SXSW 2021 online continued to offer a rich and varied platform as the week unspooled. While some films didn’t work for me, uniformly all of them were well-worth viewing.
Case in point was Mei Markino’s Inbetween Girl. The bittersweet coming-of-age-the-hard-way story crammed a lot into its run time, with teen Angie Chen indulging in secret hooking-up with an unfaithful boyfriend. Her burgeoning friendship with the boy’s main squeeze was the most interesting part of the well-acted, angsty film; the boy/girl fling just didn’t compel. Touching on racial topics and stereotypes enriched the story, Markino will do much more.
The conflicts of gentrification and the lives of real, gritty, down-on-their-luck residents resonates in director Liz Lambert’s Through the Plexi-Glass: The Last Days of the San Jose. Both as a character study and the history of a neighborhood, the story took turns and twists. Fascinating and raw.
While Disintegration Loops bore marks of a low-budget production (cue the grainy zoom images), it was nonetheless quite wonderful in revealing the composer behind a haunting and beautiful piece of “found” looped music. Director David Wexler merges interviews and 9/11 footage with filming of New York City under early pandemic lockdown, introducing viewers to composer William Basinski in the process. Basinski’s work received widespread recognition when the music was presented as an elegy to 9/11. I wanted it to last longer.
Violet, from director/screenwriter Justine Bateman, was literally the only film viewed in the festival that did not grab me in one way or another. Boasting a full cast of well known’s, including lead Olivia Munn, the thin story centered on a film-development executive trying to overcome an abusive childhood that resulted in her own negative guiding voice. Perhaps in another, less reverentially meta work setting, I might’ve cared. Some.
Witch Hunt, on the other hand, was an extremely smart use of the horror genre to confront racism.
Director and screenwriter Elle Callahan crafted a nail-biting horror thriller in an America where witches are not only real, they’re outlawed, and the witch-hunting version of ICE persecutes them. Safe territory is Mexico, but can a sheltered teen make it there? And will America ever change? Definitely could not look away at the hope we can burn racism at the stake.
Oh no, not a pandemic comedy! Too soon? Apparently not. Recovery is nothing if not zany fun, with a number of genuine laugh-out-loud moments. Directors Mallory Everton and Stephen Meek, along with screenwriters Whitney Call and Mallory Everton, lead viewers on two sisters’ wild journey to “recover” their grandmother from a nursing home experiencing a COVID outbreak. We could all use a dose of smart n’ silly about now.
The Fallout is an absolute wow. Justifiably the jury pick for a Narrative Feature win, the film had me dissolved in tears and hurting with anger.
Perfectly acted high school drama about the aftermath of a school shooting, writer/director and co-star Megan Park focuses on high schooler Vada and her relationships with her family, friends and future. A film that ached to be made, its powerful and resonant. Park scores high on all counts.
The documentary Lily Topples the World introduces us to the cool and successful world of a domino artist. Director Jeremy Workman tackles another jury award winner with the insightful story of 20-year-old Lily Hevesh, the only woman in her field. While this was an excellent character study, the documentary that blew me away – was the story of 25-year-old Reality Winner.
Director Sonia Kennebeck does a riveting job of exposing the perfidy of the FBI and truth about the young woman who disclosed one document about Russian election interference to the media in the United States vs. Reality Winner. Persecuted by the Trump administration, this armed service veteran and down-home Texas girl has received one bum rap. Here’s hoping President Biden pardons her, and the film is widely viewed; Kennebeck does stellar work on a do-not-miss story.
I’m Fine (Thanks for Asking) a strong concept and well-performed lead can’t save Kelley Kali and Angelique Molina’s film about a beleaguered single mom and young widow forced to live in a tent with her young daughter. I was rooting for them, but amateurish supporting performances and a repetitive, rather sluggish storyline derailed the power of what could’ve been a truly moving film about being houseless in Los Angeles.
Shorts
Sisters – Director and writer Jess Brunetto expertly explores a tense relationship between two estranged sisters with wit and a perfect third-act twist. Lots of story packed in a small package, the film expertly strides the line between funny and poignant.
Joanne is Dead – I loved the black comedy of this film about one wicked old spy in a nursing home. Director, writer and co-star Brian Sacca does not fail to surprise.
O Black Hole – Animated and adventurous, this didn’t grab me, but it is visually lovely and uniquely spiritual. Renee Zhan’s Jury prize winner touches on deep subjects such as the passage of time, singularity, and loneliness.
Puss – Okay, so it’s odd, to say the least, but ultimately fun; the story of a pandemic-cloistered woman seeking a booty call with a kitty at home definitely made me laugh. Writer/director Leigh Shore has shaped an edgy, clever, and enjoyable Midnight Short.
Significant Other – taut and well-done, this super-short horror tale gives us a red orb throbbing away in the madness of late night. Wonderfully creepy, writer/director Quinn George knows how fashion one weird glow.
A Really Dark Comedy – Absolutely loved this funny and quirky tale crafted by Texas High School filmmakers about a lovelorn boy, a potential prom date, and a dog in the wrong place at the wrong time. Director Manasi Ughadmathe and writer Jackson Coates have done an awesome job, one which should predict a bright film future.
Overall verdict on SXSW 2021? Not only was it an often outstanding film festival, I just wish I had more time to explore other programming sections. A festival I will not miss, pandemic or no pandemic, this was a deep breath of fresh and intelligent filmmaking.
- Genie Davis; photos courtesy SXSW