fang

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Jason Bateman is no stranger to the aggravation of selfish, irresponsible parents. On Arrested Development, he played arguably the most put-upon son in television history. Bateman returns to the well for his second directorial outing, adapting Kevin Wilson’s novel, The Family Fang. Bateman and Nicole Kidman play a pair of adult siblings who are developmentally arrested by their childhood spent being the unwitting participants in their parents’ surreptitious public art performances. Think the lesson pranks George Bluth paid J. Walter Weatherman to pull on his children. Only this time, the intent is a lot less explicit and the emotional consequences much less humorous…

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SFIFF Review: Counting

(The 59th San Francisco International Film Festival ran April 21-May 5.)

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Counting is a difficult film to pin down. But that’s precisely what makes it so engaging. All films are art to some extent (for better or worse). But typically, the narrative is the main focus. In Jem Cohen’s latest film, the art is the focus, made all the more so by the lack of narrative and the frequently incongruent audio. Shot primarily in New York City, Moscow, Istanbul, and Sharja, Counting often feels like a travel diary wherein the traveler is the camera itself and Cohen is a ghost who pops up from time to time.

The film is broken into 15 parts, each beginning with a title and ending with the date and city in which the footage was shot. Sometimes the segment has a postscript such as in part 2: “A Day is Long”… “But a lifetime is short.” The titles are a mantra – something on which to ruminate or puzzle over during the segment. You begin to notice recurring motifs such as travel (planes, trains and automobiles) – but always with the camera trained out the window to catch the passing scenery; frequent shots of new construction contrast with neglected buildings and sidewalks; people hustle and bustle through the streets, passing static vagrants and paying them no mind; nature pushes through concrete, fighting for the right to exist; cats abound…

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Hammer to Nail Review: Restoration

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Horror fans (myself included) know that it’s tough to keep the water in the well fresh. We tend to be very forgiving about this, however, because our love for the genre is pure. Zach Ward’s feature directing debut, Restoration, is built with a familiar framework. A young couple buys a house, which turns out to be haunted by the ghost of a little girl who perished under mysterious circumstances. But Ward is clearly studied. He understands, and utilizes, that winning formula. And then he makes it his own by adding a few twists and turns and spending some time on character development, so that you really feel for the protagonists by the time you reach the heart-pounding third act.

Becca (Emily O’Brien) and Todd (Adrian Gaeta) have just moved to town for Becca’s residency at the local hospital. Something our presidential candidates have failed to address during their campaigns is the fact that lower-income people are always stuck buying the haunted fixer-uppers. Fortunately, Todd is handy, so he takes it upon himself to make the place livable while Becca goes off to work the most stressful job in the universe, dealing with trauma patients. One day, Todd finds the world’s creepiest teddy bear hidden inside one of the walls, and hidden inside that is the 30-year-old diary once belonging to a little girl named Katie…

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Hammer to Nail Review: Pop Meets the Void

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William Cusick wrote, directed, and starred in Pop Meets the Void, a genre-bending feature about a musician who constantly floats between fantasy realms and alternate realities. At least, I think that’s what is happening. The true reality of the protagonist is never explicit. He could be a slovenly, bearded man recording demos in his squalid basement apartment. Or he could be a clean-shaven office drone with half-hearted musical aspirations, a daughter trying to break into acting, and an existentially conflicted wife. He could instead be an international musical sensation, longing to return to a life of obscurity. Or possibly all of these versions of himself exist only in the mind of a man trapped in a sort of musical purgatory, attempting various methods of suicide when he’s not, NOT composing.

Pop Meets the Void is not as confusing as it sounds, but it definitely leaves much open to interpretation. The narrative takes a backseat to the visuals and satirical dialogue. Each realm has a distinct look (and not just because of changing facial hair), but they’re all tied together with ever-present rainbow fractal motion graphics. Sometimes the graphics accentuate the background. Other times they take over the entire frame. It’s more than eye candy but less than a feast; A snack for the eyes, if you will…

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