tag:blogger.com,1999:blog-2061697261014268192024-03-08T06:00:31.964-06:00Movie DearestFilm/Arts/Satire*(*homocinematically inclined)Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.comBlogger3989125tag:blogger.com,1999:blog-206169726101426819.post-25753691538709548202024-03-08T06:00:00.080-06:002024-03-08T06:00:00.454-06:00Reverend's Preview: March Brings Major Movie Awards<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-N4flwTsMPEclnoH5IAY9assPPZ2ClH1HJg7AjpuNCWjIMCdX9qu6CvlDvdLLaVI0TqKlHZ87wmY3i4UUtwnwzebzMjBsa2XJ2AGGgnG6-jRJO6-aoNO4xwANMP54bswq_YV8k1JJ4BDeGOA8AeFvhX9ZefKrrnHk_N-OsCkICdnS-Uic6-w_A_SatlWb/s3581/oscar-bestpicture2024-final.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3581" data-original-width="2500" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-N4flwTsMPEclnoH5IAY9assPPZ2ClH1HJg7AjpuNCWjIMCdX9qu6CvlDvdLLaVI0TqKlHZ87wmY3i4UUtwnwzebzMjBsa2XJ2AGGgnG6-jRJO6-aoNO4xwANMP54bswq_YV8k1JJ4BDeGOA8AeFvhX9ZefKrrnHk_N-OsCkICdnS-Uic6-w_A_SatlWb/w447-h640/oscar-bestpicture2024-final.jpg" width="447" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Illustration by Olly Gibbs, <a href="http://ollygibbs.com">ollygibbs.com</a><br /></td></tr></tbody></table><br /><p></p><h3 style="text-align: left;"><span style="font-weight: normal;">Hollywood’s biggest night this year will be this Sunday, March 10th, when
the 96th annual <a href="https://www.oscars.org/" target="_blank"><b>Academy Awards</b></a> are scheduled to be bestowed upon the
best films, actors, actresses, directors, etc. of 2023. Nominations were
announced on January 23rd and include several LGBTQ+ contenders.
Getting a head start on the celebration, however, are <a href="https://galeca.org/" target="_blank">GALECA’s</a>
newly-announced Dorian Award winners for 2023.</span> </h3><p> </p><p>GALECA:
the Society of LGBTQ Entertainment Critics was founded in 2009 and
currently consists of 500 members (including yours truly). Each year,
the group honors the best mainstream and LGTBQ+ film, television and
Broadway/Off Broadway productions via their Dorian Awards. A 501 c 6
nonprofit, GALECA also advocates for better pay, access and respect for
its members, especially those in our most underrepresented and
vulnerable segments. GALECA’s other efforts include the Crimson Honors, a
college film/TV criticism contest for LGBTQ women or non-binary
students of color. </p><p> </p><p>Among the LGBTQ-interest film honorees
recognized by both GALECA and the Academy among their initial
nominations this year were out actor Colman Domingo for his performance
as the title, trailblazing gay activist in <i>Rustin</i>; out actress Jodie
Foster as the dedicated friend and coach to a record-breaking lesbian
swimmer in <i>Nyad</i>; lead actress Sandra Huller, screenwriter Justine Triet,
and their keep-‘em-guessing courtroom drama Anatomy of a Fall; and the
touchingly queer, anime-inspired animated movie <i>Nimona</i>. </p><p> </p><p>Somewhat
surprisingly, GALECA completely snubbed actor-director Bradley Cooper’s
biopic <i>Maestro</i>, about bisexual composer-conductor Leonard Bernstein.
But then, GALECA nominated the popular, Oscars-neglected queer comedy
<i>Bottoms </i>in multiple categories. </p><p> </p><p>Also notably absent among
this year’s Oscar nominees was out filmmaker Andrew Haigh’s pretty much
universally-acclaimed <i>All of Us Strangers</i>. This
metaphysical/supernatural tale of a gay man reuniting with his long-dead
parents while embarking on a romance with a mysterious neighbor is
beautifully made and truly haunting. Actors Andrew Scott and Paul Mescal
were both nominated by GALECA for their deeply moving performances. </p><p> </p><p>Similarly
neglected by the Academy were the LGBTQ favorites <i>Saltburn </i>and
<i>Passages</i>. All this being said, the single coolest Oscar citation this
year in my opinion is composer John Williams’ 54th nomination at the age
of 91! He was recognized yet again for his score of <i>Indiana Jones and
the Dial of Destiny</i>. (Williams actually turned 92 since this year’s
nominees were announced.) </p><p> </p><p>GALECA’s 15th annual Dorian
Award winners, including several new categories, were just announced. We are honored to include them
here: </p><p> </p><p><b>Film of the Year</b>: <i>All of Us Strangers</i> (Searchlight Pictures) </p><p> </p><p><b>LGBTQ Film of the Year</b>: <i>All of Us Strangers</i> (Searchlight Pictures) </p><p> </p><p><b>Director of the Year</b>: Greta Gerwig, <i>Barbie </i>(Warner Bros.) </p><p> </p><p><b>Screenplay of the Year</b>- Original or adapted: Samy Burch, <i>May December</i> (Netflix) </p><p> </p><p><b>LGBTQ Screenplay of the Year</b> (new award category this year): Andrew Haigh, <i>All of Us Strangers</i> (Searchlight Pictures) </p><p> </p><p><b>Non-English Language Film of the Year</b>: <i>Anatomy of a Fall</i> (NEON) </p><p> </p><p><b>LGBTQ Non-English Language Film of the Year</b> (new award category this year): <i>Anatomy of a Fall </i>(NEON) </p><p> </p><p><b>Unsung Film of the Year</b>- To an exceptional movie worthy of greater attention: <i>Are You There, God? It’s Me, Margaret. </i>(Lionsgate) </p><p> </p><p><b>Film Performance of the Year</b>: Lily Gladstone, <i>Killers of the Flower Moon</i> (Apple, Paramount) </p><p> </p><p><b>Supporting Film Performance of the Year</b>: Charles Melton, <i>May December</i> (Netflix) </p><p> </p><p><b>Documentary of the Year</b>: <i>Kokomo City</i> (Magnolia) </p><p> </p><p><b>LGBTQ Documentary of the Year</b>: <i>Kokomo City</i> (Magnolia) </p><p> </p><p><b>Animated Film of the Year</b>: <i>The Boy and the Heron</i> (GKIDS) </p><p> </p><p><b>Genre Film of the Year</b> - For excellence in science fiction, fantasy and horror (new award category this year): <i>Poor Things</i> (Searchlight Pictures) </p><p> </p><p><b>Film Music of the Year</b>: <i>Barbie </i>— Mark Ronson, Andrew Wyatt, et al. (Warner Bros.) </p><p> </p><p><b>Visually Striking Film of the Year</b>: <i>Poor Things </i>(Searchlight Pictures) </p><p> </p><p><b>Campiest Flick</b>: <i>M3GAN </i>(Universal) </p><p> </p><p><b>“We’re Wilde About You!” Rising Star Award</b>: Ayo Edebiri </p><p> </p><p><b>Wilde Artist Award</b> - Recognizing a truly groundbreaking force in entertainment: Todd Haynes </p><p> </p><p><b>GALECA LGBTQIA+ Film Trailblazer Award</b> - For creating art that inspires empathy, truth and equity: Colman Domingo </p><p> </p><p><b>Timeless Star</b> (Career achievement award) Honoring an exemplary career marked by character, wisdom and wit: Jodie Foster </p><p> </p><p>For
the full list of nominations and more information about the Society of
LGBTQ+ Entertainment Critics, please visit <a href="http://galeca.com">galeca.com</a>.</p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-58671470012392732342024-02-26T10:00:00.143-06:002024-02-26T10:30:22.364-06:00And the 2023 Dorian Film Award Winners Are...<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq6pzH_-RQxXI600vSj_KN87qsXCW8lnOXHuII7CLGXyR5u9k9JKGUohtBDnysgCbAmygvIjjddm4zbLTkPHYRB_PsckmzabdKg34-oomuQYIfPly_ZGMvH3sIUXfj6LExQ5feF9yQC0yPKZtF3SfgH-fgy-U_J53rEgE1NAdiuraHlpnapmxT1DvKag8T/s696/All%20of%20Us%20Strangers.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="431" data-original-width="696" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq6pzH_-RQxXI600vSj_KN87qsXCW8lnOXHuII7CLGXyR5u9k9JKGUohtBDnysgCbAmygvIjjddm4zbLTkPHYRB_PsckmzabdKg34-oomuQYIfPly_ZGMvH3sIUXfj6LExQ5feF9yQC0yPKZtF3SfgH-fgy-U_J53rEgE1NAdiuraHlpnapmxT1DvKag8T/w640-h396/All%20of%20Us%20Strangers.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>ALL OF US STRANGERS</i></b><br /></td></tr></tbody></table><p style="text-align: center;"> Film of the Year, LGBTQ Film of the Year and LGBTQ Screenplay of the Year: Andrew Haigh</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3oFL-pF38dRRHiPwwBXq2CT76IRgXrvnJ20r6Y61Dv1F13GSCQNIVrDc7xrWwxLS9vPLPpGIgPGyUMrD4J2XqBI3-ls50w7s0Zjs6Uzpi85R6SJKDuF7VsgJr5ztzRLl_jYCHV58_qyRV6cuANsPY17t_Y_pHsc2xk9UraPHMmeBaH5nD0axbA_JfSW6c/s2985/Barbie.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1679" data-original-width="2985" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3oFL-pF38dRRHiPwwBXq2CT76IRgXrvnJ20r6Y61Dv1F13GSCQNIVrDc7xrWwxLS9vPLPpGIgPGyUMrD4J2XqBI3-ls50w7s0Zjs6Uzpi85R6SJKDuF7VsgJr5ztzRLl_jYCHV58_qyRV6cuANsPY17t_Y_pHsc2xk9UraPHMmeBaH5nD0axbA_JfSW6c/w640-h360/Barbie.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>BARBIE</i></b></td></tr></tbody></table><p style="text-align: center;">Director of the Year: Greta Gerwig and Film Music of the Year</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOeBZy4bbXHf9m2k0EUu6jO2SSikt7sy7Mch_ibemh9XnejGihioEJ3NxOATMGSGwsVWAZzR9FL-YY9ruVo7hEu5zDkIh6SphXuU-BqPYZmkvifVwwVi9RdHPZVHxk8HKH_S5gif1tW2OITmCO2DOWuCRR8RQGW5CGcRDxJtjgd8zHp0au5MuHjhGvGIkA/s787/Killers%20of%20the%20Flower%20Moon.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="461" data-original-width="787" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOeBZy4bbXHf9m2k0EUu6jO2SSikt7sy7Mch_ibemh9XnejGihioEJ3NxOATMGSGwsVWAZzR9FL-YY9ruVo7hEu5zDkIh6SphXuU-BqPYZmkvifVwwVi9RdHPZVHxk8HKH_S5gif1tW2OITmCO2DOWuCRR8RQGW5CGcRDxJtjgd8zHp0au5MuHjhGvGIkA/w640-h374/Killers%20of%20the%20Flower%20Moon.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>KILLERS OF THE FLOWER MOON</i></b><br /></td></tr></tbody></table><p style="text-align: center;">Film Performance of the Year: Lily Gladstone</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAUHdmQMAuIW1EktX1KEHI6Rb4KnIHteBnKiuwQ6y8noFJyy9LvcqfGxeJjwCrARJrlEOCzHpG0WHcWK9VUd5HFY247zfTV-49Fp_6UGJgN-zBgTv-12tEcVMypAud9V_4sUKYeFqWIMPcbFQYFeHIj5anXQvWm67FOoOV3NQwF-1EEiqmv4YS1ejAm8vr/s791/May%20December.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="534" data-original-width="791" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAUHdmQMAuIW1EktX1KEHI6Rb4KnIHteBnKiuwQ6y8noFJyy9LvcqfGxeJjwCrARJrlEOCzHpG0WHcWK9VUd5HFY247zfTV-49Fp_6UGJgN-zBgTv-12tEcVMypAud9V_4sUKYeFqWIMPcbFQYFeHIj5anXQvWm67FOoOV3NQwF-1EEiqmv4YS1ejAm8vr/w640-h432/May%20December.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>MAY DECEMBER</i></b><br /></td></tr></tbody></table><p style="text-align: center;">Supporting Performance of the Year: Charles Melton and Screenplay of the Year: Samy Burch</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgFYvhqjgnx5gCfJMzU9HbMkV1uesSrDB1ynYLsBC4rzw2wxWApZdtfCv5IgBFkjballrfC0X9OzwXBUQFoB8EtZreWJE6-rtrhAEcl_DaRr1Bsgy31MoqChAaEILzCNyrTJVzOWZ4tSoQ85NYAemjnMTe5oAXfQwUTAZq4aEnrYRXrufTvIvLDuyAilev/s721/Anatomy%20of%20a%20Fall.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="438" data-original-width="721" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgFYvhqjgnx5gCfJMzU9HbMkV1uesSrDB1ynYLsBC4rzw2wxWApZdtfCv5IgBFkjballrfC0X9OzwXBUQFoB8EtZreWJE6-rtrhAEcl_DaRr1Bsgy31MoqChAaEILzCNyrTJVzOWZ4tSoQ85NYAemjnMTe5oAXfQwUTAZq4aEnrYRXrufTvIvLDuyAilev/w640-h388/Anatomy%20of%20a%20Fall.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b>ANATOMY OF A FALL<br /></b></i></td></tr></tbody></table><p style="text-align: center;">Non-English Language Film of the Year and LGBTQ Non-English Language Film of the Year</p><p style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL-nDL_7fZdmIXytHTOqtwVanrtPVwmIg6cPaD_m7hohG6RQ7qFddPM9FGbI60dLAGHxJGdqRPJuOTM3ZQFUkGh7GyFdWwP1abXRMLFvWsWWdtfo8YnyYb7o6E2vOEic8MJzfcOysh2zyMC-npBCesxs-dKWfzwfQoVDGIyj9kx0PQo-KECd-9Uu_1SjQX/s709/Are%20You%20There%20God.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="709" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL-nDL_7fZdmIXytHTOqtwVanrtPVwmIg6cPaD_m7hohG6RQ7qFddPM9FGbI60dLAGHxJGdqRPJuOTM3ZQFUkGh7GyFdWwP1abXRMLFvWsWWdtfo8YnyYb7o6E2vOEic8MJzfcOysh2zyMC-npBCesxs-dKWfzwfQoVDGIyj9kx0PQo-KECd-9Uu_1SjQX/w640-h362/Are%20You%20There%20God.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>ARE YOU THERE GOD? IT'S ME, MARGARET.<br /></i></b></td></tr></tbody></table></p><p style="text-align: center;"> Unsung Film of the Year</p><p style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9W7y1bQX6qTIKIB6VTe1IiV1xubKOvDFca2oFkrG-Vw5yk3u0uzykrlX5mfFybQDfCISxFNvdiYSAxtDlNpCgI_Ji1wcS1eDhvVkW3t0eGsY-IjxzWtbB9Tqfg-a0DwJI9N7BqTqbiUnUxsHF3brYYLlyLMMzbtTsuJy-beMRGq4RZCSvXj8ZhPvwGcki/s960/Kokomo%20City.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="528" data-original-width="960" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9W7y1bQX6qTIKIB6VTe1IiV1xubKOvDFca2oFkrG-Vw5yk3u0uzykrlX5mfFybQDfCISxFNvdiYSAxtDlNpCgI_Ji1wcS1eDhvVkW3t0eGsY-IjxzWtbB9Tqfg-a0DwJI9N7BqTqbiUnUxsHF3brYYLlyLMMzbtTsuJy-beMRGq4RZCSvXj8ZhPvwGcki/w640-h352/Kokomo%20City.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>KOKOMO CITY<br /></i></b></td></tr></tbody></table></p><p style="text-align: center;"> Documentary of the Year and LGBTQ Documentary of the Year <br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhct85YaTNTSLowLoklwVbX-mjPVn6LJJ6HHVHNBcXuSL1fmcvco3omESEpf9bERgk2Mer5Sp7oJzwRxV4MA9blPbv3AYsb3DJoPMQXGNAJh_QH2qt589JUnHJViCVP74vgQlOOj7Hm6E1B9pVbgVKBO_AJf4gKkVaHgnasIKodyCIvqgK932KlfiAc-3VT/s1280/Boy%20and%20the%20Heron.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhct85YaTNTSLowLoklwVbX-mjPVn6LJJ6HHVHNBcXuSL1fmcvco3omESEpf9bERgk2Mer5Sp7oJzwRxV4MA9blPbv3AYsb3DJoPMQXGNAJh_QH2qt589JUnHJViCVP74vgQlOOj7Hm6E1B9pVbgVKBO_AJf4gKkVaHgnasIKodyCIvqgK932KlfiAc-3VT/w640-h360/Boy%20and%20the%20Heron.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>THE BOY AND THE HERON<br /></i></b></td></tr></tbody></table></p><p style="text-align: center;">Animated Film of the Year <br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8MX8eG4dSuUrUMtZJGeJO-HGXy6Fv9Z5h4f3CPCEAoHJcpMOfpHukYrM2A6azXMRhmIwFBhAhR4xxczsP8K6QsJ9FFUf0YUEhb7P2lb72mJKInxs9mhROO7Geoc7V0WoqWaOAVmAQf-O6ZLMFK0Cp7za-J1SaRIO9GlJE4LvFwEd6ZjMa2eL0wcaxpYBj/s844/Poor%20Things.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="475" data-original-width="844" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8MX8eG4dSuUrUMtZJGeJO-HGXy6Fv9Z5h4f3CPCEAoHJcpMOfpHukYrM2A6azXMRhmIwFBhAhR4xxczsP8K6QsJ9FFUf0YUEhb7P2lb72mJKInxs9mhROO7Geoc7V0WoqWaOAVmAQf-O6ZLMFK0Cp7za-J1SaRIO9GlJE4LvFwEd6ZjMa2eL0wcaxpYBj/w640-h360/Poor%20Things.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b>POOR THINGS</b></i></td></tr></tbody></table><p style="text-align: center;">Genre Film of the Year and Visually Striking Film of the Year</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg35Bss-y3p1OP74sQ52gkQJ7pC3vhOf8uygPDNUF_5AhiofIRIYMSpsubUa0-GbXMNHG74UlNYkVs4r7DXhUb-M5axjrKo2gY5UumNXpWYBkZi555sLeZCma4IwrPfjXS5jErTHb0MCBbvoEvrcIhCpVNo1ZWlTAJGP_5zxWoWK-Cp5H4yQFGbPPzdkOK/s1920/M3GAN.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg35Bss-y3p1OP74sQ52gkQJ7pC3vhOf8uygPDNUF_5AhiofIRIYMSpsubUa0-GbXMNHG74UlNYkVs4r7DXhUb-M5axjrKo2gY5UumNXpWYBkZi555sLeZCma4IwrPfjXS5jErTHb0MCBbvoEvrcIhCpVNo1ZWlTAJGP_5zxWoWK-Cp5H4yQFGbPPzdkOK/w640-h360/M3GAN.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b>M3GAN</b></i></td></tr></tbody></table><p style="text-align: center;">Campiest Flick</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhChPctLaQ6KUm3OeuLUWyBo6IUBf0_zOsyvHF1wyCskdoB8rWKWrqXIf0IBLxGT8p6S8-czF4sAbREccifwI2uLCuXOQZAjFHeFjYsDZABJSuuznhahU4oF5oHlTYWyzMU45IXue0iAKFSr6sM3t87Dx651Uvcu6xeggt_-m_l1Fx7Il6Ir44dgOGBmF0j/s1296/Ayo%20Edebiri.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhChPctLaQ6KUm3OeuLUWyBo6IUBf0_zOsyvHF1wyCskdoB8rWKWrqXIf0IBLxGT8p6S8-czF4sAbREccifwI2uLCuXOQZAjFHeFjYsDZABJSuuznhahU4oF5oHlTYWyzMU45IXue0iAKFSr6sM3t87Dx651Uvcu6xeggt_-m_l1Fx7Il6Ir44dgOGBmF0j/w640-h360/Ayo%20Edebiri.webp" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>AYO EDEBIRI</b><br /></td></tr></tbody></table><p style="text-align: center;">"We're Wilde About You!" Rising Star Award</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjN4dbDdY0d-5Mve7aZ95j3k4oW5nkHDDpuAnq8kIbTWoNbI7VyA7UVNXXkA0zDeBtcuy3OISv09Ck9MfpREj-jVMOzDcP8K1xzd2vKvlQNxncNg6IJEqiTLd3rKhQPXqo_edIrxkMFg11BvD_j7I9E8RgFBYvN3G02FQzJXkpdsBeKUe4or8qH4cVJKB/s792/Todd%20Haynes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="423" data-original-width="792" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjN4dbDdY0d-5Mve7aZ95j3k4oW5nkHDDpuAnq8kIbTWoNbI7VyA7UVNXXkA0zDeBtcuy3OISv09Ck9MfpREj-jVMOzDcP8K1xzd2vKvlQNxncNg6IJEqiTLd3rKhQPXqo_edIrxkMFg11BvD_j7I9E8RgFBYvN3G02FQzJXkpdsBeKUe4or8qH4cVJKB/w640-h342/Todd%20Haynes.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>TODD HAYNES</b><br /></td></tr></tbody></table><p style="text-align: center;">Wilde Artist Award</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil6fSKiKdksKXcOChpO9Ryn-ow6uUBmNqIJx1tT8sVwfR2vdnS6aB_e4ZJ5jFJgmKS4zQa01T4nvXHmiw-9vRj2630nE9YRv-uDwAHPc_77TJSy0b6JARfMEDguvoCbfg3Mh0p0sLB3fPRsABHPbCLGnEgY4PT4cdStYb-s3GUmW_8IdKPxXz_OFXHfw0E/s632/Colman%20Domingo.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="466" data-original-width="632" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil6fSKiKdksKXcOChpO9Ryn-ow6uUBmNqIJx1tT8sVwfR2vdnS6aB_e4ZJ5jFJgmKS4zQa01T4nvXHmiw-9vRj2630nE9YRv-uDwAHPc_77TJSy0b6JARfMEDguvoCbfg3Mh0p0sLB3fPRsABHPbCLGnEgY4PT4cdStYb-s3GUmW_8IdKPxXz_OFXHfw0E/w640-h472/Colman%20Domingo.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>COLMAN DOMINGO<br /></b></td></tr></tbody></table><p style="text-align: center;">GALECA LGBTQIA+ Film Trailblazer Award</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCfR2DYrMRA8AJiCiE1HpMoTsvzaG3CgvllAxyh3sNgqDPXhyphenhyphenonVwpeQecsRjs38KRsOl5JAvexzhz60KeUS4mMcktcLcaavjPsdnF0JYmj5kTscJ1dw6LWsYc1P3U3eRbb6XYJo8t5oHYpEDxIjM5DqYUwDyx4CwJ031Fw4EFaVYtrNqYmdDFs7CnVh5X/s1296/Jodie%20Foster.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCfR2DYrMRA8AJiCiE1HpMoTsvzaG3CgvllAxyh3sNgqDPXhyphenhyphenonVwpeQecsRjs38KRsOl5JAvexzhz60KeUS4mMcktcLcaavjPsdnF0JYmj5kTscJ1dw6LWsYc1P3U3eRbb6XYJo8t5oHYpEDxIjM5DqYUwDyx4CwJ031Fw4EFaVYtrNqYmdDFs7CnVh5X/w640-h360/Jodie%20Foster.webp" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>JODIE FOSTER</b><br /></td></tr></tbody></table><p style="text-align: center;">Timeless Star Career Achievement Award</p><p style="text-align: center;"><br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-44225572334162577932024-02-09T06:00:00.096-06:002024-02-09T09:58:24.160-06:00Reverend's Interview: Guillermo Diaz is Here to Stay<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWnIsNPWRciOcQ7bB0aNdHbatbgql5vVs1kZZbvJYVdIp7dr8cFQWhRjUKE2p151zLb-DVZPnFQyIJ1AUugai2hGRH8t4BfRUX5ZOAqIQ18w9vUBsfuTmN3ECrIKI8MhkUjLBU6ICxfdYSclzhmHdxXprS6Ifdil8BNT7C5dzEWG2ezKAvxgK48QGDd_-a/s874/You%20Can't%20Stay%20Here.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="874" data-original-width="583" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWnIsNPWRciOcQ7bB0aNdHbatbgql5vVs1kZZbvJYVdIp7dr8cFQWhRjUKE2p151zLb-DVZPnFQyIJ1AUugai2hGRH8t4BfRUX5ZOAqIQ18w9vUBsfuTmN3ECrIKI8MhkUjLBU6ICxfdYSclzhmHdxXprS6Ifdil8BNT7C5dzEWG2ezKAvxgK48QGDd_-a/s16000/You%20Can't%20Stay%20Here.PNG" /></a></div><br />Out actor <b>Guillermo Diaz</b> will be commanding movie screens this month as the star of <i><b><a href="https://www.imdb.com/title/tt21410444/reference/" target="_blank">You Can’t Stay Here</a></b></i>. Directed by longtime, underground filmmaker Todd Verow (<i>Frisk</i>, <i>Tumbledown</i>, <i>Goodbye Seventies</i>), it will opens this week at theaters in Los Angeles and elsewhere.</span></h3><p>
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The plot of <i>You Can’t Stay Here</i> was inspired by real events in early 1990’s New York City. The AIDS crisis hangs in the air and cops are targeting gay men in well-known cruising spots. This doesn’t stop aspiring art photographer Rick (Diaz) as he spends his days and nights cruising in Central Park. After he witnesses the murder of a gay man, though, Rick is drawn into a dangerous and sexy game of cat and mouse with the magnetic killer that leads him to question his own sanity.<br />
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Diaz is great in one of his few leading man roles to date, and it’s always good to see Verow back in action. The movie was actually shot in Central Park with the city’s permission. Verow wrote about the origins of his latest production for the film’s press notes.<br />
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“During the COVID pandemic, I heard that the Ramble (the notorious cruising area in New York’s Central Park that featured prominently in William Friedkin’s film <i>Cruising</i>) was jumping,” Verow recalls. “I went there to investigate and indeed it was full of queer people engaging in all sorts of intimate activity, not all of it sexual. Most of the cruisers were wearing masks, which only intensified the eye contact and intimacy.”<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieIw9vCjJHEYXCxjpK6eX8vadV73nJNFdiNQU5PG5HEFJo7_zzdTZrzGl7HyxDkye2goRIJoP_XoIJ-XeBxSRy7Pvs90r2fnqB6N7-WqpjY4Af3AhMYVr_Hsbdf0OTOSiOvgFz8apv7OdwwwlGyaiySIkOc6t8Cu79ymBas224tAMkhj4qi7r2syFXKfWF/s1183/1.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="781" data-original-width="1183" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieIw9vCjJHEYXCxjpK6eX8vadV73nJNFdiNQU5PG5HEFJo7_zzdTZrzGl7HyxDkye2goRIJoP_XoIJ-XeBxSRy7Pvs90r2fnqB6N7-WqpjY4Af3AhMYVr_Hsbdf0OTOSiOvgFz8apv7OdwwwlGyaiySIkOc6t8Cu79ymBas224tAMkhj4qi7r2syFXKfWF/w640-h422/1.PNG" width="640" /></a></div><p>
The filmmaker continued: “We had been locked down, curfew-ed, and burned out on Zoom sex and the harsh coldness of Grindr, Scruff and other hookup apps. We needed physical contact... or at least proximity... with other human beings. This got me thinking about cruising and cruising places around the world. These are sacred spaces and, no matter how the police or governments try to beat them back, they will always be cruising areas.”<br />
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During this time, Guillermo Diaz was in New York City working on a TV series. He contacted Verow saying he was a fan of his work and wanted to make a film with him. Verow was also a fan of Diaz’s work, especially his portrayal of La Miranda in the 1995 film <i>Stonewall</i>, and messaged him back immediately. They got together for lunch and Verow told Diaz about his recent experiences in the Ramble and how he wanted to make a film about cruising there. Diaz liked the idea.<br />
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The screenplay for <i>You Can’t Stay Here</i> was written by Verow and his writing partner, James Derek Dwyer. “I wanted the film to take place in the early 90’s, before social media and smart phones and during the height of the HIV/ AIDS crisis, when homophobia, both external and internalized, ran rampant,” Verow shared. “The script is loosely inspired by real events during that time but also on the timelessness of cruising and the otherworldliness of the Ramble itself. Real life cruisers rarely, if ever, speak. Everything is conveyed through their eyes. Guillermo’s eyes convey so much; I could photograph them all day.”<br />
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In addition to his early, star-making turn in <i>Stonewall</i>, many viewers know Diaz as Huck from his many seasons on the ABC hit series <i>Scandal</i>. He is also recognizable from such movies as <i>Bros</i>, <i>Half Baked</i>, <i>Party Girl</i>, <i>High School High</i> and Steven Spielberg’s <i>The Terminal</i>. In addition to his feature film credits, he is well-known from Showtime’s award-winning series <i>Weeds </i>(where he played the role of Guillermo, coincidentally/appropriately enough) and NBC’s <i>Law & Order: Organized Crime</i>. He can also be seen with Britney Spears in her video "I Wanna Go" and in Beyonce and Jay Z's video "Run" alongside Sean Penn and Jake Gyllenhaal. Diaz made his directorial debut with the documentary short film <i>Valley of the Undocumented</i>, which was produced by Russell Simmons and Mark Zuckerberg for Immigrant Heritage Month. Born and raised in NYC’s Washington Heights, he currently resides in Los Angeles.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhba5EHNwAKmhayGj-FnTvgx-uF_DzRQJrWWpCZV_m3wrtIaskzJO8Dz35j4m29zfpBUQwyzjMhEU3xWxoq2Hg9UJpf-dKy0_d8smyHbjDmZIjINTk7d3pDOM96kVZZhpxsZUMgTVHmOo56UQzbEjznpC_cK1D7_mluxfOnFj3_ZkwK-qUz4-Q7Dz3Us8tj/s1333/2.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="783" data-original-width="1333" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhba5EHNwAKmhayGj-FnTvgx-uF_DzRQJrWWpCZV_m3wrtIaskzJO8Dz35j4m29zfpBUQwyzjMhEU3xWxoq2Hg9UJpf-dKy0_d8smyHbjDmZIjINTk7d3pDOM96kVZZhpxsZUMgTVHmOo56UQzbEjznpC_cK1D7_mluxfOnFj3_ZkwK-qUz4-Q7Dz3Us8tj/w640-h376/2.PNG" width="640" /></a></div><p>
Diaz recently sat down to speak with me about <i>You Can’t Stay Here</i> and other aspects of his impressive, 30-year career. (Note: This interview has been edited for length and/or clarity.)<br />
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<b>CC</b>: Congrats on the movie! It’s good to see you front and center in the whole movie.<br />
<b>GD</b>: Thanks. Yeah, it was nice.<br />
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<b>CC</b>: You really got this project rolling. What led you to seek out and work with Todd Verow when you did?<br />
<b>GD</b>: I had booked a recurring role on a show so that brought me to New York for a year, year and a half. Because it was recurring I would work two days a week, sometimes one day a week, and I was like “Oh my god, I’m going crazy.” It was a procedural show and it wasn’t very challenging creatively, and so I started to think “Who do I want to work with? Who’s out there, like an indie director that excites me and I would want to collaborate with?” And I thought of Todd. I followed him on Instagram so I thought “I’m just going to message him. Why not? It’s 2023, right?” (laugh) So I sent him a DM and told him that I was a fan of his work and I would love to work with him. I’m also a huge horror film fan so I told him I would love to do something in the horror-thriller genre and would he be into it? He was, so we met up and the ball started rolling from there.<br />
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<b>CC</b>: That’s great. Are you happy with the finished film?<br />
<b>GD</b>: I am, I am. It’s a classic Todd Verow-style movie. I knew he was a guerilla filmmaker. The way he works is very guerilla style with very few takes, and so when I saw it I was like “Ok, this is a true Verow film.” It was kind of exciting because I believe it was the first time that Todd worked with SAG actors and dealt with the union, if I’m not mistaken, so I was able to bring in actors that I love and wanted to work with. It was really exciting and collaborative, which I loved.<br />
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<b>CC</b>: How have audiences been responding to the film?<br />
<b>GD</b>: It’s not everyone’s cup of tea and that’s OK. You want everybody to love your movie, but everybody walks away from it wanting to have a conversation and having questions, wanting to understand certain things. That’s good, people always wanting to talk about it. That’s definitely a plus.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjgS-xldrLl7eFkCXXo5wHu8zPtDATQXfVTJe9kNvRb0-HyS54vq_IakHK-uQ2OSVKE8Z9Mr-Z0Al81Y9fzSkj_U0fde7-WqenDqkEO84rIrfQtqFSxJyOKlDrwFuPgrD67Nev6nbmEi-1Hbm8fAwI7DoAP0F2JXKNzXa2PppFRKv9mqMADIDsCJcRjJ_H/s1259/4.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="782" data-original-width="1259" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjgS-xldrLl7eFkCXXo5wHu8zPtDATQXfVTJe9kNvRb0-HyS54vq_IakHK-uQ2OSVKE8Z9Mr-Z0Al81Y9fzSkj_U0fde7-WqenDqkEO84rIrfQtqFSxJyOKlDrwFuPgrD67Nev6nbmEi-1Hbm8fAwI7DoAP0F2JXKNzXa2PppFRKv9mqMADIDsCJcRjJ_H/w640-h398/4.PNG" width="640" /></a></div><p>
<b>CC</b>: In what ways are you like your character, Rick? And in what ways are you different?<br />
<b>GD</b>: I’m like him in so many ways. I grew up in New York City, I’m Latino. I was in my 20’s in the 90’s and I experienced meeting guys through cruising on the street or in a park or what have you. It’s not like now. I think this generation and the previous generation don’t really know what that’s like, so in that sense I’m a lot like (Rick). I lived that experience, not to the extent that Rick in the movie does. I was very much in the closet as well so that was a similarity. Some of the stuff that happens to my character in the film were experiences that either I had or Todd had. The ways that I’m not like him? I feel like I would have not gotten caught by the character people are now calling “The Vampire.” I feel like savvy Guillermo in the 90’s would have been like “What if I punched him in the face and ran?” (laugh) In the film, Rick gets sort of infatuated by him. He’s frightened by him but at the same time infatuated by him. I feel like I wouldn’t have been that way if I was in that situation, but who knows?<br />
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<b>CC</b>: You came out publicly in 2011, according to Wikipedia, which was still pretty rare for a well-known actor at the time. What was the reaction like?<br />
<b>GD</b>: I’m so bad with years but I think it was before 2011. I came out in a magazine called <i>Genre </i>in like the late 90’s. It was when I did <i>Stonewall</i>. My management team told me “You’re going to be asked non-stop if you’re gay once you start doing press, so you’ve gotta figure out if you’re gonna be honest or if you’re gonna be in the closet and say you’re not.” But I was like, “Nope, I’m not lying.” I was 27 when I officially came out to my parents, which was the hardest to do. I had already been out to my friends and I had a boyfriend at the time.<br />
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<b>CC</b>: Are there any challenges or obstacles today for out, gay or LGBTQ actors, in your experience?<br />
<b>GD</b>: Honestly, I can only speak for myself and from my experience but if there have been obstacles I haven’t been privy to them. I move forward and do my work and audition for a ton of stuff. Some I get, some I don’t. I honestly try not to think about that. I’m sure there have been some projects that have come up that possibly the producer or director or someone finds out I’m gay and they’re like “Nah, we’re not gonna work with him.” But again, I’m not privy to that so it’s not my problem, it’s their problem. I’ve experienced no problems, no push-back really. I’ve been super fortunate. I think what’s been good for me is that I haven’t kept (being gay) a mystery. I’ve been able to say “This is me, take it or leave it.”<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKL0LfP3QmWUHCjzWlG7PHDIAVLWQwas8CHEHFI2p6Y8e_6g30KJcuDQC-g6Gb_UuOIwZOygX-lq5ZVLS7NreyEhgzW64QV1m3BPyIpOP7r89gqqmy4SnvcUWYm8IC_hcxVksSDB2MsfrWaV9kE6Auh4Sns2KTqg81V5rDkBgoL1kNHxvmj1HVo1tOVuV-/s1192/3.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="868" data-original-width="1192" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKL0LfP3QmWUHCjzWlG7PHDIAVLWQwas8CHEHFI2p6Y8e_6g30KJcuDQC-g6Gb_UuOIwZOygX-lq5ZVLS7NreyEhgzW64QV1m3BPyIpOP7r89gqqmy4SnvcUWYm8IC_hcxVksSDB2MsfrWaV9kE6Auh4Sns2KTqg81V5rDkBgoL1kNHxvmj1HVo1tOVuV-/w640-h466/3.PNG" width="640" /></a></div><p>
<b>CC</b>: Good for you. What’s your advice for any young LGBTQ actors who want to make it in the industry?<br />
<b>GD</b>: Quit acting right now and go do something else! (laugh) It is such a hard, difficult business to be in. If your heart isn’t in it 150,000% you should stop doing it and think about something else. Truly, like seriously, I’m only in this business and became an actor because I knew in my heart and my soul that I was gonna make it no matter what, and I never had any doubt. Regardless of all the rejection from auditions, which is a normal thing. But it’s difficult and again my advice is if you don’t want this a million thousand percent then go figure out something else, because that’s what it takes. And sleep with as many producers as you can. (laugh) I’m joking!<br />
<br />
<b>CC</b>: Well, on that note: What are you working on now? What do we have to look forward to?<br />
<b>GD</b>: (Laugh) I just directed — oh my god, it’s already been about two years — but I directed my first feature film, so now I’m in the post-production process. It’s a movie called <i>Dear Luke, Love Me</i> that a friend of mine, Mallie McCown, wrote. It’s sort of a dysfunctional relationship drama. It was the hardest thing I’ve ever done. We raised all the money ourselves through a Kickstarter campaign, shot the movie for like a month, and then we did the editing and now we’re in the post-production process. We’re starting to submit it to festivals and stuff so hopefully I’m going to be doing the festival thing for a little while, fingers crossed. And then Todd and I are talking about doing another movie together which, knowing how Todd works, that’s probably going to be the first movie that comes out. He works so fast. You’ll be interviewing us for that movie like in a month. (laugh)<br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Interview by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-58479085674542475502024-02-07T06:00:00.072-06:002024-02-07T09:17:21.150-06:00Reverend's Reviews: New Play Pride House Explores Fire Island's History<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj5sdIteOIua9jlzCXjfkd3DBdkZS-ccJPmK8gfCHz3EyiEsU4RRuQwG9t_W5q6t1X4Mn8jsHunLKhq9-BHFuOgSefRq31DnL-RK90HJTWgSn5T7O6DNkhz2Iq_ckSoe9EtOhqv7FWK0ZvMIF9P_x-tpgTLMZfBj7f8MV9LEDNOJ7J-YB4Hc4LI2192ExZ/s974/Pride%20House.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="974" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj5sdIteOIua9jlzCXjfkd3DBdkZS-ccJPmK8gfCHz3EyiEsU4RRuQwG9t_W5q6t1X4Mn8jsHunLKhq9-BHFuOgSefRq31DnL-RK90HJTWgSn5T7O6DNkhz2Iq_ckSoe9EtOhqv7FWK0ZvMIF9P_x-tpgTLMZfBj7f8MV9LEDNOJ7J-YB4Hc4LI2192ExZ/w640-h306/Pride%20House.PNG" width="640" /></a></div><br />The LGBTQ+ mecca that is Fire Island, located off the coast of New York's Long Island, has served as the setting of numerous movies (<i>Longtime Companion</i>, the aptly-titled <i>Fire Island</i>), plays (<i>Lips Together, Teeth Apart</i>) and TV series (<i>American Horror Story: NYC</i>) over the years. This makes sense, as the summertime resort destination has been attracting members of our community for well over a century.</span></h3><p>
<br />
<a href="https://www.tososnyc.org/" target="_blank">TOSOS (The Other Side of Silence)</a>, NYC's oldest LGBTQ+ theater company, is currently celebrating the start of its 50th season with the world premiere of <i><b><a href="https://www.tososnyc.org/pride-house" target="_blank">Pride House</a></b></i>. It runs through this Saturday, February 10th at the Flea Theater. Please visit <a href="https://www.tososnyc.org/pride-house" target="_blank">their website</a> for full info and tickets. Playwright Chris Weikel explores the dramatic, and comedic, dynamics among a microcosm of Fire Island inhabitants during the globally-tumultuous years of 1938-1939.<br />
<br />
The play's setting is a Cherry Grove cottage owned by Beatrice "Bea" Farrar, which she shares with her ex-husband Thomas and two Jewish children they are temporarily sheltering from the growing spread of Nazism in Europe. Bea is happy to count among her friends a number of gay men who also make frequent use of her home. Her ex-husband is also gay, but Thomas has remained on mostly friendly terms with Bea. Weikel, the cast, and director Igor Goldin evoke numerous challenges that impacted real-life Fire Islanders at the time including the Great Depression, homophobic neighbors, racism and, last but not least, the Great Hurricane of 1938.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqcfzMD547tK1l3Zlm6DGLhhSUxacJSxJGplyNqVijf1yYBJVfKdHrTeuLO8wAFGPj1WqIx9_vxBExCEwsbdMKERfVr2p73F36ag75nMF5EHIQRr9E9puuOyUYjzGi3fnB9d8Gq-9laViAp2nJolQSsJ_I4vhW92wH6_EjC-Y9lIq9qRVsTxQ_su6Bl8Ss/s700/Pride%20House%202.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="437" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqcfzMD547tK1l3Zlm6DGLhhSUxacJSxJGplyNqVijf1yYBJVfKdHrTeuLO8wAFGPj1WqIx9_vxBExCEwsbdMKERfVr2p73F36ag75nMF5EHIQRr9E9puuOyUYjzGi3fnB9d8Gq-9laViAp2nJolQSsJ_I4vhW92wH6_EjC-Y9lIq9qRVsTxQ_su6Bl8Ss/w640-h400/Pride%20House%202.webp" width="640" /></a></div><p>
Alas, <i>Pride House</i> ultimately suffers from trying to tackle too many issues and incorporating too many characters. While addressing the rampant antisemitism of the time (with definite parallels today) is noble, the inclusion of the two Jewish children proves to be one issue and two characters too many. I feel the play would be more focused and effective if it concentrated specifically on Bea and the colorful gay men in her life. Even the homophobia they confront via Bea's neighbors could be alluded to rather than personified. These excesses also make an already lengthy play feel that much longer.<br />
<br />
On the plus side, <i>Pride House</i> features an excellent, fully-committed cast led by Jamie Heinlein as Bea (and in spite of some flubbed lines during the February 3rd performance I attended). Also deserving of specific mention are Jessica Disalvo as an Italian ex-patriot lesbian named Natalia and London Carlisle as Edwin, a black Broadway dancer. Best of all is the hilarious Jake Mendes as Stephen, the deliciously sardonic sidekick to shrill theater queen Arthur (played by Tom Souhrada). Evan Frank's set design and Ben Philipp's lovely, period-accurate costumes are similarly praise-worthy. Here's to TOSOS and another 50 years!<br />
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<b>Reverend's Rating</b>: B<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNwv_q4f5AwNISnvsHIvQJAMxKSxi7JivuttPc0S0GrxwcsAmaNzj3UbQ1-xsgTDzZMkOR2k_QrQ_A528_iWSORiaE7uasYtVsrkXEHlP5_42PtYlVGNG_YrB-MTSazu_TZgJI3xh3WA3AqnGkNT5cFZl_TbnBRNRP6p3jgqEFDF3vzDHf1p63TzZJi_i1/s1440/Jonah.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1440" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNwv_q4f5AwNISnvsHIvQJAMxKSxi7JivuttPc0S0GrxwcsAmaNzj3UbQ1-xsgTDzZMkOR2k_QrQ_A528_iWSORiaE7uasYtVsrkXEHlP5_42PtYlVGNG_YrB-MTSazu_TZgJI3xh3WA3AqnGkNT5cFZl_TbnBRNRP6p3jgqEFDF3vzDHf1p63TzZJi_i1/w640-h360/Jonah.jpg" width="640" /></a></div><p>
Reverend was also privileged to recently attend <i><b><a href="https://www.roundabouttheatre.org/get-tickets/2023-2024-season/jonah/" target="_blank">Jonah</a></b></i>, another world premiere play in NYC. Rachel Bonds' potent work isn't a biblical tale and there are no whales involved, but it does include a powerful religious message. Presented by the Roundabout Theatre Company, it is running at the Laura Pels Theatre through March 10th.<br />
<br />
It's difficult to describe the plot of <i>Jonah </i>without revealing spoilers. Gabby Beans (a deserving Tony Award nominee last year for her turn in Lincoln Center's revival of <i>The Skin of Our Teeth</i>) headlines the play as Ana, a young woman dealing with the unpredictable aftereffects of sexual abuse. Beans is riveting, especially since she never leaves the stage during the 100-minute performance. She is very well supported by Samuel H. Levine, Hagan Oliveras and John Zdrojeski as the various men in her life, some of whom may be imaginary/fantasized.<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinT2ML11YxCmh0RoA8ICv7ctySYcY6IZZGFoTNhL9i5kweZCNnmDLzaxWpJQGeEUL7t7OmPITy-TB_f44yC3PNEq6dneUGJh1SiYKxRRbFhBynddmFnBmkxv2GtMa1PX9tlmQbwMFGEfAIZ9x5J8giMJoD8vv-wP-XIRRqmZlioxlAE0kXzHlFRWdQ5HW/s3000/Jonah%202.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1971" data-original-width="3000" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinT2ML11YxCmh0RoA8ICv7ctySYcY6IZZGFoTNhL9i5kweZCNnmDLzaxWpJQGeEUL7t7OmPITy-TB_f44yC3PNEq6dneUGJh1SiYKxRRbFhBynddmFnBmkxv2GtMa1PX9tlmQbwMFGEfAIZ9x5J8giMJoD8vv-wP-XIRRqmZlioxlAE0kXzHlFRWdQ5HW/w640-h420/Jonah%202.webp" width="640" /></a></div><p>
Danya Taymor (who is a niece of <i>The Lion King</i> director Julie Taymor) provides engrossing direction, utilizing various sleight-of-hand techniques in the lighting and staging to keep audience members on their toes. However, my friends who attended the performance with me and I had issues with Wilson Chin's unchanging set, which serves as multiple locations in multiple time periods. More variation in the set design or decor would have been helpful in this regard. <br />
<br />
I also have concerns, as an ordained priest-bishop, about the play's critique of Confession or the sacrament of Reconciliation as practiced by both Catholics and Mormons/LDS. God knows there have been many abuses of the sacrament over the centuries but I can attest to the beauty of the practice, as both confessor and confessee, when it is done or celebrated in a legitimate, non-exploitive way. Still, I appreciate playwright Bonds' serious treatment of this and other spiritual/theological matters. All in all, <i>Jonah </i>is excellent and demanding of patronage.<br />
<br />
<b>Reverend's Rating</b>: A-<br />
<br />
While the general population is currently focused more on movie-related awards and top-ten lists, Reverend was excited to realize recently that last year was the first year I attended a substantial number of Broadway and Off-Broadway productions since moving from California to Connecticut nearly 6 years ago. Subsequently, I was moved to identify my picks of the 10 best NYC theatre productions of calendar year 2023 (in alphabetical order):</p><ul style="text-align: left;"><li>
<i>& Juliet</i></li><li>
<i>Camelot </i>(revival)</li><li>
<i>Dear World</i> (revival)</li><li>
<i>Here Lies Love</i></li><li>
<i>How to Dance in Ohio</i></li><li>
<i>The Jerusalem Syndrome</i></li><li>
<i>Purlie Victorious</i> (revival)</li><li>
<i>1776 </i>(revival)</li><li>
<i>The Shark is Broken</i></li><li>
<i>White Girl in Danger</i></li></ul>
Honorable Mention: <i>Titanique</i><br />
This musical spoof of James Cameron's Oscar-winning movie has been running off-Broadway nearly 3 years now, but last year was the first time Reverend saw it in person after watching an early, streamed performance in 2020 at the height of COVID-19. It was/is an utter, must-see delight.<br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Reviews by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br />Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-63386142423161937092024-02-06T06:00:00.066-06:002024-02-06T10:04:27.105-06:00All of Us Strangers Leads Dorian Film Awards Nominations<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXGwHHHekHrVD5PooZJAgZzcdL5vLChYyWLZr4CbHuR0uAfBXVFKRvVqFJfL61VZR8sJ6ucvn3_2DRlMdvBjOq441OTbtYtkD24oWjbXsb5waxmSLhkLthRiVVC1t_ihD6G_cu1HqHCKVQePL129Zx7C-FnzvbpfThfExSVBmHw2zna9lq5NHPyxS2kQTb/s600/All%20of%20Us%20Strangers.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="337" data-original-width="600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXGwHHHekHrVD5PooZJAgZzcdL5vLChYyWLZr4CbHuR0uAfBXVFKRvVqFJfL61VZR8sJ6ucvn3_2DRlMdvBjOq441OTbtYtkD24oWjbXsb5waxmSLhkLthRiVVC1t_ihD6G_cu1HqHCKVQePL129Zx7C-FnzvbpfThfExSVBmHw2zna9lq5NHPyxS2kQTb/w640-h360/All%20of%20Us%20Strangers.webp" width="640" /></a></div><br />With a leading nine nominations, Andrew Haigh's <b><i>All of Us Strangers</i></b> dominated the just announced <a href="https://www.hollywoodreporter.com/movies/movie-news/2023-dorian-film-awards-nominations-1235816662/" target="_blank">nominations for the 15th Annual Dorian Film Awards</a>. In addition to Film of the Year and LGBT Film of the Year, the intriguing romantic drama picked up three acting nods (for <b>Andrew Scott</b>, Claire Foy and <b>Paul Mescal</b>) as well as nominations in the new categories LGBT Screenplay and Genre Film of the Year. Box office behemoth <i>Barbie</i> and arthouse faves <i>May December</i>, <i>Past Lives</i> and <i>Poor Things</i> join <i>Strangers</i> in the Film of the Year race.</span></h3><p>Presented by <a href="https://galeca.org/" target="_blank">GALECA: The Society of LGBT Entertainment Critics</a> (of which I and Movie Dearest contributor Chris Carpenter are long-time members), the Dorian Award winners will be announced on February 26th. See the comments section below for the full list of nominees.<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com2tag:blogger.com,1999:blog-206169726101426819.post-33274622023475074692024-01-30T06:00:00.156-06:002024-01-30T10:21:25.228-06:00Beau Is Afraid, M3GAN Among Golden Scythe Horror Award Winners<h3 style="text-align: left;"><span style="font-weight: normal;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjImLkyoRJdJ0rNKxaoQZWAYtktmqMhii0jbY5_DtOvPMpGei0T8b-E5EyAmxvlTuR4zAt53jI8tri91DojgYe5Kicg9UNtp206EO0NbDMCwrWOBVR2CAMQLSKVgUKREeYPGj4QmaczSWLF_vR3AdLP7yhlxxAL_6Gz85LU-L-27di-dmYZgqcEtFzXh2yO/s892/M3GAN%20dance%20gif.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="688" data-original-width="892" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjImLkyoRJdJ0rNKxaoQZWAYtktmqMhii0jbY5_DtOvPMpGei0T8b-E5EyAmxvlTuR4zAt53jI8tri91DojgYe5Kicg9UNtp206EO0NbDMCwrWOBVR2CAMQLSKVgUKREeYPGj4QmaczSWLF_vR3AdLP7yhlxxAL_6Gz85LU-L-27di-dmYZgqcEtFzXh2yO/w640-h494/M3GAN%20dance%20gif.gif" width="640" /></a></div></span></h3><h3 style="text-align: left;"><span style="font-weight: normal;">The winners of the 2nd Annual <a href="https://www.goldenscythehorrorawards.com/" target="_blank"><b>Golden Scythe Horror Awards</b></a>, whose voters included our own Chris Carpenter, were recently announced. Ari Aster’s <i>Beau is Afraid</i> earned the most awards during the ceremony, taking home a total of six including one for Joaquin Phoenix for Best Actor and Ari Aster for Best Director. Danny and Michael Philippou’s <i>Talk to Me</i> took home the biggest award of the night, Best Picture, which also earned Sophie Wilde the Best Actress prize. This year’s supporting acting winners were Nicolas Cage for his batshit crazy turn as Dracula in <i>Renfield </i>and Patti LuPone for her performance in <i>Beau is Afraid</i>.</span></h3>
<br />
The complete list of winners follows:<br />
<br /><ul style="text-align: left;"><li>
Best Picture: <i>Talk to Me</i></li><li>
Best Director: Ari Aster, <i>Beau is Afraid</i></li><li>
Best Actor in a Leading Role: Joaquin Phoenix, <i>Beau is Afraid</i></li><li>
Best Actress in a Leading Role: Sophie Wilde, <i>Talk to Me</i></li><li>
<b>Best Supporting Actor: Nicolas Cage, <i>Renfield</i></b></li><li>
Best Supporting Actress: Patti LuPone, <i>Beau is Afraid</i></li><li>
Best Original Screenplay: <i>When Evil Lurks</i></li><li>
Best Adapted Screenplay: <i>Evil Dead Rise</i></li><li>
Best International Film: <i>Infinity Pool</i></li><li>
Best Cinematography: <i>Beau is Afraid</i></li><li>
Best Production Design: <i>Beau is Afraid</i></li><li>
Best Costume Design: <i>Five Nights at Freddy’s</i></li><li>
Best Original Score: <i>Evil Dead Rise</i></li><li>
Best Editing: <i>Beau is Afraid</i></li><li>
Best Sound Design: <i>No One Will Save You</i></li><li>
Best Use of Visual Effects:<i> No One Will Save You</i></li><li>
Best Use of Practical Effects: <i>The Last Voyage of the Demeter</i></li><li>
Best Makeup & Hairstyling: <i>The Last Voyage of the Demeter</i></li><li>
Best Poster: <i>When Evil Lurks</i></li><li>
Best Trailer: <i>M3GAN</i></li><li>
<b>Best Horror Movie Moment: M3GAN dances in the hallway, <i>M3GAN</i></b></li><li>
Best Kill: Trampoline Kill, <i>Thanksgiving</i></li><li>
Best Slasher: <i>Scream VI</i></li><li>
Best Title Sequence: <i>Evil Dead Rise</i></li><li>
Best Remake or Sequel: <i>Evil Dead Rise</i></li><li>
Best Marketing: <i>M3GAN</i></li></ul>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnqZIxlwzoe0m5aq77khNT3F0TmJPrQ1_sYS5uC553s1HycXSGxIRylHyY7-0rEJYsWCIqcB-P-XuiMKbi10XRLC5DocIm-KHFmJld4iOYXy8bI9JaHLe6g3_-Hhya2hEDhhb3siczvBSelnLyOa5c-VGw-1Od2bRLOQscW0MGcLVoKIHF89yiIOYX6BI9/s540/Nicolas%20Cage%20Renfield%20gif.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="540" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnqZIxlwzoe0m5aq77khNT3F0TmJPrQ1_sYS5uC553s1HycXSGxIRylHyY7-0rEJYsWCIqcB-P-XuiMKbi10XRLC5DocIm-KHFmJld4iOYXy8bI9JaHLe6g3_-Hhya2hEDhhb3siczvBSelnLyOa5c-VGw-1Od2bRLOQscW0MGcLVoKIHF89yiIOYX6BI9/w400-h334/Nicolas%20Cage%20Renfield%20gif.gif" width="400" /></a></div><br />Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-41450755415810699792024-01-02T06:00:00.105-06:002024-01-02T12:18:47.216-06:00Reverend's Reviews 2023: A Queer Year for Movies<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA7P6I1z1s_ggHytKnAKDWpQR0UF5Y02Y0ReeGL-4kgOGNz83ZYvvSbzOfU9aTWiLuvfiik91ciC_77p58WUd1VAxmppZ4WvUKjU9PyaUlOnIVlE6HQ2fGru0Z7iTP6I5iV3I3pYKU9aWCQig61NvQQvyiTjtRAw-jOt9rimen5bQOZGd6nMGlO1mEtnSE/s811/Taylor%20Mac.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="811" data-original-width="598" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA7P6I1z1s_ggHytKnAKDWpQR0UF5Y02Y0ReeGL-4kgOGNz83ZYvvSbzOfU9aTWiLuvfiik91ciC_77p58WUd1VAxmppZ4WvUKjU9PyaUlOnIVlE6HQ2fGru0Z7iTP6I5iV3I3pYKU9aWCQig61NvQQvyiTjtRAw-jOt9rimen5bQOZGd6nMGlO1mEtnSE/s16000/Taylor%20Mac.PNG" /></a></div><br />Last year presented unusual challenges for Hollywood and the global film industry. Strikes by both writers and actors halted production for months and delayed the release of some movies. New entries in time-honored franchises like the Marvel Cinematic Universe, <i>Indiana Jones</i>, Disney-Pixar animation and <i>Mission: Impossible </i>underperformed, especially in light of their expensive budgets. And then there was the "Barbenheimer" phenomenon, although that turned out to be one — make that two — of the year’s box office success stories.</span></h3><h3 style="text-align: left;"><span style="font-weight: normal;"> </span></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"><span style="font-weight: normal;"></span></h3><h3 style="text-align: left;"><span style="font-weight: normal;">
One could say it was a queer year for movies, both in terms of the historic definition of queer as “strange” or “unusual” and its modern, positive usage by our LGBTQ community. Several of the year’s best productions boasted LGBTQ stories, cast members and/or filmmakers.</span></h3><p>
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Here is this critic’s rundown of the best and worst cinematic offerings of 2023. Please note: As usual, there were a few acclaimed releases I wasn’t able to see before press time including <i>Poor Things</i>, <i>Wonka </i>and <i>Killers of the Flower Moon</i>.<br />
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1. <i><b><a href="https://www.imdb.com/title/tt27549751/reference/" target="_blank">Taylor Mac’s 24–Decade History of Popular Music</a></b></i> (Telling Pictures and HBO/Max). A simply stunning documentary/theatrical recording of this queer artist’s now-legendary 2016 stage show. Performed over 24 hours but effectively edited down to two while adding intimate backstage moments (including fabulous costume changes), this is the closest we will get to attending Mac’s event that covered American music from 1776 to 2016. Not to be missed and now streaming on Max.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj87VEfK7IqXQ4exNHAjkOrnjMpaNGSRsW8vkuLR2lbUT6JOBWxiF9pRZHPSEptiBi0cSf1fEkcQyZT8ELboa1lPpd8HlC5sJy48EC1h3VEXH_Pn5g6jMtpyu55z6mXQOha9wbAGjv5CP644nAzWBI4YzJVbn_OjYfY-yPV5stybXhHVNCk5e72aH2AUyMo/s787/Rustin.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="555" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj87VEfK7IqXQ4exNHAjkOrnjMpaNGSRsW8vkuLR2lbUT6JOBWxiF9pRZHPSEptiBi0cSf1fEkcQyZT8ELboa1lPpd8HlC5sJy48EC1h3VEXH_Pn5g6jMtpyu55z6mXQOha9wbAGjv5CP644nAzWBI4YzJVbn_OjYfY-yPV5stybXhHVNCk5e72aH2AUyMo/s16000/Rustin.PNG" /></a></div><p>
2. <i><b><a href="https://www.imdb.com/title/tt5535276/reference/" target="_blank">Maestro</a></b></i> and <i><b><a href="https://www.imdb.com/title/tt14160834/reference/" target="_blank">Rustin</a></b></i> (both Netflix). Two revealing, inspiring biopics about queer icons. With <i>Maestro</i> Bradley Cooper directs and stars as conductor-composer Leonard Bernstein, and the film doesn’t shy away from depicting Bernstein’s relationships with men as well as the more challenging aspects of his longtime marriage to a woman. Meanwhile, out actor Colman Domingo was riveting as gay civil rights activist Bayard Rustin, who suffered and sacrificed much behind the scenes of the 1963 March on Washington but is finally getting his due.<br />
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3. <i><b><a href="https://www.imdb.com/title/tt1517268/reference/" target="_blank">Barbie</a></b></i> (Warner Bros). I still can’t believe Mattel approved Greta Gerwig’s meta, patriarchy-skewering take on the toy company’s iconic doll but I’m glad they did. Margot Robbie and Ryan Gosling were perfectly cast as Barbie and Ken, as were the members of the film’s extensive ensemble playing additional Barbies and Kens. Candy-colored, smart, and utterly delightful.<br />
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4. <i><b><a href="https://www.imdb.com/title/tt21192142/reference/" target="_blank">All of Us Strangers</a></b></i> (Searchlight Pictures) and <i><b><a href="https://www.imdb.com/title/tt13238346/reference/" target="_blank">Past Lives</a></b></i> (A24). A pair of achingly romantic tales that span time, geography and even the philosophical/metaphysical. In the first, a gay man unexpectedly grows in not only a deeper connection with his handsome neighbor but with his long-dead parents. In <i>Past Lives</i>, two childhood sweethearts originally from Korea reconnect at different points through subsequent decades. Both films are beautifully directed, written and acted.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidVTCLPUhqAn7ZURZbS7STkx39VhUwFxmIfemeokB7OFGMMas3q2jHhgbx8gxQxenc2LCEYJ7mwtabM4Q02Kq7a5M9BB08qGJGBWKp-WmAyHnSRACljAAZXMnSdu2vwf-oYkEKABLUaE8fNfylruyAzM-VkrYnlC1Hf92lwdI5I789pGoeGlC_HkM_e_Zf/s865/Past%20Lives.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="598" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidVTCLPUhqAn7ZURZbS7STkx39VhUwFxmIfemeokB7OFGMMas3q2jHhgbx8gxQxenc2LCEYJ7mwtabM4Q02Kq7a5M9BB08qGJGBWKp-WmAyHnSRACljAAZXMnSdu2vwf-oYkEKABLUaE8fNfylruyAzM-VkrYnlC1Hf92lwdI5I789pGoeGlC_HkM_e_Zf/s16000/Past%20Lives.PNG" /></a></div><p>
5. <i><b><a href="https://www.imdb.com/title/tt7160372/reference/" target="_blank">The Zone of Interest</a></b></i> (A24). Life is perfect for Rudolf Hoss, his wife Hedwig and their children. He is well-paid and well-respected at his job, and they have a lovely home with a spacious adjoining garden. That their home is next door to the Auschwitz concentration camp where Rudolf serves as Commandant serves as the chillingly ironic core of Jonathan Glazer’s gorgeously horrific adaptation of Martin Amis’ novel. Its depiction of how easily nice, intelligent people can do evil things in the interest of a political cause serves as a timely warning today.<br />
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6. <i><b><a href="https://www.imdb.com/title/tt20358284/reference/" target="_blank">The Lesson</a></b></i> (Bleecker Street) and <i><b><a href="https://www.imdb.com/title/tt17351924/reference/">Saltburn</a></b></i> (Amazon MGM). Two sharply written, memorable critiques of class differences that also happen to share the always welcome British star, Richard E. Grant. In both, eager young men become manipulated and/or manipulators in their desire for the best things in life. These films also offer a fair share of homoerotic tension courtesy of attractive actors Daryl McCormack, Stephen McMillan, Jacob Elordi, Archie Madekwe and Barry Keoghan. Keoghan’s climactic “victory dance” in <i>Saltburn </i>is alone worth the price of admission/rental.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjBzfXGzzLhFluZB3ikEg1ZZft2Obr4L5y7jCZUF13aUvB18On9-iOuo1lmWtK2zer7zTCqD5z1ib2ZUHIwHbL2L8Vy9Rgrz8ihW3sTshWxEVzFs3w6WjiVwflhbjk7GHunV5DxFJdjesbpHPprWt3CrIqyDD6ATtxHEwjUsM4DJ33HbvdZBFg2tKHHZ_q/s873/Holdovers.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="598" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjBzfXGzzLhFluZB3ikEg1ZZft2Obr4L5y7jCZUF13aUvB18On9-iOuo1lmWtK2zer7zTCqD5z1ib2ZUHIwHbL2L8Vy9Rgrz8ihW3sTshWxEVzFs3w6WjiVwflhbjk7GHunV5DxFJdjesbpHPprWt3CrIqyDD6ATtxHEwjUsM4DJ33HbvdZBFg2tKHHZ_q/s16000/Holdovers.PNG" /></a></div><p>
7. <i><b><a href="https://www.imdb.com/title/tt14849194/reference/" target="_blank">The Holdovers</a></b></i> (Focus Features). Oscar-winning filmmaker Alexander Payne returns to the academic setting of his previous hit <i>Election </i>(1999) for another superb, comedic-dramatic take on interpersonal relations. Paul Giamatti is great as usual as a curmudgeonly teacher who gradually softens after being saddled with a homeless student during Christmas break. This could well become a holiday season classic over time.<br />
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8. <i><b><a href="https://www.imdb.com/title/tt9603212/reference/" target="_blank">Mission: Impossible- Dead Reckoning Part One</a></b></i> (Paramount). I’ve long enjoyed this venerable film series led by superstar Tom Cruise, although the last two entries fell a little flat for me. However, this latest entry — in which Cruise’s Ethan Hunt and his crew are pitted against an elusive AI bent on world domination — was smart and thrilling. It also features amazing stunts and special effects set pieces. I can’t wait for <i>Part Two</i>!<br />
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9. <i><b><a href="https://www.imdb.com/title/tt11703244/reference/" target="_blank">The Blackening</a></b></i> (Lionsgate) and <i><b><a href="https://www.imdb.com/title/tt15422224/reference/" target="_blank">Slotherhouse</a></b></i> (Gravitas Ventures). These riotously funny horror-comedies took me by surprise. Out talent Dewayne Perkins co-wrote <i>The Blackening</i>’s satiric take on serial killer tropes, while <i>Slotherhouse </i>co-stars both a queer/non-binary actor as one of its sorority girl subjects and an amusingly convincing puppet as its adorable — though psychotic — killer sloth!<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmRPg_wNNJJUAwFS5kvSMtZEgyn8NyH8dU8cLwR5K0Fbca8eYS8F7JasDEJIU4mTnUoTgJj5Ae-NTj5fd7E3KEUPojuRDbcOV_RjzdLSxNGAIyXSJsj9y9RoB4n2FgNfikR5v8ugPPbqjzIJCZzkAA79k5BYtpJerRPIXpYzzNka8FFHr_Gdr_88WGDnj0/s873/American%20Fiction.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="590" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmRPg_wNNJJUAwFS5kvSMtZEgyn8NyH8dU8cLwR5K0Fbca8eYS8F7JasDEJIU4mTnUoTgJj5Ae-NTj5fd7E3KEUPojuRDbcOV_RjzdLSxNGAIyXSJsj9y9RoB4n2FgNfikR5v8ugPPbqjzIJCZzkAA79k5BYtpJerRPIXpYzzNka8FFHr_Gdr_88WGDnj0/s16000/American%20Fiction.PNG" /></a></div><p>
10. <i><b><a href="https://www.imdb.com/title/tt23561236/reference/" target="_blank">American Fiction</a></b></i> (Orion/Amazon MGM). Jeffrey Wright is typically terrific as a frustrated writer and professor who writes an outrageously stereotypical, black-themed novel out of spite. He then grows even more frustrated when his book becomes a bestselling award-winner! Cord Jefferson makes an impressive feature debut with his direction of this thought-provoking movie as well as his screenplay adapted from Percival Everett’s 2001 novel <i>Erasure</i>.<br />
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Of course, not all movies can be so great, sadly. The 2023 movies that most made me want my money and/or time back after watching them are:<br />
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1. <i><b><a href="https://www.imdb.com/title/tt14209916/reference/" target="_blank">Cocaine Bear</a></b></i>. Though allegedly inspired by a true story, this was simply the most ridiculous film of the year and a waste of several talented actors including the late Ray Liotta, not to mention director Elizabeth Banks. The bad CGI used to create the bears also didn’t help.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheQxgI93cUhJNEls3WrbtYEX6MXhczGo2fsnkXtsShMKT-Bzg5HxCSxHuErfar19CxB80YoiswMx0HXUeUiTYX4Jn9j3Qor4igExGAzAmwIMt4MweBdUxpy4Lr1jHaQuhZ4_G6tVqeZxZhP-Rn1Auz5ij1fLRS8qeuQjzbVvlqhrn9meLk3RmMEeheFGGZ/s877/Cocaine%20Bear.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="877" data-original-width="604" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheQxgI93cUhJNEls3WrbtYEX6MXhczGo2fsnkXtsShMKT-Bzg5HxCSxHuErfar19CxB80YoiswMx0HXUeUiTYX4Jn9j3Qor4igExGAzAmwIMt4MweBdUxpy4Lr1jHaQuhZ4_G6tVqeZxZhP-Rn1Auz5ij1fLRS8qeuQjzbVvlqhrn9meLk3RmMEeheFGGZ/s16000/Cocaine%20Bear.PNG" /></a></div><p>
2. <i><b><a href="https://www.imdb.com/title/tt16304446/reference/" target="_blank">Fair Play</a></b></i>. This has received some acclaim from fellow critics, but I found its plot about partnered/engaged co-workers whose relationship takes a nasty turn after one of them is promoted over the other at work, misogynistic and thoroughly unpleasant.<br />
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3. <i><b><a href="https://www.imdb.com/title/tt12261776/reference/" target="_blank">65</a></b></i>. A.k.a. <i>Jurassic Park</i> meets <i>Back to the Future</i>, in which advanced aliens crash land on Earth during our prehistoric past and quickly find themselves dinosaur food. Redundant and ludicrous.<br />
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4. <i><b><a href="https://www.imdb.com/title/tt9224104/reference/" target="_blank">Meg 2: The Trench</a></b></i>, <a href="https://www.imdb.com/title/tt10160976/reference/" target="_blank"><i><b>The Nun II</b></i></a> and <i><b><a href="https://www.imdb.com/title/tt5090568/reference/" target="_blank">Transformers: Rise of the Beasts</a></b></i>. A trio of repetitive sequels no one needed.<br />
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5. <i><b><a href="https://www.imdb.com/title/tt13345606/reference/" target="_blank">Evil Dead Rise</a></b></i>. Gruesome, urban-based reboot of the demonic horror series that, to my knowledge, no one asked for.<br />
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Here’s to a happy and cinematic new year!<br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Reviews by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-7425639212327120392023-12-18T06:00:00.119-06:002023-12-18T09:52:05.791-06:00Reverend's Interviews: Strangers No More<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilEMbKHF1UP8SVwy5huoE4Ssk-wpIba8tPB125dk6WMj30AJZ7M-BjuEHEwa2cf9gqwcJ6ASZEM7cPz5qBO-n7ZCmu-VNXd9sjHpB7yq0wgLhFmIkrE-7n7PjcmLlMjHZQ_1T_ONZ7nC1QHWIVHdzElbrySFlUv5eKh_3NVpcyAV0QYzrry9gSls5YXLTn/s890/All%20of%20Us%20Strangers.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="890" data-original-width="592" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilEMbKHF1UP8SVwy5huoE4Ssk-wpIba8tPB125dk6WMj30AJZ7M-BjuEHEwa2cf9gqwcJ6ASZEM7cPz5qBO-n7ZCmu-VNXd9sjHpB7yq0wgLhFmIkrE-7n7PjcmLlMjHZQ_1T_ONZ7nC1QHWIVHdzElbrySFlUv5eKh_3NVpcyAV0QYzrry9gSls5YXLTn/s16000/All%20of%20Us%20Strangers.PNG" /></a></div><br />Suppose you suddenly feel inspired to visit your childhood home, as we sometimes do as adults. Once there, you greet your loving parents and hang out with them a while. There’s just one thing amiss: your parents have been dead for the last 30 years.</span></h3>
<h3 style="text-align: left;"><span style="font-weight: normal;"><br />
Such is the unusual scenario in which central character Adam finds himself in the new, gay-interest drama <i><b><a href="https://www.imdb.com/title/tt21192142/reference/" target="_blank">All of Us Strangers</a></b></i>. The film is scheduled for theatrical release beginning December 22nd by Searchlight Pictures. Loosely based on Taichi Yamada’s horror-leaning 1987 novel <i>Strangers</i>, it was written and directed by acclaimed filmmaker Andrew Haigh.</span></h3><p>
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As adapted by Haigh, <i>All of Us Strangers</i> is set in contemporary London. Adam (played by out actor Andrew Scott) has a chance encounter one night with a mysterious neighbor, Harry (Paul Mescal, an Oscar nominee earlier this year for <i>Aftersun</i>). This punctures the rhythm of the reclusive Adam’s everyday life. As a romantic relationship develops between him and Harry, Adam becomes preoccupied with memories of the past. He eventually finds himself drawn back to the suburban town where he grew up and the childhood home where, to his surprise, his parents are still living. Mum and Dad also happen to look just as they did on the Christmas Eve they both died three decades earlier. Adam and his parents (super)naturally begin to catch up on their lost time.<br />
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Out filmmaker Andrew Haigh previously wrote and directed three award-winning feature films: <i>Lean on Pete</i> (2017), <i>45 Years</i> (2015) and the explicitly gay <i>Weekend </i>(2011). He was also executive producer and lead writer-director on the popular HBO series <i>Looking </i>(2014-2016).<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6WZl4HLr5EidfM0OJ4HhbqPA3zV1H7lCILw9CP3gEqdkaJRvfQ6kvLOrHTQvn2IV5DWajeFZCTgHuonj0EVAQVDlaFpvG7itRV6bq4c24y8_Op5BrA-3ft3ihwiIwPLzzXX4Ir70JpSZCLjbxm3DXTAziAWmVx7gXcSs7_RX3fZvVo9n-D39oE9FKRZCv/s1252/All%20of%20Us%20Strangers%201.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="1252" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6WZl4HLr5EidfM0OJ4HhbqPA3zV1H7lCILw9CP3gEqdkaJRvfQ6kvLOrHTQvn2IV5DWajeFZCTgHuonj0EVAQVDlaFpvG7itRV6bq4c24y8_Op5BrA-3ft3ihwiIwPLzzXX4Ir70JpSZCLjbxm3DXTAziAWmVx7gXcSs7_RX3fZvVo9n-D39oE9FKRZCv/w640-h402/All%20of%20Us%20Strangers%201.PNG" width="640" /></a></div><p>
Recalls Haigh, “What I loved about the novel (<i>Strangers</i>) was its central conceit: What if you met your parents again long after they were gone, only now they’re the same age as you? It seemed such an emotional way to explore the nature of family. That became my starting point.” But he placed the story in a world more recognizable to his/our own. “Adapting the book was a long and sometimes painful process,” Haigh admits. “I wanted to pick away at my own past as Adam does in the film. I was interested in exploring the complexities of both familial and romantic love, but also the distinct experience of a specific generation of gay people growing up in the 1980s. I wanted to move away from the traditional ghost story of the novel and find something more psychological, almost metaphysical.”</p><p>Author Yamada and his family were respectful of Haigh’s vision, which changed the central character of the story to a gay man, and gave their blessing to make the film. The project then attracted the extraordinary acting quartet that is Andrew Scott (perhaps best known in the US as “Sexy Priest” from the Amazon series <i>Fleabag</i>), Paul Mescal (also acclaimed — and frequently naked — in the Hulu series <i>Normal People</i>), the ever-adorable Jamie Bell (<i>Billy Elliot</i>, <i>Film Stars Don’t Die in Liverpool</i>) and the lovely Claire Foy (<i>Women Talking</i>, <i>The Crown</i>).<br />
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After watching <i>All of Us Strangers</i>, I was struck by not only how moving the story is but how delicate it is in terms of cinematic structure. I’ve rarely if ever used the word delicate to describe a movie, but it certainly fits here. This became a topic of conversation when I was privileged last month to interview several of the artists involved in making the film: director of photography Jamie D. Ramsay, SASC; editor Jonathan Alberts, ACE; and composer Emilie Levienaise-Farrouch. The following are excerpts from my Zoom conversations with these amazing technicians.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsN6IbxH-OhNvsURakPBQoaZfgtdvPHvkAfnAyMF6hCexXtSpsU13-2XQtaJo77px0JtJ6JgruwGx-q4J4WiJMeM4SIPvMhFosSOclw7__WWdJ607514r3rckt9TlQpXDve-tq94R5VbM2KxfB8mYo5t5M27La7M0wjjzqDAX977QnTH-qNkbNa8UTL6yA/s1302/All%20of%20Us%20Strangers%202.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="783" data-original-width="1302" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsN6IbxH-OhNvsURakPBQoaZfgtdvPHvkAfnAyMF6hCexXtSpsU13-2XQtaJo77px0JtJ6JgruwGx-q4J4WiJMeM4SIPvMhFosSOclw7__WWdJ607514r3rckt9TlQpXDve-tq94R5VbM2KxfB8mYo5t5M27La7M0wjjzqDAX977QnTH-qNkbNa8UTL6yA/w640-h384/All%20of%20Us%20Strangers%202.PNG" width="640" /></a></div><p>
Ramsay is a South African/British Director of photography. He is known for his cinematography on the breakthrough, gay-themed South African film <i>Moffie</i>. He next helmed the period drama <i>Mothering Sunday</i> and then re-connected with <i>Moffie </i>director Oliver Hermanus to make the Academy Award- nominated <i>Living</i>.<br />
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<b>CC</b>: It’s nice to meet you! I want to say congratulations to you for your excellent work on this film but also <i>Moffie </i>and <i>Living</i>. They’re all great films and well-shot. What drew you to this particular project or this story?<br />
<b>JDR</b>: You know, when you look at a project that you’re going to be spending your life force on and your time that you’ll never get back, this beautiful life we live, you need to pick it correctly. You look at the filmmakers involved and you look at the script itself and the project as a whole in regards to cast and everything that’s involved, and within that you develop your idea of the film. I think with this movie first and foremost was to work with Andrew Haigh, something I’ve always wanted to do, and then the blessing of such an incredible script that I couldn’t put down when I started reading it. It resonated with me on such a deep emotional level.<br />
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<b>CC</b>: Comparing this and <i>Moffie</i>, another gay-themed story, would you say your approach differed or varied between the two stories in any way?<br />
<b>JDR</b>: The big difference for me between this film and <i>Moffie </i>is that <i>Moffie </i>is a story about unrequited love because of how homosexuality was deemed as a sin in the 80’s in South Africa. This movie that we’ve made, <i>All of Us Strangers</i>, is not that. It’s a love story. It’s not a gay movie, it’s a love story. It transcends being a gay film beautifully. You don’t watch the love scenes and think “it’s a gay love scene.” You watch a love scene, and this is a love story about forgiveness: about self-forgiveness, about the cathartic process of letting go of trauma, and for me that’s the big difference.<br />
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<b>CC</b>: Great, thanks for clarifying that. When it comes to your photography and filming <i>All of Us Strangers</i>, what were some of the factors or conditions that guided your choices?<br />
<b>JDR</b>: First and foremost, Andrew and I wanted to make a movie that represented the concept of nostalgia, that represented the concept of being locked in a place in your life where your best memories were 15 or 20 years before. For us to embody visually this idea of memory and nostalgia was very important to us. It was very important to create a very subjective journey, a subjective experience of loneliness from the inside out. The camera always needs to feel as if it was the unseen friend in the room rather than an objective camera telling the story. All of our conversations were really about feeling, about the metamorphosis of the journey and what feeling we wanted to embody as filmmakers, and how best to do that very subtly from a visual perspective.<br />
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<b>CC</b>: I spoke with Emilie the composer and the editor, Jonathan, earlier and that word subtle came up with both of them. And also I described the film as being very delicate, a very delicate story and a very delicate film. It seems as if one factor — if the photography had been too dark or too bright, or if the music had been too loud or too frantic — the whole thing could have fallen apart. It’s just a perfect balance that you all found in that delicacy. Do you have any thoughts about that?<br />
<b>JDR</b>: Thank you. Yeah, you know while you were saying that I was just thinking about how delicate our existence on this planet is. We have this human experience on this world but we ultimately are made from stardust; we are carbon atoms that have this soul within us. The fact that we breathe and we think and we love and we hate is just such a delicate holding together of things, and can be unseated so quickly by an accident or by a sickness or by this or that. But in (life’s) delicateness there’s a robustness as well that drives us and a tenacity that drives us, and ultimately it’s the pursuit of love. Love is the thing that generates us forward and that’s the glue, isn’t it? This movie, for me, is really about finding that love and finding it for yourself. And that’s what I’ve got to say about that. (laughs)<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LZhkvm9oELOan-WINsYr_TwkrTRYzTyH_nBcvV6YPFmIUzmljOUFN3pDrnr4EpjXAaTJBmvzv4PC4AtLKlpnC6ew80vB80iXOXRPJ6YgO4CKKu2ZlYx1sJn6nszEc6mSte6g0gYtUOO7xyc63YVLuG0eBNiPz2m6HjhMZTABqeX3YorOuY-Jfm1sQHl8/s1622/All%20of%20Us%20Strangers%203.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="767" data-original-width="1622" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LZhkvm9oELOan-WINsYr_TwkrTRYzTyH_nBcvV6YPFmIUzmljOUFN3pDrnr4EpjXAaTJBmvzv4PC4AtLKlpnC6ew80vB80iXOXRPJ6YgO4CKKu2ZlYx1sJn6nszEc6mSte6g0gYtUOO7xyc63YVLuG0eBNiPz2m6HjhMZTABqeX3YorOuY-Jfm1sQHl8/w640-h302/All%20of%20Us%20Strangers%203.PNG" width="640" /></a></div><p>
Jonathan Alberts, the movie’s editor, is an alum of McGill University and the American Film Institute. His previous films include <i>Wristcutters: A Love Story</i> and <i>Like Crazy</i>, Andrew Haigh’s previous films <i>45 Years</i> and <i>Lean on Pete</i>, and Alan Ball’s <i>Uncle Frank</i>.<br />
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<b>CC</b>: Congratulations on not just this film but all your work that you’ve done with Andrew. It’s really significant and impactful, and you obviously work well together. Maybe first and foremost, some of my readers might not know exactly what an editor does, so can you say maybe just generally what the role of the editor is or what is your approach to editing a film?<br />
<b>JA</b>: Sure. You know, I think a lot of people think that editing is about continuity, it’s about making things match, and there is an aspect of that but truth is I don’t think editing is anything about that. Editing is about how to tell the best story. The first thing that you put together is not what you end up with. As an editor, you’re thinking about “how do we tell this in the best way possible” using all the variables that you have with filmmaking, which is cinematography, performance, sound design, music. Those variables provide endless permutations, so as an editor I’m taking all those things together and I’m trying to understand how best to tell that story.<br />
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<b>CC</b>: In terms of this particular film or this story, did you do anything different in terms of approach? Did it challenge you or call you to do something different or reflect on the approach differently than other films?<br />
<b>JA</b>: I think in some ways. So, every film presents a different set of problems. With (<i>All of Us Strangers</i>), it’s not just a straightforward drama. It has a supernatural element, it has this fantastic fantasy side, and I think we had to really think about the tone in terms of “how was this tone going to work.” It could have gone horribly wrong in a lot of different ways. We spent about a year editing the film and it was a long time of really experimenting, of really trying to understand what the film was. I mean, you know by the script what the story is about but all of the variables that I was talking about before change. It’s a different kind of alchemy that comes to the actor’s performances and the dialogue, so as an editor you’re often thinking about that.<br />
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<b>CC</b>: This is a very delicate film, and that’s not a word that I’ve typically used to describe a movie, but I think it’s very true. And I think the same is true of the editing. I really think there is a delicate quality to your work that really makes the story come alive. Do you have any thoughts about that?<br />
<b>JA</b>: It’s interesting because as an editor, you know, before the music composer is on board you’re building a whole temporary soundtrack for the film, so I would talk to the director about what we want it to sound like. He would send me a playlist and I would take that playlist and start building another playlist and send it to him, and it was an interesting kind of thing. You spend a lot of time as an editor thinking and feeling “let’s try this piece,” and there was a crazy number of soundtracks I’m pulling from thinking “maybe this will work.” And then the composer comes on board and starts listening to this music you’ve put on it and they end up taking all of that off. (laughs) For this film, it was delicate. It’s such an intimate film and the music was a really hard thing to nail. I think Emilie did a great job, and we had many many conversations. She was so open and so inviting about trying different things. She had all these different ideas and she was so patient about finding the sound, but she found it and I think the soundtrack is absolutely beautiful and perfect for the film.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-0BzJFd46NdEqVpVqN6aqyKAtWiivjv1t5MqLwR_k2614CvOBnOYRePsxKUKQkKfEMZQiyizdnBRCj8KDURt8t-1bsbjmQZHyEqisKEMxMlAg5BZbXTQJ0zF0Pd0L8njap4NH0-LG8np5-4DXQgxgzXmEjkXRB5Ez2LVoDwdROsP9hJ0dVYL-tKlh0Bsi/s1353/All%20of%20Us%20Strangers%204.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="758" data-original-width="1353" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-0BzJFd46NdEqVpVqN6aqyKAtWiivjv1t5MqLwR_k2614CvOBnOYRePsxKUKQkKfEMZQiyizdnBRCj8KDURt8t-1bsbjmQZHyEqisKEMxMlAg5BZbXTQJ0zF0Pd0L8njap4NH0-LG8np5-4DXQgxgzXmEjkXRB5Ez2LVoDwdROsP9hJ0dVYL-tKlh0Bsi/w640-h358/All%20of%20Us%20Strangers%204.PNG" width="640" /></a></div><p>
Speaking of, Emilie Levienaise-Farrouch is an award-winning composer and artist living in London. She scored last year’s Oscar-nominated <i>Living</i>, starring Bill Nighy. Her previous credits include <i>The Forgotten Battle</i> and <i>The Strays</i>, both for Netflix, and MGM’s <i>Censor</i>.<br />
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<b>CC</b>: Hi Emilie! Thanks for your time and thanks for your score on this film. It’s a lovely, delicate film. What drew you to this project or story in the first place?<br />
<b>EL</b>: I saw an edit of the film before coming on board and I think I had a reaction that’s pretty similar to everybody. It kind of hit me like a ton of bricks and made me cry. I was also very impressed by how you can create a story that’s so specific but also touches on themes that are so fundamental to every human being’s experience. I just thought that was so impressive, and done in a way that was so subtle and with humor at times and yet so bold. As you say, it’s colliding so many different little elements and yet it works as a whole. But mainly it made me cry and I wanted to be part of it.<br />
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<b>CC</b>: I know you’re relatively new to composing for film but you have some impressive credits under your belt. How did you approach composing for this film and how was it different from or similar to other projects?<br />
<b>EL</b>: An approach I have to a lot of the films I work on is, generally, I have to become emotionally really close to one of the characters. I really try to understand them because all of my music comes from a place of emotional truth, so I need to be able to feel what the character is feeling. And then I know that the music I am going to write from that place is going to be truthful for the character and truthful to the story. In <i>All of Us Strangers</i>, it was just really connecting with Adam, which was not hard for me because I love Andrew Scott’s performance. It’s just so subtle and all in the details. And then the next step is thinking more intellectually about what are we trying to do with the score, how the score should work. There was conversation with the director and editor about warmth, there was conversation about the nature of memory, and a more technical aspect was how are we going to use the score in order to gel a complex timeline and various genres into something that feels like a whole.<br />
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<b>CC</b>: Wow, that’s a fascinating process. Did I detect a love theme for Adam and Harry? I kind of heard bits and pieces but I wasn’t absolutely positive.<br />
<b>EL</b>: That’s well spotted! Because of this idea of fragments that we had, because of the nature of memory and things like that, it was quite important to keep it really short. We have a few fragments; three different, very short melodies. The love one is at the very start of the film, when (Adam and Harry) are in bed having that long conversation, and at the very end of the film is the main moment when it comes back. They are very, very subtle and hard to grasp. It felt like if we had melodies that were very romantic and very hummable it would not be right for the film.</p><p><i>All of Us Strangers</i> will have a limited release starting this Friday, December 22nd.<br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Reviews by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-75367464347497087122023-12-12T06:00:00.079-06:002023-12-12T10:52:56.423-06:00Reverend's Reviews: Happy Holiday Theatre Roundup<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3jx3UxBiH1HCo4C_Chja6Z0-MbolUdaPEXi2d_WXhoAX_dxhbWa0dfD0YDpFu2ivZX82J7Jkv8uyflAuY3Nj2_KGSVSRBCwQS42QCyx2P1FcpHDzZd6o9uxRctW1vE14H8B1Cd1Fs3RPUxmPRs6n-nRnAtzxBsu-m1vE3dgRCdsPLfc7DIdVKlvPzcChB/s600/Prince%20of%20Egypt.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3jx3UxBiH1HCo4C_Chja6Z0-MbolUdaPEXi2d_WXhoAX_dxhbWa0dfD0YDpFu2ivZX82J7Jkv8uyflAuY3Nj2_KGSVSRBCwQS42QCyx2P1FcpHDzZd6o9uxRctW1vE14H8B1Cd1Fs3RPUxmPRs6n-nRnAtzxBsu-m1vE3dgRCdsPLfc7DIdVKlvPzcChB/s16000/Prince%20of%20Egypt.webp" /></a></div><br />Plenty of people travel to visit family and friends during this festive time of year. While I don't anticipate getting on a plane, I've recently been able to travel around the world thanks to several new, very good-to-excellent theatrical productions that I encourage all theatre lovers to check out.</span></h3><p>
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<i><b><a href="https://www.theprinceofegyptmusical.com/" target="_blank">The Prince of Egypt: The Musical</a></b></i><br />
For religious folk such as myself, it was a little odd when 1998's animated movie <i>The Prince of Egypt</i> was released during the height of the Christmas season rather than during Passover/Spring. Well, go figure: the Steven Spielberg-produced musicalization of the Old Testament's Exodus saga became a box office hit and won an Oscar for its main theme song, "When You Believe."<br />
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Acclaimed composer Stephen Schwartz (who subsequently did a little show called <i>Wicked</i>) revised and added to his film score for a stage adaptation of <i>The Prince of Egypt</i> that played the Dominion Theater in London's West End for 6 weeks in 2020, before the COVID-19 pandemic forced its premature closure. The production re-opened in mid-2021 and ran through early 2022. It was captured on film before a live audience and, in honor of the movie's 25th anniversary, was just released December 5th to buy or rent on digital from NBCUniversal.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvmt-_muugyZ4tW6mNQpaCOgUYjCqjagUX8BlvgQ_cj41KXP3Uu4s_KAdL8WaYltgLJKMc8rGGkbK3NOegPMZ2_FQefbyRlaFZjHMqHGSkd4zRXihbTf9z_mDQ7p5jLS52_vw1xQX6sb5wMDd-9I0xdBeseI2fFblHrlC8F7dELOXgNhyphenhyphenHikN_xux86k7h/s1200/Luke%20Brady.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvmt-_muugyZ4tW6mNQpaCOgUYjCqjagUX8BlvgQ_cj41KXP3Uu4s_KAdL8WaYltgLJKMc8rGGkbK3NOegPMZ2_FQefbyRlaFZjHMqHGSkd4zRXihbTf9z_mDQ7p5jLS52_vw1xQX6sb5wMDd-9I0xdBeseI2fFblHrlC8F7dELOXgNhyphenhyphenHikN_xux86k7h/w640-h320/Luke%20Brady.jpg" width="640" /></a></div><p>
Directed by Scott Schwartz (Stephen's son), the musical's plot centers on two unexpected adoptive brothers: Ramses, son of Egypt's pharaoh and destined to become pharaoh himself, and Moses, the biblical savior who would lead his fellow Hebrews out of Egyptian slavery. (Credit for this dramatic development should go to 20th-century film producer Cecil B. DeMille rather than anyone actually involved in writing the book of Exodus.) Tensions grow between the pair and Moses ends up exiled. God appears to him in the wilderness and commissions Moses to return to Egypt in order to free his people. Plagues descend, seas are parted, but all eventually ends well for the Hebrews.<br />
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In the stage version's biggest departure from its cinematic predecessors, things end well for Ramses too. Schwartz Sr. and book writer Philip LaZebnik decided to let Ramses survive relatively unscathed rather than be marooned in the middle of the Red Sea <i>a la</i> the movie. While this may upset purists, it is organic in light of the musical's more bromantic depiction of the relationship between Moses (played by hunky <b>Luke Brady</b>) and Ramses (the charismatic Liam Tamne). They get to reconcile during the finale and even exit the stage with their arms around each other. Viewers can definitely quibble about this from both dramatic and theological/historical perspectives.<br />
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That being said, <i>The Prince of Egypt: The Musical</i> is impressive both musically and visually. In addition to five of the songs he wrote for the film, Stephen Schwartz has provided no less than ten new songs. The most memorable of these are "Footprints on the Sand" and the show-stopping, dance-oriented "Simcha." Sean Cheesman's energetic choreography is best employed when the dancers embody not only humans but horse-drawn chariots and even the famed Burning Bush! The production also boasts striking scenic and costume design. Whether viewed during Christmas, Passover or some other time of year, Reverend recommends it.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiuuX6RJGhwnmY6wsNYrh2rO0sF3z9pNTuxWgka1KXoArlBoaK9ldH4GHj4Ioy71Y4a3fwRFrS8dciyoVSaMLaq6XUQQJYr3mLXIE83SfNU-5g5yE6xUnip1aGXN_zeQ54net4jPHpk4g8_4HPC5lxt9b2tm3PQ5jCdwOj4rJyDV7BqoJjiSBJXmzoTTOF/s900/Purlie%20Victorious.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="900" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiuuX6RJGhwnmY6wsNYrh2rO0sF3z9pNTuxWgka1KXoArlBoaK9ldH4GHj4Ioy71Y4a3fwRFrS8dciyoVSaMLaq6XUQQJYr3mLXIE83SfNU-5g5yE6xUnip1aGXN_zeQ54net4jPHpk4g8_4HPC5lxt9b2tm3PQ5jCdwOj4rJyDV7BqoJjiSBJXmzoTTOF/w640-h356/Purlie%20Victorious.jpg" width="640" /></a></div><p>
From Egypt, we travel to the "non-Confederate" (as stated in the play's subtitle) American South for the current and fantastic Broadway revival of the late Ossie Davis's <i><b><a href="https://purlievictorious.com/" target="_blank">Purlie Victorious</a></b></i>. Its full, winking subtitle is <i>A Non-Confederate Romp Through the Cotton Patch</i>. Though set during the 1950's, there are plentiful indications that the Confederacy remains alive and well on the Georgia plantation the title character and other black characters grudgingly call home.<br />
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Tony Award winner Leslie Odom, Jr. (<i>Hamilton</i>) plays the Reverend Purlie Victorious Judson. As the play opens, Purlie has just returned from a trip where he recruited a gullible young woman, Luttiebelle (a delightful performance by Kara Young), to present herself as the next of kin to a late worker. By doing so, Purlie hopes plantation owner Ol' Cap'n Cotchipee will release some money the worker left. Purlie intends to use the money to buy a local, long-closed church in order to preach civil rights to his neighbors.<br />
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<i>Purlie Victorious</i> is first and foremost — and thankfully — a comedy. But playwright Davis intended it to make more than a few serious points about the state of civil rights in the US when it first premiered on Broadway in 1961 (it was adapted into a musical, simply called <i>Purlie</i>, a few years later). Many Southern cities were still segregated at the time, and their black citizens were frequently dehumanized. While some things have definitely improved since then, this play's current revival makes clear we still have a way to go. This is most notable in its depiction of white police officers who are under the sway of the enduringly racist Ol' Cap'n Cotchipee.<br />
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Odom, Jr. is charming in the multi-faceted title role. He gets to be both serious and comedic, plus he gets to preach and sing a bit. I fully expect him and the previously mentioned Kara Young to receive Tony nominations in 2024. While the entire supporting cast is great, recognizable character actor Jay O. Sanders is a standout as Ol' Cap'n Cotchipee, as is Billy Eugene Jones as Purlie's duplicitous yet hapless brother. Perhaps most impressive in this Kenny Leon-directed production is Derek McLane's scenic design, which features the ramshackle home set transforming into a stately church before audience members' eyes during the play's climax. Reverend truly felt like I'd had a religious experience.<br />
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Purlie Victorious is now playing at NYC's Music Box Theater through February 4th, 2024.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimB9Ph67OQ1SDd_UZwic7VgRJiv4GlPw3GjQfOlZlu3-GDVQVYSnhKwAO2oHHQMFvlh4AiP2nd7nPdAr2GZ2Q9O78GdmBx7slL4At58UktFsiMvzojzCEPS8WIp0fz0b96jPVwuSarEsbBVC-pJg3-qUP79WdzNMxKVEaXurVqhPk6LsomQBVNZRO3PXUG/s1333/How%20to%20dance%20in%20Ohio.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1333" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimB9Ph67OQ1SDd_UZwic7VgRJiv4GlPw3GjQfOlZlu3-GDVQVYSnhKwAO2oHHQMFvlh4AiP2nd7nPdAr2GZ2Q9O78GdmBx7slL4At58UktFsiMvzojzCEPS8WIp0fz0b96jPVwuSarEsbBVC-pJg3-qUP79WdzNMxKVEaXurVqhPk6LsomQBVNZRO3PXUG/w640-h480/How%20to%20dance%20in%20Ohio.webp" width="640" /></a></div><p>
In terms of theatrical geography, I next traveled north via the aptly-titled new musical <i><b><a href="https://howtodanceinohiomusical.com/" target="_blank">How to Dance in Ohio</a></b></i>. Inspired by an award-winning 2015 documentary, it is the groundbreaking and instantly lovable tale of a group of young adults on the autism spectrum who are preparing for their first-ever Spring formal dance. It just began an open-ended run last week at the Belasco Theater in NYC.<br />
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<i>How to Dance in Ohio</i> breaks ground as the first Broadway production with actors on the autistic spectrum playing the lead roles. All of them — Desmond Luis Edwards, Amelia Fei, Madison Kopec, Liam Pearce, Imani Russell, Conor Tague and Ashley Wool — are making their Broadway debuts. Additionally, the show's creators and other talent involved are on the spectrum and/or have loved ones who are. The obvious compassion, dedication and talent behind the scenes spilled onto the stage in the preview performance I attended, and I have no doubt it will continue to do so during all performances.<br />
<br />
To their great credit, neither the musical's book nor memorable songs lecture the audience on what it means to be autistic or on the spectrum. The challenges and intricacies facing these characters are periodically revealed through their personal reflections, lyrics or mannerisms. Also significant are the sensory-friendly accommodations provided in the theater. These include quiet "cool-down" spaces, the availability of finger fidget devices, and the absence of flashing lights and loud sudden noises. Special performances during which the theater won't be fully darkened and the volume level reduced are also being offered.<br />
<br />
I definitely encourage prospective attendees on the autistic spectrum to see the show. It's terrific and I believe you will feel powerfully represented for the first (but hopefully not last) time on Broadway!<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2nW81YwfQJka2ZQlTTH0_pIkGxLwumcSR3vXyIGv5s_m1N3frls_D3LlQM0ZpsBAdCFTELzdstG5-ZUs-_J6wjexF0ZMUHJAm8U1QSla1Ph1M57VChmTN9WJ85DmPCTv3n1FDsTEIhIx8iEbp-L1W8LUAebM80-CfNnq8_iJLOeZ3XY8GGdHRWKv6KaLm/s460/Gardens.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="339" data-original-width="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2nW81YwfQJka2ZQlTTH0_pIkGxLwumcSR3vXyIGv5s_m1N3frls_D3LlQM0ZpsBAdCFTELzdstG5-ZUs-_J6wjexF0ZMUHJAm8U1QSla1Ph1M57VChmTN9WJ85DmPCTv3n1FDsTEIhIx8iEbp-L1W8LUAebM80-CfNnq8_iJLOeZ3XY8GGdHRWKv6KaLm/s16000/Gardens.png" /></a></div><p>
The last stop on our "international tour" of new theatrical offerings is Argentina. The native country of acclaimed director-choreographer Graciela Daniele, it serves as the setting for <i><b><a href="https://www.lct.org/shows/gardens-anuncia/" target="_blank">The Gardens of Anuncia</a></b></i>. This new musical inspired by Daniele's life as well as directed by her is playing at Lincoln Center in the intimate Mitzi E. Newhouse Theater through December 31st.<br />
<br />
Daniele, whom I have long admired primarily for her work in the 1983 film version of <i>The Pirates of Penzance</i>, was raised by her mother, grandmother and aunt during Argentina's oppressive 1950's Peron era. Re-named "Anuncia" here as a reference to the Catholic feast of the Anunciation, she is depicted as a talented young dancer coming to terms with both her family legacy and her gifts as a performer. Daniele the director/co-choreographer (with Alex Sanchez) has assembled an all-star roster of Broadway actresses for this occasion. Eden Espinosa (<i>Wicked</i>) plays her mother, Andrea Burns (<i>In the Heights</i>) plays her aunt, and Mary Testa (<i>Xanadu </i>and many more) plays Granmama. Last but not least, Tony Award winner Priscilla Lopez (who played Diana Morales in the original run of <i>A Chorus Line</i>) serves as the older Anuncia/Graciela.<br />
<br />
As written and composed by Daniele's longtime friend Michael John LaChiusa, <i>The Gardens of Anuncia</i> is a gorgeously scored and revealing piece. LaChiusa's work (which includes <i>Hello Again</i>, <i>The Wild Party</i> and <i>Marie Christine</i>) has often been described as "esoteric," but I dare say his songs here are his most melodic and engaging. During the performance I attended, Testa sang a bit too loudly and overpowered her castmates. Also, a bit of "magic realism" in the plot involving a talking deer (the very amusing Tally Sessions) was fun but also distracting. Anuncia/Graciela is magical in and of herself. Still, this show is well worth seeing.<br />
<br />
And with that, Reverend wishes you all blessed holidays and a happy 2024!<br />
<br />
<b>Reverend's Ratings</b>:<br />
<i>The Prince of Egypt: The Musical</i>: B<br />
<i>Purlie Victorious</i>: A<br />
<i>How to Dance in Ohio</i>: A-<br />
<i>The Gardens of Anuncia</i>: B+<br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Reviews by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-80572866592325636682023-11-20T06:00:00.080-06:002023-11-20T06:00:00.134-06:00Reverend’s Interview: Now Saving the Universe: Captain Faggotron!<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBnd72-fyxfYo4Es6eNXlB_v3qty9qZwr4-Nzm4wGMQAurzhLePzo6LjJqnrgPJAw70MYDR7c-tHp4hNRkbMLDXN-ELSCZTx2bw9tCqRXQ8N9dDmz7XeFkCJIgmFWfiRLFaw606iscOJ3sjVveBEsS6T87kcYlJ7aX_RQlwxUpjITeKWNfL3NKzHcd1555/s891/Captain%20Faggotron%20Saves%20the%20Universe.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="891" data-original-width="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBnd72-fyxfYo4Es6eNXlB_v3qty9qZwr4-Nzm4wGMQAurzhLePzo6LjJqnrgPJAw70MYDR7c-tHp4hNRkbMLDXN-ELSCZTx2bw9tCqRXQ8N9dDmz7XeFkCJIgmFWfiRLFaw606iscOJ3sjVveBEsS6T87kcYlJ7aX_RQlwxUpjITeKWNfL3NKzHcd1555/s16000/Captain%20Faggotron%20Saves%20the%20Universe.PNG" /></a></div><br />The world is one big hot mess right now. Wars, pandemics, government dysfunction, natural disasters and increased animosity toward the LGBTQ+ community are taking a toll. We could use a hero, but Superman, Flash Gordon and Wonder Woman are apparently otherwise occupied. <i>Who can we turn to in our time of need???</i></span></h3><p>
<br />
Enter the fantastic Captain Faggotron! The brainchild of filmmaker <b>Harvey Rabbit</b>, this new superhero for our community will be making his home video debut on November 21st courtesy of TLA Releasing. A low-budget but big-hearted and very creative movie, it wowed audiences earlier this year at numerous LGBTQ+ film festivals worldwide.<br />
<br />
<i><b><a href="https://www.imdb.com/title/tt15431910/reference/" target="_blank">Captain Faggotron Saves the Universe</a></b></i> is a campy comedy-fantasy about internalized homophobia, the tyranny of the closet, and fear of a gay planet. It was conceived by Rabbit as a direct (though admittedly absurd) response to multiple situations: the 2016 shooting at the Pulse nightclub in Orlando, Florida; the persecution of homosexuality in Chechnya, Russia; the election of President Donald Trump in the USA; and the violence that unfortunately follows gay and queer people of all genders throughout our lives.<br />
<br />
When Father Gaylord, a closeted Catholic priest living in Germany, loses his precious ring, he is forced to turn to Captain Faggotron for help. It turns out that the missing ring is no ordinary piece of jewelry. It is the mystical Ring of Oberon, which has the power to turn the entire population of Earth gay. Whereas Fr. Gaylord is horrified at this prospect, his nemesis/sometimes lover Queen Bitch excitedly declares “Soon, the world will be flooded with homosexuals!” Cue the maniacal laughter.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9E4Pn0l1xRS69YkWpiZyyF-tGSKJskGq10M0q7ePJCXI3s9H3NeFGAuznl60OEKyeGyprDKEW2gbxK0Z1h44I0c2qNicWL9bbeA8GJ7AytjLbp2n766QybKrjn_05s3wxVF-0DlANNpaxJLDeqo_ejUQ6aIC10Z-CbwJlQBjWw38C_X6HWZKiFe7RO80Z/s1336/Captain%20Faggotron%201.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="790" data-original-width="1336" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9E4Pn0l1xRS69YkWpiZyyF-tGSKJskGq10M0q7ePJCXI3s9H3NeFGAuznl60OEKyeGyprDKEW2gbxK0Z1h44I0c2qNicWL9bbeA8GJ7AytjLbp2n766QybKrjn_05s3wxVF-0DlANNpaxJLDeqo_ejUQ6aIC10Z-CbwJlQBjWw38C_X6HWZKiFe7RO80Z/w640-h378/Captain%20Faggotron%201.PNG" width="640" /></a></div><p>
This movie truly has something for everyone: religion, furries, men used as footrests, sex demons, animated sequences, MAGA hats, full-frontal nudity, a song about Grindr and — naturally, in light of its German setting — sausages. The title character even gets his own theme song and a dance number! As Queen Bitch queries Fr. Gaylord at one point, “Why be normal when you can be extraordinarily fabulous?”<br />
<br />
According to the film’s website: “<i>Captain Faggotron Saves the Universe</i> follows a tradition deeply rooted in gay/queer history and our ability to survive. Confronting ‘straight’ and heteronormative structures, camp exposes absurdities of the mainstream in a way that allows us to laugh. Humor is a weapon, and camp is a tool of joyful resistance.”<br />
<br />
Harvey Rabbit, the film’s writer-director, is a transgender artist living in Berlin, Germany. He has a Master’s degree in dramaturgy and a Master of Fine Arts in Experimental Theater, both from New College of California. A campaigner for LGBTQIA* and sex worker rights, his activism dates back to the mid-1990’s. Using spoken word as his medium, Rabbit stormed the stages of Northern California, speaking about feminism, queerness and empowerment.<br />
<br />
From 2013 to 2015, he produced, curated and hosted <i>Varieté Ridiculous</i>, a political cabaret in Berlin focusing on sex worker rights. Rabbit’s first short film, <i>Slowdance</i>, premiered at the 2016 Berlin Porn Film Festival and has been shown in queer film festivals in many parts of Europe, South and Central America, and the USA. In 2017, he produced <i>We are the Fucking World</i>, a short film for Erika Lust. Rabbit’s most recent work, <i>The Chemo Darkroom</i> (2018), was selected for the shorts competition in the <br />
Berlin Porn Film Festival, Berlin Feminist Film Week, IKFF Hamburg, and the 2019 Hacker Porn Film Festival in Rome. <i>Captain Faggotron Saves the Universe</i> is his first feature film.<br />
<br />
The spirited filmmaker recently spoke with me via Zoom from his home in Berlin.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioC6ltAAasxhPrzG_YO9rlt_6Psoz6VCd2S-20KhqRdIAwG6MHhYHNBr6hA0TNLbAN7R5xRzxe2bXuEpENKK0bo4wqCtqCJnTDC8jo26U4pC-98drtg_2kTvK30MRNIFYD2Btmb2CodsKHYH1DuPFM-SWWBlAKSLxz1PGAQtKatPniuFzbJwF_jhHnA0Ea/s533/Harvey%20Rabbit.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="407" data-original-width="533" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioC6ltAAasxhPrzG_YO9rlt_6Psoz6VCd2S-20KhqRdIAwG6MHhYHNBr6hA0TNLbAN7R5xRzxe2bXuEpENKK0bo4wqCtqCJnTDC8jo26U4pC-98drtg_2kTvK30MRNIFYD2Btmb2CodsKHYH1DuPFM-SWWBlAKSLxz1PGAQtKatPniuFzbJwF_jhHnA0Ea/s16000/Harvey%20Rabbit.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Harvey Rabbit</span><br /></td></tr></tbody></table><p>
<b>CC</b>: Hi Harvey! Congratulations on making such a unique, creative film. What has been the response to it so far?<br />
<b>HR</b>: Well, we just won an award! Bishop Black (who plays Queen Bitch) won the Iris Prize in Cardiff, Wales for Best Non-Binary Performance. Mostly, people are loving this film. We’ve played both LGBTQ and international film festivals. Heterosexuals are loving this film and I didn’t make it for them! I’m here to convert people. (laugh) I don’t mince words.<br />
<br />
<b>CC</b>: How and when did you first conceive the story?<br />
<b>HR</b>: After the Pulse shooting in 2016 in Orlando, Florida. I went into a state of shock and didn’t want to leave my apartment. Then one day, the first 12 pages of the script just kind of came out of me.<br />
<br />
<b>CC</b>: This is your first feature film, correct? What were some of the challenges you faced?<br />
<b>HR</b>: Yes. It’s a 72-minute film and the entirety of our budget was 20,000 Euro (approximately $21,200 US). We also had two COVID lockdowns in Germany that postponed everything. We shot basically every weekend from July through the end of October, 2020.<br />
<br />
<b>CC</b>: Wow, it sounds like a true labor of love.<br />
<b>HR</b>: No, it was a labor of compulsion. (laugh) I <i>had </i>to do this movie!<br />
<br />
<b>CC</b>: Your movie has a fabulous queer cast! Did you use a formal casting process, or just cast friends or people you knew?<br />
<b>HR</b>: The roles of Captain Faggotron and Queen Bitch were written specifically for the actors, Tchivett and Bishop Black. If they had said no, I couldn’t have done it. I knew Rodrigo Garcia Alves (who plays Fr. Gaylord) from the community and bumped into him on the street one day. He’s from Brazil and I thought, “Hmm, he could play the priest.” (laugh) For other roles we had auditions and readings, and everyone did it for no money. Everyone involved was gay, trans or queer, with the exception of a cis-ish member of the core creative team.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpMT6GylUkgU7u3f1v_zQMi2a6l3lMSKFjol8YGRZeGEzWZvfV7m_EJCjSI7yscQjqQ1osZ1LfFAdSCWQr2MXWbL175e8rzaCHjR54wz_M7JMJLUHjvHqQFnzIAGItQp9nKimWYivzFLyvz36QEl-p9nVuCWmcRrAHuDzcaYMMUbhn78jHDa-dHebbBm5x/s1124/Captain%20Faggotron%202.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="885" data-original-width="1124" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpMT6GylUkgU7u3f1v_zQMi2a6l3lMSKFjol8YGRZeGEzWZvfV7m_EJCjSI7yscQjqQ1osZ1LfFAdSCWQr2MXWbL175e8rzaCHjR54wz_M7JMJLUHjvHqQFnzIAGItQp9nKimWYivzFLyvz36QEl-p9nVuCWmcRrAHuDzcaYMMUbhn78jHDa-dHebbBm5x/w640-h504/Captain%20Faggotron%202.PNG" width="640" /></a></div><p>
<b>CC</b>: Talk to me about the religious content in the movie. Are you or were you Catholic?<br />
<b>HR</b>: I’m Jewish. This is not my baggage. (laugh) I really don’t know where Fr. Gaylord came from. I knew someone Catholic who thought of becoming a priest but he was really closeted. My best friend as a teenager was Catholic. We were really bad. I would spend Saturday nights at her house and we would sneak out to go party. We would get back early Sunday morning and I would sometimes go to church with her family, like two hours later. I liked the music but was not religious so hated being there.
I wish a Catholic priest would come out publicly. “Just come out,” as Harvey Milk said. My movie is a fantasia on religious and gay themes but I would love it if it inspired more openness.<br />
<br />
<b>CC</b>: That would be awesome. What’s next for you?<br />
<b>HR</b>: I’m looking for funding to write my new script, <i>Cancer Made Me Trans</i>. It also has comedy and fantasy elements like <i>Captain Faggotron</i>, and I’ll leave it at that.<br />
<br />
<b>CC</b>: I can’t wait! Well, I wish you the best and much continued success.<br />
<b>HR</b>: Thank you so much!<br />
<br />
For more information about the movie, visit <a href="http://tlareleasing.com/" target="_blank">TLA Releasing</a>.<br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Interview by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /><br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-60228224788844515582023-10-11T06:00:00.067-05:002023-10-11T09:47:37.263-05:00Reverend's Interview: San Diego Film Fest Exposes a Hidden Master<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht4bumQxYamAOBasO39c-1QUWCmjw3BzxubrQie9icTIUD8kePa2QuC63VQU8yV03RzOwK9draGSb5qz0J7R1LLJsXFM_Z0Y9Nbq2MKoE7b9xD7gngRIPqDX3dl7eXrAp0msBZ4vUrDAS42cvwWch5u5XY0-bfPdRtgvW1sB0rBqwZsTToiofXSU_tMZPQ/s800/San%20Diego%20IFF.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="571" data-original-width="800" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht4bumQxYamAOBasO39c-1QUWCmjw3BzxubrQie9icTIUD8kePa2QuC63VQU8yV03RzOwK9draGSb5qz0J7R1LLJsXFM_Z0Y9Nbq2MKoE7b9xD7gngRIPqDX3dl7eXrAp0msBZ4vUrDAS42cvwWch5u5XY0-bfPdRtgvW1sB0rBqwZsTToiofXSU_tMZPQ/w640-h456/San%20Diego%20IFF.jpg" width="640" /></a></div><br />October brings not only Fall décor, cooler temperatures, and tricks (ahem) as well as treats to Southern California but also two major Southern California film festivals. Tales representing our international LGBTQ+ community will be spotlighted during both.</span></h3><p>
<br />
The 22nd annual <a href="https://sdfilmfest.com/" target="_blank">San Diego International Film Festival</a> (SDIFF) will run from October 18th-22nd. Produced by the San Diego Film Foundation, screenings of more than 100 feature and short films will take place in the Festival Village at AMC UTC 14 at Westfield Plaza. Other events include film panels, VIP lounges, receptions, and impromptu meet ups with filmmakers. Passes and tickets can be purchased at <a href="http://sdfilmfest.com">sdfilmfest.com</a> or by calling 619-818-2221.<br />
<br />
Among the program’s LGBTQ+ offerings will be the San Diego premiere of <b><i><a href="https://www.imdb.com/title/tt24215294/reference/" target="_blank">Hidden Master: The Legacy of George Platt Lynes</a></i></b> on Sunday, October 22nd. Lynes (1907-1955) began his career photographing celebrities, and it's those portraits along with his extravagant fashion work that he's best remembered for today. As this documentary reveals, however, Lynes' heart, passion and greatest talent lay elsewhere: his work with the male nude. This work, sensuous and radically explicit for its time, has only recently begun being fully discovered and appreciated for the revolution that it represents.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj74ZT8Dw7C1lm-tQcdUvTPYnQEnnqmNO2PWn6W8sG7jeltukyF4XQv_ObnCBgVNuz-IuMo29YLyZf1dZehEcbdj4Cw2SEKw92g8DspuDMYjZXp28plyGna9lJqDDQ0GelfP9TymFDH92yh07avqfnoHjqoJrWNwmChjl5o0ujqewa6Q3YV85F3Qb-PFSa9/s890/Hidden%20Master.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="890" data-original-width="662" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj74ZT8Dw7C1lm-tQcdUvTPYnQEnnqmNO2PWn6W8sG7jeltukyF4XQv_ObnCBgVNuz-IuMo29YLyZf1dZehEcbdj4Cw2SEKw92g8DspuDMYjZXp28plyGna9lJqDDQ0GelfP9TymFDH92yh07avqfnoHjqoJrWNwmChjl5o0ujqewa6Q3YV85F3Qb-PFSa9/w476-h640/Hidden%20Master.PNG" width="476" /></a></div><p>
Directed by longtime art director turned filmmaker <b>Sam Shahid</b>, <i>Hidden Master</i> features a stunning collection of long-hidden photography from the 1930s-50s. Shahid literally exposes the life of Lynes less- known: his gifted eye for the male form, his long-term friendships with Gertrude Stein and Alfred Kinsey, and his lasting influence as one of the first openly-gay American artists.<br />
<br />
According to the director, “George Platt Lynes was an artist endowed with an almost endless well of creative gifts. However, because of the restrictions – social, moral, artistic, legal – imposed upon him by the era in which he lived and created, he was unable to share his true talent with the public and, of equal import, future generations of artists who may have built upon and furthered his contributions to his genre. He was an artist who was never able to share what he considered to be his very best work, and more importantly what he considered his true craft.”<br />
<br />
Sam Shahid has been leaving his mark on the world of fashion and advertising for four decades and counting. When he became the creative director for the in-house advertising agency for Calvin Klein in the early 1980s, he helped to turn the brand into the internationally recognized name it remains today with advertising campaigns that are remembered for their clean yet sensational visuals. In the early 1990s he did the same for Banana Republic before opening up his own creative design firm and advertising agency, Shahid & Company, in 1993.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJLa3XNu-ow6_emy8kfvvlyW8c54ehKbBGMPxtAMsUVVhYhw_3XcShSAiAO-ITawGfBg7kovvVVDjwnyPlvGT9GnGPwM9FU-JGaTsdChNTcNDHu8hhERUjowzVcOIyhYdvj1C0WvoE6T85xcyf-b21EPAr5o34Nv_WXg9oeq_Rh9bns1IxE6FXkx7oAaVG/s750/Sam%20Shahid.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="512" data-original-width="750" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJLa3XNu-ow6_emy8kfvvlyW8c54ehKbBGMPxtAMsUVVhYhw_3XcShSAiAO-ITawGfBg7kovvVVDjwnyPlvGT9GnGPwM9FU-JGaTsdChNTcNDHu8hhERUjowzVcOIyhYdvj1C0WvoE6T85xcyf-b21EPAr5o34Nv_WXg9oeq_Rh9bns1IxE6FXkx7oAaVG/w640-h435/Sam%20Shahid.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sam Shahid<br /></td></tr></tbody></table><p>
In the years since, Shahid has created original and striking campaigns for brands as divergent as Versace, Perry Ellis, Gucci, Valentino, and Abercrombie & Fitch. He was also the Creative Director of <i>Interview </i>magazine, and he’s designed a library’s worth of fine art books for artists and photographers such as Bruce Weber, Kelly Klein, Herb Ritts, Joel Grey and Jessica Lange, amongst others. <i>Hidden Master: The Legacy of George Platt Lynes</i> marks Shahid’s feature directorial debut.<br />
<br />
The energetic, affable director recently took time out of his busy schedule to speak with me:<br />
<br />
<b>CC</b>: Congratulations on a great documentary and thank you for taking time to speak with me! How and/or when were you first introduced to Lynes’ work?<br />
<b>SS</b>: I’d known his work for a while but I didn’t know about his life. All of us in the fashion world knew of his work, but I was asked to design a book about him in 2010 and thought “You know, there should be a film about this man! The world needs to know about him.”<br />
<br />
<b>CC</b>: What made you decide to make him the subject of your first feature film?<br />
<b>SS</b>: He was so brave. But it is so sad that he destroyed so much of his work. When I told people I was making a film about him, they said to me “Well, good luck.” We weren’t sure we would find enough info to make a feature film. He had so much courage to keep those male nudes because it was illegal at the time.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYP1n9JlC7yrxG_eR2uUHEhWFhyqsNz4WgtC9oNOC5PikeTivvvUR7SUtHPhZezPj9owzBEocJjnFYrHpLXg2liit1qUeL3nRqUuyfR0zZswgeRFgq7oULtBN8KxH1vQtsKJdnS6yoEV-017a528e_qvZWY3nMiS0-KAtbTPWYrD3rJ6IZFtPKgn2-tcjk/s1546/Hidden%20Master%201.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="876" data-original-width="1546" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYP1n9JlC7yrxG_eR2uUHEhWFhyqsNz4WgtC9oNOC5PikeTivvvUR7SUtHPhZezPj9owzBEocJjnFYrHpLXg2liit1qUeL3nRqUuyfR0zZswgeRFgq7oULtBN8KxH1vQtsKJdnS6yoEV-017a528e_qvZWY3nMiS0-KAtbTPWYrD3rJ6IZFtPKgn2-tcjk/w640-h362/Hidden%20Master%201.PNG" width="640" /></a></div><p>
<b>CC</b>: How long did it take to develop or create?<br />
<b>SS</b>: Since 2012. The project became like a client (laughs). It took 10 years to make it, mainly because it took so long to track down people who knew (Lynes) who were still alive. They’re all dead now except Don Bachardy. Then we lost two years due to COVID, of course, but I did read about 300 letters (that Lynes wrote) during that first summer of the shutdown.<br />
<br />
<b>CC</b>: Someone in the film refers to Lynes as a “cross-pollinator,” which I like. Would you say this continues today?<br />
<b>SS</b>: Oh yes, definitely. He was at the center of that art circle of the time which has continued to inspire artists. Robert Mapplethorpe, Bruce Weber, Herb Ritts were all influenced by George.<br />
<br />
<b>CC</b>: You could say you’ve been pollinated by him yourself.<br />
<b>SS</b>: (Laughs) Yes, you can.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6sb1tsCKGBN3JKWnJwrgvMH895RxuDyHfqvIbXmf6d1Rjd9-1RPvVQ5YOT-wE6xSpcLi_g8aHjluabI02VRJglOsMJ-tegz9poZ56byINs0kfzEIQBuPSceBkpGo9p7i2Dh-Hpk6WUnHUiZhFLTGdRhBuejlg33lB97dlL6Fr7xlXAr0VVs7adi5Z6gOz/s1317/Hidden%20Master%202.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="879" data-original-width="1317" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6sb1tsCKGBN3JKWnJwrgvMH895RxuDyHfqvIbXmf6d1Rjd9-1RPvVQ5YOT-wE6xSpcLi_g8aHjluabI02VRJglOsMJ-tegz9poZ56byINs0kfzEIQBuPSceBkpGo9p7i2Dh-Hpk6WUnHUiZhFLTGdRhBuejlg33lB97dlL6Fr7xlXAr0VVs7adi5Z6gOz/w640-h428/Hidden%20Master%202.PNG" width="640" /></a></div><p>
<b>CC</b>: Has Lynes’ work directly inspired your career as an art director at Calvin Klein or Abercrombie & Fitch, or as a filmmaker?<br />
<b>SS</b>: No, because I really didn’t know about his work beforehand. He did influence many artists I’ve work with though, including Bruce Weber and Don Bachardy.<br />
<br />
<b>CC</b>: What do you hope viewers will take from <i>Hidden Master</i>?<br />
<b>SS</b>: I hope the film will generate enough interest to mount a major exhibition of his work. That’s mentioned in the film by the Kinsey Institute representative as their hope as well. I didn’t want the film to come across as a competition between Robert Mapplethorpe and George Platt Lynes. The biggest surprise in the film is the final footage of George and writer Christopher Isherwood.<br />
<br />
You know what’s exciting? The film has been selected to play the Lebanese Independent Film Festival (LIFF) in Beirut. George will soon be known in the Middle East! Isn’t that amazing?<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3B8gHsNqql24e3oOgPLDLIJ2Tc2xcHtwUSN7j-WK4SHtEUtDElIzbo7A5wTq0dojOFtGmJnTJwJVufEVV62JO_RiqmqtqMCUF-pC-UPm_t-03xmB_nBVeh5QjFCaG1p2NqmjdmkRTvEmnPsJwsyLmc8QVeB6i_8RQHlBZKv2-o0ggL17MI4Ncy8KHgvzy/s1576/Hidden%20Master%203.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="779" data-original-width="1576" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3B8gHsNqql24e3oOgPLDLIJ2Tc2xcHtwUSN7j-WK4SHtEUtDElIzbo7A5wTq0dojOFtGmJnTJwJVufEVV62JO_RiqmqtqMCUF-pC-UPm_t-03xmB_nBVeh5QjFCaG1p2NqmjdmkRTvEmnPsJwsyLmc8QVeB6i_8RQHlBZKv2-o0ggL17MI4Ncy8KHgvzy/w640-h316/Hidden%20Master%203.PNG" width="640" /></a></div><p>
The 24th annual <a href="https://newportbeachfilmfest.com/" target="_blank">Newport Beach Film Festival</a> (NBFF) will be held just prior to SDIFF, from October 12th-19th at various Orange County locations. Tickets are on sale now at <a href="http://NewportBeachFilmFest.com">NewportBeachFilmFest.com</a>. A number of LGBTQ+ feature films as well as short films will be screened. Among these are:<br />
<br />
<b>FEATURE FILMS</b>:<br />
<br />
<i><b><a href="https://www.imdb.com/title/tt15138634/reference/" target="_blank"></a></b></i></p><div class="separator" style="clear: both; text-align: center;"><i><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBydmH3AEuaCqlGvEmJbxrLvsgjGeM9uGkPl58vYx23s-ucbwR1SzeslOu_rQoQoaCyOmElmG9JgdZjwCpMZALTHZGf7762YwsbZVxuIFvl4fEaD62R02Fey8QJXDsv4Q-MafS-nidIk39La9s987RtUtpAbK14otm0tkjQqNYZRXiC62DVzACx4Y2sPjO/s150/Asog.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="150" data-original-width="101" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBydmH3AEuaCqlGvEmJbxrLvsgjGeM9uGkPl58vYx23s-ucbwR1SzeslOu_rQoQoaCyOmElmG9JgdZjwCpMZALTHZGf7762YwsbZVxuIFvl4fEaD62R02Fey8QJXDsv4Q-MafS-nidIk39La9s987RtUtpAbK14otm0tkjQqNYZRXiC62DVzACx4Y2sPjO/s1600/Asog.jpg" width="101" /></a></b></i></div><i><b>Asog</b></i>: A tragicomic road film that follows a non-binary Filipino comedian pursuing their dream of becoming a pageant Queen. By day, Rey teaches high school students and by night they perform at bars as a proudly gay comedian named Jaya. En route to a pageant on a neighboring island, Jaya encounters a series of people living on the frontlines of the climate crisis. 100% of the cast members are Filipinos who survived Typhoon Haiyan, the strongest storm every recorded at landfall.<br />
<br />
<i><b> </b></i><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><i><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLiTCr6mqAQU9JpHMwXiL-0MQJTUhxzXO00bOjVoV-QzyxHcvPu8_fwXIbJdVFxwrF_xsfwTXReYd7ZbmRa0Ux08_Mi5SjdheIE5CpaS91wApCoAIWMRxcBrBuqmU3q2Y9l1QrRrHEqUpWKnef67Wu_ZD0ix8-142qGWtYktNrLq-Bbtz0QiMlc12DsoRd/s150/Egghead.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="150" data-original-width="101" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLiTCr6mqAQU9JpHMwXiL-0MQJTUhxzXO00bOjVoV-QzyxHcvPu8_fwXIbJdVFxwrF_xsfwTXReYd7ZbmRa0Ux08_Mi5SjdheIE5CpaS91wApCoAIWMRxcBrBuqmU3q2Y9l1QrRrHEqUpWKnef67Wu_ZD0ix8-142qGWtYktNrLq-Bbtz0QiMlc12DsoRd/s1600/Egghead.jpg" width="101" /></a></b></i></div><p></p><p><i><b><a href="https://www.imdb.com/title/tt13242416/reference/" target="_blank">Egghead & Twinkie</a></b></i>: After coming out to her parents, 17-year-old Twinkie takes off on a road trip to meet her online crush with the help of her nerdy best friend, Egghead. As they make their way across the country, Egghead wrestles with his unrequited feelings for Twinkie, while Twinkie learns to embrace her identity as a gay mixed-Asian woman.<br />
<br />
<i><b> </b></i></p><p><i><b> </b></i><i><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC0yHSnPSd9TUprJuwXcAePJHOW0AjEYIgU7i88JQgBPnewKt0r1OuMmzgaFphdToGHgRHS7Zsgreec6tKt011Ze37CaO_G5ppnPRqCuDLOoRCKBoUVTULlGXYpePLjYmkeQx8u0W5UrEmKVXlNWSOHdKpG54QviU-HKi1xI-q1x81knLdNn9XCOy6zTcH/s150/Mattachine.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="150" data-original-width="101" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC0yHSnPSd9TUprJuwXcAePJHOW0AjEYIgU7i88JQgBPnewKt0r1OuMmzgaFphdToGHgRHS7Zsgreec6tKt011Ze37CaO_G5ppnPRqCuDLOoRCKBoUVTULlGXYpePLjYmkeQx8u0W5UrEmKVXlNWSOHdKpG54QviU-HKi1xI-q1x81knLdNn9XCOy6zTcH/s1600/Mattachine.jpg" width="101" /></a></b></i></p><p></p><p><i><b><a href="https://www.imdb.com/title/tt15837314/reference/" target="_blank">The Mattachine Family</a></b></i>: Thomas and Oscar are a couple very much in love. But after their first foster child returns to his birth mother, they find they have different ideas about what it means to make a family. The movie is co-produced by actor-director Zach Braff.<br />
<br />
<b> </b></p><p><b> </b></p><p><b> </b></p><p><b>SHORT FILMS</b>:<br />
</p><ul style="text-align: left;"><li>
<i>(In)convenience</i></li><li><i>
Alive & Well</i></li><li><i>
Blue Square Heart</i></li><li><i>
Boundaries</i></li><li><i>
Friends/Aikane</i></li><li><i>
Get Up the Nerve</i></li><li><i>
I Thought the Earth Remembered Me</i></li><li><i>
Lambing</i></li><li><i>
Mud Queen</i></li><li><i>
Face to Face/Tête à tête</i></li><li><i>
The External-Internal Monologue of an Interdependent Insomniac</i></li><li><i>
West of Frank</i></li><li><i>
Zenaida</i></li></ul><p>
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">By Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-62714827700943670912023-09-24T06:00:00.075-05:002023-09-24T06:00:00.142-05:00Reverend's Reviews: Sharks, Imelda Marcos and More Currently on NYC Stages<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitJsHHU_rmovbsNw3HExy-JmlB5VtwiGxwVl4nex7ifJN40_Gly1z1jVV52mUM0GCQAToDqWaKCogZYNGuykAW4IneUeudv0JhHVGfjO34F5KzHFqlpAcWQwDtBn-bTEBllpi8UhIuMpwI33iHjBbYwcHEQ6JPgyfgFADp5TQhOoLBnsscefIdyTO45zhb/s1600/Shark%20is%20Broken.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitJsHHU_rmovbsNw3HExy-JmlB5VtwiGxwVl4nex7ifJN40_Gly1z1jVV52mUM0GCQAToDqWaKCogZYNGuykAW4IneUeudv0JhHVGfjO34F5KzHFqlpAcWQwDtBn-bTEBllpi8UhIuMpwI33iHjBbYwcHEQ6JPgyfgFADp5TQhOoLBnsscefIdyTO45zhb/w640-h400/Shark%20is%20Broken.jpg" width="640" /></a></div><br />It's probably needless to say, but Steven Spielberg's breakout, 1975 movie <i>Jaws </i>became the template of the modern movie blockbuster. Adapted from Peter Benchley's novel about a massive Great White shark terrorizing a seaside New England community, the film has grossed more than $2 billion (adjusted for inflation) over the years off a production cost of approximately $40 million (also adjusted for inflation). It also famously made a generation of beach-goers, myself included, think twice before going into the water. As a kid, I was even afraid of going into my apartment complex's swimming pool for a while after watching <i>Jaws</i>.</span></h3><p>
<br />
The film notoriously went over budget during production due to inclement weather and the continuous malfunctioning of several mechanical sharks created for it. <i><b><a href="https://thesharkisbroken.com/" target="_blank">The Shark is Broken</a></b></i>, an aptly-titled new play written by and starring the son of one of the movie's stars, is currently serving as a Broadway exposé of behind-the-scenes Hollywood mayhem. I attended a recent performance expecting it to be a comedic, potentially campy rehash of film-industry mythology, but was pleasantly surprised to instead find a heartfelt exploration of often tempestuous relationships between actors as well as between fathers and sons.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinqT1T5F-KioOdoKDssstQ5V5uBCbHW08YOBg4xXRsb4B9fAjQTVmfvVslUrA4Ty6gX31nC62iqUHQEbevqxB8EfOxdPxOFn26Z38QzVtFyCYeeJYB01COkMhOIII_T4FNfYxA28loGjUnWqBYPe2N-T0seBR2eqG8HJBjUzzBetZ1s3L6ee_AEncUobN9/s2000/Shark%20is%20Broken.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1175" data-original-width="2000" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinqT1T5F-KioOdoKDssstQ5V5uBCbHW08YOBg4xXRsb4B9fAjQTVmfvVslUrA4Ty6gX31nC62iqUHQEbevqxB8EfOxdPxOFn26Z38QzVtFyCYeeJYB01COkMhOIII_T4FNfYxA28loGjUnWqBYPe2N-T0seBR2eqG8HJBjUzzBetZ1s3L6ee_AEncUobN9/w640-h376/Shark%20is%20Broken.jpg" width="640" /></a></div><p>
Spielberg teamed veteran actors Robert Shaw (his son Ian wrote the play, largely drawn from Robert's journals) and Roy Scheider with relative newcomer Richard Dreyfuss. Ian Shaw gives an uncanny performance as his father, honestly yet sympathetically depicting the senior Shaw's alcoholism as well as his hope to outlive his own, suicidal father (sadly, Robert was unsuccessful in this regard). Two-time Tony Award nominee Alex Brightman entertainingly plays Dreyfuss as a then-insecure wannabe movie star desperate for his co-stars' validation. The lesser-known Colin Donnell gives the play's most centered, Zen-like performance as Scheider, who just wants a free, solitary afternoon to work on his tan... yummily stripped down to a Speedo bikini in one scene. Donnell also has what is arguably the play's funniest line, when he vows as Scheider to never be part of a potential sequel. (Scheider headlined 1978's <i>Jaws 2</i>.)<br />
<br />
Directed by Guy Masterson, <i>The Shark is Broken</i> is set solely on the Orca, the famed shark-hunting boat in the film. Some impressive projections are employed to make it look like the boat and the waters surrounding it are moving. It becomes an amusing guessing game for audience members to try to determine the various hiding places on the set where Robert has hidden his booze, which not even the actor/character himself can remember.<br />
<br />
As a cinephile, I enjoyed this play's depiction of the tortured process that went into making the classic <i>Jaws</i>. But I also appreciated <i>The Shark is Broken</i> on its own theatrical yet deeply personal terms. I recommend as many people as possible see it during its current limited run at Broadway's Golden Theater through November 19th, 2023.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUE7if_9CuC-T6P10WV27c801_SiG38hyhfcpdQX-XrOJCyLZqAzzKo7VpoQvXwcUF-95x4gJDEMuRtdYaDXfqKNSSC9KDhrQlHgwY7K_Zvot9KNT-hNLTupM6qp1ANnmSPJ9kjNx4KssP53cAo_5kYBTGcFN6hQSmg-pt_LSfPv3rGfb46PVsaTkGsVGc/s1080/Here%20Lies%20Love.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUE7if_9CuC-T6P10WV27c801_SiG38hyhfcpdQX-XrOJCyLZqAzzKo7VpoQvXwcUF-95x4gJDEMuRtdYaDXfqKNSSC9KDhrQlHgwY7K_Zvot9KNT-hNLTupM6qp1ANnmSPJ9kjNx4KssP53cAo_5kYBTGcFN6hQSmg-pt_LSfPv3rGfb46PVsaTkGsVGc/w400-h400/Here%20Lies%20Love.jpg" width="400" /></a></div><p>
If they can mount a Broadway musical about the life of Argentinian first lady Eva Peron (<i>Evita</i>), then why not one about Imelda Marcos, notorious shoe-loving first lady of the Philippines from 1965-1986? Thanks to Talking Heads auteur David Byrne and master DJ-musician Fatboy Slim, Imelda is now a singing & dancing sensation in the pair's fantastic <i><b><a href="https://herelieslovebroadway.com/" target="_blank">Here Lies Love</a></b></i>.<br />
<br />
First produced off-Broadway 10 years ago, it took heartfelt dedication to mount the version now playing at the Broadway Theater. Though one of NYC's oldest and largest theaters, director Alex Timbers and scenic designer David Korins removed most of the venue's orchestra seats to reconfigure the floor level into an interactive discotheque environment. Attendees can buy tickets to either stand on the floor and be part of the action or to be seated in the more traditional mezzanine section. I sat in the mezz and appreciated having a bird's eye view of the floor, including a central stage/platform that rotates 360 degrees. Dancers and even some of the lead actors still made their way up to the mezzanine, and the show's DJ got all of us up on our feet twice to teach us choreography for two standout numbers.<br />
<br />
<i>Here Lies Love</i> is a sung-through, necessarily abbreviated account (100 minutes without an intermission) of Imelda's life. Continuous video projections courtesy of Peter Nigrini fill in some of the details but, for better and worse, the show leaves one wanting more from a historical perspective. Still, it is effective at showing how easily political popularity can turn to tyranny, definitely a timely lesson here in the good ol' Trump-infected US of A. It is also the first Broadway musical to feature an all-Filipino cast, which is its own historic achievement.<br />
<br />
Many musicals send audiences out singing or humming some of their tunes. In my experience, though, <i>Here Lies Love</i> is the first to send audience members out literally dancing in the street! One must see/experience it, and I sincerely hope the show enjoys a well-deserved long life.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicN0vJBoKtSJzhboIHmn_DY3Ue6p6p_DlVmYzub8kLGFf8TOLZl-UdWtjtBxD0-MeS8hwiuH7iXI4kpy1W7kClp5NbOWyj83DlYoS0MurWrfGO92aS6L1MuEXYUV1LqQ6BWWpbDqLPokc3MS4XHS-e7ghI6E6X9zDguHVLZkgzfNrHeq4SWsHQ5PP8ubwh/s1120/Pay%20the%20Writer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1041" data-original-width="1120" height="371" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicN0vJBoKtSJzhboIHmn_DY3Ue6p6p_DlVmYzub8kLGFf8TOLZl-UdWtjtBxD0-MeS8hwiuH7iXI4kpy1W7kClp5NbOWyj83DlYoS0MurWrfGO92aS6L1MuEXYUV1LqQ6BWWpbDqLPokc3MS4XHS-e7ghI6E6X9zDguHVLZkgzfNrHeq4SWsHQ5PP8ubwh/w400-h371/Pay%20the%20Writer.jpg" width="400" /></a></div><p>
In light of the ongoing strike by Writers Guild of America (WGA) members, <i><b><a href="https://paythewriterplay.com/" target="_blank">Pay the Writer</a></b></i> is certainly an appropriate title for a new play. Written by Tawni O'Dell and directed by Karen Carpenter (no relation to myself), it is now having its world premiere through the end of this month at the Pershing Square Signature Center in NYC.<br />
<br />
A starry cast headed by out actor Bryan Batt (<i>Mad Men</i>), Ron Canada (<i>The West Wing</i>) and Marcia Cross (<i>Desperate Housewives</i>) definitely commands attention. The plot actually doesn't involve the current WGA strike, but it instead relates a decades-long relationship between (fictional) acclaimed author Cyrus Holt and his gay literary agent, Bruston Fischer. Cyrus (played by Canada) has been diagnosed with a terminal illness and is trying to mend fences with Bruston (Batt) as well as his ex-wife Lana (Cross) and two adult children during his remaining time.<br />
<br />
O'Dell's script entails many important topics including racism, homophobia, personal and professional legacies, the Vietnam War and its after-effects, and mortality. It's ultimately a bit too much content for a 2-hour play performed without an intermission, and could be improved with some further development and fleshing out of its characters. For example, we have no idea what Cross's character, Lana, does for a living or really anything else about her personal/professional life. Similarly, we don't know how Bruston spends his personal time aside from hanging out on the front stoop of Cyrus's apartment building. There is also mention of a horrible gay bashing/attempted murder incident Bruston endured that is too quickly brushed aside.<br />
<br />
Still, <i>Pay the Writer</i> is worth seeing for its fine cast and their performances. In addition to the three leads, Garrett Turner is excellent as both young Cyrus and his son Leo, and Stephen Payne makes a memorable impression in his one scene as a nameless, homeless Vietnam vet with whom adult Cyrus crosses paths.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLwamtTCv6kvovMvdBp1Tf04vc4iUCx1GUr0s0HSjKpVGegrOEsnsxXsqSmH9SYrJg7r_mtnNxK4BZDcQkEymGunmc5BNTHxn4rM07PnnuXpLUX9hbl7lMkjuzWkGb26sTbv88jvBsXR-NUD9EZKT33ujLhVxZJpa5tAIOG5srGXVQ1oY-MiIqqKxghGH5/s2115/20%20Seconds.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1009" data-original-width="2115" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLwamtTCv6kvovMvdBp1Tf04vc4iUCx1GUr0s0HSjKpVGegrOEsnsxXsqSmH9SYrJg7r_mtnNxK4BZDcQkEymGunmc5BNTHxn4rM07PnnuXpLUX9hbl7lMkjuzWkGb26sTbv88jvBsXR-NUD9EZKT33ujLhVxZJpa5tAIOG5srGXVQ1oY-MiIqqKxghGH5/w640-h306/20%20Seconds.png" width="640" /></a></div><p>
<i><b><a href="https://20secondsplay.com/" target="_blank">20 Seconds</a></b></i>, a powerful one-man show, just opened on September 21st and is also playing at the Pershing Square Signature Center. Reverend was privileged to attend a preview performance on September 16th. Powerful might not be a strong enough word to describe Tom Sweitzer's autobiographical saga: I highly recommend the producers post a currently absent "trigger warning" on the play's website for its graphic descriptions of child abuse, spousal abuse and animal abuse, plus attempted murder and suicide.<br />
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This isn't to scare audiences away from the production. Sweitzer bravely, cathartically recreates his often-horrific upbringing by his physically abusive father and emotionally abusive mother. The actor-writer-music therapist plays all the parts in <i>20 Seconds</i>. These include himself as a boy, his parents, the kindly church minister who takes him under her wing, and numerous other male and female characters. Sweitzer is openly gay and the play also addresses his coming of age in this regard.<br />
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He is impressive in many of these dramatic moments, but both the friend who attended with me and I came away feeling Sweitzer has taken on too much. <i>20 Seconds</i> could potentially benefit from a more objective approach, employing multiple actors to portray Sweitzer and the other roles. There are moments in the current production when one fears Sweitzer is risking re-traumatizing himself... and traumatizing unsuspecting audience members along with him. That being said, I applaud Sweitzer for his courageous, ultimately hopeful work. One can catch it now through October 21st.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxwwes3DzbpXNrXmLZEQQIajULl-pU3F-Y8IsGlWjlp-BE8ezIYO9x6I5_BQeX-j0jiwoZ-8EGVR8kkzJp-esU9YVGP0F4AO_0ITGUPldCd1EXu3dkmv1VTNR2A2exuzm_go0vaSsoKL4cL8EkE797rwqE5TiUbZqr-6SDeZ86DzIARYSnah1UyD7XJwVh/s1178/Titanique.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="591" data-original-width="1178" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxwwes3DzbpXNrXmLZEQQIajULl-pU3F-Y8IsGlWjlp-BE8ezIYO9x6I5_BQeX-j0jiwoZ-8EGVR8kkzJp-esU9YVGP0F4AO_0ITGUPldCd1EXu3dkmv1VTNR2A2exuzm_go0vaSsoKL4cL8EkE797rwqE5TiUbZqr-6SDeZ86DzIARYSnah1UyD7XJwVh/w640-h322/Titanique.PNG" width="640" /></a></div><p>
Last but certainly not least among NYC productions Reverend has attended recently is the off-Broadway sensation <i><a href="https://titaniquemusical.com/" target="_blank">Titanique</a></i>! I streamed an early, online version of this hilarious spoof during the COVID shutdown and loved it. But I finally decided to see the fully-staged production at the Daryl Roth Theatre after learning the fantastique Drew Droege was joining the cast. Droege — who has an extensive resumé that includes The Groundlings comedy troupe, numerous sitcom appearances and indie films, plus roles in acclaimed plays (several of which he wrote himself)— has been a friend since we crossed paths at Outfest Los Angeles approximately a decade ago. He is also well known for his sublime YouTube videos in which he portrays actress Chloë Sevigny, pontificating on various mundane topics.<br />
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In brief, <i>Titanique </i>recreates James Cameron's 1997 Oscar-winning film for which French-Canadian singer Celine Dion immortalized the song "My Heart Will Go On." But in this off-kilter rendition, Dion inserts herself into the film and even claims to have been physically present on the ill-fated luxury liner when it collided with an iceberg and sank in 1912. The very funny Jackie Burns has assumed the role of Dion from original star and book co-writer Marla Mindelle. I was especially amused by the multiple ways Burns intentionally mispronounces her diva character's name, including what sounds like "So-long" instead of "Celine." Though some die-hard fans might consider the show's depiction of Dion as disrespectful, it is actually quite loving even as it highlights some of the real-life singer's quirkier behaviors.<br />
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Droege is a hoot in the role of Ruth, Rose's bitchy mother (played by Frances Fisher in the movie). Also new to the cast is <i>RuPaul's Drag Race</i> alum Willam, although he was out the evening I attended. Now extended through January 7th, be sure to book passage on <i>Titanique </i>when in NYC!<br />
<br />
<b>Reverend's Ratings</b>:<br />
<i>The Shark is Broken</i>: B+<br />
<i>Here Lies Love</i>: A-<br />
<i>Pay the Writer</i>: B<br />
<i>20 Seconds</i>: B-<br />
<i>Titanique</i>: A-<br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Reviews by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-71922542025622811292023-09-08T06:00:00.094-05:002023-09-08T06:00:00.139-05:00Reverend's Interview: Dressed for Success in Bottoms<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkq9CkqDgnkQzsclbGgHPc3s1f2mE2vYHAfRWcEdqvT07w9M4jLXX3SGxq-p3HT7pWkpCaXq-5SMLMj1o0tZU1Z2T39ddD5CoH3qxEhkaBBiFfdYWlk3zPMzqC6piaNfLLNgwKaxb_6HVJNJP9TxsMQwR7g-rszhxZqINIWvNPE8ifLte_Vde4DnOnFmeL/s885/Bottoms.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="885" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkq9CkqDgnkQzsclbGgHPc3s1f2mE2vYHAfRWcEdqvT07w9M4jLXX3SGxq-p3HT7pWkpCaXq-5SMLMj1o0tZU1Z2T39ddD5CoH3qxEhkaBBiFfdYWlk3zPMzqC6piaNfLLNgwKaxb_6HVJNJP9TxsMQwR7g-rszhxZqINIWvNPE8ifLte_Vde4DnOnFmeL/s16000/Bottoms.PNG" /></a></div><br />Many of us have been captivated this past month by season 2 of <i>Heartstopper</i>, the acclaimed Netflix series about a group of nice, largely well-behaved LGBTQ teens. Well, get ready for <i><b><a href="https://www.imdb.com/title/tt17527468/reference/" target="_blank">Bottoms</a></b></i>, a raunchy, politically-incorrect new movie that serves as the virtual antithesis of <i>Heartstopper </i>but I still recommend. It is now playing in select theaters.</span></h3><p>
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This comedy directed by Emma Seligman (<i>Shiva Baby</i>) focuses on two queer girls, PJ and Josie, who start a high school fight club in an effort to lose their virginities to cheerleaders. Their bizarre plan works. The fight club gains traction and soon the most popular girls in school are beating each other up in the name of self-defense, with some self-discovery worked in. But PJ and Josie soon find themselves in over their heads and in need of a way out before their plan is exposed.<br />
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Rachel Sennott, who previously starred in the similarly provocative <i>Shiva Baby</i>, headlines the cast as PJ and co-wrote the screenplay with Seligman. Ayo Edebira (also currently seen in Hulu’s <i>The Bear</i>) plays Josie, and British actor Nicholas Galitzine co-stars as a charmingly narcissistic football player. Galitzine is currently making viewers swoon as Prince Henry in Amazon Prime’s hit gay-themed romance <i>Red, White & Royal Blue</i>. <i>Bottoms </i>also boasts a music score co-composed by pop singer-songwriter Charli XCX.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo1iHdgYwBX5kdZP1uvzmTVL2_wbLQjU0Y9byNl961t6TVUHEuof41xaIrbB2F13wdhelz-oypvpviEPSMYIh95ol4HvAaRCROB4El2qaOdB5RCZlP0NSnZ2vZrQDxN0TumTUz0IyuVZhx43NQF5mGeFEo_aTTwWD7Gmmhsg-dAia3N0bszC3jOstyNmwu/s1549/Bottoms%203.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="744" data-original-width="1549" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo1iHdgYwBX5kdZP1uvzmTVL2_wbLQjU0Y9byNl961t6TVUHEuof41xaIrbB2F13wdhelz-oypvpviEPSMYIh95ol4HvAaRCROB4El2qaOdB5RCZlP0NSnZ2vZrQDxN0TumTUz0IyuVZhx43NQF5mGeFEo_aTTwWD7Gmmhsg-dAia3N0bszC3jOstyNmwu/w640-h308/Bottoms%203.PNG" width="640" /></a></div><p>
There are an abundance of LGBTQ teen characters in <i>Bottoms</i>, which was actually titled <i>Gay High School Fight Club</i> while Seligman and Sennott were writing it. As Sennott recalls in the film’s press notes: “Emma had this idea to do a queer teen high school story, and I wanted to do a comedy where the women behave badly and the main characters are sort of unlikeable. We connected over that and spent the next few weeks outlining and brainstorming.”<br />
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Seligman described the inspiration behind the script. “Our initial references were <i>Superbad </i>or <i>American Pie</i> or the many other teen movies with male leads trying to lose their virginity,” she said. “Rachel and I felt that there are just as many flawed, superficial, horny teenage girls as there are flawed, superficial, horny teenage boys. Those were the initial references, then <i>Wet Hot American Summer</i>, <i>Bring It On</i>, <i>Sugar & Spice</i> and <i>Drop Dead Gorgeous</i>, and all these Y2K teen movies helped shape the tone of the movie.” While they aimed to have positive representations of queer teen sexuality, Seligman and Sennott really wanted to show just how messy women can be.<br />
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1999’s homoerotic drama <i>Fight Club</i>, which co-starred Brad Pitt and Edward Norton and was directed by David Fincher, is another inspiration referenced multiple times in the film. Ultimately, <i>Bottoms </i>has abundant heart as well as moments of bad taste plus a great montage set to Bonnie Tyler’s classic song "Total Eclipse of the Heart", an awesome finale, and some hilarious bloopers during its end credits.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiik-tfCr_ps7fzj5IDoPbHoPk3MtA2pqyQHW_aaLi2JiAjYML3qzyyvNTD98zSMuE_I1AsCb7k_WCrUg1mc7wBCsHcQTiyRgfQuMiMBD3ONxG_17Gx4z4K_BG-PZuZsMKJaAMJtiUIKYQKLgTYn9k_2DRzuXvFGzIJRA09n_uZWk0_etIsRIDwM2x5FKaY/s624/Eunice%20Lee.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="624" data-original-width="488" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiik-tfCr_ps7fzj5IDoPbHoPk3MtA2pqyQHW_aaLi2JiAjYML3qzyyvNTD98zSMuE_I1AsCb7k_WCrUg1mc7wBCsHcQTiyRgfQuMiMBD3ONxG_17Gx4z4K_BG-PZuZsMKJaAMJtiUIKYQKLgTYn9k_2DRzuXvFGzIJRA09n_uZWk0_etIsRIDwM2x5FKaY/w313-h400/Eunice%20Lee.PNG" width="313" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Eunice Lee<br /></td></tr></tbody></table><p>
Another standout element of the movie are its character’s costumes, drawn from influences spanning different time periods, film genres and dramatic tones by designer <b>Eunice Lee</b>. Lee began her career as a high-fashion stylist and a fashion journalist before entering the film industry. She is currently designing costumes for the upcoming <i>Twisters</i>, a big-budget sequel to/reboot of the 1996 tornado thriller <i>Twister</i>.<br />
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Lee recently took time out of her busy schedule to speak with me via Zoom:<br />
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<b>CC</b>: Hi Eunice! I’m really excited because in my 25-plus years of interviewing filmmakers and other talent, I’ve never interviewed a costume designer! Maybe for myself and the less familiar, can you kind of explain what exactly a costume designer does or how do you approach your work?<br />
<b>EL</b>: Oh wow, sure! Costume designers are responsible for designing the overall look and every outfit for every character that you see on set or in the film.<br />
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<b>CC</b>: Where does the design process typically start for you? I know some directors will read scripts and they’re picturing certain actors in certain roles. When you’re reading a script, are you picturing the costumes or the fashions the characters might be wearing that immediately or does that come later on?<br />
<b>EL</b>: Well, the first time I read the script I read it in totality so I don’t really think about the fashion. I think about who these characters might be. My process is really to create backstories for characters, like what makes each character a whole person and not just a character. We see them for an hour and a half to two hours and that’s not their full story, and to create something, or a person or a character, that doesn’t feel shallow you kind of have to understand what got this person or this character to this place to begin with. And so I just start creating these backstories for everyone.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdSQvGY3rDl1b6mOM0HNu2TEbcEDk-6LVXAaSt2ejLTTKrchiQo2IqSJ8-XEpltWtUgbyylXhEj5DFoOXQV6NmYx80rb-n-4bL-P3PdZ_mqTp-mXh713hPnivkUK_eSdJvTFBDRyCBBBt0LlzsNkVIWgckqNiMTokO16hP783tGMJtqF5R3fHd1UxM9mgD/s1612/Bottoms%201.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="756" data-original-width="1612" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdSQvGY3rDl1b6mOM0HNu2TEbcEDk-6LVXAaSt2ejLTTKrchiQo2IqSJ8-XEpltWtUgbyylXhEj5DFoOXQV6NmYx80rb-n-4bL-P3PdZ_mqTp-mXh713hPnivkUK_eSdJvTFBDRyCBBBt0LlzsNkVIWgckqNiMTokO16hP783tGMJtqF5R3fHd1UxM9mgD/w640-h300/Bottoms%201.PNG" width="640" /></a></div><p>
<b>CC</b>: That’s cool, that’s interesting. And you got your start in fashion journalism, is that right?<br />
<b>EL</b>: That’s correct, actually. I went to Parsons School of Design (in New York City) and while I was there getting my BBA I interned my way through Conde Nast. Then I moved to London and got my Masters at another fashion school in fashion journalism, and I kind of stayed in that high luxury fashion space for a very long time (laugh).<br />
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<b>CC</b>: So, what inspired you or led you into costume design?<br />
<b>EL</b>: It’s more serendipity than anything else. Long story short, I suppose: After London and being in this very competitive space as a stylist, I went to Seoul for a holiday and I was introduced to this Italian filmmaker who felt very passionate about setting me up with this Korean-American director because he was in town prepping for his next indie film. I had never done a film before, I had never even considered it. But this director asked me to go to LA and meet with this designer that he had hired, and he let her know that he wanted me to be a part of this project. And so, a few months later, I was in Seoul and traveling around South Korea on that film and that’s where I met (actor-producer-director) Justin Chon, who I’ve collaborated on multiple films with including <i>Blue Bayou</i> and <i>Jamojaya</i>, which premiered at Sundance this year.<br />
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<b>CC</b>: That’s awesome. Yeah, serendipitous is definitely the appropriate word there. So, talk to me about <i>Bottoms</i>. How did this film or project find its way to you?<br />
<b>EL</b>: It’s not very exciting. I got sent the script through my agents and I’d heard of Emma Seligman because she had just done this great film called <i>Shiva Baby</i>. I love dark comedies and I just felt like, “here’s this really young girl who just graduated NYU doing something.” I mean, she really had her finger on the pulse in terms of comedy and I thought she would just be really fun to collaborate with. So I really fought to be a part of this film and I really wanted to work on something that really highlighted the LGBTQIA community.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxtt2hTfsmaPPU0YzN-mUVIVzMqiPXhB_yQF6EioqLxlK5p7BLQwZuxGAozVlPDygd-XHqtySPZkdejUZORb61zdYqsIhEzgtIIy5i1tlUDa0Z6bErMR9aEAWPyUkNYqIP1UiZACtpkUCV2jGOSPh8nT7C7_qg3yMysu_nxE4J5W6FNTS_mx4_JP4qiRaF/s1261/Bottoms%202.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="571" data-original-width="1261" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxtt2hTfsmaPPU0YzN-mUVIVzMqiPXhB_yQF6EioqLxlK5p7BLQwZuxGAozVlPDygd-XHqtySPZkdejUZORb61zdYqsIhEzgtIIy5i1tlUDa0Z6bErMR9aEAWPyUkNYqIP1UiZACtpkUCV2jGOSPh8nT7C7_qg3yMysu_nxE4J5W6FNTS_mx4_JP4qiRaF/w640-h290/Bottoms%202.PNG" width="640" /></a></div><p>
<b>CC</b>: <i>Bottoms </i>is a very funny movie and your designs for the women in the cast are certainly noteworthy, but one of the funniest things about the movie for me was the football players and how they’re in their uniforms the entire film. Was that how it was written or was that the director’s choice or your choice, or was there consultation about that?<br />
<b>EL</b>: (Laughs) For sure. That was an Emma idea. We had multiple conversations about this but I really used <i>Fight Club</i> as an example for this film, not just for the obvious but because I love the way that Michael Kaplan, who designed <i>Fight Club</i>, utilizes the use of gender to signify or kind of juxtapose these really masculine, macho acts of fighting and beating each other up. But then you have Brad Pitt wearing women’s robes and these tight floral shirts and, like, these really camp glasses. It just kind of normalizes it as a masculine thing, and I loved the idea of making the silhouettes for these football players as feminine as it can get within the parameters of it still being a uniform. So, we used smaller padding. We used very, VERY tight uniforms. I mean, I sized down for everyone and it was a nightmare! (Laughs) Most days, we thought the seams were going to rip. The boys could hardly get themselves inside the uniforms. It took two costumers to help every football player.<br />
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<b>CC</b>: That is too funny! You mentioned Michael Kaplan and that raised a question for me: Are there other costume designers, either living or deceased, who have really inspired you or you really kind of admire?<br />
<b>EL</b>: Oh, I mean I don’t want to leave anyone out but I love Sandy Powell (a 15-time Oscar nominee and 3-time Oscar winner). I think Heidi Bivens (<i>Euphoria</i>, <i>Reservation Dogs</i>) is very exciting; I think that she is just a phenomenal designer who really has her finger on the pulse. And Jenny Beavan (an Oscar winner for <i>Cruella</i> and <i>Mad Max: Fury Road</i>). There are so many, honestly, I just don’t even know how to answer that question. I think the one thing about choosing designers, for directors, is that everyone will bring a different perspective. You’re never going to have two separate designers who bring the same thing to the table.<br />
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<b>CC</b>: Hmm, that’s interesting to think about. In the film’s press notes, it mentions that you “connect with characters from diverse and LGBTQ communities.” Can you talk a little bit about that connection or attraction?<br />
<b>EL</b>: Sure. I mean, I’m gay and I’m a Korean-American who grew up in Orange County in a very Christian, Korean bubble (laughs). It was suffocating for me but I luckily escaped. I moved to New York and, you know, just seeing different representation of our community there and then, furthermore, moving to London and getting to see the variety of style and types of people in our community just really opened my eyes to the diversity and the individuality of each person.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjoVj0A2kfiBjosdkqPtu6U08C3NtskO-cI75gc2irzOq4PuWuqmha4HsXy2gcmOaOZYFFGVsHq4sRUr-5aFB1ZSwCGUTBFSduVmqvdmDnbaRsNAPPCjh3IhToT7k4zEc59VKKHPIQCOu7NkWpx4dPVutE--DGN8GL0CRPXVwylV5JPSHyyZlhRLweTpnU/s1018/Bottoms%204.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="568" data-original-width="1018" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjoVj0A2kfiBjosdkqPtu6U08C3NtskO-cI75gc2irzOq4PuWuqmha4HsXy2gcmOaOZYFFGVsHq4sRUr-5aFB1ZSwCGUTBFSduVmqvdmDnbaRsNAPPCjh3IhToT7k4zEc59VKKHPIQCOu7NkWpx4dPVutE--DGN8GL0CRPXVwylV5JPSHyyZlhRLweTpnU/w640-h358/Bottoms%204.PNG" width="640" /></a></div><p>
I also think the way that gay people are portrayed to mainstream media is so different from how we see ourselves and, sure, in the gay culture there’s going to be super-camp men or there’s going to be women who present themselves as super-butch. But the reality is that’s not the entirety of our community, and I really wanted to do a film where I could show that there’s this ultra-feminine character who you don’t know if she’s gay or not. And there’s another character who’s still trying to figure out who she is and her place in the gay community and how she wants to express herself to the world. I thought that it was really important to bring these different types of style and show each character as a full human as opposed to just a caricature or stereotype.<br />
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<b>CC</b>: Are there any other big-name or known filmmakers who you really hope to work with sometime?<br />
<b>EL</b>: Yeah, I’ve always wanted to work with Wes Anderson (<i>Asteroid City</i>, <i>Moonrise Kingdom</i>, et al), which kind of feeds the stylized side of my brain, but there are other really exciting people. I think Jonah Hill is an incredible filmmaker. I loved what he did on <i>Mid90s</i> and that version of storytelling is really exciting as well. There are so many people I want to work with!<br />
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<b>CC</b>: I can see you working with Wes Anderson. I think your sensibilities and style would line up really well.<br />
<b>EL</b>: Thank you! We’ll see, but I do think that things that are meant for you do come and things that don’t just aren’t meant for you. But it’s been exciting so far!<br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Interview by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-32224867026867540442023-09-01T06:00:00.163-05:002023-09-01T06:00:00.146-05:00Reverend's Preview: FIlmOut San Diego - Glitter and Doom and Big Boys, oh my!<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxS9RjyM-4MAc_Lij1IbBM0Nt0iCRPpu3CdDIGbGvWoAETnPhTl1l66ouWr03marjaa2kHkAYyuVOu7AGbagMSLcQv0fvEQQZM78KojhHU1UNpcSBufjUq0TPGbDMPAbHPlS0kPjDiwuWHppkolP8HXHqxymyYS_IpFvkMO3ROdRE0DoDLllU-Ws0V7fL_/s1428/FilmOut%20San%20Diego%202023.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="825" data-original-width="1428" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxS9RjyM-4MAc_Lij1IbBM0Nt0iCRPpu3CdDIGbGvWoAETnPhTl1l66ouWr03marjaa2kHkAYyuVOu7AGbagMSLcQv0fvEQQZM78KojhHU1UNpcSBufjUq0TPGbDMPAbHPlS0kPjDiwuWHppkolP8HXHqxymyYS_IpFvkMO3ROdRE0DoDLllU-Ws0V7fL_/w640-h370/FilmOut%20San%20Diego%202023.PNG" width="640" /></a></div></span></h3><h3 style="text-align: left;"><span style="font-weight: normal;">Summer may be winding down but it will hardly mark the end of big LGBTQ events. <b><a href="https://filmoutsandiego.com/" target="_blank">FilmOut San Diego’s 23rd Annual LGBTQ Film Festival</a></b> is just around the corner. It will take place from September 7th–10th, 2023, at various locations including the San Diego Natural History Museum (THE NAT) and the Museum of Photographic Arts (MOPA). Both venues are located in San Diego’s historic Balboa Park.</span></h3><p>
<br />
Award-winning films from the Sundance, SXSW and Berlin Film Festivals along with independent features and a variety of short films, will be featured. FilmOut San Diego “annually affirms the ongoing integrity and boundless imagination of our community and the artists who tell our stories. The Board of Directors believes its work is an integral part of an ongoing effort to build a vibrant, affirming and sustainable LGBTQ community in San Diego County.”</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCxQR04UdnR6YFRblP4VoWm9MgrobE969AukNCC5tQlOsjX8XEkv6AVMl8Pu81H3WR9kGdo3wv_4QMAfSYjKKNzPRreeh9lGxwMm2Qm9BE3MNzDcap4z1-on9PHvUc9IArZj8mdWndDHFmH0_qbYTTqkjkRGFRqx22T65I2XraIcgD1mr0bHeHDS1jXiy/s897/Glitter%20and%20Doom.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="876" data-original-width="897" height="626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCxQR04UdnR6YFRblP4VoWm9MgrobE969AukNCC5tQlOsjX8XEkv6AVMl8Pu81H3WR9kGdo3wv_4QMAfSYjKKNzPRreeh9lGxwMm2Qm9BE3MNzDcap4z1-on9PHvUc9IArZj8mdWndDHFmH0_qbYTTqkjkRGFRqx22T65I2XraIcgD1mr0bHeHDS1jXiy/w640-h626/Glitter%20and%20Doom.jpg" width="640" /></a></div><p>
</p><p>FilmOut SD 2023 will kick off at 7:00 pm on Thursday, September 7th with the gay-themed musical romance <i><a href="https://www.imdb.com/title/tt14304018/reference/" target="_blank"><b>Glitter & Doom</b></a></i>. It was directed by acclaimed filmmaker Tom Gustafson, who previously helmed fellow musicals <i>Were the World Mine</i>, <i>Hello Again</i> and <i>Mariachi Gringo</i>. His latest is set to songs by the iconic Indigo Girls and follows two guys who fall in love while trying to make it in the music biz. The star-studded supporting cast includes Ming-Na Wen, Missi Pyle, Lea DeLaria, Tig Notaro, <i>Drag Race</i> alum Peppermint, Broadway star Beth Malone, and the Indigo Girls themselves! The Opening Night screening will be followed by a fabulous party at THE NAT.<br />
</p><p>
Other major screenings confirmed for the fest are:<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNNyMkV2B2j1W9E1Pl3gaqh-zwwAfApPLwb1IBLKpHj_8FKfrHoxHCVIB6_YgdM00z5VVdleYCKt7MzqiTT9YMXbSeWR2ISz06aZGO5qS7zbRo7H3EWbjfhmb1HLYLboXNJyCRnNOSZPL2fQzvqqXIyUw3tNuI1e-aur5yLiqxJfHs6kpcMpNkFXmfAMKB/s890/Shoulder%20Dance.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="890" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNNyMkV2B2j1W9E1Pl3gaqh-zwwAfApPLwb1IBLKpHj_8FKfrHoxHCVIB6_YgdM00z5VVdleYCKt7MzqiTT9YMXbSeWR2ISz06aZGO5qS7zbRo7H3EWbjfhmb1HLYLboXNJyCRnNOSZPL2fQzvqqXIyUw3tNuI1e-aur5yLiqxJfHs6kpcMpNkFXmfAMKB/w270-h400/Shoulder%20Dance.PNG" width="270" /></a></div><p>
<b>Men’s Centerpiece: <i><a href="https://www.imdb.com/title/tt18950300/reference/" target="_blank">Shoulder Dance</a></i></b><br />
Best friends Ira and Roger haven't seen each other in 24 years. When Roger arrives unexpectedly for the weekend, long-suppressed desires dangerously resurface. As the boundaries of friendship, love, and sex collide, the strength of Ira's long-term relationship with Josh is tested as never before. This sexy, provocative film stars TV alums Matt Dallas (<i>Kyle XY</i>) and Rick Cosnett (the conflicted Eddie Thawne on <i>The Flash</i>).<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEp-InELS5KqnF6jm8AdVeLi6K-gkmQ6Y4v3g_sRhdXSEC6y87sIF5E5YoZAlld6s3t5Vt-uEznL6yf1AD_uAylnEWtzGxi2Z6JeDJAPtKAHy2GqySn_TQDbTOQDb4tGzWaYw80djH7hB_ChWHOw5bKHWKYIiq8kOzexi5Q0xlHMq4arVkNAH_Mm_3gZMA/s883/Silver%20Haze.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="883" data-original-width="618" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEp-InELS5KqnF6jm8AdVeLi6K-gkmQ6Y4v3g_sRhdXSEC6y87sIF5E5YoZAlld6s3t5Vt-uEznL6yf1AD_uAylnEWtzGxi2Z6JeDJAPtKAHy2GqySn_TQDbTOQDb4tGzWaYw80djH7hB_ChWHOw5bKHWKYIiq8kOzexi5Q0xlHMq4arVkNAH_Mm_3gZMA/w280-h400/Silver%20Haze.PNG" width="280" /></a></div><p>
<b>Women’s Centerpiece: <i><a href="https://www.imdb.com/title/tt16311464/reference/" target="_blank">Silver Haze</a></i></b><br />
Fifteen years after she got burned when the pub she slept in as a child caught fire, Franky (now 23 and a nurse) seeks revenge because she still hasn't found any answers. Things get more complicated when she falls in love with one of her patients. Of note, Vicky Knight, who plays Franky, is a nurse in real life and this is her second film. The scars on her body are real, the result of a fire in her home when she was 8 years old. A powerful, potent tale by Dutch filmmaker Sacha Polak.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg66e38g5WUUFRbn5iGy1nt1E9frByvCAW6n5jAMNlOrrVHwTQ9ga3UBgfbtlRbRtpFte8tgwgeULfsr21-GHFQC_NW6wXXD7F3w4e5fCyUuEp7pfeVBB23HzeA-gyact23LRs5lhuXDKLRBhKz9orRdLOLPl-4qp4goifKaUwDpmKxMHGCWDFbyzXWbc3m/s882/Mattachine%20Family.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="882" data-original-width="592" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg66e38g5WUUFRbn5iGy1nt1E9frByvCAW6n5jAMNlOrrVHwTQ9ga3UBgfbtlRbRtpFte8tgwgeULfsr21-GHFQC_NW6wXXD7F3w4e5fCyUuEp7pfeVBB23HzeA-gyact23LRs5lhuXDKLRBhKz9orRdLOLPl-4qp4goifKaUwDpmKxMHGCWDFbyzXWbc3m/w269-h400/Mattachine%20Family.PNG" width="269" /></a></div><p>
<b>Festival Spotlight: <i><a href="https://www.imdb.com/title/tt15837314/reference/" target="_blank">The Mattachine Family</a></i></b><br />
A timely and moving film by Andy and Danny Vallentine. Longtime couple Thomas and Oscar are very much in love. However, after their first foster child returns to his birth mother, they find that they have different ideas about what making a family actually means.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMqvO0KEBwPvUJGkJnvJm0bRd6gnfDuMhSlvQtAWKC36FXbFnTJwYJz-2KG54FWGU-jwzdmdPC6v9ofQSM0iIRVtSLfV1wNtqY9Sl0RZZQ87VEX9WxLVjxKevOvrwQRUKYyELQ86vRytpAVZ2ZD80VT6cKCjTBCRXUruZdgk9ALkUcMLK8Z9YgWwDGZ5Er/s886/Three%20Nights%20a%20Week.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="886" data-original-width="652" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMqvO0KEBwPvUJGkJnvJm0bRd6gnfDuMhSlvQtAWKC36FXbFnTJwYJz-2KG54FWGU-jwzdmdPC6v9ofQSM0iIRVtSLfV1wNtqY9Sl0RZZQ87VEX9WxLVjxKevOvrwQRUKYyELQ86vRytpAVZ2ZD80VT6cKCjTBCRXUruZdgk9ALkUcMLK8Z9YgWwDGZ5Er/w294-h400/Three%20Nights%20a%20Week.PNG" width="294" /></a></div><p>
<b>International Spotlight: <i><a href="https://www.imdb.com/title/tt21431680/reference/" target="_blank">Three Nights a Week</a></i></b><br />
Baptiste is in a relationship with cisgender female Samia when he first meets Cookie Kunty, a young drag queen from the Parisian scene who immediately mesmerizes him. This French drama is a must-see in light of all the current anti-drag sentiment in our good ol’ US of A.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV2qLaa8XKd3hgCuLjxxS0vw-QyZRh5MTsAhBLYNbFotkvWlH5_2dJ2i94-E4HBr7_sVYDFEHlJTcD5ZDY83AbojpqiEagrxACMPyyeEUeVTSxSG7GXQEUQ22vjUAYwjq4iuvjbwi-4u6wKCg71nwT5HHob4dy6vzxTVxS7tGorkWSqf4QhhWkASgBwAvT/s868/Golden%20Delicious.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="868" data-original-width="594" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV2qLaa8XKd3hgCuLjxxS0vw-QyZRh5MTsAhBLYNbFotkvWlH5_2dJ2i94-E4HBr7_sVYDFEHlJTcD5ZDY83AbojpqiEagrxACMPyyeEUeVTSxSG7GXQEUQ22vjUAYwjq4iuvjbwi-4u6wKCg71nwT5HHob4dy6vzxTVxS7tGorkWSqf4QhhWkASgBwAvT/w274-h400/Golden%20Delicious.PNG" width="274" /></a></div><p>
<b>Closing Night Film: <i><a href="https://www.imdb.com/title/tt13358190/reference/" target="_blank">Golden Delicious</a></i></b><br />
When gay, basketball-obsessed Aleks moves in across the street, straight-seeming Asian-Canadian teen Jake finds himself trying out for the basketball team to get his attention. An enjoyable coming-of-age story for the iPhone/TikTok age by director Jason Karman.<br />
<br />
A Closing Night Dessert Reception will be held at MOPA on September 10th from 7:15 pm to 10:30 pm. Throughout the festival, several filmmakers and other talent plan to attend the festival and participate in audience Q&A’s after their respective films’ screenings.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR0CgT3KBXvePazI2B5lkXIKRixK8dpxah4WiClC5PcFOpVLRyGT4DLHG70_hwSblyUUQ1dIjBHaQYL_pLK1ldlFMorAf0JpEuKEw4e6pkqaxEkmi_u_U9WNteRiIcIt-wDRb9bmnPEBD783--wZNuvbTm2NmfoMc5ccGVGOFq5Q-SXvCS5_R9rEgR8LC0/s884/Lie%20with%20Me.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="884" data-original-width="655" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR0CgT3KBXvePazI2B5lkXIKRixK8dpxah4WiClC5PcFOpVLRyGT4DLHG70_hwSblyUUQ1dIjBHaQYL_pLK1ldlFMorAf0JpEuKEw4e6pkqaxEkmi_u_U9WNteRiIcIt-wDRb9bmnPEBD783--wZNuvbTm2NmfoMc5ccGVGOFq5Q-SXvCS5_R9rEgR8LC0/w296-h400/Lie%20with%20Me.PNG" width="296" /></a></div><p>
I want to recommend at least two other movies I’ve seen that will be screened during the FilmOut SD weekend. One is the lovely <i><b><a href="https://www.imdb.com/title/tt18626656/reference/" target="_blank">Lie With Me</a></b></i>, adapted from the award-winning French novel by Philippe Besson. (Incidentally but interestingly, the English-language version of the book was translated by none other than beloved 1980’s “Brat Pack” actress Molly Ringwald!) Upon agreeing to be the brand ambassador for a famous cognac celebrating their bicentennial, gay novelist Stéphane returns to his hometown for the first time in many years. Once there, he meets young Lucas, who turns out to be his first love's son. Memories come rushing back to Stéphane: irrepressible attraction, bodies becoming one in the heat of desire, a passion that can never be revealed...until now.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL9LqgkbvXX60KKhkZj4MDDyYwhprsPWg7agJwa-ib3Q1hT-53GdJN6EOLSF_FKdz2mhcRNaUoUJaCCk4y7Wjv9safVNBeqnfwD-sy3fFkdZI76xKarbSsMr4zxxccOZfkhf_J2KQmZkQswtupwWn7Djd8M773BBMmxexyP-kOuRFSLHOicCn9Yg8BIuIi/s1200/Big%20Boys.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="810" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL9LqgkbvXX60KKhkZj4MDDyYwhprsPWg7agJwa-ib3Q1hT-53GdJN6EOLSF_FKdz2mhcRNaUoUJaCCk4y7Wjv9safVNBeqnfwD-sy3fFkdZI76xKarbSsMr4zxxccOZfkhf_J2KQmZkQswtupwWn7Djd8M773BBMmxexyP-kOuRFSLHOicCn9Yg8BIuIi/w432-h640/Big%20Boys.jpg" width="432" /></a></div><p>
Another standout is <i><b><a href="https://www.imdb.com/title/tt24486184/reference/" target="_blank">Big Boys</a></b></i>, which relates the story of a precocious, 14-year old aspiring chef named Jamie (a terrific performance by relative newcomer Isaac Krasner). His dream camping trip is ruined before it even begins when he finds out that his beloved cousin Allie is bringing her new boyfriend, Dan. However, Jamie’s initial jealousy of the competent and confident Dan quickly turns into a “bromance” as they bond over cooking, games and both being “big boys.” As the weekend progresses, despite Jamie’s brother’s attempts to set him up with a girl staying at the campsite, all Jamie wants to do is hang out with Dan. As his burgeoning crush gets him into awkward scrapes and arguments, Jamie begins to come to terms with who he is… and who he desires.<br />
<br />
<i>Big Boys</i> was written and directed by <b>Corey Sherman</b>, a 29-year old filmmaker living in Los Angeles. He grew up in Riverdale, a neighborhood in the north Bronx, just within New York City limits. Sherman later majored in Film & Television Production at the University of Southern California. He started making comedy short films when he was eight years old, and continues making them to this day. A long-time lover of animation, Sherman branched out from live action in college and created an animated web series titled <i>Billiams</i>, which was well-received online and led to a partnership with Matt Maiellaro, the creator of <i>Aqua Teen Hunger Force</i>. He achieved a life-long dream when he wrote, directed, edited, and voiced a character on several episodes of Maiellaro's animated Adult Swim show, <i>12 Oz. Mouse</i>. Sherman is also passionate about non-fiction filmmaking and recently edited Lawrence Kasdan’s documentary short, <i>Last Week at Ed’s</i>, which won the Audience Award for Best Marquee Feature at the 2019 Austin Film Festival.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd1aYBuTh8KtY0e759JHO1eSeJ4RTvMFbK4J6J8vBAONMp6fV9gIpdGLtamzJMLowJjhC0IsVj0a9jDReL9dXm4PnMliQukD3x8C41ruswYAPVvR26rvUGCbjhWJCjzytPKMJxPTvJUArutGoc-8kp5FxzzYALCMtpzHUBYtuO7aSerl5ZIbsycw6W_7bP/s750/Corey%20Sherman.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="563" data-original-width="750" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd1aYBuTh8KtY0e759JHO1eSeJ4RTvMFbK4J6J8vBAONMp6fV9gIpdGLtamzJMLowJjhC0IsVj0a9jDReL9dXm4PnMliQukD3x8C41ruswYAPVvR26rvUGCbjhWJCjzytPKMJxPTvJUArutGoc-8kp5FxzzYALCMtpzHUBYtuO7aSerl5ZIbsycw6W_7bP/w400-h300/Corey%20Sherman.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Corey Sherman<br /></td></tr></tbody></table><p>
I recently had the pleasure of chatting with the talented young Sherman via Zoom:<br />
<br />
<b>CC</b>: <i>Big Boys</i> is such a sensitive, unique coming of age story. What was its genesis?<br />
<b>CS</b>: It was an idea that had been playing around in my head, to center a story on an unrequited crush. Those were really formative for me when I was growing up and coming to terms with my sexuality. There were a lot of guys I liked but none of them were interested in me because they were straight, they were older, they were just inaccessible in some ways. But they still had an impact on me because they taught me about what I liked, and they taught me the courage to be honest about how I was feeling. They were also my first experiences of letting myself get really excited about another guy, and going to that place emotionally — which was a really big step for me, to even allow myself to entertain the idea — so there was all this change happening internally. I wanted to make a movie that centered around that sort of turning point for someone like me.<br />
<br />
<b>CC</b>: Wow, that’s really powerful. So what led you to decide on casting a larger-than-usual body type or protagonist?<br />
<b>CS</b>: We were specifically looking for kids of that size because that’s who I was when I was a kid and it’s still who I am now. It’s something that we haven’t seen a lot of in movies before, where a character like that is allowed to take center stage and have a romantic plot. For them to be these three-dimensional characters that aren’t just like the friend or the total butt of a joke, and for the movie to respect their size and also respect that they have a personality that exists totally outside of their size. It was also important for him to be attracted to a bigger guy and not some thinner or more attractive twink, which is often the case in movies.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU7BfafrfDRejM3bC21VpvyrgySUD24_ZhQW4a-ddPPgevCT0NxOY8918bpL7ge1G5I7Gpe0TqYjf5kXyhsd7sUvDm62mYZcOP98koVZjnDbg5CcPcqSRjFqzfT02hFA5q7SdYg9_NKSzTCe4ncy7IvQZigdXQhJZASQYl-4WdUJd78tFT7lXMLSyglMDr/s800/Big%20Boys%202.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="800" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU7BfafrfDRejM3bC21VpvyrgySUD24_ZhQW4a-ddPPgevCT0NxOY8918bpL7ge1G5I7Gpe0TqYjf5kXyhsd7sUvDm62mYZcOP98koVZjnDbg5CcPcqSRjFqzfT02hFA5q7SdYg9_NKSzTCe4ncy7IvQZigdXQhJZASQYl-4WdUJd78tFT7lXMLSyglMDr/w640-h356/Big%20Boys%202.png" width="640" /></a></div><p>
<b>CC</b>: <b>Isaac Krasner</b> gives a very impressive performance for a teenager! How did you cast him?<br />
<b>CS</b>: Working with a really great casting director, Kristi Lugo. We put out a national casting call and Isaac was the first person we saw. He was remarkable. We wanted to showcase the experience of a chubby teen going through this life-altering experience and allow him to be a fully-developed, nuanced character instead of a stereotype. Isaac totally invested himself in the process and he brought really good ideas and perspective as a 14-year old. Lugo also helped us bring on top talent like Emily Deschanel (who plays Jamie’s mother), in addition to many other incredible actors who gave the performances in the film a lived-in specificity and authenticity.<br />
<br />
<b>CC</b>: And how about the casting process for Dan, played by hunky <b>David Johnson III</b>?<br />
<b>CS</b>: That took a lot longer (than casting Jamie/Isaac). Dan was the last role we cast. It took time to find the right combination of warmth and strength, but David really embodied both better than anyone else we saw. Dan is large but confident in his body, and over the course of the film teaches Jamie that there is nothing to be ashamed of about being a big guy. Even though it is often presented as solely a women’s issue, body shaming affects everyone. Young people of all genders are susceptible to body image issues, particularly now when there is an endless well of images to compare ourselves to online. We need more male role models of body positivity like Dan and Jamie to encourage viewers to stop comparing themselves to others and embrace their bodies no matter the size.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIsPENWqFgGxTxA3LfL7nlwhMwYya19KnZXW1zp_VquN4yM1Z7AyrFRuTXXAhZFYOBz4QJgWEonLq0x9KMYheqN5W28KG2tiE3haYl6EMStqz73glrNwKZNmV1da6ZT4yy5OS0lm0JyvsepD2TLaZDBu3YheW4hPbeLnOVgiwB58abIrJPQZ1TDl6S1J_l/s1571/Big%20Boys%203.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="883" data-original-width="1571" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIsPENWqFgGxTxA3LfL7nlwhMwYya19KnZXW1zp_VquN4yM1Z7AyrFRuTXXAhZFYOBz4QJgWEonLq0x9KMYheqN5W28KG2tiE3haYl6EMStqz73glrNwKZNmV1da6ZT4yy5OS0lm0JyvsepD2TLaZDBu3YheW4hPbeLnOVgiwB58abIrJPQZ1TDl6S1J_l/w640-h360/Big%20Boys%203.png" width="640" /></a></div><p>
<b>CC</b>: What have been some of the responses to your film? Have any of them particularly surprised or moved you?<br />
<b>CS</b>: I’ve been really touched by people, all kinds of people, telling me how personal the movie is to them. It’s clearly gotten an emotional reaction from people and they’re really moved. The story is accessible and universal. We made a film about a young man’s unrequited crush to shed light on this extremely common yet under-examined aspect of queer life. In most romantic stories, the object of the protagonist’s love eventually returns their affection. However, for many queer people like myself, growing up was full of unrequited crushes on straight or closeted peers. Yearning for someone we couldn’t have was frustrating enough, but not seeing any exploration of that experience in the media made it feel like a lonely failure. However, these experiences are extremely common and can be profoundly impactful. We figure out how to make peace with not getting everything we want. We learn to put ourselves out there and be honest even in the face of imminent rejection. Fortunately, these experiences aren’t always complete downers. Like any other love story, they are full of funny, thrilling, and tender moments. We hope that all viewers who can relate but have never seen their story on screen before <i>Big Boys</i> may feel more celebrated and understood.<br />
<br />
Sherman will be in attendance at the <i>Big Boys</i> screening. For complete festival ticket info, screening updates, sponsorships and volunteer information, please visit <a href="http://FilmOutSanDiego.com">FilmOutSanDiego.com</a>. One can also follow the event on Facebook at FilmOut San Diego or on Instagram/Twitter at @FilmOutSD.<br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Preview by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-83556159136541416632023-06-27T06:00:00.005-05:002023-06-27T09:37:29.430-05:00And the 2023 Dorian TV Awards Go To...<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLS-OQpNgbfEBA_itRIOosVGQXO9F8npY9jtMn26giCm-qdsjBdSGn995nxTO6b0ox9qePLQc5TiT3vULEQKKfWt0IUY-ar9_xPIdFMF-EBDw27S2ug1nCtU03xz42WJv-x7vjqzildJy3CVMJU11JmP8LvYc6Fl-OeJKBvLE8e4mZtNtJyII56xIUm8Yz/s1296/Dorian%20TV%20winners.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLS-OQpNgbfEBA_itRIOosVGQXO9F8npY9jtMn26giCm-qdsjBdSGn995nxTO6b0ox9qePLQc5TiT3vULEQKKfWt0IUY-ar9_xPIdFMF-EBDw27S2ug1nCtU03xz42WJv-x7vjqzildJy3CVMJU11JmP8LvYc6Fl-OeJKBvLE8e4mZtNtJyII56xIUm8Yz/w640-h360/Dorian%20TV%20winners.webp" width="640" /></a></div><p><br />
BEST TV DRAMA:<br />
⭐ <i>Succession</i><br />
<br />
BEST TV COMEDY:<br />
⭐ <i>Abbott Elementary</i><br />
<br />
BEST LGBTQ TV SHOW:<br />
⭐ <i>The Other Two</i><br />
<br />
BEST TV MOVIE OR MINISERIES:<br />
⭐ <i>Fire Island</i><br />
<br />
BEST UNSUNG SHOW:<br />
⭐ <i>Somebody Somewhere</i><br />
<br />
BEST NON-ENGLISH SHOW:<br />
⭐ <i>Los Espookys</i><br />
<br />
BEST TV PERFORMANCE—DRAMA:<br />
⭐ Sarah Snook, <i>Succession</i><br />
<br />
BEST SUPPORTING TV PERFORMANCE—DRAMA:<br />
⭐ Jennifer Coolidge, <i>The White Lotus</i><br />
<br />
BEST TV PERFORMANCE—COMEDY:<br />
⭐ Bridget Everett, <i>Somebody Somewhere</i><br />
<br />
BEST SUPPORTING TV PERFORMANCE—COMEDY:<br />
⭐ Ayo Edebiri, <i>The Bear</i><br />
<br />
BEST TV MUSICAL PERFORMANCE:<br />
⭐ Ariana DeBose, “Angela Bassett Did the Thing (Opening Number),” <i>BAFTA Film Awards</i><br />
<br />
BEST TV DOCUMENTARY OR DOCUMENTARY SERIES:<br />
⭐ <i>Queer for Fear: The History of Queer Horror</i><br />
<br />
BEST LGBTQ DOCUMENTARY OR DOCUMENTARY SERIES:<br />
⭐ <i>Queer for Fear: The History of Queer Horror<br /></i>
<br />
BEST CURRENT AFFAIRS SHOW:<br />
⭐ <i>ZIWE</i><br />
<br />
BEST ANIMATED SHOW:<br />
⭐ <i>Harley Quinn</i><br />
<br />
BEST REALITY SHOW:<br />
⭐ <i>Jury Duty</i><br />
<br />
MOST VISUALLY STRIKING SHOW:<br />
⭐ <i>The Last of Us</i><br />
<br />
CAMPIEST TV SHOW:<br />
⭐ <i>Schmigadoon!</i><br />
<br />
WILDE WIT AWARD:<br />
<i>— To a performer, writer or commentator whose observations both challenge and amuse</i><br />
⭐ Wanda Sykes<br />
<br />
GALECA TV Icon Award:<br />
<i>— To a uniquely talented star we adore</i><br />
⭐ Jennifer Coolidge<br />
<br />
GALECA LGBTQIA+ TV Trailblazer Award<br />
<i>— For creating art that inspires empathy, truth and equity</i><br />
⭐ Elliot Page<br />
</p><p>Presented by <a href="https://galeca.org/" target="_blank">GALECA: The Society of LGBTQ Entertainment Critics</a>.<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-6716654117135520372023-06-23T06:00:00.070-05:002023-06-23T09:05:50.119-05:00Reverend's Reviews: Love + Science plus Broadway<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizdZf1Gul814VCDF0pZirnlxSmIKc70DtUADWLpzMy7y-BLhn20yZoDOpQGylJflm79Dcsu_XvduprlSHzWS9vyFhOlBoAxpK0b5p8tbk8MH12Jt1OlbnOKCFqW4DCeqSAjTlknzwHPBiUqZcXKYDS5fjr8HDIJ_5ngZEqwoiaEF9AD0UjxtLEDTp62bkW/s600/love%20+%20sciences.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizdZf1Gul814VCDF0pZirnlxSmIKc70DtUADWLpzMy7y-BLhn20yZoDOpQGylJflm79Dcsu_XvduprlSHzWS9vyFhOlBoAxpK0b5p8tbk8MH12Jt1OlbnOKCFqW4DCeqSAjTlknzwHPBiUqZcXKYDS5fjr8HDIJ_5ngZEqwoiaEF9AD0UjxtLEDTp62bkW/s16000/love%20+%20sciences.jpg" /></a></div><br />Coming of age as a gay teenager and young adult during the 1980's was downright terrifying. Not only was society less accepting of LGBTQ+ people, the life-threatening specter of AIDS hovered over us. I was a high school freshman in 1981, when it was first reported that gay men in the US were dying of rare cancers and infections. Initially labelled as the stigmatizing GRID (Gay-Related Immune Deficiency), it would eventually be determined that it was primarily transmitted through sex. GRID/AIDS kept me and many other gay teens securely in the closet for as long as possible.</span></h3><p>
<br />
<b><i><a href="https://www.loveandscienceplay.com/" target="_blank">Love + Science</a></i></b>, a new off-Broadway play by David J. Glass, is a potent recreation of that tumultuous time. It was inspired by Glass’ time at New York Medical College, where he took care of HIV patients as a medical student, as well as at Columbia University, where he conducted post-doctoral research on cancer in a laboratory that was focused on HIV and other emerging infectious diseases. As a native New Yorker, Glass witnessed first-hand how the HIV/AIDS epidemic radically changed the lives of gay men in New York City.<br />
<br />
The play centers on two gay medical students, Matt and Jeff, who connect while working in a retrovirology lab in 1981. When HIV erupts, the fallout upends their relationship as their response to the rising epidemic pushes them along different paths. It also raises questions about their values as scientists and doctors, and their responsibilities as gay men. A sprawling yet intimate drama spanning the past four decades, <i>Love + Science</i> explores the difficulties of love during a crisis, the realities of scientific progress, and how to maintain hope amid an epic struggle.</p><p>
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTOsqz0E4yXO8NsqnZ2be7itJ2m99oI7OQjuAR8zFiK6AyW9Xj9dFq2oThcqOLeRysiU059e499Gz8GIXv47DIIUyUBFI_rveum99kMCigEuIZeliPiCVPk4sElStTmwLf2LmaiR4s1XosgAZ9Ytr8bYsL8kAYAYU8sa5Qn18SFDxKY_8Ib535n67vh0Rc/s600/love%20science.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="407" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTOsqz0E4yXO8NsqnZ2be7itJ2m99oI7OQjuAR8zFiK6AyW9Xj9dFq2oThcqOLeRysiU059e499Gz8GIXv47DIIUyUBFI_rveum99kMCigEuIZeliPiCVPk4sElStTmwLf2LmaiR4s1XosgAZ9Ytr8bYsL8kAYAYU8sa5Qn18SFDxKY_8Ib535n67vh0Rc/s16000/love%20science.webp" /></a></div><p><br />
At times, the play threatens to become more of a medical lecture than a drama. Ultimately, though, Allen's MacLeod's compassionate direction and his strong cast — not to mention the numerous, retro 80's tunes played during scene changes — make <i>Love + Science </i>a very effective piece of theatre. Special mention goes to attractive lead players Matt Walker (as Matt) and Jonathan Burke (as Jeff), since both of them are in virtually every scene, as well as Adrian David Greensmith, who is making his professional stage debut here in multiple roles. Greensmith brought the house down during the June 11th matinee I attended with a hilarious, improvised remark after a pesky fly invaded one of his scenes. All three of these talented young performers will be worth keeping an eye on in the future.<br />
<br />
The production runs 105 minutes without an intermission. Performances continue through July 6th at New York City Center Stage II, located at 131 W 55th St in Manhattan. Visit the <a href="https://www.loveandscienceplay.com/" target="_blank">show's website</a> for tickets and more information.<br />
<br />
Reverend spent most of my weekends between mid-May and mid-June bingeing current Broadway shows in order to nominate and vote for our first-ever GALECA Dorian Theatre Awards, which were recently announced. Here's my brief rundown of a few musicals worth checking out now or when they tour, plus one new play I recommend giving a hard pass:<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_0C4l7UZw5oGaHXsGToci-rV7LUmi1EH2WmsysKJXYqQlXxGH9l73aDDMLk5X8aahcVM80yt7O6lbnvPnq2ZhcRmSEtt-ta2h2_-zXbDkDDGsAFH7t_oYeidA2SMpfzbi2Bw_ZCQwvHOgjduQbOndTMnafuUfXddx620_mCOpMhJJiuk3XN7TEbpNa9TO/s735/new%20york%20new%20york.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="735" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_0C4l7UZw5oGaHXsGToci-rV7LUmi1EH2WmsysKJXYqQlXxGH9l73aDDMLk5X8aahcVM80yt7O6lbnvPnq2ZhcRmSEtt-ta2h2_-zXbDkDDGsAFH7t_oYeidA2SMpfzbi2Bw_ZCQwvHOgjduQbOndTMnafuUfXddx620_mCOpMhJJiuk3XN7TEbpNa9TO/w640-h480/new%20york%20new%20york.jpg" width="640" /></a></div><p>
<a href="https://newyorknewyorkbroadway.com/" target="_blank"><i><b>New York, New York</b></i></a>:<br />
An adaptation of the largely-forgotten 1977 movie directed by Martin Scorsese. It featured songs by John Kander and his late partner Fred Ebb. Some of them have been preserved in the stage version, notably the famous title tune, while Lin-Manuel Miranda worked with Kander to provide several new songs. Tony Award winner Susan Stroman directed and choreographed efficiently, although with some scene-change dance pieces that I found excessive. The book by David Thompson is negligible, but I was impressed by Colton Ryan's quirky turn in the leading man role. His performance was appropriately nominated for the Lead Actor Tony but he lost to non-binary J. Harrison Ghee (for <i>Some Like It Hot</i>, which I haven't yet seen). <i>New York, New York</i> did win a deserved Tony for Scenic Design.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMS3VzzOsloQLE6l4r4W9pBSWOZeU-vwnPui2cQwdCwxRQDErCev9hkla3YyvXsUCxUZ660RwAdZB27Lb5Q2rRvm99B85n4pFGfKsO-IKkrmxohSzh_Vk7S8CGg7QBMknM6rLtQKVmajeN-jJy3l_kBcKCY7PHIHkr1lbZ7_Ksarozi_wtmW4XUnaFj9eJ/s1200/camelot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMS3VzzOsloQLE6l4r4W9pBSWOZeU-vwnPui2cQwdCwxRQDErCev9hkla3YyvXsUCxUZ660RwAdZB27Lb5Q2rRvm99B85n4pFGfKsO-IKkrmxohSzh_Vk7S8CGg7QBMknM6rLtQKVmajeN-jJy3l_kBcKCY7PHIHkr1lbZ7_Ksarozi_wtmW4XUnaFj9eJ/w640-h336/camelot.jpg" width="640" /></a></div><p>
<a href="https://www.lct.org/shows/camelot/" target="_blank"><b><i>Camelot</i></b></a><i><b>:</b></i><br />
This revival of Lerner & Loewe's take on the King Arthur legend, with a book re-worked/updated by Aaron Sorkin, has gotten mixed reviews but my friend Corey and I found it lovely. I was especially impressed by the un-miked singing by leads Fergie Philippe (covering as Arthur for Andrew Burnap, who was reportedly out sick on June 10th when we attended), Phillipa Soo of <i>Hamilton </i>fame as Guinevere, and Tony nominee Jordan Donica as Lancelot. Add a gorgeously full orchestra, vivid scenic design and costumes, and insightful direction by Bartlett Sher and you have an engrossing throwback to both classic Broadway and the idyllic title setting. Highly recommended.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1JFyxZJ3Sdyu5AH0SMx0KPkRENSNWp-OlTiFAAg_ulIQUg0DJdOqHXYVbQdvov0dlrEtF5eK_Bsmp_PdMd5SDXTqC0kjJv0gQhQOxIWNFvGFcrEyPEUQ1O5MzZCTnINZyCI2FQn5mBHDtfOlDDCOeP1JubCzEMklC-VPxVx8qN6zp3v5lOQ6nJpldU2Of/s1200/juliet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1JFyxZJ3Sdyu5AH0SMx0KPkRENSNWp-OlTiFAAg_ulIQUg0DJdOqHXYVbQdvov0dlrEtF5eK_Bsmp_PdMd5SDXTqC0kjJv0gQhQOxIWNFvGFcrEyPEUQ1O5MzZCTnINZyCI2FQn5mBHDtfOlDDCOeP1JubCzEMklC-VPxVx8qN6zp3v5lOQ6nJpldU2Of/w640-h336/juliet.jpg" width="640" /></a></div><p>
<a href="https://andjulietbroadway.com/" target="_blank"><b><i>& Juliet</i></b></a>:<br />
The biggest, most delightful surprise out of the bunch! I was afraid I would feel excluded by this youth-oriented sequel of sorts to Shakespeare's <i>Romeo & Juliet </i>but needn't have been. Book writer David West Read (<i>Schitt's Creek</i>) and decades-spanning pop songwriter Max Martin have crafted a tuneful and thoroughly entertaining musical that explores what alternatives Juliet might have pursued if she didn't kill herself at the end of the original. The uber-talented young company, led by Lorna Courtney, blew me away. Meanwhile, Bway veterans Stark Sands as Shakespeare, Betsy Wolfe as his wife Anne Hathaway (not THAT Anne Hathaway, which becomes a running joke) and codpiece-sporting Paulo Szot provide strong, mature support. I loved everything about this show and was completely disappointed that it didn't win a single Tony Award. Don't let that stop you from seeing it!<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ANj5WQ3kGP3hWThlTg3SD44M6FGUZQlzJ0lYuTKEVJAs_ZNiOJnZ8pv4icDACWHC5i4_QRoRUuzQM1A1kR5uV1k8AeBReUFDlGtMwtv-aOJJ4aaWeGw_dIo9oXQwPLR04plsrocxnkYyOijujLgAMuUNZceoGBeXO7u1TkAmOKpEdcsYXDKV7cXlTru8/s1200/grey%20house.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ANj5WQ3kGP3hWThlTg3SD44M6FGUZQlzJ0lYuTKEVJAs_ZNiOJnZ8pv4icDACWHC5i4_QRoRUuzQM1A1kR5uV1k8AeBReUFDlGtMwtv-aOJJ4aaWeGw_dIo9oXQwPLR04plsrocxnkYyOijujLgAMuUNZceoGBeXO7u1TkAmOKpEdcsYXDKV7cXlTru8/w640-h336/grey%20house.jpg" width="640" /></a></div><p>
<a href="https://greyhousebroadway.com/" target="_blank"><i><b>Grey House</b></i></a>:<br />
The first production to open this new, Tony/Dorian-consideration season. This wannabe spookfest boasts great credentials: script by Levi Holloway, co-founder of the deaf youth-incorporating Neverbird Project; direction by Tony Award-winning actor-director Joe Mantello (<i>Wicked</i>, the original production of <i>Take Me Out</i>); and award-winning headliners Laurie Metcalf and Tatiana Maslany. Fantastic deaf actress Millicent Simmonds of <i>A Quiet Place</i> movies fame also plays a prominent role. The plot — about a haunted and/or possessed house in the woods populated by a strange group of girls and their caretaker — and fantastic set (designed by Scott Pask, also a multiple Tony Award winner) had me completely engrossed for the first 30 minutes or so. After that, the doldrums set in as not enough answers were supplied speedily enough to the numerous questions raised by the play. It also gets uneasily, convincingly gory. Save your time and money.<br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Reviews by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /><br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-30771861594825801602023-06-16T06:00:00.018-05:002023-06-16T06:00:00.139-05:00Reverend's Preview: Good Things Come in Small Packages at Palm Springs ShortFest<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO2VAjEN5xix_9kyGkVP-q9zHou-BGeUAQLODcOCn35cuvu4HOkn0apIYyleE3LZDnKwVIJL1mo5YdudFEQsSKpEH8KTBhhEVmf9XDzLJKyX6YO79YoktDKBlKMcvRzHlJQTp08XqKaz0cEISgNuPztLsmCkksGQpp2Qd_m2amkUqd9KpDaEWoh48AyQ/s2500/Shortfest%202023.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1407" data-original-width="2500" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO2VAjEN5xix_9kyGkVP-q9zHou-BGeUAQLODcOCn35cuvu4HOkn0apIYyleE3LZDnKwVIJL1mo5YdudFEQsSKpEH8KTBhhEVmf9XDzLJKyX6YO79YoktDKBlKMcvRzHlJQTp08XqKaz0cEISgNuPztLsmCkksGQpp2Qd_m2amkUqd9KpDaEWoh48AyQ/w640-h360/Shortfest%202023.jpg" width="640" /></a></div><br />Many of us are conditioned to believe that size and/or length matters when it comes to certain things. But when it comes to short films, five minutes of celluloid or digital storytelling can pack as much of a wallop as a 90-minute+ feature film.</span></h3>
<h3 style="text-align: left;"><span style="font-weight: normal;"><br />
<b>The 2023 Palm Springs International ShortFest</b> will be proving this point from June 20th-26th at the Camelot Theatres. ShortFest is the largest short film festival in the US, returning for the first time post-pandemic with in-theatre film screenings, panels and roundtable discussions. Designated by AMPAS, BAFTA, BIFA and the Goya Awards as an award-qualifying festival, and accredited by the International Short Film Conference, the PS International ShortFest & Short Film Market is one of the most acclaimed short film showcases in the world.</span></h3><p>
<br />
Running during Pride Month, the ShortFest remains a touchstone for LGBTQ+ cinema across the world. The festival annually curates an LGBTQ+ short film lineup and provides awards in their Best LGBTQ+ Short category. Last year’s award winners included <i>High Jump</i> (directed by Lennert Madouand), with special mentions for<i> Lucky Fish</i> (directed by Emily May Jampel) and <i>Tank Fairy </i>(directed by Erich Rettstadt).<br />
<br />
The full 2023 film program and schedule is available on <a href="https://psfilmfest.org/shortfest-2023" target="_blank">their website.</a> I was able to preview of few of this year’s selections.
Several of the best — and definitely funniest — are women’s stories with universal appeal:</p><ul style="text-align: left;"><li>
<i>Crarylake Boats and Floats</i>. Lane, a young adult lesbian, works at a boat rental shop. Her dull day to day routine is spiced up when a pretty renter enlists her on a secret mission.</li><li>
<i>Gold and Mud</i>. A hilarious but ultimately poignant short wherein a neurotic woman (an excellent, decades-spanning performance by Ana Fabrega) can’t catch a break in life.</li><li>
<i>Gianna</i>, which features LGBTQ fave Margaret Cho playing therapist to a client struggling with her literal inner demon.</li><li>
Canadian filmmaker David Findlay’s <i>Lay Me by the Shore</i> is a potent story about a queer/trans student who is forced to reconcile with their troubled past on the eve of their high school graduation.</li><li>
<i>The Rainbow Dung Beetle</i> is a sweet, animated short created by students at Orange County’s Chapman University. The title character is forced to disprove his late mother’s warning “When we shine, we die” soon after his new, same-sex insect neighbors move in.</li></ul><p>
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgyCbjzdVV-gKI4DODxUaIHiP83o2HcOVH-GRFpRJ70S1dwqUVs_Gj6BCRj0dlaNXhKezY3LpXc-LANR9g3ZqTO5PvQj-J9a1udEGxLrthA4kMKq9i5YYwosKmLzd8eAJccHv0REB7-gwMw1kprUQl4WCjMTi7NfzxNy3NevGTl4Rj8GARQ1dkr1PQ8A/s1440/SCRED%20TBM.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1440" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgyCbjzdVV-gKI4DODxUaIHiP83o2HcOVH-GRFpRJ70S1dwqUVs_Gj6BCRj0dlaNXhKezY3LpXc-LANR9g3ZqTO5PvQj-J9a1udEGxLrthA4kMKq9i5YYwosKmLzd8eAJccHv0REB7-gwMw1kprUQl4WCjMTi7NfzxNy3NevGTl4Rj8GARQ1dkr1PQ8A/w400-h225/SCRED%20TBM.webp" width="400" /></a></div><p>
While I didn’t get to screen it in advance, <i><b>SCRED TBM</b></i> certainly sounds intriguing: “Gabriel, a young father in a relationship, leads a double life. It is through a dedicated application and the pseudonym ‘Scred TBM’ that he is brought to live a part of his sexuality in secrecy. He scrupulously organizes his meetings in order to never be unmasked, but everything changes the day he meets a new profile.” Hmmm.<br />
<br />
The remainder of this year’s ShortFest LGBTQ+ lineup, including several other animated shorts:<br />
<br />
<i>100% USDA Certified Organic Homemade Tofu<br />
Aban<br />
AIKĀNE<br />
An Avocado Pit<br />
Between Her<br />
Burial of Life as a Young Girl<br />
CANS Can't Stand<br />
Christopher at Sea<br />
Idiot Fish<br />
Insta Gay<br />
The Melting Creatures<br />
Pipe</i><br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Preview by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br />Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-63916966168808757782023-06-15T06:00:00.004-05:002023-06-15T10:57:14.490-05:00HBO Maxes Out the Dorian TV Award Nominations<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXvLoQgE3Uih-maEVuan3sXZxduLH5t7cRUyvodsdVM2lIRgAsbNU8UFxizAmF2PBhLld7lv0saS8IEJzo0AHUJaLIlrtp86ePl8yI9CeyE46myNPCyiCk6quzxRdWvKFGBgoZb3GSpQItrFKlafACVvp3t0paNEUZiK_VNrh4tUGaRGUgJfC84Gc5A/s1584/Somebody%20Somewhere.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1056" data-original-width="1584" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXvLoQgE3Uih-maEVuan3sXZxduLH5t7cRUyvodsdVM2lIRgAsbNU8UFxizAmF2PBhLld7lv0saS8IEJzo0AHUJaLIlrtp86ePl8yI9CeyE46myNPCyiCk6quzxRdWvKFGBgoZb3GSpQItrFKlafACVvp3t0paNEUZiK_VNrh4tUGaRGUgJfC84Gc5A/w640-h426/Somebody%20Somewhere.jpg" width="640" /></a></div><br />With 32 nods, more than double any other network/service this year, HBO dominated the just announced Dorian TV Award nominations, presented by <a href="https://galeca.org/" target="_blank">GALECA: The Society of LGBTQ Entertainment Critics</a>. The post-apocalyptic thriller <i>The Last of Us</i> lead in the drama field with 8 nominations, while the bittersweet <i><b>Somebody Somewhere</b></i> topped the comedies with 6 nominations. Mike White's buzzy second season of <i>The White Lotus </i>was close behind with 5.</span></h3><p>Click on the comments link below to see the full list of nominations. Winners will be announced June 21st.<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com1tag:blogger.com,1999:blog-206169726101426819.post-53283051275275620202023-06-02T18:00:00.004-05:002023-06-15T10:32:46.957-05:00The First Dorian Theater Awards Winners Announced!<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEqgh3dmUWsmeNTzFR1qMh7dSFl_4hGj0clBJclxd4uzsrZy1fZWQ2ws27Y4ty_7lYUFpVDUp7OOmyr-vX3JdZa_uOWGqMUpddNWA3XI5fj8I8qW2XbaFOdcUqbimEipebAEW_fFUiiMh9qU1bOukqB3NjKrRcuAh9hOca0X7C-S8u8PAfxsZaEvK1Cw/s681/Kimberly%20Akimbo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="681" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEqgh3dmUWsmeNTzFR1qMh7dSFl_4hGj0clBJclxd4uzsrZy1fZWQ2ws27Y4ty_7lYUFpVDUp7OOmyr-vX3JdZa_uOWGqMUpddNWA3XI5fj8I8qW2XbaFOdcUqbimEipebAEW_fFUiiMh9qU1bOukqB3NjKrRcuAh9hOca0X7C-S8u8PAfxsZaEvK1Cw/w640-h462/Kimberly%20Akimbo.png" width="640" /></a></div></span></h3><h3 style="text-align: left;"><span style="font-weight: normal;">It was a very brief NYC theater awards season for Reverend and the other charter members of our new <b><a href="https://galeca.org/" target="_blank">GALECA Dorian Awards Theater Wing</a></b>, but we did it! We announced our formation in April of this year and had until May 30th to submit our nominations. I was not able to see all the musicals, plays and revivals — both on and off Broadway — before our deadline but I am very pleased that my personal fave, <i><b>Kimberly Akimbo</b></i>, did so well in our final results.
So, without further ado, here is the full list of Dorian Theater Award winners and finalists:</span><br /></h3><p></p><div style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: Arial;"></span></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding Broadway Musical</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> <i>Kimberly Akimbo </i></span></div><div style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: Arial;"><br aria-hidden="true" /></span></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists<i>:</i> <i>Shucked</i>, <i>Some Like it Hot</i></span></div><div style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: Arial;"><br aria-hidden="true" /></span></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding Broadway Play</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> <i>Fat Ham</i></span></div><div style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: Arial;"><br aria-hidden="true" /></span></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists</span><i><span style="font-family: Arial;">: </span></i><span style="font-family: Arial;"><i>Cost of Living</i>, <i>Leopoldstadt</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding Broadway Musical Revival</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> <i>Into the Woods</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists<i>:</i> <i>Parade</i>, <i>Sweeney Todd</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding Broadway Play Revival</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> <i>A Doll’s House</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists<i>:</i> <i>Ohio State Murders</i>, <i>The Sign in Sidney Brustein’s Window</i>, <i>Topdog/Underdog</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding Lead Performance in a Broadway Musical</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> Victoria Clark in <i>Kimberly Akimbo</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists</span><i><span style="font-family: Arial;">: </span></i><span style="font-family: Arial;">Annaleigh Ashford in <i>Sweeney Todd</i>, J. Harrison Ghee in <i>Some Like it Hot</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding Featured Performance in a Broadway Musical</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> Bonnie Milligan in <i>Kimberly Akimbo</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists</span><i><span style="font-family: Arial;">: </span></i><span style="font-family: Arial;">Justin Cooley in <i>Kimberly Akimbo</i>,Alex Newell in <i>Shucked</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding Lead Performance in a Broadway Play</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> Jodie Comer in <i>Prima Facie</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists</span><i><span style="font-family: Arial;">: </span></i><span style="font-family: Arial;">Jessica Chastain in <i>A Doll’s House</i>, Sean Hayes in <i>Good Night, Oscar</i>, Stephen McKinley Henderson in <i>Between Riverside and Crazy</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><b>Outstanding Featured Performance in a Broadway Play<br aria-hidden="true" /></b><span style="font-stretch: normal; line-height: normal;">⭐</span> Crystal Lucas-Perry in <i>Ain’t No Mo’</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists</span><i><span style="font-family: Arial;">: </span></i><span style="font-family: Arial;">Jordan E. Cooper in <i>Ain’t No Mo</i>, Miriam Silverman, <i>The Sign in Sidney Brustein’s Window </i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding Broadway Ensemble</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> <i>Kimberly Akimbo</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists</span><i><span style="font-family: Arial;">: </span></i><span style="font-family: Arial;"><i>Into the Woods</i>, <i>Shucked </i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">The Broadway Showstopper Award </span></b><span style="font-family: Arial;">-<i> </i></span><i><span style="font-family: Arial;">To a standout production number or scene</span></i></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> “Independently Owned” from <i>Shucked</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><i><span style="font-family: Arial;">Finalists: </span></i><span style="font-family: Arial;">“Better” from <i>Kimberly Akimbo</i>, “You Coulda Knocked Me Over with a Feather” from <i>Some Like it Hot</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding LGBTQ Broadway Production</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> <i>Fat Ham</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists</span><i><span style="font-family: Arial;">: </span></i><span style="font-family: Arial;"><i>& Juliet</i>, <i>Some Like it Hot</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding Off-Broadway Production</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> <i>Titaníque</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists</span><i><span style="font-family: Arial;">: </span></i><span style="font-family: Arial;"><i>Dark Disabled Stories</i>, <i>Downstate </i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">Outstanding Off-Broadway Performance</span></b></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> Marla Mindelle in <i>Titaníque</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists</span><i><span style="font-family: Arial;">: </span></i><span style="font-family: Arial;">K. Todd Freeman in <i>Downstate</i>, Ryan J. Haddad in <i>Dark Disabled Stories</i>, Parker Posey in <i>The Seagull/Woodstock, NY</i></span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><b><span style="font-family: Arial;">LGBTQ Theater Trailblazer Award</span></b><span style="font-family: Arial;"> -</span><i><span style="font-family: Arial;"><b> </b></span><span style="font-family: Arial;">T</span><span style="font-family: Arial;">o a figure who inspires empathy, truth and equity</span></i></div><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"><span style="font-stretch: normal; line-height: normal;">⭐</span> J. Harrison Ghee</span></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;"> </span></p><div style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: Arial;">Finalists</span><i><span style="font-family: Arial;">: </span></i><span style="font-family: Arial;">Jordan E. Cooper, Ryan J. Haddad</span></div><p><span style="font-family: Arial;"><b>Coming soon</b>: This year's Dorian TV Awards!</span></p><p><span style="font-family: Arial;"> </span> <br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-46574613420312605052023-05-12T06:00:00.118-05:002023-05-12T06:00:00.150-05:00Reverend's Interview: Altered Perceptions Reveals the Naked Truth<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0d06qxxQ-n87uPziPN_xVuirr3X-bWnywTNp4Lxu1DcEy0tiyYMxoFKNd0hzX1yJMovTALIxKOz22ItLMKJ7gmcvHuOKWYA8Vo8QDzkC6XfRaW7s3H_RifwAtRRyR_V6eVFxbg7eWvvOdLe0lrFS0ipA1VC741pX_RNzvgGYtKouZewX-dNAuBkVNog/s840/Altered%20Perceptions.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="840" data-original-width="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0d06qxxQ-n87uPziPN_xVuirr3X-bWnywTNp4Lxu1DcEy0tiyYMxoFKNd0hzX1yJMovTALIxKOz22ItLMKJ7gmcvHuOKWYA8Vo8QDzkC6XfRaW7s3H_RifwAtRRyR_V6eVFxbg7eWvvOdLe0lrFS0ipA1VC741pX_RNzvgGYtKouZewX-dNAuBkVNog/s16000/Altered%20Perceptions.PNG" /></a></div><br />What would <i>you</i> do if you were gay, a global pandemic was raging, and you were freaking out over the future of humanity? Well, you probably don’t have to think too hard since that was our real-life situation just a couple of years ago! Now, we have a movie that reflects the LGBTQ+ community’s lingering concerns.</span></h3>
<h3 style="text-align: left;"><span style="font-weight: normal;"><br />
<i><b><a href="https://www.imdb.com/title/tt20834182/reference/" target="_blank">Altered Perceptions</a></b></i>, by veteran indie filmmaker Jorge Ameer (<i>Sabor Tropical</i>, <i>Oasis</i>, <i>The Family Tree</i>), will be having its world premiere at this month’s Cannes Film Festival. It will subsequently screen as the Opening Night event of the Marina del Rey Film Festival on June 8th.</span></h3><p>
<br />
In this contemporary psychological thriller, the United States is on the brink of a potential Civil War. Things further deteriorate when the perceptions of many seemingly normal people begin to change dramatically, causing alterations in reality and behaviors that cannot be explained medically. Suicides, homicides and mass murders begin to increase at an alarming rate. A renowned neurologist and his team begin to unravel what appears to be the root of these behaviors: rapid aging of the brain. It is unclear how it’s being spread.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq13fWClc-KUk3pMdxiXn8HDnZ8mxfv6vTwp-y-mV5QJ1knpqVxQ5hZWLk6R6D258rQJHXnJZ9rf8Lu1DuAo7RcwgO277Cc9Pa_QbIlULqwXPsWUAOmkMnIHouEfQBP5XS_jnjV7VnKoZ7E8X2iGBo2mSX7FCkSoxPQibMI_bRAEkAKKriOd2cq-drJw/s2560/Altered%20Perceptions%20Oran%20Stainbrook.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="2560" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq13fWClc-KUk3pMdxiXn8HDnZ8mxfv6vTwp-y-mV5QJ1knpqVxQ5hZWLk6R6D258rQJHXnJZ9rf8Lu1DuAo7RcwgO277Cc9Pa_QbIlULqwXPsWUAOmkMnIHouEfQBP5XS_jnjV7VnKoZ7E8X2iGBo2mSX7FCkSoxPQibMI_bRAEkAKKriOd2cq-drJw/w640-h480/Altered%20Perceptions%20Oran%20Stainbrook.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"> Oran Stainbrook as Alex<b> </b>in <i>Altered Perceptions</i></td></tr></tbody></table><p>
Politicians and others on the conservative fringe begin to falsely claim this disease is affecting only LGBTQ and African-American individuals who have been vaccinated against COVID-19. This misinformation quickly becomes a hot political issue with some calling for these groups of people to be rounded up, quarantined and exterminated. Suddenly, a man who claims to be from the future arrives to convince the neurologist’s gay son, Alex, that his father is key to finding the answer to this plague. But is it too late for this mysterious — and intriguingly unclothed — man to help us save ourselves?<br />
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<i>Altered Perceptions</i> turns out to be a timely, sexy, sci-fi mind-bender featuring a strong cast that includes Oscar nominees Eric Roberts and Sally Kirkland. It is director Ameer's most ambitious and provocative film to date. Interestingly, the screenplay was written by an actual clinical neuropsychologist, Wayne Dees.<br />
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The movie also stars a talented young actor, <b>Oran Stainbrook</b>, making his feature film debut as Alex. This writer recently interviewed Stainbrook via email. Note: Some of his responses have been edited for length and/or clarity.<br />
<br />
<b>CC</b>: You make quite an impression in <i>Altered Perceptions</i>, which I understand is your first feature or starring role. How did you get recruited/cast?<br />
<b>OS</b>: So, I impulsively moved to Los Angeles for the first time in summer of 2021 without any semblance of a plan, a job, or a place to live. I had about $1,000 to my name and lived out of my old, beat-up ‘98 Jeep Cherokee for the first few weeks, until I found a cheap room to rent in a fairly run-down house in a not-so-great neighborhood right next to the freeway in East Hollywood. I didn’t have an agent or any idea of how to get an agent, so I started self-submitting to everything I could find on sites like Actors Access and Casting Networks.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid60T23uZ2oWnYkySOV5K9zsBLum-CiULW2m3P1omYouH0aOxZRgAXV7fYWkJy7gg3bQeEhKJNA01en6HFlNsvTenuMQoCq-j119PMTtoxOUfvE6zm2KvIQ0QZHbIWoiVFQB5y-ejvrCyC7oreJvJsgNaatos8HTHYzJ8EY944Rk9I6Rh6SNdU9DI0hA/s1120/Altered%20Perceptions%20Oran.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="841" data-original-width="1120" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid60T23uZ2oWnYkySOV5K9zsBLum-CiULW2m3P1omYouH0aOxZRgAXV7fYWkJy7gg3bQeEhKJNA01en6HFlNsvTenuMQoCq-j119PMTtoxOUfvE6zm2KvIQ0QZHbIWoiVFQB5y-ejvrCyC7oreJvJsgNaatos8HTHYzJ8EY944Rk9I6Rh6SNdU9DI0hA/w640-h480/Altered%20Perceptions%20Oran.PNG" width="640" /></a></div><p>
When Jorge Ameer asked to meet in person regarding my self-tape for his film, I assumed it was a routine callback. I arrived to our meeting and it was just the two of us; no waiting room full of guys that looked like me, no casting director or cameras. Jorge simply offered me the role and I thought for sure I was being scammed or pranked. I’d been in town less than six months, it all seemed too good to be true. Now, here we are on the other side of making this film and honestly I’m still pinching myself!<br />
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<b>CC</b>: What was the experience of making this unique, intense film like for you?<br />
<b>OS</b>: It was a peak life experience for sure. I couldn’t have imagined a better opportunity; my biggest childhood dream being realized, with such an original script, in such awesome company. I had an absolute blast. I did feel like a bit of an impostor and put a lot of pressure on myself, which led to some anxiety. But Jorge and Dr. Wayne Dees could not have been more supportive and encouraging. Jorge’s excitement about the film and his confidence in me really helped me to chill out, enjoy the experience, and settle into a mental place from which I could give my best performance. Getting to work with so many Hollywood legends and up-and-coming talents was also very educational and inspiring. I absorbed so much just being on set and observing everyone else.<br />
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Part of what makes the film so original and interesting is the fact that it’s made by a bunch of outsiders. Wayne is the farthest thing from a Hollywood screenwriter; he’s a neuropsychologist from Texas! He wrote the script from his real life knowledge, based on a lifetime of experience studying the brain and practicing psychology. Then, the film is directed by a self-made filmmaker from Panama! Jorge’s own journey as a filmmaker is really inspiring. He came to Hollywood from Panama with nothing but dreams, grit and determination, and built himself a career over the course of decades without any special favors or connections.<br />
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<b>CC</b>: Do I understand correctly that your "day job" in Utah is primarily architecture or real estate? What do you do when you aren't acting?<br />
<b>OS</b>: Yeah, sort of a combination of the two I guess, and at the same time neither? My degree is in architecture but most of my work experience is as a self-employed designer-builder. After finishing school in Portland, Oregon, I cut my teeth in the Bay Area as a freelancer designing and building chicken coops, garden sheds, tiny houses, that sort of thing. I also spent some time working with Habitat for Humanity doing neighborhood revitalization and home repairs.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9aMHkM32WPniuac5zqurH_ociz5QsNQxVwsWKqil7t13tf4Qq7t46nbdF6VhKFgxliKnGfRXfexPFeyaDZaZmxzr4_4U4tUNZECRLlJE9gLXAr1fSh67NGjrTyG7FZA0nQlLDzeWnTtAG1KSmNAzeHPWVdASKjJWtpdtixmOyYkBXgOlZoDzwNb6CFA/s788/Oran%20Stainbrook.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="788" data-original-width="624" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9aMHkM32WPniuac5zqurH_ociz5QsNQxVwsWKqil7t13tf4Qq7t46nbdF6VhKFgxliKnGfRXfexPFeyaDZaZmxzr4_4U4tUNZECRLlJE9gLXAr1fSh67NGjrTyG7FZA0nQlLDzeWnTtAG1KSmNAzeHPWVdASKjJWtpdtixmOyYkBXgOlZoDzwNb6CFA/w506-h640/Oran%20Stainbrook.PNG" width="506" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Oran Stainbrook</td></tr></tbody></table><p>
Then, in 2018, I realized my other childhood dream and - again, somewhat impulsively - bought a dilapidated old building in a tiny, rural mountain town in the central Utah desert. This 10,000 square-foot, 115 year-old general store building was originally the social and economic center of a now nearly-defunct former coal mining camp. I’ve been renovating this place (with occasional help from my partner, friends, and family) since then with a vision of establishing a creative retreat. I have a variety of spaces here now available for short or long term rent. All are welcome to come spend some time here at “The Store.”<br />
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<b>CC</b>: How did your upbringing prepare you, if at all, to help tell an unusual story like <i>Altered Perceptions</i>?<br />
<b>OS</b>: Like most people, I loved playing make-believe when I was a kid. I loved creating and inhabiting my own worlds of fantasy. That spirit of playfulness and freedom of self-expression is something I have protected and nurtured my whole life. It led to me doing a lot of theatre in school, and eventually writing short stories and making short films with friends. I did abandon all that sort of stuff while I was in university, due to the time constraints and financial pressures of working my way through school and all the time I spent exploring other interests: art, architecture and gardening, primarily. In the end, I’m glad I spent a solid 15 years away from acting pursuits because coming back to it in my mid 30’s has been a really joyful process of re-discovery.<br />
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I’m grateful for having had a really well-rounded life experience so far. I think great art -- whether comedy, acting, or architecture -- is often informed by a unique combination of life experiences had by the artist. Having a theatre background actually heavily informed my approach to architecture in school. I always thought of buildings and spaces as theatrical experiences. Experiencing architecture makes you both the viewer and the star of the show. Architecture tells you a story, and allows you to inhabit that story in the first person.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXtxA9K8TOtHcJZASCJbDEd-YWYem1VdUEtywMfyBNHoh_wOLGex92NCqWaO3JlGzqdaSpL8WISlRjlUt4fTdzKQK-ujs9UVi4-XYl50b-LFa4MhzfX8DoQeAvboWoTWLv5CqDerLSPn9gN5oRbapaVlMaoZmKKm2NrjpXx_SHWLWdYgBDJVndOoK_uA/s1170/Altered%20Perceptions2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="886" data-original-width="1170" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXtxA9K8TOtHcJZASCJbDEd-YWYem1VdUEtywMfyBNHoh_wOLGex92NCqWaO3JlGzqdaSpL8WISlRjlUt4fTdzKQK-ujs9UVi4-XYl50b-LFa4MhzfX8DoQeAvboWoTWLv5CqDerLSPn9gN5oRbapaVlMaoZmKKm2NrjpXx_SHWLWdYgBDJVndOoK_uA/w640-h484/Altered%20Perceptions2.jpg" width="640" /></a></div><p>
<b>CC</b>: You play a gay character, Alex Feretti, and there is plenty of other LGBTQ content in the film. How did your personal sexual orientation or experience inform your performance?<br />
<b>OS</b>: So, I grew up Mormon and was taught from a very young age that homosexuality was wrong, was a sin, and something you would burn in hell for eternity for practicing. Coming to terms with my own complicated sexuality and witnessing some of my friends do the same was one of the biggest weights that “broke my shelf,” as we “ex-mos” like to say. Finding my way out of Mormonism -- a years-long process from about age 15-20 -- was an intellectual journey that just completely shattered my whole model of reality and forced me to build a new one from scratch. It was incredibly disturbing to uncover the truth about the Mormon church’s connection to gay conversion therapy practices, and see first-hand how the religion’s oppressive ideology led to an epidemic of LGBTQ youth being rejected by their families and communities, sometimes being made homeless and/or leading to substance abuse, addiction and suicide.<br />
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Needless to say, I feel extremely protective of the LGBTQ community in the face of all this, which made getting into character pretty effortless. Alex is extremely conflicted about working for a politician whose values are not in alignment with his own but does the job believing that, if he can work his way up to a place of influence, he can make positive change within the system. Alex is highly motivated in his mission because his father and step-father are the only family he has. His love for them is what gives him the strength to ultimately do what is necessary in the face of evil.<br />
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<b>CC</b>: What was it like working with the very hot and perpetually-naked <b>Joseph DeMatteo</b> (who plays the film’s visitor from the future)?<br />
<b>OS</b>: Joseph is indeed very hot and very naked in the film. You’d be surprised how sweet and endearing the man underneath all that muscle is! I think it’s generally rude to gawk and ogle people’s bodies, so I tried not to stare. But just being in the presence of that man’s physique was, umm… some kind of spiritual awakening? Definitely inspired me to get into the gym myself more. All that sexiness aside, I really like Joseph and enjoyed our time together.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUq_egUFhzUNvHxxWpQn9ieIxps9Tytt7srmSq7oGCyb-JdIzOKxYt9HG7nraZeye_JmvGfBUUwg_IUvqJ8i4r2bHWHCCyTgzyRfDh4t2DC3LBsgK1NAJ51Dn5sQppwSHzaCiWMrrnUV1R8pXp4SJtuUPE7yxfKBWlh8SWrJbmAqqNIeSvsESctUp_rQ/s2560/Altered%20Perceptions%20Joseph%20DeMatteo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2560" data-original-width="2257" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUq_egUFhzUNvHxxWpQn9ieIxps9Tytt7srmSq7oGCyb-JdIzOKxYt9HG7nraZeye_JmvGfBUUwg_IUvqJ8i4r2bHWHCCyTgzyRfDh4t2DC3LBsgK1NAJ51Dn5sQppwSHzaCiWMrrnUV1R8pXp4SJtuUPE7yxfKBWlh8SWrJbmAqqNIeSvsESctUp_rQ/w564-h640/Altered%20Perceptions%20Joseph%20DeMatteo.jpg" width="564" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joseph DeMatteo in <i>Altered Perceptions</i></td></tr></tbody></table><p>
<b>CC</b>: Jorge and Wayne tell a very serious story in <i>Altered Perceptions</i>, one which seems to grow more timely every day in the USA. What positive/constructive message(s) or meaning(s) do you hope viewers will take away from the film?<br />
<b>OS</b>: Aside from being entertaining and thought-provoking, this film is very timely considering the stakes of the upcoming US elections and some of the cultural issues being battled over in this country and the world. I think the themes of the film will resonate widely. At first, they might seem like a horrifying what-if scenario but afterwards you get a “oh wait, this is already happening” kind of gut-punch feeling.<br />
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I hope viewers walk away from this film feeling more keenly aware of the consequences of what happens when we all lose our minds as a result of giving in to fear. The current paradigm of for-profit media companies and news networks is designed to encourage fear, hate and division. There is a kind of rabid insanity that has taken over both the left and right ends of the political/ideological spectrum, encouraging extremism that shames and shuns dissenters, moderates and free-thinkers into silence and compliance. Psychopaths and bullies on both sides are being allowed to control the narrative and dominate everyone else.<br />
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We need a profound shift of perspective and values. I like the phrase “the future is non-binary” because it applies to a number of things. Obviously, gender identity and sexual practice is part of it but so too is political ideology. Look to nature for the design solutions. We should strive for complexity and diversity; real diversity of thought, opinion, and self-expression. I say reject the two party system. Reject division. Reject group-think. Be original. Be a free-thinker. Be a revolutionary. That is what will make humanity as a whole resilient to evil and allow us to thrive going into what could be a truly awesome and beautiful future.<br />
</p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZn-1ZZo20nV76L8nbv1EYTcZl3pBbN-8uGP6wnWaMx2oe1nma6cmXm_Se6iUslsXUYl31FyFZMdW-AtWpYzGNdtZYTxot90UGXA_rz9WmtXIjlyl3ry3xYSeiKofFxln3HkNnUAMDTugVz47TrfDmsz3GDFxg2QF2DvGTgaLPrXLDLFgJhNI8M7OUwQ/s2560/Altered%20Perceptions3.jpg" imageanchor="1"><img border="0" data-original-height="1399" data-original-width="2560" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZn-1ZZo20nV76L8nbv1EYTcZl3pBbN-8uGP6wnWaMx2oe1nma6cmXm_Se6iUslsXUYl31FyFZMdW-AtWpYzGNdtZYTxot90UGXA_rz9WmtXIjlyl3ry3xYSeiKofFxln3HkNnUAMDTugVz47TrfDmsz3GDFxg2QF2DvGTgaLPrXLDLFgJhNI8M7OUwQ/w640-h350/Altered%20Perceptions3.jpg" width="640" /></a></div><p>
<b>CC</b>: Anything else you would like my readers to know about you and/or the film?<br />
<b>OS</b>: Thank you guys so much for featuring me and the film. It’s quite an honor. I’m proud of my own and everyone else’s work on this film, and stoked to see it go out into the world and take on a life of its own. It is having its world premiere at the Cannes Film Festival and should have a lengthy festival circuit showing after that. We’re also very honored that it was selected as the Opening Night film of the Marina del Rey Film Festival. So you can catch me and Jorge and much of the other cast and crew there on June 8th at 7:30pm at the Cinemark 18 in the Howard Hughes shopping center.<br />
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With the film industry being so saturated with formulaic blockbusters and re-boots, original indie films like this ought to be supported and celebrated! At the end of the day, it’s a work of art and art is meant to make you feel something and get you talking with other people about it. <i>Altered Perceptions</i> is sure to do both of those things.<br />
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For more information, visit the official websites for <i><a href="https://alteredperceptionsmovie.com/" target="_blank">Altered Perceptions</a></i> and/or the <a href="https://www.marinadelreyfilmfestival.com/" target="_blank">Mariana del Rey Film Festival</a>.<br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Reviews by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-10881164060139850242023-04-03T06:00:00.001-05:002023-04-03T10:41:49.687-05:00Reverend's Interview: Throwing a Punch with Filmmaker Welby Ings<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj97ekKI5OqvNOsLvpSD7Es3DYwzm7Mt4JuviXZvhfLNskOSxSwNOd3R5K0CAgqddJlLpTy00twImd5ucGyJEISokNSvEoD8ajOIZwRfDAlLMmHyazK2JTijdQ4oj4PMImm-rncLK4_OOyqIhNPPWcHWixm6STP0YkEo29jKOtK3HbkQ0RziVuweP5OOg/s887/Punch.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="887" data-original-width="605" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj97ekKI5OqvNOsLvpSD7Es3DYwzm7Mt4JuviXZvhfLNskOSxSwNOd3R5K0CAgqddJlLpTy00twImd5ucGyJEISokNSvEoD8ajOIZwRfDAlLMmHyazK2JTijdQ4oj4PMImm-rncLK4_OOyqIhNPPWcHWixm6STP0YkEo29jKOtK3HbkQ0RziVuweP5OOg/s16000/Punch.PNG" /></a></div><br />Sports and gay-themed movies have rarely gone hand in hand. This seems especially true when it comes to boxing. That’s about to change, though, with the release of <i><b><a href="https://www.imdb.com/title/tt13153494/reference/" target="_blank">Punch</a></b></i>. Currently playing in select theaters and available to stream on demand, it will be released April 11th <a href="https://amzn.to/3G8M2Xu" target="_blank">on DVD</a>.</span></h3><p>
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Set in New Zealand, the film focuses on a promising teen-aged boxer named Jim (played by newcomer Jordan Oosterhof). He is training under the watch of his demanding and alcoholic father, Stan (Academy Award nominee Tim Roth). When Jim develops an intimate relationship with a male classmate, Whetu (Conan Hayes of Netflix’s <i>Sweet Tooth</i>), the pair are forced to navigate isolation, homophobia and the brutality of small-town life.<br />
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<i>Punch </i>is a powerful story, beautifully written and directed by <b>Welby Ings</b>. Although it marks his feature film debut, Ings is an impressive, multi-talented man. He has been actively involved in the pursuit and protection of gay rights in New Zealand since coming out when he was 20. During the 1980’s, he was arrested several times while campaigning for homosexual law reforms, and he worked on amendments to the nation’s human rights provisions of the 1990’s. Ings was fired more than once for being an out gay man, and was beaten up on several occasions.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHh_grF1m39O1bo6crwTiUGn1m4uJPkrgsBdHYaebtOFGUHbQlZI7SB9iWSV_yWwKOhhfHenv-qJPAP9OrviZgNTr5U-jJoyodUOK0hAG_Z-JRKQSkuVLCLIlRlFOH-T59naZcrqJpdIGqpWSJTHHNl3wCOErjra7Z7pS9pp2ZLGmmh2AR7Ap6BUJuKQ/s650/Welby%20Ings.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHh_grF1m39O1bo6crwTiUGn1m4uJPkrgsBdHYaebtOFGUHbQlZI7SB9iWSV_yWwKOhhfHenv-qJPAP9OrviZgNTr5U-jJoyodUOK0hAG_Z-JRKQSkuVLCLIlRlFOH-T59naZcrqJpdIGqpWSJTHHNl3wCOErjra7Z7pS9pp2ZLGmmh2AR7Ap6BUJuKQ/s16000/Welby%20Ings.PNG" /></a></div><p>
Today, he is an award-winning designer, filmmaker and author who holds a PhD in narrative design. His previous short films <i>Boy</i>, <i>Munted </i>and <i>Sparrow </i>were selected in competition at over 80 international film festivals. Dr. Ings is also a Professor in Design at Auckland University of Technology in New Zealand. He has been awarded the Prime Minister’s Supreme Award for University Teaching Excellence, as well as medals for his contributions to research and education.<br />
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Of note, Ings was illiterate until the age of 15. Although he now supervises doctoral candidates from around the world, he continues to use drawings as a vital means of creative thinking. A reference to this is in the opening and closing sequences of <i>Punch </i>that appear as a drawing on water-stained paper.<br />
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<i>Punch </i>was in development for many years. Ings fought hard to bring it to life as a commitment to his late partner, who grew up in a small-town boxing family. Also serving as inspiration were the experiences of two gay boxers known to Ings, as well as a number of takatāpui tane (gay Māori men) with whom he currently works.<br />
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It was a true privilege to meet and interview Ings via Zoom recently:<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0A64Ipn6iwUw_2tf764bT6ejlsHJgX01wV0LzXkUPqLxwLbssA3jk7Y_F5x4plkfKHiExhdD4cSce-PFaoFyWDaWQ6HurJIejzgFSVQg3ke-IYwdlOaHseJlU2zBTtUt23wp2BymRAKmxtRGsNH9jGpEFOeRybu5qaGf9UBE-Dx05-80g5BrMeMekYg/s650/Punch%201.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="485" data-original-width="650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0A64Ipn6iwUw_2tf764bT6ejlsHJgX01wV0LzXkUPqLxwLbssA3jk7Y_F5x4plkfKHiExhdD4cSce-PFaoFyWDaWQ6HurJIejzgFSVQg3ke-IYwdlOaHseJlU2zBTtUt23wp2BymRAKmxtRGsNH9jGpEFOeRybu5qaGf9UBE-Dx05-80g5BrMeMekYg/s16000/Punch%201.PNG" /></a></div><p>
<b>CC</b>: I understand <i>Punch </i>was inspired by your late partner, and I am sorry to hear about his loss. How closely does the film resemble his story?<br />
<b>WI</b>: The relationship between the father and the son, that’s Kevin. Kevin’s dad was a boxing coach and he wanted all his sons to be great boxers. Kevin was talented and his father was driven. He was not a bad man and Kevin’s dad was not alcoholic, but in the end Kevin walked away from boxing and he took up athletics. He held the national title in the triple jump and he used to train running up and down the sand dunes where we shot the movie. I’ve never told anyone this. (Pause) That actually happened; it’s where we used to go train. It’s such a beautiful, wild place.<br />
<br />
At the end, when Kevin died of AIDS (in 1997), he didn’t want his father to know he was dying but his father came to see him in the hospice. He couldn’t touch him and I just thought, “There’s got to be a better way.”</p><p>
<b>CC</b>: Oh, wow. That’s so sad.<br />
<b>WI</b>: Yeah. You know, many of us have relationships with our dads that are fraught. I really tried to think, with the film, about love and masculinity. I always think our relationships with our dads and with other men — beyond sexuality — are really, really complex. They warrant complex stories and complex characters.</p><p><b>CC</b>:
When you actually decided “I’m going to write a screenplay” or “I’m going to make a movie,” did that happen relatively quickly or did you write it over years?<br />
<b>WI</b>: It took 15 years, mate! (Laughs) And I actually don’t write a screenplay. I draw the film first. I did hundreds of drawings. I go out to the places where I want to film and, while I’m drawing them, I can hear the fictional characters — little flickers of dialogue or what they’re thinking — and I write those into the drawing. Then I come back and I cover the walls of my house with those drawings. I move them around and take some off while others get added on. It’s not a storyboard but I’ve learned to think through images, and I construct stories through hundreds and hundreds of drawings.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlp3lxqO8T6WBJ-7bUy3B7I4X2Y5b8VDlVSo3OASbwsGnkdd3KRM6czSmTrC6p5ajrKi5kyO14hEYvRdYyLplugABK-nBF_i7ejU3pmgwikD9S-u6-mV745ZrsRNt4TRfXfdXIHqetr7cetLaT57FGWt5j0u79vjrdjoUGiFOYNspPz4bF-s9K8JYhqg/s1200/Punch-Training-Art.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="725" data-original-width="1200" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlp3lxqO8T6WBJ-7bUy3B7I4X2Y5b8VDlVSo3OASbwsGnkdd3KRM6czSmTrC6p5ajrKi5kyO14hEYvRdYyLplugABK-nBF_i7ejU3pmgwikD9S-u6-mV745ZrsRNt4TRfXfdXIHqetr7cetLaT57FGWt5j0u79vjrdjoUGiFOYNspPz4bF-s9K8JYhqg/w640-h387/Punch-Training-Art.png" width="640" /></a></div><p>
But that wasn’t what took 15 years. The 15 years was trying to get funding when nobody wants to see a gay story about boxing. And I said, “It’s not a gay story about boxing, it’s a story about love between men.” It wasn’t conforming to the comfortable narrative that everything’s rosy for LGBTQ people, where everybody lives in the city and its all sequined suits and Pride parades. Actually, you try being non-binary or trans in a small town, or you try coming out as gay in a hyper-masculine sporting world. So it was pushing uphill (trying to get funding) against kind of a sanctioned narrative.<br />
<br />
<b>CC</b>:
I read a review that referred to <i>Punch </i>as “<i>Rocky </i>meets <i>Brokeback Mountain</i>.” Do you think that’s accurate or is it too simplistic?<br />
<b>WI</b>: (Laughing) Oh no, I hadn’t heard that! Oh well, I know everybody seeing a film has got their own reading. No, I think (<i>Punch</i>) is a very tender story but not soft. It’s the only time I’ve ever seen depicted — and I really wanted to do this — to actually illustrate what queer bashing was as a sexual assault. And the fact that we fight back! We’re not weak but we’re outnumbered. I think (<i>Punch</i>) is a tough story told with great beauty and a high level of humanity, and it talks about the complex nature of love between men.<br />
<br />
<b>CC</b>:
I agree completely. I thought Jordan and Conan gave excellent performances for a couple of young actors. How did you find them or go about casting them?<br />
<b>WI</b>: Weren’t they wonderful, mate? It was for both of them their first feature film. With Jordan, it took about two years and I sat in on every audition. He was already a soccer player and a soccer coach, and he had to go into training for two years for that film. There’s no doubles in the film; it’s all him. He was fight-ready by the time we shot it. There were lots of people who auditioned but they didn’t have the commitment to training, because the film focuses more on his training than on the fight. So I needed somebody who was comfortable in their body and proud of their physicality, who could run through the sand dunes and leap into the air, while being at their peak fitness.<br />
<br />
Conan took about five years to find. Lots of people auditioned for (Whetu) but when they saw what the screenplay actually was they backed out. For some young men, there’s still the anxiety that if they take (the role of) a queer character they might be typecast forever. Although I wrote Whetu as the strongest man in the film, he is quite non-binary in the way he looks but he doesn’t give a fuck. He is not defined by other people’s ideas of gender.<br />
</p><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwEsSywqpHVfVZpqkfBQmkugDASWA7yUjto3aKJGxe12LYhrs8BQtQa8P2iKWD4dVhb7WT8PiTEVKaqkkXdW4DQoIoRjTTo1LtC_BcVi-F5xkFsPAviFFqgDVCPfBJ_6n3uDvyoHxu1DZ86TeAQqwKqZso7cGmTX38Cv2DGM9qHTwQssbw1ePdJVRdOw/s650/punch2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="403" data-original-width="650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwEsSywqpHVfVZpqkfBQmkugDASWA7yUjto3aKJGxe12LYhrs8BQtQa8P2iKWD4dVhb7WT8PiTEVKaqkkXdW4DQoIoRjTTo1LtC_BcVi-F5xkFsPAviFFqgDVCPfBJ_6n3uDvyoHxu1DZ86TeAQqwKqZso7cGmTX38Cv2DGM9qHTwQssbw1ePdJVRdOw/s16000/punch2.jpg" /></a><br /></p><p>
<b>CC</b>:
Yeah, I love how confident Whetu’s character is and how confident both actors are. To hear it’s their first feature is just amazing.<br />
<b>WI</b>: You know, on the last day we were shooting in the little hut out near the beach. It had been an intense six weeks and we shot it right in the middle of COVID, so we were really running in front of the wind with it. New Zealand was in lockdown and there were also the bush fires going on at the time. Anyway, we wrapped and the two boys walked out of the room and both burst into tears. That’s how intense it had been but it was also lovely. I always think that a set has got to be a joy to work on but it’s really hard work.<br />
<br />
<b>CC</b>:
Did you start out to be a designer or did you start out to be a filmmaker? I know you’re a teacher as well, a professor. I think your multiple skill set is very impressive, but where did it begin for you?<br />
<b>WI</b>: Well, I got expelled from school but that was for feeling a guy up in the back of my German class. (Laughs) I really wanted to go to art school, but my family was very rural and it was a two hour bus drive to get into school each day. So I trained to be a teacher and I loved it. I love helping people get to a horizon beyond the one they can see.<br />
<br />
<b>CC</b>:
Is there anything else you would like my readers to know about <i>Punch</i>?<br />
<b>WI</b>: It sits in the context of recent films like <i>Moonlight</i>, where sexuality and bullying in a coming-of-age narrative are used to explore the vulnerability and beauty of the human condition. When Whetu and Jim show us that they are free — that they have become strong and sensitive but separate men — our struggles with them and our hopes for them reach an unpredicted kind of triumph.<br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Interview by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br />Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-56496246912200731742023-03-10T06:00:01.398-06:002023-03-10T09:38:12.659-06:00If We Picked the Oscars 2022<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiizuWVM3EbcsSFOwRNRWQBPSobN779R8h7Q6Jc7p_To-Chh1pytjHnnI0uTYCBoj9BbzjihHOtivPRLa2jNocDd6VjTAMEeiVLTm1L0LVixgJtnPU-H3jgJC9WXdYL6Up-AIu3A2j9iGEjdWlvQpkUK8X31UAm7_sjg9DYOfmu6nEtjE0TFmj6Tp3dXA/s700/Oscars%2095%202023.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="386" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiizuWVM3EbcsSFOwRNRWQBPSobN779R8h7Q6Jc7p_To-Chh1pytjHnnI0uTYCBoj9BbzjihHOtivPRLa2jNocDd6VjTAMEeiVLTm1L0LVixgJtnPU-H3jgJC9WXdYL6Up-AIu3A2j9iGEjdWlvQpkUK8X31UAm7_sjg9DYOfmu6nEtjE0TFmj6Tp3dXA/s16000/Oscars%2095%202023.PNG" /></a></div><br />Borrowing a page from Siskel and Ebert from back in the day, we here at <b><i>Movie Dearest</i></b> are once again presenting our own version of <b>"If We Picked the Oscars"</b>!
These aren't predictions, but what movies, actors, directors, et al
that we would vote for if we were members of the Academy. We also chime
in with our picks for the "egregiously overlooked" non-nominees in each
category as well as what we deem are the "Worst Nominations of the
Year".<br />
<br />
So without further ado, the envelope please...</span></h3><h3 style="text-align: left;"></h3><p>
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsZrEz2e2aS5l2wGhRyXAmBOgkTKlk64w-wBa3AVVqda7gMpSY2qUuWVL2kNBRT9OOfPgBcfShWuWxwG2spJ8DPw1awTVqfd97esm1qmOpk6oSN21jesHKJ_7XZd1CqHz4KpMcm-Q9BngqT1q57GVTcpCLzKFp7zGoRlXrNhmH5gYd_9dAW2-a8V_EPg/s681/Best-Picture-Nominees-Oscars-10-Split-Everett-H-2023.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="681" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsZrEz2e2aS5l2wGhRyXAmBOgkTKlk64w-wBa3AVVqda7gMpSY2qUuWVL2kNBRT9OOfPgBcfShWuWxwG2spJ8DPw1awTVqfd97esm1qmOpk6oSN21jesHKJ_7XZd1CqHz4KpMcm-Q9BngqT1q57GVTcpCLzKFp7zGoRlXrNhmH5gYd_9dAW2-a8V_EPg/s16000/Best-Picture-Nominees-Oscars-10-Split-Everett-H-2023.webp" /></a></div><p>
<b>The nominees for Best Picture are</b>: <i>All Quiet on the Western Front</i>, <i>Avatar: The Way of Water</i>, <i>The Banshees of Inisherin</i>, <i>Elvis</i>, <i>Everything Everywhere All at Once</i>, <i>The Fabelmans</i>, <i>Tár</i>, <i>Top Gun: Maverick</i>, <i>Triangle of Sadness</i> and <i>Women Talking</i><br />
<b>CC</b>: I first saw <i><b>Everything Everywhere All at Once</b> </i>nearly a year ago
while I was recovering from my first (and hopefully last) bout with
COVID-19. I loved its originality and ingenuity, but also had to
question whether my virus-rattled brain had truly "gotten it." A more
recent second viewing confirmed that I had, and that it is indeed the
Best Picture of 2022.<br />
<b>KH</b>: While I'm tempted to go for the quiet, nuanced intensity of the under-nominated <i>Women Talking</i>, my final vote would go to the eye-popping bio-epic that is Baz Luhrmann's <b><i>Elvis</i></b>, a dizzying dive into familiar territory that did the seemingly heretofore impossible: reinvent the legend of the King of Rock and Roll.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: Sam Mendes' <i><b>Empire of Light</b></i> was only able to muster one
well-deserved nomination, for Best Cinematography. This is surprising
and disappointing to me. I listed the film alongside <i>The Fabelmans</i>
on <a href="https://moviedearest.blogspot.com/2023/01/reverends-reviews-best-and-worst-of-2022.html" target="_blank">my best of the year list</a> because it shares many of the attributes of
Spielberg's multi-nominee: an autobiographical element, a strong
central female performance, potent social commentary and overall
technical excellence. It's a pity the Academy didn't regard it as well
as I do.<br />
<b>KH</b>: With such populist fare as the <i>Avatar</i> and <i>Top Gun</i> sequels making the top 10, room should have been made for the insanely popular (and just plain insane) <b><i>RRR</i></b>, the Indian crossover hit that, despite being readily available to stream, is still packing them in in theaters worldwide almost a year into its run. Let's see Tom Cruise do that.<br />
<br />
For their final voting, Academy members are asked to rank the Best Picture nominees from #1 to #10, so here are our rankings:<br />
<b>CC</b>: 1. <i>Everything Everywhere All at Once</i>, 2. <i>The Fabelmans</i>, 3. <i>Women Talking</i>, 4. <i>The Banshees of Inisherin</i>, 5. <i>Tár</i>, 6. <i>Elvis</i>, 7. <i>All Quiet on the Western Front</i>, 8. <i>Top Gun: Maverick</i>, 9. <i>Avatar: The Way of Water </i>and 10. <i>Triangle of Sadness</i><br />
<b>KH</b>: 1. <i>Elvis</i>, 2. <i>Women Talking</i>, 3. <i>The Banshees of Inisherin</i>, 4. <i>The Fabelmans</i>, 5. <i>All Quiet on the Western Front</i>, 6. <i>Everything Everywhere All at Once</i>, 7. <i>Avatar: The Way of Water</i>, 8. <i>Top Gun: Maverick</i>, 9. <i>Tár </i>and 10. <i>Triangle of Sadness</i></p><p><i></i></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnb2KHTj8s1jausnPXeJlGy3gbELNkMbMJiVASBfNFFvUIQe0m9SMtq7jUrMeXSixP-ZiDd-FUj3fLPKJ0jwhbyZujp-LZVeJwrKfZRI_zF_OK3FBCrihcinBgcGYFHRFPv_psvC_HFaaNhTubyPQCfU9Tm2gIQ5VBUPvAFWWefDUY6f-h0yGVpym3Xw/s1399/All%20Quiet%20on%20the%20Western%20Front.PNG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="701" data-original-width="1399" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnb2KHTj8s1jausnPXeJlGy3gbELNkMbMJiVASBfNFFvUIQe0m9SMtq7jUrMeXSixP-ZiDd-FUj3fLPKJ0jwhbyZujp-LZVeJwrKfZRI_zF_OK3FBCrihcinBgcGYFHRFPv_psvC_HFaaNhTubyPQCfU9Tm2gIQ5VBUPvAFWWefDUY6f-h0yGVpym3Xw/w640-h320/All%20Quiet%20on%20the%20Western%20Front.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><a href="https://collider.com/all-quiet-on-the-western-front-2022-streaming/" target="_blank"><b>All Quiet on the Western Front</b></a></i><br /></td></tr></tbody></table><i><br /></i><b>The nominees for Best Actor are</b>: Austin Butler in <i>Elvis</i>, Colin Farrell in <i>The Banshees of Inisherin</i>, Brendan Fraser in <i>The Whale</i>, Paul Mescal in <i>Aftersun </i>and Bill Nighy in <i>Living</i><p></p><p>
<b>CC</b>: I'm conflicted between Austin Butler's truly spectacular breakout performance
as The King and the veteran <b>Brendan Fraser's</b> genuinely moving turn in <i><b>The Whale</b></i>. If a gun were put to my head, heaven forbid, I'd vote for comeback king Fraser.<br />
<b>KH</b>: While I appreciate the subtlety of the trio of British nominees, for me it comes down to the showier Americans, with <i>Elvis </i>newcomer Austin Butler narrowly edged out by <b>Brendan Fraser's</b> heart-breaking comeback role as a morbidly obese gay man in <i><b>The Whale</b></i>.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: <b>Ralph Fiennes</b> was fierce and imposing as the justice-seeking Head Chef in <i><b>The Menu</b></i>, which I found superior to the thematically-similar multiple nominee <i>Triangle of Sadness.</i><br />
<b>KH</b>: <b>Jeremy Pope</b> continued his impressive rise to stardom as an outed Marine recruit in the gay-themed indie <i><b>The Inspection</b></i>.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQIAVXJIuIG-d5jnaIWuLV7Q36Luar5bW_8_jeJb7-DNxu5mQcLoxzfu1sLLy-8k-8M2CuKQOzB-Q4pNdIaeIQBG4uhLz9sT5n63B2WF3eK9P5McAJGq7KKi9nUSqq80VsFsSTgCnpneL-CNKm4M_nceafnE7wQgAgw01sOF-H1jdwhW63NHFSyPejQ/s1108/All%20the%20Beauty%20and%20the%20Bloodshed.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="831" data-original-width="1108" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQIAVXJIuIG-d5jnaIWuLV7Q36Luar5bW_8_jeJb7-DNxu5mQcLoxzfu1sLLy-8k-8M2CuKQOzB-Q4pNdIaeIQBG4uhLz9sT5n63B2WF3eK9P5McAJGq7KKi9nUSqq80VsFsSTgCnpneL-CNKm4M_nceafnE7wQgAgw01sOF-H1jdwhW63NHFSyPejQ/w640-h480/All%20the%20Beauty%20and%20the%20Bloodshed.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><a href="https://lwlies.com/articles/lwlies-97-the-all-the-beauty-and-the-bloodshed-issue-out-now/" target="_blank"><b>All the Beauty and the Bloodshed</b></a></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best Actress are</b>: Cate Blanchett in <i>Tár</i>, Ana de Armas in <i>Blonde</i>, Andrea Riseborough in <i>To Leslie</i>, Michelle Williams in <i>The Fabelmans</i> and Michelle Yeoh in <i>Everything Everywhere All at Once</i><br />
<b>CC</b>: All of these women were astonishing and their performances of
essentially equal quality in my book. In singling one out, I had to
apply some of the same qualifications I expect many Academy members will
be utilizing: career longevity, number of Oscars won before (if any)
and, yes, ethnicity so all this year's acting winners won't be "so
white". I would ultimately vote for the divine Miss <b>Michelle Yeoh</b> for <i><b>Everything Everywhere All at Once</b></i>.<br />
<b>KH</b>: I have to say that I was mostly underwhelmed by the front-runners in this category; my vote would be for the always luminous <b>Michelle Williams</b> who, in her fifth nomination, shines again as a devoted mother (inspired by the director's own mother, no less) torn by her inner passions in <i><b>The Fabelmans</b></i>.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: The exclusion of <b>Danielle Deadwyler</b>, riveting as the real-life grieving mother in <b><i>Till</i></b>, has been justifiably questioned.<br />
<b>KH</b>: Angela Bassett may have ended up the first Marvel Cinematic Universe actor to be recognized by the Academy, but in my book it would have been <b>Elizabeth Olsen</b> in <i><b>Doctor Strange in the Multiverse of Madness</b></i>. Olsen super-humanly overcame a script that did not do her beloved <i>WandaVision</i> character any favors and delivered an eerie, evil enchantress you <i>almost</i> root for.<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEispXL0VnBsKdkWd51aGTiJEQicd0TTTdwc3bsWSa47oJkNOr6fTf0WDMwKJlMRD8F5JqGiQ1iu94Z3_UtTYFpetyQKO8BfmjzMiAdgN58WQROgJJjdFa12Ido7LebsiBAdtzMvzvzNvwTUdUXtZ-KL-Y4bBDCAVy79oehAz6rdJH5tUad0YBmsuoNMLw/s1279/Avatar%20The%20Way%20of%20Water.PNG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="715" data-original-width="1279" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEispXL0VnBsKdkWd51aGTiJEQicd0TTTdwc3bsWSa47oJkNOr6fTf0WDMwKJlMRD8F5JqGiQ1iu94Z3_UtTYFpetyQKO8BfmjzMiAdgN58WQROgJJjdFa12Ido7LebsiBAdtzMvzvzNvwTUdUXtZ-KL-Y4bBDCAVy79oehAz6rdJH5tUad0YBmsuoNMLw/w640-h358/Avatar%20The%20Way%20of%20Water.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://thedirect.com/article/avatar-2-trailer-next-release" target="_blank">Avatar: The Way of Water</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best Supporting Actor are</b>: Brendan Gleeson in <i>The Banshees of Inisherin</i>, Brian Tyree Henry in <i>Causeway</i>, Judd Hirsch in <i>The Fabelmans</i>, Barry Keoghan in <i>The Banshees of Inisherin</i> and Ke Huy Quan in <i>Everything Everywhere All at Once</i><br />
<b>CC</b>: Is there anyone anywhere who wouldn't vote for delightful comeback kid <b>Ke Huy Quan</b> of <i><b>Everything Everywhere All at Once</b> </i>at this point? If so, I'm not one of them.<br />
<b>KH</b>: Speaking of the MCU, did anybody else notice that <i>two </i>Eternals – Brian Tyree Henry and <b>Barry Keoghan</b> – were nominated in the same category this year? Anyway... I've had my eye on Keoghan ever since his mesmerizing performance in <i>The Killing of a Sacred Deer</i>, and I'd give him the gold for <i><b>The Banshees of Inisherin</b></i>, his first of I expect many nominations.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: I was impressed by <b>Ty Simpkins</b> as the proselytizing (at least initially) young man in <i><b>The Whale</b></i>.
His character is arguably the most complex/conflicted character in the
film, yet Simpkins was ignored while two of his higher profile co-stars
were nominated.<br />
<b>KH</b>: While Oscar went all gun-ho for <i><b>All Quiet on the Western Front</b></i>, they overlooked <b>Albrecht Schuch</b> for his memorable turn as the seasoned soldier who leads the protagonist (and us) through hell and back (almost).<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirjelwtlPRNLAklLnqkOsFxzvaBKfEh71hi_AyM8izORy3G2_ZkJ0orAclnSblv8TYonmHEhlZ7g6xljsyaKKh8K5KtQjIILFwhxn4XSMqeY14lecfTY_5zUcEC2-OL7oDwh89UVAf-oacl6cWgZxDPZwI8HyOQbPvllKGCLSvg7PesvMqRAwDKLgLXA/s1398/Babylon.PNG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="920" data-original-width="1398" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirjelwtlPRNLAklLnqkOsFxzvaBKfEh71hi_AyM8izORy3G2_ZkJ0orAclnSblv8TYonmHEhlZ7g6xljsyaKKh8K5KtQjIILFwhxn4XSMqeY14lecfTY_5zUcEC2-OL7oDwh89UVAf-oacl6cWgZxDPZwI8HyOQbPvllKGCLSvg7PesvMqRAwDKLgLXA/w640-h422/Babylon.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.newyorker.com/magazine/2023/01/02/damien-chazelles-babylon-goes-nowhere-in-a-mad-rush" target="_blank">Babylon</a></b></i></td></tr></tbody></table><p>
<b>The nominees for Best Supporting Actress are</b>: Angela Bassett in <i>Black Panther: Wakanda Forever</i>, Hong Chau in <i>The Whale</i>, Kerry Condon in <i>The Banshees of Inisherin</i>, Jamie Lee Curtis in <i>Everything Everywhere All at Once</i> and Stephanie Hsu in <i>Everything Everywhere All at Once</i><br />
<b>CC</b>: <b><i>Black Panther: Wakanda Forever'</i>s</b><i> </i><b>Angela Bassett</b>, consistently excellent since at least 1993's <i>What's Love Got to Do With It</i>, would get my vote for all the legit reasons I listed in my Best Actress choice above.<br />
<b>KH</b>: Full disclosure: I <i>really </i>wanted to like <i><b>Everything Everywhere All at Once</b></i>, but it just didn't totally happen for me. Nevertheless, <b>Jamie Lee Curtis</b> was a hoot as Deirdre Beaubeirdre, a diligently dedicated IRS auditor with the curiously-shaped awards to prove it.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: <b>Lashana Lynch</b> previously caught my attention in blockbusters <i>Captain Marvel </i>and <i>No Time to Die</i>, but she blew me away this year with her 180-degree turns in <i><b>The Woman King</b> </i>and <i><b>Matilda the Musical</b>. </i>She even sings in the latter!<i> </i>Both films were unjustly ignored altogether by the Academy; an unrecognizable Emma Thompson as <i>Matilda</i>'s delectably vicious Miss Trunchbull could have been nominated here as well.<br />
<b>KH</b>: How none of the incredible <b>ensemble of <i>Women Talking</i></b> – Jessie Buckley, Claire Foy, Judith Ivey, Rooney Mara, Sheila McCarthy – were singled out here is a shame.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqxCk26RY7aoFk9ZZICk2FgNqem8VRhAjETEyycGcWKw0HO7plwSmgZoUWkbRUTZkM4cYM9jx0PXWYz1ernp0UhvUQpqTwWkDUDK6UPU4skrdGwcY2MTV56z0-iKto7lJf5DVG3-onorylCroE6N6ss5dYedg0zZOh0GNnpWtwHQWE7Eb-AuQdTOTCKA/s700/Banshees%20of%20Inisherin.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="570" data-original-width="700" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqxCk26RY7aoFk9ZZICk2FgNqem8VRhAjETEyycGcWKw0HO7plwSmgZoUWkbRUTZkM4cYM9jx0PXWYz1ernp0UhvUQpqTwWkDUDK6UPU4skrdGwcY2MTV56z0-iKto7lJf5DVG3-onorylCroE6N6ss5dYedg0zZOh0GNnpWtwHQWE7Eb-AuQdTOTCKA/w640-h522/Banshees%20of%20Inisherin.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://twitter.com/GrahamArtwork/status/1613204543747067905" target="_blank">The Banshees of Inisherin</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best Directing are</b>: Todd Field for <i>Tár</i>, Daniel Kwan & Daniel Scheinert for <i>Everything Everywhere All at Once</i>, Martin McDonagh for <i>The Banshees of Inisherin</i>, Ruben Östlund for <i>Triangle of Sadness</i> and Steven Spielberg for <i>The Fabelmans</i><br />
<b>CC</b>: No question: Daniels (not <i>The </i>Daniels, as they are so often miscredited in the media) for their deliriously creative work on <b><i>EEAAO</i></b>.<br />
<b>KH</b>: Although <i><b>The Fabelmans</b></i> was not without its flaws, as one of the most-nominated directors in Academy history <b>Steven Spielberg</b> is bound to win another Oscar, so it might as well be for his semi-autobiography.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: It raises the time-honored question: How does a director of one of the
Best Picture nominees <i>not</i> get nominated? The unfortunate answer this
year is <b>Sarah Polley</b>, who should have been nominated as director of the
exquisite <i><b>Women Talking</b></i>. Hopefully, this year's Oscar for Best Adapted Screenplay will be a suitable consolation prize.<br />
<b>KH</b>: With <i><b>Women Talking</b></i>, <b>Sarah Polley</b> made an expertly-crafted, cinematic experience out of a story about, well, women talking.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxat4X_6TCtLI3d_I_6wo2b1G6wBeDS5ETfvpSDhWBKxCrumGK_yCKqs3cwImltiW2t0DZh6jKh-bTIQ3MOlj8-FU5uQIxLV12x-6p_QC0nbRRXLxe3LXa2D599H2zv5PCP8yRhST1ZSErO35Dwz6cj6IGqS3-qc60sCauTeJP6FGRmdgJUhncl1blwA/s900/Batman.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="638" data-original-width="900" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxat4X_6TCtLI3d_I_6wo2b1G6wBeDS5ETfvpSDhWBKxCrumGK_yCKqs3cwImltiW2t0DZh6jKh-bTIQ3MOlj8-FU5uQIxLV12x-6p_QC0nbRRXLxe3LXa2D599H2zv5PCP8yRhST1ZSErO35Dwz6cj6IGqS3-qc60sCauTeJP6FGRmdgJUhncl1blwA/w640-h454/Batman.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i><a href="https://faroutmagazine.co.uk/the-new-batman-movie-embarrasses-christopher-nolan-trilogy/" target="_blank">The Batman</a></i></b><br /></td></tr></tbody></table><p>
<b>The nominees for Best Adapted Screenplay are</b>: <i>All Quiet on the Western Front</i>, <i>Glass Onion: A Knives Out Mystery</i>, <i>Living</i>, <i>Top Gun: Maverick</i> and <i>Women Talking</i><br />
<b>CC</b>: Sarah Polley for <i><b>Women Talking</b></i>, no question. And I'm still trying to figure out what <i>Glass Onion</i> and <i>Top Gun: Maverick</i> were adapted from?<br />
<b>KH</b>: Between remakes and sequels, this category easily belongs to Sarah Polley for her deft adaptation of Miriam Toews' novel <i><b>Women Talking</b></i>.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: <i><b>Matilda the Musical</b></i><i> </i>was beautifully, movingly adapted from the stage production by Dennis Kelly, originally adapted from Roald Dahl's classic book.<br />
<b>KH</b>: <i><b>The Quiet Girl</b></i> writer/director Colm Bairéad should have been recognized here for bringing Claire Keegan's short story <i>Foster</i> to the screen.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaQw9MIYMZnPjcwF7-vXADemzxe6Rnv5HCOLbzK-ihIZUIvY07tKGqqLs2bNeZ3dFXqGfXxehb33dknGy7TdQImzKHGo1cZD7gE_qiZmQQdpTKvSTwrL8LNDG3FBXyvDj4IIdWgcLW0cUtPClqnzllNyMxikAY1gSbMpyFXrd7rcvN_nLWUp_sxZgK5g/s1400/Black%20Panther%20Wakanda%20Forever.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1400" data-original-width="1400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaQw9MIYMZnPjcwF7-vXADemzxe6Rnv5HCOLbzK-ihIZUIvY07tKGqqLs2bNeZ3dFXqGfXxehb33dknGy7TdQImzKHGo1cZD7gE_qiZmQQdpTKvSTwrL8LNDG3FBXyvDj4IIdWgcLW0cUtPClqnzllNyMxikAY1gSbMpyFXrd7rcvN_nLWUp_sxZgK5g/w640-h640/Black%20Panther%20Wakanda%20Forever.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.theringer.com/marvel-cinematic-universe/2022/11/15/23460127/black-panther-wakanda-forever-takeaways-shuri-namor-ironheart" target="_blank">Black Panther: Wakanda Forever</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best Original Screenplay are</b>: <i>The Banshees of Inisherin</i>, <i>Everything Everywhere All at Once</i>, <i>The Fabelmans</i>, <i>Tár </i>and <i>Triangle of Sadness</i><br />
<b>CC</b>: The screenplay for <i><b>Everything Everywhere All at Once</b></i> is the epitome of "original."<br />
<b>KH</b>: Martin McDonagh's script for <i><b>The Banshees of Inisherin</b></i> is quirky AF (as feck).<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: I loved the altogether overlooked <i><b>Good Luck to You, Leo Grande</b></i> and Katy Brand's screenplay was its strongest, smartest element.<br />
<b>KH</b>: With <b><i>Nope</i></b>, Jordan Peele created his own <i>Close Encounters</i>... of the terrifying kind.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNyasvM77cEFC9c8xeQDqakcNBJEdz3VXU069eiXBXNJirFKqglvHw9zrwdEmYyyfLbz_BwqVZGMyloY_zp6YXnkGsWCdBo4NW3IKkFUnDS5e5rfw-rX4HUXmpmQ1KR_jybxMq6Ofs670lVbZwMnO41-dS6bwLwYTinJ0kHHH8AsGrFIXdaAh5hjxmlg/s918/Blonde.PNG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="918" data-original-width="917" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNyasvM77cEFC9c8xeQDqakcNBJEdz3VXU069eiXBXNJirFKqglvHw9zrwdEmYyyfLbz_BwqVZGMyloY_zp6YXnkGsWCdBo4NW3IKkFUnDS5e5rfw-rX4HUXmpmQ1KR_jybxMq6Ofs670lVbZwMnO41-dS6bwLwYTinJ0kHHH8AsGrFIXdaAh5hjxmlg/w640-h640/Blonde.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.allure.com/story/ana-de-armas-marilyn-monroe-blonde-transformation" target="_blank">Blonde</a></b></i></td></tr></tbody></table><p>
<b>The nominees for Best Cinematography are</b>: <i>All Quiet on the Western Front</i>, <i>Bardo, False Chronicle of a Handful of Truths</i>, <i>Elvis</i>, <i>Empire of Light</i> and <i>Tár</i><br />
<b>CC</b>: All of these look great but I would go with veteran Roger Deakins' typically ravishing work on <i><b>Empire of Light</b>.</i><br />
<b>KH</b>: Mandy Walker just made history as the first female DP to win the American Society of Cinematographers Award, and she deserves to do it again with the Oscar for her dizzyingly dynamic work on <b><i>Elvis</i></b>.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: Ti West's horror prequel <b><i>Pearl </i></b>was likely too violent and
out-there to warrant serious consideration by many Academy members.
However, Eliot Rockett's vivid imagery gorgeously, worthily emulated the
technicolor classics of the 1930's-50's.<br />
<b>KH</b>: This will be the first of many of the craft awards where I'll ask: "Where is <b><i>RRR</i></b>?"<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHkeQ1VCm6lN57uuFIVEuccqXb9vwHgqQ2bvd8-fTvrW5Xa67SayaLVtx8Dkz0Hb5P-mQNdE1a_2j-6mtZQY5mzeppHyW5xLTOy1VGQubUGh2bvFf1ZSTk3QHhpazmfTPujly4CbASVYDQZHSc1tfkKAVnBoFXFulNWUjOS5WibL-1LVZWKuHLo_6rpQ/s692/Elvis.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="692" data-original-width="588" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHkeQ1VCm6lN57uuFIVEuccqXb9vwHgqQ2bvd8-fTvrW5Xa67SayaLVtx8Dkz0Hb5P-mQNdE1a_2j-6mtZQY5mzeppHyW5xLTOy1VGQubUGh2bvFf1ZSTk3QHhpazmfTPujly4CbASVYDQZHSc1tfkKAVnBoFXFulNWUjOS5WibL-1LVZWKuHLo_6rpQ/w544-h640/Elvis.jpg" width="544" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.mycast.io/stories/elvis-2022-4339" target="_blank">Elvis</a></b></i></td></tr></tbody></table><p>
<b>The nominees for Best Production Design are</b>: <i>All Quiet on the Western Front</i>, <i>Avatar: The Way of Water</i>, <i>Babylon</i>, <i>Elvis </i>and <i>The Fabelmans</i><br />
<b>CC</b>: A Steven Spielberg movie is always going to be expertly, evocatively designed and <i><b>The Fabelmans</b></i>
is no exception. I especially appreciated the digital recreation of
Scottsdale, Arizona that included the Kachina Theater, where I (and Kirby) spent so many
hours while also growing up in the Scottsdale vicinity.<br />
<b>KH</b>: Baz Luhrmann films – <i>Moulin Rouge!</i>, <i>The Great Gatsby</i> – have done well in this category and the next, and with its glitzy takes on Vegas, Graceland, et all <b><i>Elvis</i></b> should be no different.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: I don't understand how leading nominee <i><b>Everything Everywhere All at Once</b> </i>was omitted from this category, given its vivid settings and visuals.<br />
<b>KH</b>: Where is <b><i>RRR</i></b>?
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaS11gfUFb4_ZcL6MlgT_EZRe03ZYjDKwBT8hjvrqZ3sFBmIasBViZhuU0jBU_o03FZi5NTX3M-6IDwy0gaINuZ1so-vsX0FN6w7iQ4tkJxoxN37KcGhaVuUnBunFiClIfHmGcpChlg19nRoctHAOqZf1pWew8fKyb7AK_n1_kCaxbwMNWvXdnNK3WCg/s1000/Everything%20Everywhere%20All%20at%20Once.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="765" data-original-width="1000" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaS11gfUFb4_ZcL6MlgT_EZRe03ZYjDKwBT8hjvrqZ3sFBmIasBViZhuU0jBU_o03FZi5NTX3M-6IDwy0gaINuZ1so-vsX0FN6w7iQ4tkJxoxN37KcGhaVuUnBunFiClIfHmGcpChlg19nRoctHAOqZf1pWew8fKyb7AK_n1_kCaxbwMNWvXdnNK3WCg/w640-h490/Everything%20Everywhere%20All%20at%20Once.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://statenews.com/article/2022/05/film-review-everything-about-everything-everywhere-all-at-once?ct=content_open&cv=cbox_latest" target="_blank">Everything Everywhere All at Once</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best Costume Design are</b>: <i>Babylon</i>, <i>Black Panther: Wakanda Forever</i>, <i>Elvis</i>, <i>Everything Everywhere All at Once</i> and <i>Mrs. Harris Goes to Paris</i><br />
<b>CC</b>: <i>Elvis</i>'s threads were vibrantly recreated and expounded upon by
Catherine Martin, but I would again award Ruth E. Carter for her
dazzling designs in <i><b>Black Panther: Wakanda Forever</b></i>.<br />
<b>KH</b>: See above... Luhrmann's wife Catherine Martin should add to her haul as the most awarded Australian in Oscar history for recreating all those <b><i>Elvis</i></b> jumpsuits and more. And I have to call out the nomination for <i>Babylon</i>, which clad Margot Robbie in the most anachronistic outfits... did anyone wear hot pants in the 1920s? In public no less??<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: This is one category wherein the extravagant Indian epic <b><i>RRR</i> </b>easily should have been recognized in addition to Best Original Song.<br />
<b>KH</b>: The second <b><i>Downton Abbey</i></b><i> </i>movie got lost in the shuffle this year, but kudos are due for its costumers for creating a whole <i><b>New Era</b></i> of exquisite period fashions.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeXNzNteI1Dw1DLKlOdCuft14bTELnRJDP6Rm2INmkj_4QiNxUwMyqKYDA3OiiniljNOGa_uYtFGMAusCTAWq_08gr7KsTEA3evfR-rkgAPWMGfeIMY4YWddE3nrouujXDuGzFHMPGD6gBpXwABr_Pex415a4GgT-K7n_eAodL71Z9I2OK1tuKhkppXw/s1000/Fabelmans.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="569" data-original-width="1000" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeXNzNteI1Dw1DLKlOdCuft14bTELnRJDP6Rm2INmkj_4QiNxUwMyqKYDA3OiiniljNOGa_uYtFGMAusCTAWq_08gr7KsTEA3evfR-rkgAPWMGfeIMY4YWddE3nrouujXDuGzFHMPGD6gBpXwABr_Pex415a4GgT-K7n_eAodL71Z9I2OK1tuKhkppXw/w640-h364/Fabelmans.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.browndailyherald.com/article/2022/11/the-fabelmans-disappoints-with-lackluster-narrative" target="_blank">The Fabelmans</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best Original Score are</b>: <i>All Quiet on the Western Front</i>, <i>Babylon</i>, <i>The Banshees of Inisherin</i>, <i>Everything Everywhere All at Once</i> and <i>The Fabelmans</i><br />
<b>CC</b>: Full disclosure: Between its lengthy running time and generally negative reviews, I have not watched <i>Babylon</i>.
It sounds like it has the strongest chance of winning this category.
Out of the other nominees, I would vote for 90-year old John Williams'
lovely <i><b>The Fabelmans</b>.</i><br />
<b>KH</b>: Carter Burwell is overdue and his folksy fiddle tunes are a perfect accompaniment for the fractured fairy tale that is <i><b>The Banshees of Inisherin</b></i>.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: Hildur Guðnadóttir's spare, haunting score for <i><b>Women Talking</b>, </i>which has been acclaimed by virtually everyone other than the Academy.<br />
<b>KH</b>: Although Hildur Guðnadóttir's score for <i>Tár </i>was disqualified, her notable work for <b><i>Women Talking</i></b> was and should have been among the final five.<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjT7uXerAiCFUJWzV3TjUZ_q3y5CipuoPKTmrJYIcHwqw9HtFu53_gc4wqAOQa00KzrEj9SdRp04TwPifreNvIE5mbMeMUCOyOvv81sws2qeI5lukkuEx5ymkRIz22xfpS28MAekeqLAKmJva2d4gxi-UUXFdm48Q_2P8ve3A1Kt4nsV1QHGGvmDkhyA/s1348/Glass%20Onion.PNG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="672" data-original-width="1348" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjT7uXerAiCFUJWzV3TjUZ_q3y5CipuoPKTmrJYIcHwqw9HtFu53_gc4wqAOQa00KzrEj9SdRp04TwPifreNvIE5mbMeMUCOyOvv81sws2qeI5lukkuEx5ymkRIz22xfpS28MAekeqLAKmJva2d4gxi-UUXFdm48Q_2P8ve3A1Kt4nsV1QHGGvmDkhyA/w640-h320/Glass%20Onion.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.newyorker.com/magazine/2022/11/28/the-unlikable-souls-of-glass-onion" target="_blank">Glass Onion: A Knives Out Mystery</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best Original Song are</b>: <a href="https://youtu.be/VAHorHpPqb4" target="_blank">"Applause"</a> from <i>Tell It Like a Woman</i>, <a href="https://youtu.be/O2CIAKVTOrc" target="_blank">"Hold My Hand"</a> from <i>Top Gun: Maverick</i>, <a href="https://youtu.be/Mx_OexsUI2M" target="_blank">"Lift Me Up"</a> from <i>Black Panther: Wakanda Forever</i>, <a href="https://youtu.be/OsU0CGZoV8E" target="_blank">"Naatu Naatu"</a> from <i>RRR </i>and <a href="https://youtu.be/EzxsTXNmVm0" target="_blank">"This Is a Life"</a> from <i>Everything Everywhere All at Once</i><br />
<b>CC</b>: <b><i>RRR</i></b>'s infectious <b>"Naatu Naatu,"</b> and I can't wait to see it performed live on the Oscars telecast!<br />
<b>KH</b>: In a field crowded with blasé power ballads, <i><b>RRR</b></i>'s irresistible viral hit <b>"Naatu Naatu"</b> stands out with its incessant beat, not to mention the infectious dance moves on display in its showstopping, suspendered showcase within the film itself.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: Acclaimed, Oscar-winning duo Pasek and Paul (<i>La La Land</i>) composed a delightful song score for the Christmas comedy <b><i>Spirited</i></b>.
Their hilarious <b><a href="https://youtu.be/OMkJIR9pX1w" target="_blank">"Good Afternoon"</a></b> was among the finalists for this
category and should have won out over oft-nominated Diane Warren's
"Applause."<br />
<b>KH</b>: Disney should have released <i><b>Disenchanted</b></i> in a couple theaters so the camptastic villainess duet <a href="https://youtu.be/ht0-_mm3Xuk" target="_blank"><b>"Badder"</b></a> (by Alan Menken and Stephen Schwartz) could have been nominated here. It better win the Emmy.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh9CSbKU08A3fSXstnyElPfOkXO1SuFACv6toLVFR77HknZqnr38hf46ioWoekMqxgtwepJSsINDwMqOEsBHjOS_DaPNR-NHUCCGdVgwaPPGb_A-8TcIx1Va_tZ7MGfVeG--Ud-gK5PeWVTWZ9ZcnSUG4sWtrx0CNitnqakZ2_jCCrZ3YRHM2cX8KkUQ/s736/G%20D%20T%20Pinocchio.PNG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="435" data-original-width="736" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh9CSbKU08A3fSXstnyElPfOkXO1SuFACv6toLVFR77HknZqnr38hf46ioWoekMqxgtwepJSsINDwMqOEsBHjOS_DaPNR-NHUCCGdVgwaPPGb_A-8TcIx1Va_tZ7MGfVeG--Ud-gK5PeWVTWZ9ZcnSUG4sWtrx0CNitnqakZ2_jCCrZ3YRHM2cX8KkUQ/w640-h378/G%20D%20T%20Pinocchio.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.tor.com/2018/10/24/heres-the-art-serving-as-inspiration-for-guillermo-del-toros-pinocchio/" target="_blank">Guillermo del Toro’s Pinocchio</a></b></i></td></tr></tbody></table><p>
<b>The nominees for Best Film Editing are</b>: <i>The Banshees of </i><i>Inisherin</i>, <i>Elvis</i>, <i>Everything Everywhere All at Once</i>, <i>Tár </i>and <i>Top Gun: Maverick</i><br />
<b>CC</b>: <i><b>Everything Everywhere All at Once</b></i>, no contest.<br />
<b>KH</b>: With its own "multiverse of madness" going on, <i><b>Everything Everywhere All at Once</b> </i>had the most on its plate, editing-wise.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: At least one of two female-centric films, both edited by women, should have been included here: <i><b>The Woman King</b></i> and/or <i><b>Women Talking</b>.</i><br />
<b>KH</b>: Where is <b><i>RRR</i></b>?
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwMZYDVP6lnBkxbqshAbd6ugPsEfZqHfTRrxM2kqYJRPxs1bFCFipK2MUmyzDddOrHQDxYFnm-W6kKYj4GmbxDDNN-u6LYXagmnpSAXxcyl9-eoTK7ABy56lyoycAABlxQymeZDXOdLSXDWF5SxCLEZgFmbC_wQzvMFeSAB4xJyCgnrxsM7k1RhhlZ4g/s1280/Puss%20in%20Boots%20The%20Last%20Wish.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="1280" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwMZYDVP6lnBkxbqshAbd6ugPsEfZqHfTRrxM2kqYJRPxs1bFCFipK2MUmyzDddOrHQDxYFnm-W6kKYj4GmbxDDNN-u6LYXagmnpSAXxcyl9-eoTK7ABy56lyoycAABlxQymeZDXOdLSXDWF5SxCLEZgFmbC_wQzvMFeSAB4xJyCgnrxsM7k1RhhlZ4g/w640-h270/Puss%20in%20Boots%20The%20Last%20Wish.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.awn.com/animationworld/puss-boots-last-wish-returns-its-fairy-tale-illustration-roots" target="_blank">Puss in Boots: The Last Wish</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best Sound are</b>: <i>All Quiet on the Western Front</i>, <i>Avatar: The Way of Water</i>, <i>The Batman</i>, <i>Elvis </i>and <i>Top Gun: Maverick</i><br />
<b>CC</b>: I wasn't a big fan of the long-delayed <i><b>Avatar: The Way of Water</b> </i>but would definitely vote for it in this category and the following.<br />
<b>KH</b>: <i><b>Elvis</b></i> immersed you in the sound of rock and roll from beginning to end, and that's all in the mixing.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: Where is <i><b>Everything Everywhere All at Once</b></i>?<br />
<b>KH</b>: Nope, not <i>RRR</i>, but <i><b>Nope </b></i>for its otherworldly bumps in the night.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-fx_hiD-5lmJNPyiJfJoNygqFe1YIIz3omF3AHWL9oZ0iKfxb75ATIJ91raKgKxtzJmuQSZqZt_elYBxZaZ5RzEZf-eOXKFSVR3jGdIdst_2ohs5y4R8BHTAQvbtxFPJMoLOjMf3OpV0-0GzPHNZA49sgaYVyzCwMYtjxKOha7PrNbijHDPXelte4aQ/s1920/The%20Quiet%20Girl.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-fx_hiD-5lmJNPyiJfJoNygqFe1YIIz3omF3AHWL9oZ0iKfxb75ATIJ91raKgKxtzJmuQSZqZt_elYBxZaZ5RzEZf-eOXKFSVR3jGdIdst_2ohs5y4R8BHTAQvbtxFPJMoLOjMf3OpV0-0GzPHNZA49sgaYVyzCwMYtjxKOha7PrNbijHDPXelte4aQ/w640-h360/The%20Quiet%20Girl.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.curzon.com/journal/images-speak-volumes-how-interiority-is-rendered-in-the-quiet-girl/" target="_blank">The Quiet Girl</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best Visual Effects are</b>: <i>All Quiet on the Western Front</i>, <i>Avatar: The Way of Water</i>, <i>The Batman</i>, <i>Black Panther: Wakanda Forever</i> and <i>Top Gun: Maverick</i><br />
<b>CC</b>: <i><b>Avatar: The Way of Water</b></i>, see above.<br />
<b>KH</b>: Yeah, there was a bit of "been there, done that" with the effects of <b><i>Avatar: The Way of Water</i></b>, but its hard to deny the sheer volume of impressive sights on display in the blockbuster sequel.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: Many of the special effects in <b><i>Everything Everywhere All at Once</i> </b>were practical rather than digital, but that makes them all the more impressive to me.<br />
<b>KH</b>: Where is <b><i>RRR</i></b>?
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8B_lZ3CZbqMCqvyT3zMhZgvoctAqmCD9GKf_Vzw7-hyoSTWKe5zoUjrufZbucK_O-A1fbq6sugPnRzKXtSWCistNL9HKAqqdk6nlzymqZmsbUA9-LPWLFXhyxASFrSRjidzSmBNsKwAw4kq-aNVG4z4YBgmH4SwjNzkbGqocfHKcy0iXno9C-eEwmqw/s976/RRR.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="549" data-original-width="976" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8B_lZ3CZbqMCqvyT3zMhZgvoctAqmCD9GKf_Vzw7-hyoSTWKe5zoUjrufZbucK_O-A1fbq6sugPnRzKXtSWCistNL9HKAqqdk6nlzymqZmsbUA9-LPWLFXhyxASFrSRjidzSmBNsKwAw4kq-aNVG4z4YBgmH4SwjNzkbGqocfHKcy0iXno9C-eEwmqw/w640-h360/RRR.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.bbc.com/news/world-asia-india-64286680" target="_blank">RRR</a></b></i></td></tr></tbody></table><p>
<b>The nominees for Best Makeup and Hairstyling are</b>: <i>All Quiet on the Western Front</i>, <i>The Batman</i>, <i>Black Panther: Wakanda Forever</i>, <i>Elvis </i>and <i>The Whale</i><br />
<b>CC</b>: Making Brendan Fraser appear so morbidly obese in <i><b>The Whale</b></i> was horrific but undeniably impressive.<br />
<b>KH</b>: Brendan Fraser's full-body transformation in <i><b>The Whale</b></i> was shockingly realistic, an impressive achievement that outshines the other, more "flashier" nominees.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: I don't know if they technically count as makeup, but who can forget the hot-dog fingers in <i><b>Everything Everywhere All at Once</b></i>? I even have a pair, and you know I'll be wearing them while watching this Sunday's telecast!<br />
<b>KH</b>: Perhaps another superhero epic, <b><i>Thor: Love and Thunder</i></b>, with its pantheon of multi-cultural gods and goddesses, not to mention Chris Hemsworth's flaxen mane.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcigYtvy-OVatuVVFDw3zHw-kCqvUWFiR3l5DuIBtdqglnXhzmxitM6gmx_gIk1XP_MChYHBCyb1wXuTHz8J8c-Q2HOox0JeF3VRQtIZ6AhwMlgsRcGbmyqzKere9f8SJKzAUOSuHBtVJ61nd5bWMEXSMNaCXfpJjvmIXdW0j6Ww0Dsl_dsEnPov2zWA/s1480/T%C3%A1r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="833" data-original-width="1480" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcigYtvy-OVatuVVFDw3zHw-kCqvUWFiR3l5DuIBtdqglnXhzmxitM6gmx_gIk1XP_MChYHBCyb1wXuTHz8J8c-Q2HOox0JeF3VRQtIZ6AhwMlgsRcGbmyqzKere9f8SJKzAUOSuHBtVJ61nd5bWMEXSMNaCXfpJjvmIXdW0j6Ww0Dsl_dsEnPov2zWA/w640-h360/T%C3%A1r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.thedailybeast.com/obsessed/the-ending-of-cate-blanchetts-tar-explained-including-the-monster-hunter-video-game-concert" target="_blank">Tár</a></b></i></td></tr></tbody></table><p>
<b>The nominees for Best Animated Feature are</b>: <i>Guillermo del Toro’s Pinocchio</i>, <i>Marcel the Shell with Shoes On</i>, <i>Puss in Boots: The Last Wish</i>, <i>The Sea Beast </i>and <i>Turning Red</i><br />
<b>CC</b>: My vote would go to the charming but emotionally complex <i><b>Marcel the Shell with Shoes On</b></i>.<br />
<b>KH</b>: <i><b>Marcel the Shell with Shoes On</b> </i>was the surprise delight of the year for me, a charming tale of love, loss and gardening.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: Disney's <i><b>Strange World</b></i> suffered at the box office due to a dull
title and bad marketing. Yet it is thoroughly enjoyable, visually
impressive (as usual), has a great twist, <i>and </i>it features the first
unapologetically gay protagonist in the studio's history! This
naturally upset the anti-woke/anti-LGBTQ Repugnican crowd, which Disney
and the Academy should absolutely stand up to.<br />
<b>KH</b>: Labeled as flops, it's a shame that Pixar's <b><i>Lightyear</i></b> and Disney's <b><i>Strange World</i></b> got shunt to the side considering both were entertaining sci-fi jaunts, complete with LGBTQ inclusion.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp0cR5DZ_mPEkWpSvb_H19oOjrdI5S69yVxFwonC1kcKLFY-HWYCSf9-xfoR_sNKeqnFko0-C65V8gOCsWaXD0PYDwG2PjwjXb7H_3d8PuTYAx7uAH1or4hyV2-8TKZEZGinuKbB6vbj_-QnzJIacVJHoUIOTOPn6_3ApdKneN72GQZfGDw9CFeYWN_g/s1000/To%20Leslie.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="698" data-original-width="1000" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp0cR5DZ_mPEkWpSvb_H19oOjrdI5S69yVxFwonC1kcKLFY-HWYCSf9-xfoR_sNKeqnFko0-C65V8gOCsWaXD0PYDwG2PjwjXb7H_3d8PuTYAx7uAH1or4hyV2-8TKZEZGinuKbB6vbj_-QnzJIacVJHoUIOTOPn6_3ApdKneN72GQZfGDw9CFeYWN_g/w640-h446/To%20Leslie.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.browndailyherald.com/article/2023/02/to-leslie-is-deserving-of-praise-despite-oscars-controversy" target="_blank">To Leslie</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best International Feature Film are</b>: <i>All Quiet on the Western Front</i> (Germany), <i>Argentina, 1985</i> (Argentina), <i>Close </i>(Belgium), <i>EO </i>(Poland) and <i>The Quiet Girl </i>(Ireland)<br />
<b>CC</b>: Out of a strong pack of contenders, <i><b>The Quiet Girl</b></i> most impressed me — unexpectedly so — with its humanity and emotional depths.<br />
<b>KH</b>: I'm going with the "other" <i>Quiet</i> nominee... Ireland's <i><b>The Quiet Girl</b></i> is simply a lovely film.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: It is rare that an almost-universally beloved movie like India's <b><i>RRR </i></b>comes along in any language, but this was clearly lost on the Academy aside from its sole nod for Best Song.<br />
<b>KH</b>: If you're wondering why <b><i>RRR</i></b> isn't here, don't blame the Academy, blame India for not even selecting it as their official submission.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfHpqJPv_dtfrtaAWSMFjjP03Z1Z6sqr5i4VJ0DQfgEhhorprq6TO50g4wLza3n0t5hE50YXt5ftSPZCMGAtCxOn7qcDL-ap9-FgVNIxoUhYYFgibip-XutrK4q0207GweqMb_2ptoJcpTSHqAQSLtCpExP6YfeaP__1PeBU3oHXXdZZ5N1Dt-vn6Evg/s1200/Top%20Gun%20Maverick.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfHpqJPv_dtfrtaAWSMFjjP03Z1Z6sqr5i4VJ0DQfgEhhorprq6TO50g4wLza3n0t5hE50YXt5ftSPZCMGAtCxOn7qcDL-ap9-FgVNIxoUhYYFgibip-XutrK4q0207GweqMb_2ptoJcpTSHqAQSLtCpExP6YfeaP__1PeBU3oHXXdZZ5N1Dt-vn6Evg/w640-h426/Top%20Gun%20Maverick.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.theringer.com/movies/2022/5/12/23067733/top-gun-maverick-sequel-dad-cinema-tom-cruise" target="_blank">Top Gun: Maverick</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for Best Documentary Feature are</b>: <i>All That Breathes</i>, <i>All the Beauty and the Bloodshed</i>, <i>Fire of Love</i>, <i>A House Made of Splinters</i> and <i>Navalny</i><br />
<b>CC</b>: <i><b>All the Beauty and the Bloodshed</b></i> isn't only extremely insightful; it has a cross-generational resonance when it comes to the value of life and art.<br />
<b>KH</b>: <b><i>Navalny</i> </b>plays like the best of investigative documentaries, starting with a subject you thought you knew but slowly revealing more and more, culminating in the most shocking onscreen confession since <i>The Jinx</i>.<br />
<b>Egregiously Overlooked</b>:<br />
<b>CC</b>: <b><i>Wildcat</i> </b>is a deeply moving examination of how a young, suicidal
military vet found healing by rescuing injured or abandoned animals in
the Amazon.<br />
<b>KH</b>: The Academy's stodgy documentary branch frowns on films that have an abundance of recreations, and considering that all of the Mars-bound footage of our hero <i>Opportunity</i> in the highly entertaining <b><i>Good Night Oppy</i></b> were created using special effects, it never had a chance of getting nominated. But that doesn't mean it shouldn't have been.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkW6QXPtNy1Ja4ROGtkOCJQRhjHbWBFMWszwYFMz5e49EqCeWURYUIlEXj0JysgLk1O8gMZ1kpPOXw9_RqXKFTBXIebAo7yChNoafm5OrFnVGRc9wFob0pQA6PKbXwzpC8LNU4nsMMHu3YHJgLKO_RUOcKXStG3gb8zVqh_tw2ACY-f2FQXCpqprQsFw/s1000/Triangle%20of%20Sadness.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="527" data-original-width="1000" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkW6QXPtNy1Ja4ROGtkOCJQRhjHbWBFMWszwYFMz5e49EqCeWURYUIlEXj0JysgLk1O8gMZ1kpPOXw9_RqXKFTBXIebAo7yChNoafm5OrFnVGRc9wFob0pQA6PKbXwzpC8LNU4nsMMHu3YHJgLKO_RUOcKXStG3gb8zVqh_tw2ACY-f2FQXCpqprQsFw/w640-h338/Triangle%20of%20Sadness.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://www.cavalierdaily.com/article/2022/11/triangle-of-sadness-is-a-fascinating-and-hilarious-examination-of-social-roles-and-power" target="_blank">Triangle of Sadness</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for <a href="https://moviedearest.blogspot.com/2023/03/short-cuts-2023-part-3-oscars.html" target="_blank">Best Documentary Short Film</a> are</b>: <i>The Elephant Whisperers</i>, <i>Haulout</i>, <i>How Do You Measure a Year?</i>, <i>The Martha Mitchell Effect</i> and <i>Stranger at the Gate</i><br />
<b>CC</b>: As evidenced by <i>Wildcat</i> mentioned above, I'm a sucker for animal movies and I loved <i>The Elephant Whisperers</i>. However, <i><b>The Martha Mitchell Effect</b></i> was politically informative and unexpectedly entertaining. Subsequently, it would get my vote.<br />
<b>KH</b>: The two Netflix docs – <i><b>The Elephant Whisperers</b> </i>and <i>The Martha Mitchell Effect </i> – are the finalists for me, with the former's gorgeous nature photography and adorable subjects – baby elephants! – cinching the win.<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPVb3U5pXjS6jOfFtXfkvvYsayS5ORyER8DdGnQwolU4DlOZlP7ZPfEKpidgk0wecAKYpyZtfFTZGyjm0zY8G5-Iyw-QINWhHOFoB2GArcCR_2sNsdj35AjKOoj5qu0iZbcsTWPjaaN821J6LP1rnrwhaFed_jVXN9dIKnvHnwiVqxsGhSoAvCbaIx_w/s1180/Turning%20Red.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="1180" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPVb3U5pXjS6jOfFtXfkvvYsayS5ORyER8DdGnQwolU4DlOZlP7ZPfEKpidgk0wecAKYpyZtfFTZGyjm0zY8G5-Iyw-QINWhHOFoB2GArcCR_2sNsdj35AjKOoj5qu0iZbcsTWPjaaN821J6LP1rnrwhaFed_jVXN9dIKnvHnwiVqxsGhSoAvCbaIx_w/w640-h326/Turning%20Red.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://d23.com/unbearably-cute-turning-red-concept-art/" target="_blank">Turning Red</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for <a href="https://moviedearest.blogspot.com/2023/02/short-cuts-2023-part-1-oscars-animated.html" target="_blank">Best Animated Short Film</a> are</b>: <i>The Boy, the Mole, the Fox and the Horse</i>, <i>The Flying Sailor</i>, <i>Ice Merchants</i>, <i>My Year of Dicks</i> and <i>An Ostrich Told Me the World Is Fake and I Think I Believe It</i><br />
<b>CC</b>: <i><b>The Boy, the Mole, the Fox and the Horse</b></i> is a beautifully
hand-drawn examination of the enduring — if increasingly neglected — values
of kindness, honesty, bravery and acceptance. And cake. <br />
<b>KH</b>: My two favorites are polar opposites, to say the least. But the sweet, A.A. Milne-ness and pure beauty of <i><b>The Boy, the Mole, the Fox and the Horse </b></i>beats out (ahem) <i>My Year of Dicks</i><i> </i>in the end.<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2G1uCwMxtL1P5dWZPUZDQ0rECY4blFhIYkdNbq5d8LnDB6tKQubEnWl7KP-WcsVkU79n_cNXLvrluSgJNSzVYKT-wYTE0ru2hW4nLrad-Ox3j86uH1rNlheSOkyjsVSo44YrmwMivELmVeLMB1sX6TvWhS8Wp0rJG__b8iAT-6BSIBoVd4eNSoJlrhA/s723/Whale.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="723" data-original-width="608" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2G1uCwMxtL1P5dWZPUZDQ0rECY4blFhIYkdNbq5d8LnDB6tKQubEnWl7KP-WcsVkU79n_cNXLvrluSgJNSzVYKT-wYTE0ru2hW4nLrad-Ox3j86uH1rNlheSOkyjsVSo44YrmwMivELmVeLMB1sX6TvWhS8Wp0rJG__b8iAT-6BSIBoVd4eNSoJlrhA/w538-h640/Whale.png" width="538" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://bcomber.org/arts-and-entertainment/2023/02/26/the-whale-why-its-the-best-and-worst-movie-ive-ever-watched/" target="_blank">The Whale</a></b></i><br /></td></tr></tbody></table><p>
<b>The nominees for <a href="https://moviedearest.blogspot.com/2023/02/short-cuts-2023-part-2-oscars-live.html" target="_blank">Best Live Action Short Film</a> are</b>: <i>An Irish Goodbye</i>, <i>Ivalu</i>, <i>Le Pupille</i>, <i>Night Ride</i> and <i>The Red Suitcase</i><br />
<b>CC</b>: <i><b>An Irish Goodbye</b> </i>is excellent, and a timely companion piece to nominated Irish feature <i>The Banshees of Inisherin</i>.<br />
<b>KH</b>: I already have voted for <i>The Banshees of </i><i>Inisherin </i>and <i>The Quiet Girl</i>, so I'll (happily) go all in with the Irish with <i>An Irish Goodbye</i>.
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHYNoBNaMD69FggdxqM7gUSg0fpIAHKcwE00vy7yfeOnIH-MGyikS8gRlcVbkCDbyowDGSZOB3TWB-gAM3YTK25mpCXfuVH7YpUEgc1qBh9WIPLv2qQH22w2wsv7_NVwCPBKLkNbPVuVAuC-CkjtA6l9Ea5GsXmFD9qf8BtvC-o2gFRQD2FqD5I-dwJQ/s1141/Women%20Talking.PNG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="568" data-original-width="1141" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHYNoBNaMD69FggdxqM7gUSg0fpIAHKcwE00vy7yfeOnIH-MGyikS8gRlcVbkCDbyowDGSZOB3TWB-gAM3YTK25mpCXfuVH7YpUEgc1qBh9WIPLv2qQH22w2wsv7_NVwCPBKLkNbPVuVAuC-CkjtA6l9Ea5GsXmFD9qf8BtvC-o2gFRQD2FqD5I-dwJQ/w640-h318/Women%20Talking.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i><a href="https://collider.com/women-talking-movie-book-comparison/" target="_blank">Women Talking</a></i></b><br /></td></tr></tbody></table><p>
And now for our own special category of dishonorable mention, the Worst Nomination of the Year:<br />
<b>CC</b>: I'm baffled by the Best Original Score nomination for <i>All Quiet on the Western Front</i>, which mostly sounded to me like a cruise ship's horn going off. But I was truly disturbed by the multiple nominations for <i><b>Triangle of Sadness</b></i>, the most overrated movie with the biggest cop-out ending of 2022. Ugh.<br />
<b>KH</b>: I abhorred the grotesque <i>Triangle of Sadness</i> as well, but to spread the "wealth" around... I doubt even hard core <i>Top Gun</i> enthusiasts were expecting Academy recognition for its script, yet there it was on nomination morning: <i><b>Top Gun: Maverick</b></i>, Oscar nominee for <b>Best Adapted Screenplay</b>. It's almost laughable except when you consider the other, non-formulaic scripts that were passed over for this by-the-numbers, entirely predictable late-in-the-day sequel that was, yes, crowd pleasing and entertaining yet hardly an example of the fine art of screenwriting.<br />
<br />
And so the final march to Oscar glory begins. Tune in to the Big Show this Sunday to see who wins, as well as which nominees are rocking the best (and worst) gowns, hottest arm candy and most heartfelt acceptance speeches.<br />
<br /><span style="font-size: medium;">By Rev. Chris Carpenter, resident film critic of <b><i>Movie Dearest</i></b> and <i>Rage </i>Monthly Magazine, and Kirby Holt, creator, editor and head writer of <i>Movie Dearest</i>.</span><br />
<br /></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-67401159817703585382023-03-03T06:00:00.056-06:002023-03-03T09:51:01.291-06:00Reverend's Reviews: Disney's Schizophrenic Hercules on Stage<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkCgPVbhjqUaHZR5kesa7nSvNnxFu-9aV_UnOx9DaeOo5YbdZ97l2FWBrWkR5H3ACT5SNJE-HSozaDM90v4DJjlMVuzG1Km4JUtCNZXX9SOSeyVK0b3LfUrQ5Go5ZewBiHAbPKE-8t45qp3j_AolRu31I38U12Ss_Mrmw5yR6mSbKdTm6AlF2IDaks2A/s970/Bradley-Gibson-as-Hercules-and-ensemble-in-Disneys-Hercules-directed-by-Lear-deBessonet-photographed-by-Evan-Zimmerman-for-MurphyMade.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="970" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkCgPVbhjqUaHZR5kesa7nSvNnxFu-9aV_UnOx9DaeOo5YbdZ97l2FWBrWkR5H3ACT5SNJE-HSozaDM90v4DJjlMVuzG1Km4JUtCNZXX9SOSeyVK0b3LfUrQ5Go5ZewBiHAbPKE-8t45qp3j_AolRu31I38U12Ss_Mrmw5yR6mSbKdTm6AlF2IDaks2A/w640-h360/Bradley-Gibson-as-Hercules-and-ensemble-in-Disneys-Hercules-directed-by-Lear-deBessonet-photographed-by-Evan-Zimmerman-for-MurphyMade.jpg" width="640" /></a></div><br />Released way back in 1997 (when Reverend was a hot young Roman Catholic priest, lol), Disney's animated feature <b><i>Hercules</i> </b>followed a string of more serious tales from the newly-resurgent studio. <i>The Lion King</i> (1994), <i>Pocahontas </i>(1995) and <i>The Hunchback of Notre Dame</i> (1996) were box office successes, but they were also darker and more adult than beloved — and more financially rewarding —predecessors <i>The Little Mermaid</i> (1989), <i>Beauty and the Beast</i> (1991) and <i>Aladdin </i>(1992).</span></h3><p>
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The talented hit-making team of Ron Clements and John Musker (who had previously written-directed both <i>The Little Mermaid</i> and <i>Aladdin</i>) were assigned to develop a lighter, more farcical take on ancient Greece's most celebrated hero. There would be songs co-written by 8-time Oscar winner and EGOT Alan Menken, of course, as well as jokes featuring decidedly late-20th-century references, a fast-talking villain who seemed more like a scheming Hollywood agent or car salesman, and Danny DeVito voicing a goat-like satyr. Although I loved it, <i>Hercules </i>was considered a lesser achievement by the Mouse House at the time.<br />
<br />
Apparently, it has grown in popularity among millennials over the last two decades. How else to explain the new stage adaptation of the film currently playing at New Jersey's famed Paper Mill Playhouse through March 19th? Reverend and friends attended a nearly sold-out matinee performance on February 25th that wasn't so much a mixed bag as it was dramatically and technically schizophrenic. While seemingly Broadway-bound, this theatrical venture needs some more work before it can hope to join such long-running Disney hits as<i> The Lion King</i> and <i>Aladdin </i>on the Great White Way. In its current form, <i>Hercules </i>is more akin to the short-lived stage adaptations of <i>Tarzan </i>and <i>The Little Mermaid</i>.</p><p>
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPyEgUzoIq968LhKNZhIngloTv2L_pN5prXXGfw8buytao2Bnvl3vsWtrNTThwwPm-F61GznySDAnHE1tLe_VPgZ-kRf4-nXi_s2VFBHhlCpDLw5FjMe5y7u_Ouy6cAXqNtq-IkVYkHeK4TY4DRT87rxiyU31_FCMgKJaSgFGTZjHtBH9sZ8yvcQX4SQ/s1285/Hercules%20Muses.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="855" data-original-width="1285" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPyEgUzoIq968LhKNZhIngloTv2L_pN5prXXGfw8buytao2Bnvl3vsWtrNTThwwPm-F61GznySDAnHE1tLe_VPgZ-kRf4-nXi_s2VFBHhlCpDLw5FjMe5y7u_Ouy6cAXqNtq-IkVYkHeK4TY4DRT87rxiyU31_FCMgKJaSgFGTZjHtBH9sZ8yvcQX4SQ/w640-h426/Hercules%20Muses.PNG" width="640" /></a></div><p><br />
The Paper Mill Playhouse production, directed by Lear DeBessonet, opens with a serious, classically Greek prologue before the movie's chorus of Muses take over. These five African-American women were enthusiastically welcomed by the audience but were called backstage by an overhead announcer a few minutes later. This literally stopped the show, and not in a good way. There were some obvious sound issues prior to the Muses' recall; however, this was not a preview performance even though it unfortunately ended up feeling like one from that point forward.<br />
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<i>Hercules </i>was the mythological son of Greek god Zeus and his wife Hera. According to the Disney movie, the evil god of the underworld Hades (voiced delightfully by the then-hot James Woods) made Hercules mortal while he was still a baby. Hades ultimately planned to have the mortal Hercules killed, since seers had prophesied that only Hercules could prevent Hades' intended hostile takeover of Mount Olympus. Since Disney animated musicals require happy endings, Hades' plot was not realized.<br />
<br />
Spoiler alert (not): Hades is disappointed once again at the end of the new stage version, despite the character's somewhat more serious shenanigans. Herein lies the show's schizophrenia. It's silly and farcical like the movie in some moments but serious in keeping with its classically Greek source, and sometimes at the same time. I primarily blame Robert Horn and Kwame Kwei-Armah, co-writers of the musical's book, for this. Horn primarily has comedic projects including <i>Tootsie </i>and the Broadway-bound <i>Shucked </i>to his credit. Meanwhile, the British Kwei-Armah has a strong dramatic resume. The tension between their divergent styles is palpable in the current book/production. One wonders whether the writers actually met, which admittedly wouldn't be unusual in the COVID era.<br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJXfyCUk05_oQYvEKR0ReSI6GzQz-PFqVhuVIE43TGeTjb3K-lryaP3k6WHoPfQ155wRkZgXZNL9Fd7diZk80CkwD7tytq5ogrcw8bdER3jvtJWcLkt5RfdX_jlMNODkjplfiL-6-6mY1vfbte96Mnw6_hP20HYGg_uhmVdZl34dIdA-EGDfoqlakxCw/s675/Bradley-Gibson-in-Disneys-Hercules-directed-by-Lear-deBessonet-photographed-by-Evan-Zimmerman-for-MurphyMade.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="675" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJXfyCUk05_oQYvEKR0ReSI6GzQz-PFqVhuVIE43TGeTjb3K-lryaP3k6WHoPfQ155wRkZgXZNL9Fd7diZk80CkwD7tytq5ogrcw8bdER3jvtJWcLkt5RfdX_jlMNODkjplfiL-6-6mY1vfbte96Mnw6_hP20HYGg_uhmVdZl34dIdA-EGDfoqlakxCw/w640-h426/Bradley-Gibson-in-Disneys-Hercules-directed-by-Lear-deBessonet-photographed-by-Evan-Zimmerman-for-MurphyMade.jpg" width="640" /></a></div><p>
The cast, which includes Tony Award winners Shuler Hensley and James Monroe Iglehart, is its strongest asset. Hensley, as Hades, has some of the book's funniest lines but could still take a lighter approach to the character a la James Woods. Iglehart, memorable as Genie in Disney's Broadway adaptation of Aladdin, also takes a more serious approach to Phil, which is still essentially a light sidekick role. Additionally, both Iglehart and Hensley are saddled with unattractive, too-literal costumes as well as so-so new songs.<br />
<br />
Speaking of new songs, the aforementioned Alan Menken and celebrated lyricist David Zippel contribute a handful of mostly dull, unmemorable tunes. The best of these are "To Be Human," a reflective 11th-hour song performed by Hercules himself, and "Forget About It," a feisty new number for heroine Meg (played by a game Isabelle McCalla). Hades, who didn't have a song in the movie but should have, here gets the ho-hum "Cool Day in Hell." Phil gets an additional song, the unnecessary and endless "I'm Back!" that opens Act 2. And "Uniquely Greek Tough Town" is a just plain awful anthem sung by the citizens of Thebes.<br />
<br />
Finally, the single best attribute of Disney's <i>Hercules</i> at Paper Mill Playhouse is adorable Bradley Gibson in the title role. The handsome, out actor (he thanks "my love Adam" in the program) sings and dances with aplomb, and admirably pulls off the more schizophrenic, silly-serious aspects of his role. If this production does make it to Broadway (ideally after some revisions) I hope Gibson goes with it. Talk about "a star is born"!<br />
<br />
For more information and tickets, visit <a href="https://my.papermill.org/overview/hercules" target="_blank">Disney's <i>Hercules </i>| Paper Mill Playhouse</a>.<br />
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<b>Reverend's Rating</b>: C+<br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Reviews by Rev. Chris Carpenter, resident film and stage critic of <b><i>Movie Dearest</i></b> and <a href="http://www.ragemonthly.com/"><i>Rage</i> Monthly Magazine</a>.</span><br />
<br />Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-59181474723102183472023-03-01T06:00:00.000-06:002023-03-03T09:28:21.705-06:00Short Cuts 2023, Part 3: Oscar's Documentary Short Film Nominees<h3 style="text-align: left;"><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYsVOHaapDfcZAZL6K-no1TzGFbZ0nV-Tt3IlSZNse0xDF7xmBP8ElaPxx_nvYptQYR5zI2xo8kInz55iMm8NqPA78Rh7xoiBNOlh2cnvE3ZeU8obNCB1uQnbHwqdPA5PoOngIUh_xnS4HxeXiBFYR1kARn07ob329GaiRvzV1s_e4LdF9RoNjT6sI-Q/s680/Oscar%20Shorts%202023%20Poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="680" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYsVOHaapDfcZAZL6K-no1TzGFbZ0nV-Tt3IlSZNse0xDF7xmBP8ElaPxx_nvYptQYR5zI2xo8kInz55iMm8NqPA78Rh7xoiBNOlh2cnvE3ZeU8obNCB1uQnbHwqdPA5PoOngIUh_xnS4HxeXiBFYR1kARn07ob329GaiRvzV1s_e4LdF9RoNjT6sI-Q/s16000/Oscar%20Shorts%202023%20Poster.jpg" /></a></div><br />For the 18th year, <b><a href="https://shorts.tv/" target="_blank">ShortsTV</a></b> presents this year's <a href="https://shorts.tv/theoscarshorts/" target="_blank">Academy Award nominated animated, live action and documentary short films</a> where they should be seen, at <a href="https://tickets.oscar-shorts.com/" target="_blank">a theater near you</a> (watch the trailer <a href="https://youtu.be/SWX-ALhG6Wo" target="_blank">here</a>).
In the last of three parts, <b><i>Movie Dearest</i></b> takes a look at this year's five nominees for <b>Best Documentary Short Film</b>.</span></h3><p></p><p></p><p><i><b>And the nominees are...</b></i></p><p><i><b> </b></i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY9x14EbQaPJ2fmNfEGMSTyRF7exHqfGziyChUOlTvdXPqT-rCcVbHAX4UkoEMP2cTMPTsG2BuMUHjS9jbGhZu8Kc8oKyRsyVzXBL6gkLAKoQbboIMtn6DTAmfwNvtoMOpA6fUAMNXrnRi3gF8SurbeIRCvDZXt6XOUAGnuQgF8z0ZzbTj0gDJDB7Wug/s600/The%20Elephant%20Whisperers.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="517" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY9x14EbQaPJ2fmNfEGMSTyRF7exHqfGziyChUOlTvdXPqT-rCcVbHAX4UkoEMP2cTMPTsG2BuMUHjS9jbGhZu8Kc8oKyRsyVzXBL6gkLAKoQbboIMtn6DTAmfwNvtoMOpA6fUAMNXrnRi3gF8SurbeIRCvDZXt6XOUAGnuQgF8z0ZzbTj0gDJDB7Wug/s16000/The%20Elephant%20Whisperers.PNG" /></a></div><br /><a href="https://www.imdb.com/title/tt23628262/reference/" target="_blank"><i><b>The Elephant Whisperers</b></i></a>, Kartiki Gonsalves & Guneet Monga (India, 40 min.), <a href="https://youtu.be/a0J0b_OVa9w" target="_blank">trailer</a>.<br /><p></p><p>In South India a couple find love and healing when they become the caretakers of two orphan elephants. Gorgeous scenic photography highlights this heartwarming crowd-pleaser. It's hard to resist a pair of lovable baby animals but the title couple give them a run for their money in adorableness.<br /></p><p><i><b>Oscar connection</b></i>: (Not so) little Raghu and Ammu join such other Oscar nominated pachyderms as <i>Dumbo</i>, <i>Billy Rose's Jumbo</i> and <i>Goliath II</i>.<br /></p><p><b><i>MD </i>Rating</b>: 8/10</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1f8vBlhjkmXc5HZxqKQ1vdVstjWBBDaNpvgW4hoURAIxdDSNL14cnNU22OwXckLORJ0OO-pogGst-xnGjKKykT307xfpV1V3drOlrAFiUyaqriDhVU35cnQ4m2WiLIVgJAFK8jAlZ_vMA7z47nHqFwTHebDfOkHG7fjETxzwUAcvMawAzT2yzjv7DRw/s830/Haulot.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="830" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1f8vBlhjkmXc5HZxqKQ1vdVstjWBBDaNpvgW4hoURAIxdDSNL14cnNU22OwXckLORJ0OO-pogGst-xnGjKKykT307xfpV1V3drOlrAFiUyaqriDhVU35cnQ4m2WiLIVgJAFK8jAlZ_vMA7z47nHqFwTHebDfOkHG7fjETxzwUAcvMawAzT2yzjv7DRw/s16000/Haulot.PNG" /></a></div><p></p><p><a href="https://www.imdb.com/title/tt17162620/reference/" rel="nofollow"><b><i>Haulot</i></b></a>, Evgenia Arbugaeva & Maxim Arbugaev (UK/Russia, 25 min.), <a href="https://youtu.be/uIBmhWsgYnA" target="_blank">trailer</a>.</p><p>A marine biologist stationed in the remote Siberian Arctic tracks the effects of climate change on walruses. Featuring the jump start of the year when our hero wakes up to find his desolate shack completely surrounded by 95,000 tusked marine mammals; otherwise your basic modern nature doc.<br /></p><p></p><p><b><i>MD </i>Rating</b>: 6/10</p><p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipKTETHdsQ1GiJ1iUWBvClcDJewPpZSS8qBVFW1A7JTbaCaCqTEifc2Y6QmYAjEYojF5h3yLijhS8egsoSeQBtDqxbFS745sCxeyiaR1fuunvPLLM6gcLjb2Jqq6q_IJAkiEvQ9o4zIMnx7frstmdnyP01GugCPdyp1NkEPqFjCTtkhWqLGxlr6CSp-g/s760/How%20Do%20You%20Measure%20a%20Year.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipKTETHdsQ1GiJ1iUWBvClcDJewPpZSS8qBVFW1A7JTbaCaCqTEifc2Y6QmYAjEYojF5h3yLijhS8egsoSeQBtDqxbFS745sCxeyiaR1fuunvPLLM6gcLjb2Jqq6q_IJAkiEvQ9o4zIMnx7frstmdnyP01GugCPdyp1NkEPqFjCTtkhWqLGxlr6CSp-g/s16000/How%20Do%20You%20Measure%20a%20Year.PNG" /></a></div><br /><b><i><a href="https://www.imdb.com/title/tt15026956/reference/" target="_blank">How Do You Measure a Year?</a></i></b>, Jay Rosenblatt (US, 29 min.), <a href="https://youtu.be/aQdIt3lDD6Q" target="_blank">trailer</a>. <br /><p></p><p>Beginning at age 2, the filmmaker films his daughter answering questions every year on her birthday. If the artwork for this title above looks amateurish, than it is the perfect representation for the actual production, more of a home movie uploaded to YouTube than an actual documentary, despite its <i>Boyhood</i>-esque gimmick. <br /></p><p><i><b>Oscar connection</b></i>: Rosenblatt was nominated <a href="https://moviedearest.blogspot.com/2022/03/short-cuts-2022-part-3-oscars.html" target="_blank">last year</a> in this category for <i>When We Were Bullies</i>.<br /></p><p><b><i>MD </i>Rating</b>: 4/10</p><p> <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCSpG40Fvnv5t5Rz9inw5XPJOhiFnMsBLOmsBvFGmvNkbcBH96EIK91iq2A2Ys-WTUE7m4BbOztOOFoWvCLfSXeU9iB6LeZbYgWYwbrFNppY_znpu-2RNwYKt7PHmz8Q02eIhbNBu-NzLf7bdZW_huphFxo22t7OnNv0nEGi21iFB9rOBMPQrhbCmRQQ/s642/Martha%20Mitchell%20Effect.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="642" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCSpG40Fvnv5t5Rz9inw5XPJOhiFnMsBLOmsBvFGmvNkbcBH96EIK91iq2A2Ys-WTUE7m4BbOztOOFoWvCLfSXeU9iB6LeZbYgWYwbrFNppY_znpu-2RNwYKt7PHmz8Q02eIhbNBu-NzLf7bdZW_huphFxo22t7OnNv0nEGi21iFB9rOBMPQrhbCmRQQ/s16000/Martha%20Mitchell%20Effect.PNG" /></a></div><p></p><p><a href="https://www.imdb.com/title/tt16379454/reference/" target="_blank"><b><i>The Martha Mitchell Effect</i></b></a>, Beth Levison & Anne Alvergue (US, 40 min.), <a href="https://www.imdb.com/title/tt16379454/reference/" target="_blank">trailer</a>.</p><p>The most fascinating Watergate figure you've never heard of (well, until <a href="https://www.imdb.com/title/tt11834592/reference/" target="_blank">this</a>), Martha was the outspoken wife of Nixon's attorney general, so she knew some secrets and wasn't afraid to talk about it... until she couldn't. An engrossing exploration of the truth and how to silence it.<br /></p><p><i><b>Oscar connection</b></i>: Watergate has figured into the plot of several Oscar-nominated and -winning films, including <i>All the President's Men</i>, <i>Nixon</i>, <i>Forrest Gump</i>, <i>Frost/Nixon</i> and <i>The Post</i>.<br /></p><p><b><i>MD </i>Rating</b>: 8/10</p><p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkFeLXDpq0MBarb_1iLUD2fPknU1tzgtKQvEnwq0pVBBwTmuVe00tEuRFfllq5-D7PRXNYO_nX-NLtIRpndAdn8WYWh3SREadYGwhyKNVhIjfW1a_AR9KJTa566syv4JmqGA55zFrbfXZyEfeXKTG0MIvBjQ9g9ZsXPVbrbbEK0SPkqt6rKSJpS6bvZA/s723/Stranger%20at%20the%20Gate.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="723" data-original-width="599" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkFeLXDpq0MBarb_1iLUD2fPknU1tzgtKQvEnwq0pVBBwTmuVe00tEuRFfllq5-D7PRXNYO_nX-NLtIRpndAdn8WYWh3SREadYGwhyKNVhIjfW1a_AR9KJTa566syv4JmqGA55zFrbfXZyEfeXKTG0MIvBjQ9g9ZsXPVbrbbEK0SPkqt6rKSJpS6bvZA/s16000/Stranger%20at%20the%20Gate.PNG" /></a></div><br /><b><i><a href="https://www.imdb.com/title/tt20784118/reference/" target="_blank">Stranger at the Gate</a></i></b>, Joshua Seftel & Conall Jones (US, 29 min.), <a href="https://youtu.be/rhoZtObnfNk" target="_blank">trailer</a>. <br /><p></p><p>An embittered marine's plot to bomb a local mosque changes when he meets the people he intends to kill. More like <i>Stranger Than Fiction</i>;
this is the kind of story that could only believably happen in real
life. Which makes the filmmakers' choice to tell it in a staid, sedate
way all the more baffling.</p><p></p><p><b><i>MD </i>Rating</b>: 5/10</p><p><i><b>Coming soon</b></i>: A <b><i>Movie Dearest</i></b> annual tradition: "If We Picked the Oscars".</p><p><a href="https://moviedearest.blogspot.com/2023/02/short-cuts-2023-part-1-oscars-animated.html" target="_blank">Click here for part one</a>, with reviews of the Animated Short Film nominees. Click here for part two, with reviews of the Live Action Short Film nominees.<br />
<br />
<span style="font-size: large;">Reviews by Kirby Holt, <i><b>Movie Dearest</b></i> creator, editor and head writer.</span> <br /></p><p> </p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0tag:blogger.com,1999:blog-206169726101426819.post-61341923549698212882023-02-24T12:00:00.127-06:002023-02-24T17:59:16.743-06:00"Everything" Takes Everything at This Year's Dorian Film Awards<p></p><h3 style="text-align: left;">And the 2022 Dorian Film Awards Go To...</h3><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabgrFYlVJpquyWD4LvOjIW14dF26QUGc_LpJqw5U2J_xJkVmlBkdwdwCs_vzFn7jCVvUFAxszaZXaDKz54dCDqLRo_swrokvpTg97BktIrmrQALovAX5-QrXyIq2-kvwvh0Ms-R3agB7srrwd4FYpbZ9kbDHtWOqihThuOZ2vxEsxYBUyz8tdU3I0IA/s4800/Everything%20Everywhere%20All%20at%20Once.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2700" data-original-width="4800" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabgrFYlVJpquyWD4LvOjIW14dF26QUGc_LpJqw5U2J_xJkVmlBkdwdwCs_vzFn7jCVvUFAxszaZXaDKz54dCDqLRo_swrokvpTg97BktIrmrQALovAX5-QrXyIq2-kvwvh0Ms-R3agB7srrwd4FYpbZ9kbDHtWOqihThuOZ2vxEsxYBUyz8tdU3I0IA/w640-h360/Everything%20Everywhere%20All%20at%20Once.jpg" width="640" /></a></div><p></p><p style="text-align: center;"><i><b><span style="font-size: medium;">Everything Everywhere All At Once</span></b></i></p><p style="text-align: center;"><i><b> </b></i>Film of the Year</p><p style="text-align: center;">Director of the Year: Daniel Kwan & Daniel Scheinert</p><p style="text-align: center;">Screenplay of the Year: Daniel Kwan & Daniel Scheinert</p><p style="text-align: center;">LGBTQ Film of the Year</p><p style="text-align: center;">Visually Striking Film of the Year</p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUkWeV4Hj0LMLPDo6Cnw4OwVrdHPuh3YL4wptyLQz9HhO5I57E_EgNVaf4zoHdzlrn6WDnzdJSmFcrAppCymIkRfn7cJYhDJgjD4LZi9lKc-x3XIS9YSu8E5hLdXLMxdaU21weIl381kPGT8JnLhkKlpRfDqPzskY7j9RZKi7y5DYE1xJW_odLbqq9Hw/s2624/Yeoh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1749" data-original-width="2624" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUkWeV4Hj0LMLPDo6Cnw4OwVrdHPuh3YL4wptyLQz9HhO5I57E_EgNVaf4zoHdzlrn6WDnzdJSmFcrAppCymIkRfn7cJYhDJgjD4LZi9lKc-x3XIS9YSu8E5hLdXLMxdaU21weIl381kPGT8JnLhkKlpRfDqPzskY7j9RZKi7y5DYE1xJW_odLbqq9Hw/w640-h426/Yeoh.jpg" width="640" /></a></div><p></p><p style="text-align: center;"></p><p style="text-align: center;"></p><p style="text-align: center;"></p><p style="text-align: center;"></p><p style="text-align: center;"></p><p style="text-align: center;"><span style="font-size: medium;"><b>Michelle Yeoh</b></span></p><p style="text-align: center;"><span style="font-size: small;">Film Performance of the Year <br /></span></p><p style="text-align: center;"><span style="font-size: small;">Wilde Artist Award</span> <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfWDFN0xIdN-G7gMIWHpnwAqn6mZTvlxPy9PSo760HmW8LF6wdIDA2PJbhDRl7CrVcXr8effKldCOvFwGqS8-hJ21gY9IGv6ZNelNUzadcD_1w0laJJixRbS8CW9CuaeibWe2AYGxOVYZxeAUATdSCTKkkLFo2vcbauzTe08C8b2jQXth9XqvLOopXWw/s2000/Ke%20Huy%20Quan%20in%20Everything%20Everywhere%20All%20at%20Once.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1333" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfWDFN0xIdN-G7gMIWHpnwAqn6mZTvlxPy9PSo760HmW8LF6wdIDA2PJbhDRl7CrVcXr8effKldCOvFwGqS8-hJ21gY9IGv6ZNelNUzadcD_1w0laJJixRbS8CW9CuaeibWe2AYGxOVYZxeAUATdSCTKkkLFo2vcbauzTe08C8b2jQXth9XqvLOopXWw/w640-h426/Ke%20Huy%20Quan%20in%20Everything%20Everywhere%20All%20at%20Once.jpg" width="640" /></a></div><p style="text-align: center;"><span style="font-size: medium;"><b>Ke Huy Quan</b></span></p><p style="text-align: center;">Supporting Film Performance of the Year</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDDp2WEkYg43pq2SY_ZjAoddU0ZblygLvFnMRFC3EriXnAisWYrVvWT19PzctMYx0FiexESyujJSqpb0_1RQTBanY5vz7F16BVi1hKoUqTfMnkSUCxe7YyyqmawfswoV3nmodQ6vN1HBMLwuEfQAumj6dtnH8nDbFXWMJSuF89h4JxfGRCQ2bmo4zlQ/s1040/Stephanie%20Hsu%20in%20Everything%20Everywhere%20All%20at%20Once.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="1040" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDDp2WEkYg43pq2SY_ZjAoddU0ZblygLvFnMRFC3EriXnAisWYrVvWT19PzctMYx0FiexESyujJSqpb0_1RQTBanY5vz7F16BVi1hKoUqTfMnkSUCxe7YyyqmawfswoV3nmodQ6vN1HBMLwuEfQAumj6dtnH8nDbFXWMJSuF89h4JxfGRCQ2bmo4zlQ/w640-h360/Stephanie%20Hsu%20in%20Everything%20Everywhere%20All%20at%20Once.webp" width="640" /></a></div><p></p><p style="text-align: center;"><b><span style="font-size: medium;">Stephanie Hsu</span></b></p><p style="text-align: center;">Rising Star Award<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZnucklgN9SgIr7qA9euOoRlNXtzdUhotEPH_mdFzhcO5BoZAz0ekA6NWTRUOA5aU0eH0LM2aM_Jfkd_JtteNDrqdDQZl-Ykr5SGzHQyQ05akb-eHr_ZXW39bq_FytnGaPIHGw4A13smFwQYZL8dbo2Kb77Khn89zCdHF_JS8sD6DPYTc0bMgTTeAhBw/s3000/RRR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1688" data-original-width="3000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZnucklgN9SgIr7qA9euOoRlNXtzdUhotEPH_mdFzhcO5BoZAz0ekA6NWTRUOA5aU0eH0LM2aM_Jfkd_JtteNDrqdDQZl-Ykr5SGzHQyQ05akb-eHr_ZXW39bq_FytnGaPIHGw4A13smFwQYZL8dbo2Kb77Khn89zCdHF_JS8sD6DPYTc0bMgTTeAhBw/w640-h360/RRR.jpg" width="640" /></a></div><p></p><p style="text-align: center;"><span style="font-size: medium;"><b><i>RRR</i></b></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-size: small;">Non-English Language Film of the Year <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCrARsSkj0YIiJqgUpWrcwSAIuC8VfOsycHGQVElOy26uAEs9h8QjZclTuyB36jafiAK84uWH5vmiparlkNn3kbf6ii0IhJ7d3dwpPTTw6xYCXPzlm9YaxG9sQCpXYL75WbeVB37FtozbuOaOx8YvEZZZROYV22mXeFZsRo3Uu-9zMpawCKPGkuYcY0Q/s1024/All%20the%20Beauty%20and%20the%20Bloodshed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="749" data-original-width="1024" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCrARsSkj0YIiJqgUpWrcwSAIuC8VfOsycHGQVElOy26uAEs9h8QjZclTuyB36jafiAK84uWH5vmiparlkNn3kbf6ii0IhJ7d3dwpPTTw6xYCXPzlm9YaxG9sQCpXYL75WbeVB37FtozbuOaOx8YvEZZZROYV22mXeFZsRo3Uu-9zMpawCKPGkuYcY0Q/w640-h468/All%20the%20Beauty%20and%20the%20Bloodshed.jpg" width="640" /></a></span></span></div><div style="text-align: center;"><span style="font-size: medium;"><span style="font-size: small;"><span style="font-size: medium;"><i><b> </b></i></span></span></span><span style="font-size: medium;"><span style="font-size: small;"><span style="font-size: medium;"><i><b>All the Beauty and the Bloodshed</b></i></span></span></span></div><p style="text-align: center;"><span style="font-size: medium;"><span style="font-size: small;"><span style="font-size: medium;"><span style="font-size: small;">Documentary of the Year</span></span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-size: small;"><span style="font-size: medium;"><span style="font-size: small;">LGBTQ Documentary of the Year </span><i><b> </b></i></span><br /></span><b><i> </i></b></span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkCS7YbtFDM4kudPLJe7_6JHkxvGX7fv7XEQqxLgGVP2Npid5A5LDauLG5MbIU2yA7oRD5fHCUABtvWmAJ4S7x_Ic437ChPBy9CbCz1grYNk5982p6NzMgAkSdgTq6sljO1TPOC5dIu0vHrNTQwzlWNdFw00OveZJmnNaTT8uNeTYwMdZCgOlUr6vLyA/s1461/Marcel%20the%20Shell%20with%20Shoes%20On.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="834" data-original-width="1461" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkCS7YbtFDM4kudPLJe7_6JHkxvGX7fv7XEQqxLgGVP2Npid5A5LDauLG5MbIU2yA7oRD5fHCUABtvWmAJ4S7x_Ic437ChPBy9CbCz1grYNk5982p6NzMgAkSdgTq6sljO1TPOC5dIu0vHrNTQwzlWNdFw00OveZJmnNaTT8uNeTYwMdZCgOlUr6vLyA/w640-h366/Marcel%20the%20Shell%20with%20Shoes%20On.jpg" width="640" /></a></div><p></p><p style="text-align: center;"><span style="font-size: medium;"><b><i>Marcel the Shell with Shoes On</i></b></span></p><p style="text-align: center;"><span style="font-size: small;">Animated Film of the Year</span></p><p style="text-align: center;"><span style="font-size: medium;"><b><i> </i></b></span></p><div class="separator" style="clear: both; text-align: center;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNDVboQvjJ5Ezg_QO1XR-sVUKf53oaI6Bc5dHhI3p934LizIrsD39DpaqF1TRrVPwPXwPHSRi-aP-xZoUycHPyBz12kBTc9YQ5LsVroWmiYJwI2WNBZ53ny_n7l4YpkhRnvaEfmsiIAfcG7O6ut-YXw_LsUd2_SfB0ko4NlE8vfM0utiGoyBexwVmu7Q/s1600/Aftersun.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1270" data-original-width="1600" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNDVboQvjJ5Ezg_QO1XR-sVUKf53oaI6Bc5dHhI3p934LizIrsD39DpaqF1TRrVPwPXwPHSRi-aP-xZoUycHPyBz12kBTc9YQ5LsVroWmiYJwI2WNBZ53ny_n7l4YpkhRnvaEfmsiIAfcG7O6ut-YXw_LsUd2_SfB0ko4NlE8vfM0utiGoyBexwVmu7Q/w640-h508/Aftersun.jpg" width="640" /></a></div><p></p><p style="text-align: center;"><i><b><span style="font-size: medium;">Aftersun</span></b></i><br /></p><p style="text-align: center;">Unsung Film of the Year</p><p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTi4AfrCbk8EH_oiKEGKoplC6Ofld_hzD67Yt-k_JFrvsNokWdy74rE9Adz-U_ATd4W5kbiaN1Niz6x_4po8Rg3kjyYVHEbj4u9SS7Go-dWVc22fDxyfkpB8BvIL-ymb6nlAf_Yidlw00NSiJp2dh0-dPRxin_kwyI-2oT5tLt3mF7F7N5dwefsLSbUg/s1200/T%C3%A1r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTi4AfrCbk8EH_oiKEGKoplC6Ofld_hzD67Yt-k_JFrvsNokWdy74rE9Adz-U_ATd4W5kbiaN1Niz6x_4po8Rg3kjyYVHEbj4u9SS7Go-dWVc22fDxyfkpB8BvIL-ymb6nlAf_Yidlw00NSiJp2dh0-dPRxin_kwyI-2oT5tLt3mF7F7N5dwefsLSbUg/w640-h360/T%C3%A1r.jpg" width="640" /></a></p><p style="text-align: center;"></p><p style="text-align: center;"><span style="font-size: medium;"><b><i>Tár</i></b></span></p><p style="text-align: center;">Film Music of the Year<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr7WsUc2HsdLxtelEuwdgUkAjv0c95Z7l6HsUTJ2IMk8-QDFKUZ3e-XeC4lhx_4nc5gUhjh3FjxHTv0aqgPlFdB65gxn-r0A0qpwsfq77nTSDiIbk6ZvnF1tml1WAcWYhuKzxUBPKVtCiJgNL6MrY_HYrVuVCB24zN4uFin7e2X7XgjhHkgrHC1vuWcg/s740/Pearl.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="740" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr7WsUc2HsdLxtelEuwdgUkAjv0c95Z7l6HsUTJ2IMk8-QDFKUZ3e-XeC4lhx_4nc5gUhjh3FjxHTv0aqgPlFdB65gxn-r0A0qpwsfq77nTSDiIbk6ZvnF1tml1WAcWYhuKzxUBPKVtCiJgNL6MrY_HYrVuVCB24zN4uFin7e2X7XgjhHkgrHC1vuWcg/w640-h328/Pearl.jpeg" width="640" /></a></div><p></p><p style="text-align: center;"><span style="font-size: medium;"><b><i>Pearl</i></b></span></p><p style="text-align: center;"><span style="font-size: small;"> Campiest Flick of the Year</span></p><p style="text-align: center;"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN9hcf2uLI-C5v8uZs1cYRjv4q6MHE5TOkFibEGctukiVPJxb2krkW14pq28WHl9-9lz_MNr-IEM2nXaBEIVFbC027PKmU-bYj5YlZPIYmi8Y9gNsiYmL_Q_0NChuP27kqlFlt8Aap-bcmp-2w2JBREBzZt5-F4m3NYROliC1ZNhYjBwuf5b8aTXKG1w/s1600/Janelle%20Mon%C3%A1e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN9hcf2uLI-C5v8uZs1cYRjv4q6MHE5TOkFibEGctukiVPJxb2krkW14pq28WHl9-9lz_MNr-IEM2nXaBEIVFbC027PKmU-bYj5YlZPIYmi8Y9gNsiYmL_Q_0NChuP27kqlFlt8Aap-bcmp-2w2JBREBzZt5-F4m3NYROliC1ZNhYjBwuf5b8aTXKG1w/w640-h360/Janelle%20Mon%C3%A1e.jpg" width="640" /></a></span></div><p></p><p style="text-align: center;"><span style="font-size: medium;"><b>Janelle Monáe</b></span></p><p style="text-align: center;"><span style="font-size: small;">GALECA LGBTQIA+ Film Trailblazer Award<br /> </span></p>Kirby Holthttp://www.blogger.com/profile/17824081109891818163noreply@blogger.com0