I admire meditative films that explore the depth of emotion in a situation – and Shudderbugs is a wonderful example of just such a film. Written, starring, and directed by Johanna Putnam, Shudderbugs is a beautiful, sensitive, and subtle psychological thriller that chronicles a woman’s unraveling psyche as she deals with the death of her mother. I’m not the only one to be smitten – the film has won several awards – including the Indie Spirit, Rising Star (Naples International Film Fest), Best Actress (Kansas City Film Fest), Best Director, Best Screenplay (Idyllwild International Fest), Indie Auteur of the Year (Bare Bones International Film Fest), Festival Director’s Choice (Cinema on the Bayou), and Special Jury Mention (Oxford Film Fest). And I’m certain that there are more awards to come for this one!
Shudderbugs‘ opens with a soundscape that envelops the mind before the visuals start, finding its way to the question, ‘Miss Cole…Miss Cole, do you know where you’re going?’ and this is the very question we spend exploring with Sam Cole (Johanna Putnam) throughout Shudderbugs. The layered, compelling sounds and bright image of Sam staring upwards at us feels Lynchian, and that feeling continues as the score seeps in and we see Sam driving through a rural landscape. The deliberate and pacing of Shudderbugs allows for an air of disquiet as Sam approaches her childhood home.
Sam’s mother died suddenly, but that isn’t the only mystery that Sam discovers once she arrives at the house. The mysteries continue as Sam explores her childhood home, where her mother’s presence and intentions are felt throughout. While this was her home, the score, soundscape, and atmosphere make it feel instead like a liminal space residing between her childhood and her future that she must traverse. She finds things never before seen and things missing, and is left with more questions than when she arrived.
The creeping feeling of dread mounts as she interacts with her only neighbor, Noah, played by Brennan Brooks, who is also the Director of Photography and a Producer on the film. Noah was the one to find the body, and he isn’t forthcoming with information – and is obviously uncomfortable with Sam’s presence. As the grief-stricken Sam seeks answers, she’s gripped more and more by paranoia. She questions her own ability to handle the quickly escalating situation. The more she is isolated, the more she is pulled by the forces of grief and a growing paranoia that she must process. To find the answers she is frantically seeking will require her to follow trails of clues left around her – and more importantly, to not lose herself in the sea of grief.
Shudderbugs was filmed during the pandemic. Putnam, Brooks, and editor/producer Jamie Unruh embraced the limitations that the lockdowns created, and remained focused on the elements available to them: a beautiful location, compelling and organic performances . . . and lots of noisy, fluttery, beautiful bugs. Their years of experience and love of cinema created an poignant and emotional film that stays in the mind and near the heart. The original score by Eric Elterman elevates and heightens the atmosphere, without overwhelming some of the other delicate moments of sound design.
Shudderbugs is an achingly beautiful film – each detail lends itself to the story and atmosphere. Heartfelt and sincere, I shared Sam’s grief, triumphs, and fears on her journey. Johanna Putnam conveys the ravages of grief in such a compelling way I found myself shedding a cathartic tear more than once. Brennan Brooks’ performance as Noah was so true to life it felt as if he had stepped out of my own small-town past.
While Shudderbugs explores the character of grief and a host of other uncomfortable emotions, it’s never so much as to turn maudlin – the humor sprinkled throughout is perfectly timed to give release after exceptionally tense moments. It is a powerful portrayal of a woman who is tossed about by her grief in an isolated world of mystery, paranoia, and discovery.
Shudderbugs is a stunning, multi-layered film that bravely explores the strange places that grief can lead us. If you enjoy beautifully textured movies with a strong emotional center, immersive soundscapes, lovely landscapes, and compelling performances that you can’t help but feel straight in your heart, Shudderbugs is a beautifully crafted film that is well worth your time.
Cosmic Disco Detective Rene is a sequel to The Secret Society for Slow Romance, but it’s not the type of sequel that retreads the beats. Instead, NYC-based independent filmmaker Sujewa Ekanayake treats us to the same characters in an entirely different genre: a sci-fi comedy romp. Just as I loved The Secret Society for Slow Romance, I instantly fell in love with this quirky, funny slice-of-an-interesting life film.
Cosmic Disco Detective Rene
While it’s a sci-fi comedy, at the heart of Cosmic Disco Detective Rene is a mystery: Are there immortal time travelers? Are they a threat? Do they meant to disrupt the past? What should be done?
You might look at the above and think, “but what does that have to do with disco?” I’m so very glad you asked — Rene (Sujewa Ekanayake), the independent filmmaker that also happens to be North America’s happiest person, is also a detective – and a busy one at that. Rene solves his cases by listening to the background noise of the universe, which just so happens to be disco music. The government has a problem – and they need an innovative detective like Rene to help them determine how to proceed. Independent Filmmaker / Government Agent Ithihasaya (Genoveva Rossi) engages Rene to help advise the government on how to proceed. That’s not all that Rene has on his plate, as we also meet Chitrapati (Natalie Osborne), an independent filmmaker / film critic / theater owner who is interviewing Rene about the history of New York City independent cinema. The film covers his search for the answers to why the time travelers are among us and we get a glimpse of that process – from brainstorming the possibilities with Allyson (Alia Lorae), to checking the groove of the universe.
Alia Lorae as Allyson and Sujewa Ekanayake as Rene in Cosmic Disco Detective Rene. Image used with permission.
If you read a lot of my film reviews or hear me talk about film, I often talk about how effective an filmmaker is at building a world and sticking to its rules – and here Ekanayake builds an immensely entertaining world very close to ours – with a mystery all of its own. The funny, hopeful, and spirited sci-fi comedy explores concepts such a simulation theory and multiple dimensions without bogging down the text with technical details. Instead, we’re free to explore philosophical ideas with Rene as he tries to solve the mystery of these immortal time travelers, and what they might be doing in our time. As in its predecessor, we also spend a lot of time with Allyson as she navigates her evolving life and interests. Cosmic Disco Detective Rene reveres its characters as much as it relishes its New York City setting, elevating the city, and specifically Sunset Park, to near-character status.
Alia Lorae as Allyson in Cosmic Disco Detective Rene. Image used with permission.
One of the things that captivated me about The Secret Society for Slow Romance was how the characters talked and related to each other – and Cosmic Disco Detective Rene delivers even more amazing conversations, and introduces two brand new characters to get to know. Every character is an independent filmmaker with a different focus, and each brings a unique perspective on a range of topics – from the impact of colonialism on movie reviews to how Hollywood excludes the voices of those with unique stories and ideas. These ideas are important, and relevant to our conversations around the stories we humans tell ourselves – and it’s refreshing to have them explored outright.
One of the reasons I love independent film is that it allows people to tell more interesting and daring stories that aren’t forced to conform to the interests of a boardroom. I have learned more about my world and the people in it since exploring independent film.
Delightfully, Cosmic Disco Detective Rene is smart and laugh out loud funny without pretension or artifice, and instead allows the audience space to relish life’s absurdities. The movie’s performances were engaging and organic, and each detail within the scenes enhanced and supported the story. It stayed true in moments to its slow cinematic roots from the Secret Society for Slow Romance by allowing frames and moments to linger.
While the Secret Society for Slow Romance asked if independent film solve world poverty – Cosmic Disco Detective Rene demonstrates that independent filmmakers can bring insight and clarity to many other problems.
Cosmic Disco Detective Rene is a feel-good, uplifting movie that has an unmistakable vibe, and entertaining characters. It celebrates its setting of New York City, and its medium of independent film. It’s lovingly crafted, and features several homages to its inspirations and roots. Cosmic Disco Detective Rene isn’t just a sci-fi comedy -it also explores a variety of unexpected subjects with depth, and a big dose of humor. It isn’t just a celebration of independent cinema, it represents the exact sort of stories that people who love indie film seek.
If you’re looking for a fun, interesting story that has a lot of rewatchability, laugh out loud moments, and memorable characters – you’ll really enjoy Cosmic Disco Detective Rene.
Cosmic Disco Detective Rene will be screening at the Laemmle Theater in Glendale as part of the Indie Discovery LA Film Series (IDLA), where it will have 7 theatrical screenings. There will also be weekly virtual screenings with Q&A’s following the film. For more information go to the Indie Discovery LA Film Series website.
Trigger Warning: Perfectly Good Moment is definitely an adult-themed movie – and one that explores sex, abuse, and violence – so this review contains those sorts of subjects (and so does the film!).
Perfectly Good Moment is a smart psychosexual thriller that explores the relationship between Ruby (Amanda Jane Stern) and David(Stephen Carlile) – a relationship that started when she was 19 and he was 34. This film isn’t content to just play to the tropes – instead it refocuses, reinvigorates, and reshapes the entire genre. Perfectly Good Moment is a daring exploration of the power dynamic between Ruby and David. The award-winning, 72 minute long feature will be making its premiere in the Pacific Northwest as part of the three-day West Sound Film Festival. Perfecntly Good Moment will be showing Saturday, August 5th at SeeFilm Cinema in Bremerton, Washington. Tickets for the festival are available here.
Perfectly Good Moment engrossed me from its first moments, where we see Ruby and David meet, until its last. Each moment was effective at building a story I found to be both interesting and moving. The beautiful cinematography and engaging story create a well-paced multi-layered experience that is an effective, visceral exploration of Ruby and David’s toxic (and disturbingly common) relationship dynamic. The original score by Mdou Moctar’s Mikey Coltun is perfect in enhancing the mood of every scene. Instead of playing into the common view point often seen in erotic thrillers, Perfectly Good Moment makes bold and daring decisions that create space (and language) for further conversations.
This was part of the intent of both Lauren Greenhall (the film’s director) and writer/star Amanda Jane Stern. Stern developed and wrote the script from a story she co-wrote with producer Julian Seltzer.
Stern said, “We are in a moment of cultural reckoning about these stories. Time and time again, audiences have seen the age-gap relationship story told from the man’s perspective.”
This intent shines through, and instead of the common exploration of this relationship from the male gaze, Perfectly Good Moment centers Ruby’s expressions and experiences as we watch the relationship develop – and exhibit the common, cyclical patterns of abuse.
Because of the importance of sex and intimacy to the story, which covers challenging themes such as power, abuse, and violence, Greenhall, Stern, and Lead Actor Stephen Carlile all knew an intimacy coordinator was vital. Intimacy Coordinator Acacia DëQueer ensured that everyone’s boundaries were respected and that everyone felt safe during the process of filming.
Amanda Jane Stern and Stephen Carlile not only give stellar performances , but create varying tension between them as we move through their story. It’s so palpable it feels as though the relationship itself is a character in and of itself that holds them in thrall. His abuse escalates from the emotional and mental abuse of dismissing her and her job to something far more dangerous.
Amanda Jane Stern as Ruby in Perfectly Good Moment. Image courtesy of Phaedra To Black.
Every moment of Perfectly Good Moment shows the passion and dedication to the story and a reverence for the feelings and experiences that inspired it. I admire its bravery and emotional intelligence, and the fearless performances of Stern and Carlile make this film a must-watch for those who wish the standard May-December romance story was retold from the feminine perspective. Carlile gives an amazing performance as the insecure control-seeking David, who is ultimately seeking of a life made of only perfectly good moments. Stern shines as Ruby – not only is she able to embody the naive, craving young woman who meets David – but also the abuse-tempered Ruby who returns to see David again. . .
I don’t want to give too much away, because I want you to be able to enjoy this gem for yourself. For sure try and catch it at the West Sound Film Festival – it’s lovely cinematography, conscientious foley (there were some inspired sound moments!), and amazing score would make a positive delight to experience on the big screen.
Perfectly Good Moment Movie Poster, Courtesy of Phaedra to Black Films
A new film festival, Indie Discovery LA (IDLA) Film Series, will be starting in July 2023. It features films from independent filmmakers. Inspired by the documentary Only In Theaters, Sujewa Ekanayake decided the best way to support fellow filmmakers and theaters was to program an entire film series – and the concept for the Indie Discovery LA Film Series was born.
The Indie Discovery LA Film Series will start in mid-July, and features an interesting array of indie films. ‘Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers‘ directed by Ekanayake, ‘Three Worlds‘ directed by Amir Motlagh, and ‘Bristol Fashion‘ directed by Pierre Guillet. The exciting film series will show each movie at Laemmle Theater in Glendale for at least a week. Additionally, Cosmic Disco Detective Rene will be available through limited VOD release through the screening series using Vimeo starting in mid-July, and will have weekly virtual screenings with question and answer sessions through the series and Eventive starting most likely in August.
Inspiration
Sujewa Ekanayake is a prolific filmmaker and tireless advocate for the independent filmmaking community. His blog, DIY Filmmaker is full of insights, interviews, images, and information about the independent films and how to make and distribute them.
After he saw Raphael Sbarge’s exceptional documentary, Only In Theaters, it inspired him to take his advocacy and seemingly indefatigable efforts to uplift the film making community to the next level.
Only In Theaters is an utterly engaging and emotional look at the Laemmle chain of theaters. The Laemmle name has been in Hollywood since Hollywood began, and the Laemmle chain of arthouse theaters in California continues to be an iconic platform for independent voices. Sbarge originally began the documentary intending to capture moments with Greg and Tish Laemmle and their family as they struggled to come to grips with the changing times for theater. The original threat? Streaming. But by the time the documentary was finished it also included the impact of COVID, lockdowns, and economic downturns.
In my original review of Only in Theaters, I said, “Opening at the Laemmle family’s Shabbat table, the documentary weaves images and film from their family archives, interviews with influential figures in film, and family celebrations and reminisces with footage that director Raphael Sbarge captured during 24 extraordinarily turbulent months for the revered theater chain.”
I also said later, “Only in Theaters is engaging with the way it explores the history and challenges faced by the Laemmle family and its business, but what stuck with me more was the movie’s celebration of theater-going itself. It includes many stories of movie-going experiences: first dates, inspirational, life-altering experiences, and important premieres that happened at Laemmle theaters. As the documentary demonstrates, there’s something magical that happens in a movie theater, and central to the documentary is that movie theaters are storytelling spaces of vital importance: and this is true of Laemmle theaters in particular.
I think anyone who has seen a movie in a theater agrees. There’s something special about it: from the beautiful, large spaces to the collective energy of the crowd giving itself over to the fictional dream.”
I wasn’t the only one to feel so inspired by the documentary. For Sujewa Ekanayake, Only In Theaters lit the fires of inspiration.
Dedication
But inspiration isn’t the only thing that is needed to make a film series. It just so happens that thanks to years in the independent movie space, Ekanayake has both the dedication to a vision and the perseverance to make it happen.
I asked him what some of the challenges were in setting up the film series, and he told me, “Finding good movies was difficult. Finding filmmakers who have done some self-distribution work and wanted to collaborate on producing screenings was difficult. I think I spoke with about 20 filmmakers before settling on the current lineup.”
The best moment in the arduous process happened early on he explains, “Favorite early moment was hearing about the possibility of showing 6 new indie films in LA – when Laemmle theaters approved of the project and decided to support it.”
He did an exceptional job programming the series – I’ve had the opportunity to screen and write about most of the lineup (and will be completing that in the coming weeks). The films are diverse in style and subject. Each of them are exceptional films and featuring the innovative techniques and compelling stories. The films are vastly different from each other, which interested me in understanding the curation process. Sujewa told me, “I wanted to show real indie movies that also had somewhat of a mainstream accessible entertainment quality to them and that may review well. So I ended up with 2 sci-fi type movies, a musical, a western/cowboy movie, and 2 dramas. A good mix.”
Despite the challenges, Ekanayake found that working with the Laemmle Theaters helped, “They were very helpful. It is a complex project however – so a lot of work, discussions, emails.”
I have to endorse this curation method – and agree with the mix. I found all the movies to be engaging and interesting – and refreshing in the way that only an indie movie can be. Ekanayake had the perfect blend of inspiration and dedication to independent filmmakers and independent cinemas to create an exceptional series of Interesting films. Indie Discovery LA Film Series is a carefully curated collection of interesting, vibrant films that highlight the best aspects of independent film. The opportunity to see these on the big screen in a Laemmle theater is an amazing opportunity!
Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers
Ekanayake has been making films for years – and last year he premiered his movie The Secret Society for Slow Romance. I’ve written about the film extensively – and this year he’s created a sequel, ‘Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers.’ In this film, Rene, the happiest man in North America and a famous private detective, is hired by the US government to determine if there are Immortal Time Travelers interfering with the past – and if it presents a danger. Are the time bridges a looming threat, or something else?
You can see a trailer for the movie!
I’ll be publishing a more extensive review of Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers coming soon! The film is currently being completed and prepared for VOD availability later this week!
I was a big fan of The Secret Society for Slow Romance. I loved Sujewa’s approach to filmmaking, the slow cinema sensibilities, the philosophical and hilarious conversations that Allyson and Rene had – and the lovely views of New York. From my review of the film, “On the most fundamental level, The Secret Society for Slow Romance is a slow cinema romantic comedy that explores what happens when two extraordinary people go on a few dates in New York City. The slow cinema styling allows us to explore big questions and even larger answers as filmmakers Rene (Sujewa Ekanayake) and Allyson (Alia Lorae) share take-out, conversation, and beautiful views of New York City. Throughout the movie, shots are allowed to linger on interesting spaces, objects, and people — the soft, welcoming glow gives character to the camera itself, which should be no surprise in a movie focused on two filmmakers.”
In another essay exploring the philosophical underpinnings of The Secret Society for Slow Romance, A Most Unusual Schooling, I said “The Secret Society for Slow Romance outlines a guide to creating independent film that includes distribution methods, fundraising, and merchandising ideas. It gives a great run down of amazing places to visit in Sri Lanka, and a fabulous list of independent films to watch for inspiration. But it also spends extensive time exploring spiritual methods to cultivate happiness. The Secret Society for Slow Romance is a study in the application of the Four Brahmaviharas, and it gives practical solutions to cultivating happiness. Not just within its world, but within our own.”
Cosmic Disco Detective Rene and the Mystery of Immortal Time Travelers will have its LA theatrical screenings with Indie Discovery LA – dates to be announced. There will also be limited Video On Demand screenings during the IDLA series, in addition to weekly virtual screenings with question and answer sessions through the series and Eventive starting most likely in August. To keep up with the upcoming dates for Cosmic Disco Detective Rene, keep your eyes on the IDLA website.
Three Worlds
LA-based independent filmmaker Amir Motlagh‘s Three Worlds is anengaging and thought-provoking film explores the nature of connection, memory, and self. This fearless film from Iranian-American Motlagh features amazing cinematography, innovative story structure, and beautiful turns of narrative that can take your breath away. Motlagh’s 20 years of independent film making experience gives this genre-bending and mind-bending film the expert hand it needs to guide viewers through the film’s complex story structure.
Three Worldsfeels like a tone-poem and meditation on the nature of memory. It’s beautiful score enhances the lush cinematography, compelling imagery, and organic performances give us a mirrored window into the main character, Saam’s (Motlagh), life and inner worlds. It’s a clever and innovative science fiction movie that brings an emotional and philosophical contemplation to life.
Here’s the trailer!
I’ve had the chance to review this one before, and I said, “The beautiful trick of the raw, emotional work of Three Worlds is that it got me to forget all of the crazy questions I had about the sci-fi part of the movie. The more I saw Saam interact, and heard the family talk, the less I worried about how and the more I wanted to know why. For a work that seems so puzzling on its surface, the undercurrent of relationships and how they color and impact the experience of life remains…The cinematic experience of LA rooftops and its beautiful skies interspersed with carefully framed conversations and the Harmless Room are evocative and inspiring. This isn’t the sort of film for people who are looking for comfortable answers. It displays its raw and sometimes dark emotions in a way that is easy to connect to and challenging to contemplate. Three Worlds asks us what of our lives, our selves – our worlds. What are we? How do our relationships impact our world?”
While Three Worlds asks a lot of viewers, the emotional and intellectual payoff for the investment are huge. As viewers experience the movie, not only do we learn about Saam, but also a bit about the nature of creativity, memory, and connection. Seeing the sumptuous visuals on the big screen should be an utter delight.
Three Worlds will start its run at Laemmle Glendale as part of the Indie Discovery LA Film Series on 8/4/2023 and will run for 7 days.
Bristol Fashion
Bristol Fashion tells the story of Christina (Lea Nayeli), a transgender woman, during a time of extraordinary chaos for her. Christina buys a boat from Esteban (Raul Perez) with the intention to embark on a long journey out of her old life. Once Esteban susses out that Christina doesn’t have a place to stay, he lets her crash on an abandoned houseboat at the boatyard that serves as the main setting.
This sweet slice-of-life movie shows the bigotry, confusion, and awkwardness that she faces from people in her interactions. As she attempts to put her life together in the face of haunting trauma, we learn more about her vulnerability, strength, wit, and warmth.
When I reviewed Bristol Fashion before, I said, “I really enjoyed ‘Bristol Fashion,’ and was grateful to see an affirming story about the power of tolerance and acceptance. The story’s emotional range and depth is accompanied by wry humor and meditative visuals that make sure that the weighty material isn’t too overwhelming. It was refreshing to see a film that actually explored the experiences of a transgender woman beyond just the surface. ‘Bristol Fashion’ is a beautiful contemplative examination of the sort of life often relegated to the margins, but so deserving of our time.”
I appreciated Bristol Fashion’s reverence for the character building process, and its patience in allowing scenes to unfold. Instead of being rushed through the memories and moments, we’re allowed to linger and take in the details – not just of where characters are in their journeys, but of their surroundings as well. Bristol Fashion makes sure we get to know Christina and those who ebb and flow through her life. Even the marina’s presence transcends setting into character.
Bristol Fashion will make its LA theatrical debut with a the Indie Discovery LA Film Series starting on 8/25/23 for 7 days!
As you can see, Sujewa Ekanayake has curated an exceptional series of films to experience at the storied Laemmle Theater. You can find more details and get more information about the Film Series on its website.
Short Films, Big Fun: A Review of Two Short Films by Exiram Productions
I got the chance to view two short films by Exiram Productions and had a great time watching them! Keep your eyes peeled for opportunities to see these great shorts!
Credits Among Friends
Directed by Alexis Ramirez and Written by Stephen Olson, this comedy short is about four filmmakers who reunite for a movie night. One brings a guest, his new girlfriend. This is the sort of movie night where smart people get together to talk about bad movies – not good ones. And while their selected movie initially inspires them to discuss the concept of the male gaze. That discussion is quickly tabled when a discovery is made – one that impacts their real lives.
As someone who ran a movie night, I’m a sucker for the setting, and this short felt like coming home. A bunch of people dissecting a bad movie and laughing at its accidental charms is one of my favorite ways to spend time, and I had to laugh at the choice of the movie and its title. Funny and entertaining, I loved what this short brought to the table in humor and its meta-commentary. The movie within a movie is hilarious, and especially true-to-life (title and all) if you’ve watched a lot of similar fare.
I enjoyed all of the characters, and my only complaint was that I didn’t get more time with all of them! It felt like I was being transported back to my own movie night. The performances were familiar, and everyone felt extremely well-realized, even with the brief amount of time we had.
I liked the setting, the short used the space it had well. There were some really great shots that brought me into the narrative action, and contributed to feeling more ‘at home.’ In particular, I loved this one.
This shot is great at making it look like WE are the friends! From Credits With Friends. Image Used With Permission by Exiram Productions.
Credits with Friends is funny without being crass and charming without being trite. Well-acted and thoughtfully crafted, it left me wishing for an entire series where I could watch more meta-B movies, and hear more commentary from these folks.
I’m really looking forward to seeing what comedy Exiram makes next!
Here’s the trailer – be on the lookout for this one!
Directed by: Alexis Ramirez Executive Producer: Stephanie Falciano Music Composed by: Chris Barrett Starring: Michael Paone, Jennifer Agatte, Dustin Teuber, Dominique Alessi, Stephanie Falciano
Were-Flutter: Darkest Desire
Title: Were-Flutter: Darkest Desire
Genre: Horror
Release Date: February 1, 2023
Directed By: Alexis Ramirez
Written By / Starring: Lex E. Rojas
Music by: Joe Kowalski
This horror short features a story written by Lex E. Rojas, who also stars. The story is about Hope, a woman who finds a beautiful and mysterious necklace with a sparkling gem on her walk home. This is no ordinary walk home, and no ordinary necklace. Once held in the hypnotizing gem’s thrall, Hope is no ordinary woman. Hope’s transformation into a fearless, powerful creature sparks something anew within Hope.
The effects for the transformation scene were well-done, and I loved the entire concept of this short film. Lex E. Rojas’s throws her all at this performance. Her investment in the physical differences of her performance as ordinary Hope vs. Hope transformed pay off well, as the transformation feels emotional as well as physical. This is another short that does what short stories are meant to do – leave us wanting to see what happens next in this interesting world with Hope, a very interesting character.
Were-Flutter is currently on the festival circuit where you can catch it – here’s a trailer!
Directed By: Alexis Ramirez Written By and Starring: Lex E. Rojas Music by Joe Kowalski
What struck me most about Six Days to Die was its fearlessness in being something different. It’s highly stylized, and often I felt as though I was watching a graphic novel spring to life. Six Days to Die is an exciting, innovative, fantastical sci-fi western. This genre-bending film may not be for everyone, but the ones it’s for will love it. It features a rich, fully-realized world with unforgettable characters. If you enjoy emblematic, epic stories like “The Dark Tower,” are a fan of Westerns, have spent hours playing Red Dead Redemption 2, or enjoy highly-stylized productions — this is definitely a film you don’t want to miss.
Six Days to Die. Image Source: http://www.6d2d.com/, Courtesy of Matt Campagna and Goldstrike Films
This isn’t writer / director Matthew Campagna’s first foray into his “6 Verse,” but the story and production of Six Days to Die is so well-designed it didn’t matter that I hadn’t seen its predecessor, Six Reasons Why. Six Days to Die opens on a man known only as The Gambler (Darryl Hinds), as he makes his way through a punishing, viscerally familiar (yet surreal) landscape. He drags a heavy, skin-biting chain as he limps his way eastward. That’s all you need to know. The story unfolds as he navigates a cruel, punishing desert. Not far behind him is a person known as The Marshal (Melissa D’Agostino), who is quickly established to be as bloodthirsty and ruthless as she is relentless in her pursuit eastward. When The Gambler encounters The Boy (Ellery Miki-Petite) in a strange oil town, The Gambler comes to realize he has several tough decisions to make.
The biggest selling point for me with any film is its ability to create and maintain a compelling world, and to follow its rules – and Six Days to Die excels at its world-building. Every element of the production’s design is done in such a way it contributes to the mood and visual language of the story. In addition to its rich visual language, Six Days to Die has sound design and music that adds effective soundscapes to the story.
The costumes are particularly exquisite and detailed – from the design of the Marshal’s deep red ‘hero coat’ to The Gambler’s brocade suit, and including a particularly lovely and sparkly dress, each piece tells a story of its own and adds to the character. I am sure costume designer Vanessa Lee Wishart spent a lot of time stressing over the choices, but the results are sublime.
The performances are evocative and interesting. Darryl Hinds at The Gambler is sympathetic, mysterious, and charmingly funny. Melissa D’Agostino gives a powerful, magnetic performance as The Marshal – her presence is felt even in the scenes she’s not in. Once I met her, thoughts of her relentless character were never far from my mind. Ellery Miki-Petite’s performance is dynamic and interesting. Colm Feore brings the necessary gravitas and force to his character, named ‘The Man in Black.’
I had an amazing time watching Six Days to Die and enjoyed the story so much I immediately wanted more. If you enjoy movies where it feels as if each frame is a work of art within itself, or want a good Western told in an innovative way, you’ll enjoy Six Days to Die.
When I first watched Only In Theaters the very first thing I wanted to do after it ended was go see a movie in a small, local theater and start to do so regularly. The urge sparked a bit of curiosity. Specifically, I wanted to know – how was the call to action so very powerful? That led me to look into the director, and what his other work was like. I found that Raphael Sbarge’s documentary work features the common themes of community, sustainability, familial connection, the power of collective experiences, and the importance of service. This makes for a very heady combination – one powerful enough to inspire action.
Only In Theaters Trailer.
The story of Only In Theaters is, of course compelling – how else to describe a documentary that includes the very beginnings of Hollywood, a small family business, and a global pandemic? There is a sweet coziness within that siren call to action.
I don’t want you to get me wrong – the Laemmles are an amazing family, their theaters are an institution, and their story is an incredible one that exemplifies so much of what I want America to be.
The fact I was practically jumping out of my seat to see a movie in a local theater made it obvious to me that Only In Theaters is blessed with both.
To show you what I mean, let’s just talk about the opening minute of Only In Theaters (I love analyzing the beginning of things – they are, after all, the time to make sure the balances are correct).
It opens with the sound of an orchestra tuning up before we hear three things – ‘welcome to the theater,’ ‘is cinema dying?’, and ‘ the movie theater is dead’ in rapid succession. Yet the opening barrage lands on ‘what the hell is going to happen to movie theaters?’ These statements are immediately followed by Ava Duvernay talking about how important it was for her work to be seen in theaters. From there, images of movie theaters and headlines throughout the pandemic are interspersed with some of the interviews we’ll see throughout the film.
For every possible problem, a glimmer of hope as an antidote. The action of the images is ‘restricted’ to a laptop screen, with a movie theater visible beyond its edges. We slowly close in on it until the laptop partially fills the entirety of the frame – nearly blotting out the image of the movie theater. A powerful visual symbol of the the rise of streaming.
All of that in the first minute.
To recap: before the title, there’s an orchestral warm up followed by a quick review of the themes, subjects, and players we’ll see throughout the movie.
It’s a perfectly executed overture to the documentary.
Who Puts Such a Perfectly Executed Overture In A Documentary?
Someone who has spent most of their life storytelling and around storytellers, that’s who. So let’s talk about who Raphael Sbarge is for a bit.
Raphael mentions in the director’s statement for Only in Theatersthat his father was an artist and filmmaker and his mother was a Broadway costume designer. He described how the Laemmles, a family involved with storytelling and art, immediately felt familiar to him. It’s no wonder, coming from a family of storytellers.
Raphael also has years of experience as an actor. Exciting experience, no less. As a nerd, his imdb is an absolute treat. In an interview with him and Sujewa, I mentioned his multi-episode run in Star Trek: Voyager as the compelling and sympathetic, but I could have easily talked to him about some of his amazing voice over work in games like Mass Effect (or Knights of the Old Republic), or his role as Charles McGill, Sr. in Better Call Saul. His resume also includes major roles in series like The Guardian, Once Upon a Time, and Murder in the First. That doesn’t even touch his theatrical career.
With someone so talented and dedicated, I don’t want to minimize or diminish his acting career because frankly it’s astonishing. He’s incredibly talented, versatile, and hard-working. But If I talked about all of that, it would overtake this article.
Just as with his acting, I could also spend a bit of time talking about his non-profit work. Raphael initially founded a non-profit called “Green Wish,” inspired by the birth of his daughter and with the intent to support the community’s recognition of the efforts of local organizations. As many nonprofits do, the work pivoted. He describes the change in focus and mission as “With the success of all of these films, and with a growing awareness that we were being most effective with our film and media work, Green Wish’s mission has now changed. It is now focused on creating socially relevant content in an effort to do maximum good, to inspire and engage people to want to effect real change, through creating “content with a conscience.” In alliance with my production company, our hope is that the ideas and ideals of Green Wish will continue to do maximum good.” Wishing Well Entertainment, the production company he created and mentions in the above, is focused on projects with social relevance. His intent with these efforts are clear: to create thoughtful, educational content.
With that said, I don’t want to minimize or diminish his efforts in the nonprofit area, either.
In fact, his career in acting and his nonprofit focus both heavily influence his directing projects and his storytelling style.
Since 2019 he’s been very busy behind the camera, helming several projects including two research-intense documentaries and capturing the revival of an extremely moving one-man play. I want to bring his documentary films from this period into particular focus, because in them I found a thematic thread – or several.
Before I get into the meat of all of this, I’d highly recommend you watch these amazing documentaries. They’re all linked in their respective sections to make it easy. You’ll learn something and feel a lot of things. And, I’m going to spoil a lot of what happens in them!
‘LA Foodways’ was created for KCET, a PBS affiliate using some funds that Raphael Sbarge’s non-profit, Green Wish, had received. The meticulously researched documentary explores Los Angeles’ history as a food production center – while examining its current status as the site of a massive food desert. The documentary can be watched in its entirety here.
‘Foodways’ is a word used by social scientists to describe the social, cultural, and economic practices around food – its production, processing, and consumption. ‘LA Foodways’ reminds viewers that until around 1950, Los Angeles was an extremely prolific center for food production. Using interviews with Angelinos and interesting historic footage and images, the documentary explores not just the farms and the realities of the past – but how Los Angeles’ history as a food center helped shape its present dominance.
LA Foodways features interviews with a multi-generational business, SGS Produce (Shapiro, Gilman, Shandler), a company that dates back to 1907. The educational mission of LA Foodways, however, isn’t just to make its audience realize that Los Angeles was once a major center of food production, or that there’s a multi-generational food wholesaler located there. The interviews it contains don’t just cover the history of the land, or the businesses – but instead examine the present realities of the food logistic situation in Los Angeles. It also delves into people who are taking action while also educating viewers on the link between food waste and hunger.
LA Foodways. Image Source: Wishing Well Entertainment.
The documentary’s focus on FoodForward is a great organization to do just that. FoodForward’s operations couple those in need with food that might otherwise have gone to waste. Rick Nahmias founded FoodForward after the heartbreaking election cycle of 2008 when Prop 8 was voted in. Feeling overwhelmed by the nullification of his marriage by Prop 8, he decided to channel that energy in a positive way by working to improve his community. He recognized the issues within his community, which at the time included long lines at the food pantries due to the economic crisis of 2008. He noted that fresh produce, which often isn’t available to those at food pantries, was just a few steps away at food wholesalers. He found it hard to believe, and wondered if he could change it.
Spoiler alert: He could, and he did.
Beyond just seeing the success of FoodForward in their mission, It’s heartening to hear those from the wholesale side express their gratitude that the food can go on and be of use. As Rick Nahmias put it – ‘It’s not a supply problem – it’s a distribution problem.’ He points out that the food waste doesn’t just represent the wasted food – it represents so much more waste than we initially realize. It represents fertilizer, fuel, and dare I add – time.
The food doesn’t just represent what we’re about to eat – but the investment of thousands of valuable resources to bring it to the table.
The power of LA Foodways is that it isn’t just focused on the intriguing history of LA as farmland or the myriad of implications of today’s food waste – the documentary is anchored by those working to change it. We follow some of the volunteers as they redistribute the food, and get to hear from people who have helped distribute it for decades, bringing us closer narratively to those making positive changes – and giving us the stories of what inspired them to start, and what inspires them to keep going. Watching inspired people is inspiring.
The documentary also spends time showing the work and community engagement and dedication of the Watts Labor Community Action Committee (WLCAC), which hosts a bi-monthly food distribution event. The bi-monthly event is hugely helpful, and supports the mission of WLCAC to improve the quality of life of those who live in Watts and those in the surrounding areas. We learn about the mission of WLCAC through seeing its events, and the words of Tim Watkins, the current President – and son of WLCAC’s founder, Ted Watkins, Sr. LA Foodways discusses the Watts riots, the community engagement of Watts, and how instrumental WLCAC’s mission and work was to helping the members of the community, especially through the creation of a garden.
Fresh food, fresh produce – a vital part of human survival – often isn’t available in food deserts. Instead, impoverished communities are forced to shop at discount food retailers who specialize in multiple colors of sugar water, and not wholesome food. When looking at the dire situations that LA Foodways examines they could feel overwhelming and even grim. Since those histories and stories are served alongside the narratives of those who are trying to change things for the better, the overall tone is, instead, hopeful.
It is through the action of those working to change their communities and their relentless hope for a better world that LA Foodways tells its story. In using the past to inform an understanding of the present, it also presents hope for the future.
Raphael Sbarge started filming the Laemmle family for his documentary Only In Theaters starting in 2019, when Greg Laemmle started to consider options to sell the family business. That wouldn’t be the only set of challenges to befall the business before the documentary’s end. (You can stream Only In Theaters here.)
Only In Theaters opens with that lovely overture we examined earlier, and then starts with Raphael talking about what the Laemmle theaters meant to him, and how screening his film for an audience was everything. Perusing the family wall in the theater led him to learn more about the Laemmles, a family that has been in the movie business since the movie business grew from the nickelodeon theaters. While he wasn’t sure what the story would be, he wanted to try and capture some of it while there was still time.
We then spend time with the Laemmle family during Shabbat and Greg relates the importance of the family business to his life, even though it wasn’t originally his intent to work for the theaters. From there the story blooms as others add their voices to the story of the Laemmle Theaters and the family that runs them. Ava Duvernay relates how important Laemmle was to creating her artistic sensibilities, and the importance of seeing a movie in a place like Laemmle. She reminds us that independent and arthouse cinema experiences are important not only to filmmakers, but to those who love film as well.
It is Greg Laemmle himself who tells us the story of the Laemmle family’s move from Stuttgart, Germany into the Nickelodeon business in the US, and his ancestor’s fight against Edison (who held a patent that required all Nickelodeons to pay him for use of his technology). Eventually, the Supreme Court would side with Laemmle, and the movie business then flourished.
One of the parts that stays with me from Only in Theaters is the interview with Alyse, who was married to Kurt Laemmle, one of the founders of Laemmle Theater. She is a delight to listen to, and her love for Kurt is obvious when she talks about him.
It is directly after that that the story Raphael was looking for begins to develop. As streaming impacted the Laemmle theaters, Greg Laemmle began considering the idea of selling the chain. While similar challenges had been presented to theaters with the introduction of television, streaming seemed to be taking more of a hold – and expenses were mounting. Instead of just having Greg talk about the business issues in his office, he’s captured talking about them as he prepares food for the family. He chats about the quality of the arugula while talking about the possible demise of his family’s business. It’s his vulnerability in this family space, while sharing his fears with his wife, Tish, that brings us as viewers even closer.
It feels like this is the story. Because it’s obvious that the Laemmle theaters, while important to the community, are causing a huge toll to Greg’s health. The sale seems imminent. The blow of this fact is cushioned by the realization that Greg’s life is suspended in stressful animation – and that perhaps the sale has the potential to bring peace to his life. Part of this stress is because Greg Laemmle is dedicated to operating the screens for the city – and not for the bottom line. Instead of building out their books, the Laemmle’s dedication has been creating a space for independent movies, and to give unknown directors a venue to have their movie screened. His mission, and ultimately that of his theater, is in showing work that should be seen – not just grabbing for dollars.
When Greg Laemmle makes the announcement at the end of 2019 that they would be retaining ownership, it feels like a slam-dunk victory. But the celebrations would be short-lived.
Because 2020 happened, and the rest of the documentary deals with the impacts of the pandemic on the Laemmle theaters, and Greg’s concerns and fears following COVID-19’s toll on his business. As he steers his business through the fraught waters of the ever-changing world, we get a full portrait of the burdens and joys of his legacy.
And while he jokes that his legacy is in allowing Tommy Wiseau to screen ‘The Room,’ it’s much larger than that. The movie has been dedicated to ensuring that we know the exact scope and importance of the Laemmle Theater’s legacy – and ultimately, Greg’s. Only In Theaters is an effective reminder that the importance of local theaters to the community in general, and to the artistic community in particular, can’t be understated.
While streaming can offer a place to see a movie, it can’t offer the movie-going experience. The movie-going experience is Only In Theaters. By the time the credits roll, you’ll crave nothing but an indie movie in an arthouse cinema. (Or more!)
10 Days in Watts premiered earlier this year on PBS. The series is separated into four episodes: one called “Legacy,” the second called “We Are Taught to Survive,” a third named “Watts Pride,” and the final installment is “A Garden Grows in Watts.” You can watch all four episodes here.
10 Days in Watts is about the preparations that the WLCAC (remember them?) is undertaking in order to throw a grand opening for Mudtown Farms. While the event may be the goal, its larger interest is in the exceptional work of WLCAC. Mudtown Farms was originally acquired by the WLCAC in 2005, and they intended to create an urban farm / park that would allow people to find peace, in addition to growing the sort of food and produce that people need in the middle of a food desert.
The Mudtown Farms project was important to Tim Watkins in particular as it presented a possible way for him to extend the legacy of his father, WLCAC founder Ted Watkins, Sr. We are treated to interview footage of Ted Watkins Sr. talking about his experiences in creating the WLCAC, in addition to information about his impact in the community. Tim is adamant that he’s not looking to fill his father’s shoes – in fact he’s sure he can’t. Instead, he wants to honor his father’s memory by setting an example for people.
10 Days in Watts also doesn’t shy away from the hard realities that those working to lift Watts have faced. A conversation between Tim Watkins and Donny Joubert (President of the Watts Gang Task Force) revealed that after the Watts truce was realized by four gangs in 1992, authorities and organizations that had promised help disappeared. This left community organizers to their own devices to ensure the success of the treaty by supporting their community. Their conversation makes it clear they want to ensure that the next generation doesn’t feel discouraged, and instead sees the power of the community and its elders behind them.
‘We are Taught to Survive’ focuses on the Watts survival mentality. The last episode closed on the idea that survival in Watts was activism, and this installment explores that idea. Darryl Everett Jones, Sr. talks about this mentality, and also stresses the importance of the work. He expresses the importance of how we start our day: that each minute contains possibilities and potential – and that the wasted time on snoozing our alarms could be the very moments we need the most.
Enrique Vasquez (aka Kiki Smooth), a Latino rapper who was born and raised in Compton, spent a lot of time of his youth at Watts with his grandmother. He and his partner Brandon Jackson (known as “Main Event”) do a weekly podcast from Watts as a way to encourage people to not be afraid to come to Watts, and to increase the understanding that Watts is a neighborhood about caring for each other and lifting each other up.
That’s a commonality in all of the interviews – the passion, the dedication, and the value of service. In one of them, Janine Watkins expressed that at Watts as a child, she was loved – and by loving that community and the people in it, it was a way of reaching back into her past with love.
Throughout the episodes, it becomes clear that everyone recognizes the importance of passing an understanding of nature to the next generation. How else will someone raised in the urban landscape learn to be an effective steward of the Earth – and what will our fate be if it’s not taught?
‘Watts Pride” focuses on the deep feeling of pride that the residents of Watts and those who care for it feel for it. It spends most of its time introducing people who are working their way to positions where they can help Watts, the place they love.
It opens with sober information: Watts is in the 95th percentile of the most polluted communities, and there are census tracts labeled in the 100th percentile. Many homes are still serviced by lead pipes, and even airplanes dump fuel over Watts. A nearby lead smelting plant pushed Watts’ lead exposure issues far above safe levels. Around 20% of Watts homes have water that contains actionable levels of lead.
I had to pause the documentary just to sit with that and process it.
PhD candidates Malcolm Jones and Danielle Hoague mention how Tim Watkins helped inspire them to fight for Watts – and to help hand the fight over to the next generation. As Malcolm worked on the Watts lead information, he found that there were reporting issues that blended Watts information with information from more affluent communities, effectively burying the issues with Watts’ lead exposure. Danielle explained that while many people had heard of Flint Michigan, America was full of them needing attention: and Watts is one.
People like Johanna Rodriquez, who grew up in Watts and now works for the Mayor Los Angeles, are working to ensure that Watts gets the attention it so badly needs. Johanna talked about the sort of work her father did to help the community, and she, like many in this documentary, continues his work by assisting her community via her work and her advocacy in attempting to erase the stereotypes of Watts.
Michael Krikorian, a writer whose work has been featured in LA Weekly, relates how he was ‘assigned’ the Watts beat – and how he worked to gain the trust of the community so he could learn more about the people there. Watts is a place bursting with stories to be told – and they are far more rich and meaningful than many would give them credit for.
The episode ‘A Garden Grows in Watts’ emphasizes the importance of the WLCAC in general and Watts in particular. By exploring the stories of those who love and work for the betterment of Watts, we’re treated to an even more complete view of the neighborhood and how it helps those who work for it purpose, passion, and drive.
The people we meet and the stories we hear emphasize the importance of a good community to support children and the next generation. Part of this importance comes down to Watt’s power to transform, and people who were able to come back to Watts and build a life after prison talk about the transformative experiences they had, and how the Watts community allowed them to use their experiences to help heal the next generation.
LoneAllen Hall, the Nutritional Director for WLCAC talks about his many years working for WLCAC, beginning in the 1970’s for Ted Watkins, Sr. himself. He relates how important it is for him to pass on the sorts of lessons he got in the kitchen for those who work for him. He also discusses how Watkins would always have work to be done for those looking to work, and how that created opportunities for young people to have experience in work that ultimately went back into their community. It’s through his interview that we learn the nutritional programs at WLCAC serve over 400,000 seniors a year (around 2200 a day).
A large portion of the episode is dedicated to the preparations for MudTown Farms’ big day. It’s a huge event celebrating the past and the future of Watts – and includes everything from delicious food to pony rides. During the celebrations, there are reminders that the purpose of MudTown Farms is to pass the knowledge of the Earth on to the next generation, and to celebrate the work and mission of the WLCAC.
The story ends on a note of hope by showing the passion and courage of those fighting for Watts, and how well-positioned the diligent and loving organization is to create a green space where there once was a food desert.
Overall Observations: Themes
At first, it might feel like there are two documentaries about food and one about theaters, but that’s not what I see happening here. I find that there are five major themes that Raphael Sbarge’s documentary work focuses on: familial connection, community, sustainability, the power of collective experiences, and the importance of service.
Familial Connection
All three of these documentaries are anchored by familial connections. In “LA Foodways” we are first introduced to Tim Watkins, the current President of WLCAC and the son of Ted Watkins, Sr., its founder. In this piece, Tim talks about the importance of extending his father’s work.. It also features the multi-generational SGS Produce Only in Theaters has the Laemmle family as the center of its focus, and the legacy that Greg carries for his family (and the family of filmmakers everywhere rooting for him). The documentary not only spends time with Greg and his immediate family, but his delightful great aunt Alyse, who helps bring the family’s legacy into sharp focus. 10 Days in Watts continues to examine how Tim Watkins carries his father’s legacy by growing the WLCAC’s reach while staying ever true to its mission, and though he doesn’t feel he’s capable of filling his father’s shoes, he’s shown to be more than capable of extending and expanding his father’s vision. In many instances it’s obvious that Watts itself, as a place, is seen as a type of family to those who love it.
Community
In all three of the documentaries examined, community plays a vital role. In all three, the focus is on people serving their community. For LA Foodways, the focus is on groups like WLCAC and FoodForward as they deal with mobilizing around food waste in one of the country’s largest food deserts. Only In Theaters is focused on Greg Laemmle in particular and the Laemmle theaters in general. It explores how art house cinemas not only support filmmakers and their craft, but are important gathering places for the community and places of collective experience. 10 Days in Watts spotlights the exceptional work of WLCAC as they prepare for a large venture: the opening of MudTown Farms.
All three of these documentaries examine how those interviewed are working in service to their community, and are mindful of its needs and challenges. In all three, Interviews with members of the community are mixed in with those working to help them: whether they are a community built of members of a neighborhood like Watts, or a community of cinema-lovers and filmmakers.
Sustainability
For LA Foodways and 10 Days in Watts, the documentaries that center on food, it’s a bit easier to see how they directly relate to sustainability. LA Foodways emphasizes the importance of minimizing food waste, and working with organizations that seek to do the same. 10 Days in Watts shows how neighborhoods and communities can be served and transformed by green space – that creating such spaces allows for communities to gather, care for each other, and take pride. Both of these documentaries clearly deal with the need to create more sustainable systems for food.
But Only In Theaters is about sustainability, too – it’s about the sustainability of our culture. While streaming a movie can show us some pieces of the experience, the whole of the movie-going experience can only be experienced in a theater. Losing the voice of independent filmmakers would leave us at the mercy of the big studios, drowning out marginalized and new voices. While our news feeds are clogged with bad news and collective traumas, movie theaters allow us a space in which we can share collective events and more joyful experiences with our community.
Power of Collective Experiences
Raphael Sbarge’s documentary work also examines the power of those collective experiences. It’s the easiest to prove with Only in Theaters, as it is directly concerned with the preservation of spaces where collective experiences can happen. Several interviews mention the importance of seeing a movie, live, with an audience. Anyone who has been to a movie event, such as Wiseau’s The Room or the classic “Rocky Horror Picture Show” can also attest to the power that a collective movie-going experience can have.
But it’s there in the other two as well. In 10 Days in Watts, the power of collective experience is examined throughout – we see the importance for this community to come together, assert their identity, and cultivate pride. LA Foodways shows the power of collective experience by examining what happens when people come together to solve problems, and how collective action across many organizations can bring positive change.
Importance of Service
The biggest and most important theme of Raphael Sbarge’s work is the importance of service. All three of these documentaries show the power and importance of service in a community. In LA Foodways, several organizations come together to serve the underserved. They seek to ensure that as many people as possible have access to fresh produce, especially in a land of such abundance that we throw away edible food.
In Only in Theaters, Greg Laemmle’s service to filmmakers as a bastion of the art house world is shown to often tear him apart mentally, and take a toll on him physically. While many businesses exist only to serve their bottom line, Greg strives to ensure that filmmakers get the support they need to make their art: even when it might cost him a few night’s sleep.
10 Days in Watts examines the service of many members of the Watts community that interact with WLCAC’s exceptional work. Ted Watkins Sr.’s work not only transformed Watts, but inspired his son to take up the cause and continue and extend that work. The impact of their service on the Watts community can’t be understated.
What’s it All Mean?
When I was younger and I read the book ‘Dune’ I was extremely struck by the phrase ‘I exist to serve.’ I remember saying that to a friend and being laughed at. What a strange thing, I thought, to want to make fun of someone for that. Doesn’t everyone need service at some point of their lives? Or is it part of the American psyche that we’ve lost touch with our needs – that we subsume them to instead chase the impossible rugged individualism we’re sold along with the American Dream.
I am one of the sorts of people to whom Carnegie’s libraries meant more than his steel or business acumen, and I know I can’t be alone.
That’s why I found it joyful to find a documentarian that is less obsessed with our seedy side, and more entranced by bringing our best attributes to the light. Instead of focusing on the dire situation of food waste or the destruction of an industry via the dominance of streaming, or the constant fight it takes to support and bring Watts into the limelight – Raphael Sbarge focuses on those who are trying to bring positive change to their world. Is it any wonder that two of his organizations include the word “Wish?”
It’s a beautiful thing, to see someone shining a light on the work of those trying to transform our world for the better. It’s inspiring, and the attention that his work has brought to some of these organizations has been extraordinary for them. I am so heartened to see stories like this told, and I’m grateful to Raphael for telling them so well.
If you’re looking for something that will not only uplift you but inspire you, I highly recommend you check his work out!
On its official website,Mother of All Shows is described as a Mother / Daughter Traumedy, and that’s a wonderful description for Melissa D’Agostino’s first feature.
For those of us navigating the fraught waters of how to deal with narcissistic parents or negative body image, not only will this resonate, but there’s healing and redemption in there, too. Mother of All Shows was written by Melissa D’Agostino and David James Brock and directed by Melissa D’Agostino and Matthew Campagna.
Mother of All Shows, Courtesy of HighballTV
Liza’s (Melissa D’Agostino) mother, Rosa (Wendie Malick) is dying – and the only way that Liza has to deal with that impending fact is to take solace in her mind – where it’s all a 1970’s variety show that is hosted by her mother. People from her past and present – including her supportive and doting boyfriend Alan (Darryl Hinds), her father (Michael A. Miranda), her cousin (Tarah Consoli), and her high school boyfriend (Phil Luzi) – are all paraded through the segments in her mind, complete with period-appropriate commercials for products like “Shame Flakes.”
The film tells the story of their complicated relationship through the medium of the variety show, and the sparkling costumes and poppy scenery belie the emotional traumas Liza is working through. In one ‘Mating Game’ segment, Rosa castigates Liza for choosing Alan. In another cooking segment, Rosa mocks Liza’s appearance – from her choice of dress to her weight, even as Liza literally asks her for body kindness.
This funny musical brings some big feelings with it – people who have had to go no contact with narcissistic family members will find Liza’s conversation with her cousin during a ‘Christmas Shopping’ sketch all-too-familiar. Those who have had to deal with difficult parental relationships will be moved by an animated sketch.
But what is really happening is that Liza is trying to decide if she should reach out to her mother in the long-term care home where she resides, or if she can see her mother without losing herself in the process. Alan, her supportive and loving boyfriend, affirms that when Liza did interact with Rosa, it caused deep depressions that were painful to witness.
Mother of All Shows: Melissa D’Agostino as Liza and Wendie Malick as Rosa. Via moasfilm.com
I really enjoyed this movie, and was moved to tears by a couple of sections because of how much Liza’s story (and her emotional growth) moved me. Everyone seemed to remind me of someone I knew, and the situations very much resonated with me because of my own history with a narcissistic parent. But the beauty of Mother of All Shows is that though the film deals with heavy topics, it does so in such a light fashion it’s never weighed down. Part of this has to do with Melissa D’Agostino’s performance – Liza is witty and strong, and though she deals with self-doubt, it’s obvious that she has been working through the issues that we bear witness to throughout the film. She conveys the dichotomy of Liza’s growing confidence and her insecurities – all while tap dancing and singing.
Wendie Malick as Rosa is engaging, funny, cruel, and oh-so recognizable as a talented but narcissistic mother who can’t understand why her daughter won’t just do the things she wants. Her performance is both counterweight and foil to Liza, yet Malik brings sensitivity and depth to Rosa, and as she talks about the impact of generational trauma, we’re able to glimpse a bit of Rosa behind her barbed exterior.
Darryl Hinds is amazing as Liza’s supportive boyfriend, Alan, and as a member of #TeamLiza I’m very happy that she has someone like him at her side. Tarah Consoli creates the right mix of funny and abrasive as Liza’s cousin, Lisa, who has remained close to Rosa and feels slighted by Liza’s boundary-setting. Their relationship brings more heart-breaking context to the choice that Liza had to make to set boundaries and go no-contact with her mother. Michael A. Miranda’s performance as Liza’s dad helps us understand just how things got to this point.
Mother of All Shows is surreal, laugh-out-loud funny, emotional, complex, and bold. Its premise is clever and gives a catharsis to Liza and us as an audience, even when life doesn’t always give easy answers. If you enjoy comedies that speak to our deeper emotional experiences, have ever watched and enjoyed 1970’s variety shows, or enjoy heartfelt stories told in innovative ways – this is well worth your time.
The Laemmle family has been in film since the beginning, and ‘Only in Theaters’ chronicles this iconic family’s impact on cinema, in particular the impact of the chain of theaters in Southern California bearing their name and run by CEO Greg Laemmle. Opening at the Laemmle family’s Shabbat table, the documentary weaves images and film from their family archives, interviews with influential figures in film, and family celebrations and reminisces with footage that director Raphael Sbarge captured during 24 extraordinarily turbulent months for the revered theater chain.
It’s a wise thing to focus on the theater chain, because the scope of the documentary would be too large should it try to encompass the impact of the Laemmle family – which can’t be overstated. Not only did Carl Laemmle save the lives of 300 German Jews, but he also began an unforgettable legacy of uplifting independent voices in Hollywood.
Carl Laemmle, A German immigrant who came to the United states in 1884, may have started working in retail and dry goods, but it all changed when he first glimpsed a nickelodeon. Laemmle would stand against Edison’s Motion Picture Patents Company. Laemmle’s successful challenge broke Edison’s monopoly of moving pictures.
Laemmle published cartoons mocking the Motion Picture Patents Company, and they did the same – a popular way to sway the court of public opinion at the time. Image Source: Nickelodeon Theater by Q. David Bowers
Laemmle would go on to form Universal Studios, but without his innovations in marketing (for individual actors) and location (moving west) the history of motion pictures would be entirely different.
While telling some of the storied history of the Laemmle family is important to “Only in Theaters,” the focus is on the 84-year-old Southern California theater chain. Initially intended by the director as a more brief project that would encompass the challenges faced by the arthouse change in the face of waning ticket sales due to streaming technology, and the contemplation of a buyout, the documentary also encompasses the challenges faced by the family-owned chain during the COVID-19 pandemic.
‘Only in Theaters’ is engaging with the way it explores the history and challenges faced by the Laemmle family and its business, but what stuck with me more was the movie’s celebration of theater-going itself. It includes many stories of movie-going experiences: first dates, inspirational, life-altering experiences, and important premieres that happened at Laemmle theaters. As the documentary demonstrates, there’s something magical that happens in a movie theater, and central to the documentary is that movie theaters are storytelling spaces of vital importance: and this is true of Laemmle theaters in particular.
I think anyone who has seen a movie in a theater agrees. There’s something special about it: from the beautiful, large spaces to the collective energy of the crowd giving itself over to the fictional dream.
In an interview for the Jewish Journal, Greg Laemmle shared his observations made as he toured with ‘Only in Theaters.’ “As much as films are struggling right now, event cinema screenings are doing very well,” he said. “We make every screening a little special. It’s much more important now to appear at the screenings and talk to audiences afterwards.” I’ve certainly been to such an event screening recently to see Tommy Wiseau’s Big Shark (and Tommy Wiseau has a history of screening ‘The Room’ at … you guessed it, Laemmle theaters. Such event cinema screenings offer a lifeline to small theaters seeking to find their audience in the post-pandemic, post-streaming world.
‘Only in Theaters’ isn’t just about 24 months in the history of Laemmle Theaters – that would have been compelling enough, though! It’s also a celebration of independent cinema in general. It honors the cultural legacy of these spaces dedicated to collective experience, elevating them as sacred. After watching it, my first impulse was to go out to see a movie.
Obviously, I’d say the best way to see this engaging, vibrant, and interesting documentary is to head to a Laemmle theater – or your local independent theater. There’s a schedule of events for it here. But if you can’t make it to one of those, ‘Only in Theaters’ will be streaming on Amazon starting May 2nd.
