NewFest Film Festival: Wrap-Up

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. 

After 25 feature films, 2 webseries and 52 short films, my first foray in a film festival in an all-access pass capacity has come to an end. Obviously I'd like for the world to go back to "normal" but I hope virtual film festivals continue being a thing. In any case, more shockingly I actually ended up reviewing all of the feature films that I saw. You can always revisit all of those right here.

There's just one more film left to review, the Closing Night film which won the Teddy at this year's Berling Film Festival...

FUTUR DREI (dir. Faraz Shariat)

There's a youthful energy which pervades this film which is no surprise since it's helmed by 26-year-old Faraz Shariat in his bold debut. FUTUR DREI centers its story on Parvis, a young, out and proud second-generation Iranian-German gay man whose world collides with those of brother and sister Iranian refugees, Amon and Banafshe. The film deftly tackles the restlessness of youth and burgeoning romance and friendship amidst the undeniable culture clash and the spectre of a couple of phobias (homophobia, xenophobia). Bolstered by incredibly moving performances from its three leads, Benjamin Radjaipour, Eidin Jalali, Banafshe Hourmazdi, FUTURE DREI (which is inexplicably titled NO HARD FEELINGS for English audiences) does an admirable job with all three of its main characters especially in developing their relationships as a group and one-on-one with each other giving the film an emotional core which carries it through to the end. Radjaipour though gets the heavy lifting as audiences see his subtle, but real transformation from selfish "dance-your-night-away" kind of guy to selfless "help-your-friends" kind of man by the end. With this film, I'm looking forward to seeing what everyone involve does next. They are the future.

And now some personal awards, because why not...

BEST FEATURE FILM: Breaking Fast
Also:
Cicada
Cured
Dating Amber
Gossamer Folds
Monsoon
Rūrangi
Sublet
Summer of 85
White Lie

BEST ACTOR: Matthew Fifer, Cicada
Also:
Henry Golding, Monsoon
Benjamin Radjaipour, Futur Drei
Steven Silver, The Obituary of Tunde Johnson
Steve Zahn, Cowboys

BEST ACTRESS: Anne Celestino, Alice Júnior
Also:
Lola Petticrew, Dating Amber
Kacey Rohl, White Lie
Rachel Sennott, Shiva Baby

BEST SUPPORTING ACTOR: Amin El Gamal, Breaking Fast
Also:
Antonio Altamirano, Los Fuertes
Arlo Green, Rūrangi
Niv Nissim, Sublet
Ron Rifkin, Minyan

BEST SUPPORTING ACTRESS: Alexandra Grey, Gossamer Folds
Also:
Jillian Bell, Cowboys
Molly Gordon, Shiva Baby
Banafshe Hourmazdi, Futur Drei

BEST SHORT FILM: See You Soon
Also:
A Single Evening
-Ship: A Visual Poem
Mes Cheris

Hope you find some good recommendations! Support the arts! If you'd like follow me on Twitter or Letterboxd.

NewFest Film Festival: Day 12

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. Click here for my other reviews of the festival.

Tuesday was the film festival's final day and while I still saw a bunch of films, there were still more I didn't get to. Maybe some other times. Onwards...

LA NAVE DEL OLVIDO (dir. Nicol Ruiz Benavides)

There is no age limit to self-discovery as this film shows in the story of recently widowed Claudina, played by the enchanting Rosa Ramírez, who moves in with her daughter and grandson in a town obsessed with UFOs. That latter tidbit must be the town's claim to fame (think Roswell, NM) and though it feels quite random it also colors the slightly fantastical mood of the film especially as Claudina slowly breaks out of her shell first in starting a relationship with her next door neighbor Elsa and then frequenting a neighborhood nightclub with a particular reputation for catering to those kinds of people. Ramírez is captivating especially in the expressiveness of her face as she mourns an old love or revel in a new sense of purpose. With that said LA NAVE DEL OLVIDO (Forgotten Roads) never coalesces into something earthbound and thus feels a tad one-dimensional.

CURED (dir. Bennett Singer, Patrick Sammon)

Gay history is as all-encompassing as everything else in history and yet Stonewall and the AIDS crisis feel like the World War II of gay history in that they seem to be what everyone wants to keep focusing on. This is why CURED is a breath of fresh air because it fills in a part of the gay rights movement that isn't talked about and yet is so vital to it. Imagine trying to fight for your rights as a gay person when psychiatrists have labeled you mentally ill. CURED is an excellent documentary that tells the story of how a group of activists, bolstered by allies and cultural movements, helped changed the American Psychiatric Association's views on homosexuality. As a Psychology major in college, there's another level of interest in this riveting story for me. It's surprisingly comprehensive and wholly affecting especially with the constant back-and-forth from stock footage and photos of the key figures of the movement to them in the present giving interviews for this documentary. This history is still very recent history and this movie is still so very relevant and absolutely essential.

JULIA SCOTTI: FUNNY THAT WAY (dir. Susan Sandler)

What it must feel like to finally start living life to your fullest at age 50, but also to completely start over. This is a common experience for people coming out as transgender later in life. This charming documentary highlights one such story in Julia Scotti, a 65-year-old comedian, who had to completely change what she was (a crass comedian with a couple of failed marriages and two kids) to live freely. What's great about this documentary is that it doesn't shy away from Julia's regrets and mistakes especially with his past relationships and his kids. That said it is still about a comedian so there are a lot of jokes and laughter amidst the deeper truths and emotional pain revealed within. Inspirational, funny, and insightful, JULIA SCOTTI: FUNNY THAT WAY deserves a round of applause.

SHORTS: TIL WE (CAN) MEET AGAIN

Remember going to clubs or hanging out with friends? Neither do I as this pandemic has wreaked havoc on our community and our collective shared spaces. My final shorts program celebrates these in the hopes that we can literally meet again in the future.

The one I connected to the most is DANCING ON MY OWN because it spoke directly to me as a gay Asian who lives in New York City and as a fan of Robyn (isn't that redundant?). Just seeing all the beautiful people dancing and living their truths made me happy. PXSSY PALACE also brought the same feeling as well.

I think the most accomplished film though is KAMA'ĀINA (CHILD OF THE LAND) about a queer teenager not knowing where to go until she finds refuge in Hawaii's largest organized homeless camp. There's a bigger story here that is begging to be told, but seeing homelessness set against the Hawaiian backdrop provide a striking juxtaposition.

This was technically the last day of the festival, but their Closing Night film is available a few days after so my review for that movie will be my last. Follow me on Letterboxd!

NewFest Film Festival: Day 11

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. Click here for my other reviews of the festival.

The festival is now done, but I still have to catch up on reviews from the last couple days. Was gone all day on Sunday so that was the only day I didn't see any films, but Monday and Tuesday were a blur of movies. So first up, Monday...

WHITE LIE (dir. Yonah Lewis & Calvin Thomas)

How far would you go to get something you really wanted? For Katie, impecabbly played by the striking Kacey Rohl, getting an exclusive grant means keeping up the lie from everyone including her friends and girlfriend that she's battling cancer and needs money for her treatment. The writing-directing duo of Yonah Lewis and Calvin Thomas craft an immediately exciting thriller as Katie goes from one crazy situation to the next in hopes of getting away with this massive deception. Reminiscent of last year's critical darling Uncut Gems, the tension builds and builds beautifully keeping you on the edge of wanting them to get caught or possibly get away with it all. WHITE LIE grabs a hold of your emotions through to the end.

MINYAN (dir. Eric Steele)

This lovely portrait of a young Jewish gay man growing up in the 1980s trying to figure out his identity requires some patience, but is ultimately worth a watch. The main reason is for the carefully layered performance from Samuel H. Levine as David deftly able to express his character's outer quiet sensibilities as well as his deeper inner longings. Documentarian Eric Steele, surely taking from his own experiences of growing up gay in that time period, infuses the film with authenticity and sensitivity evident in all the scenes of David navigating through the typical coming out journey. If this is all of the movie, it might make for a tighter and breezier watch for some, but MINYAN also focuses on David's faith and his relationship with Jewish elders like his newly-widowed grandfather (played by the always watchable Ron Rifkin) adding more context to David's journey. With that said, the movie does become a bit bogged down by its too deliberate pacing and its too introspective protagonist. But, like all of the sly, but very purposeful shots of David's Adonis-belt area, there are pleasurable glimpses throughout.

WELCOME TO THE USA (dir. Assel Aushakimova)

As someone who is currently living in the United States at this moment of history, it's particularly bewildering why anyone would want to come here. But of course the mythos of the American dream is quite enduring and appealing especially to a queer person living in a more homophobic and increasingly politically oppressed country. When Aliya Nauruz then wins the Green Card lottery to go to America, she sees this as her chance to get out of her rut and start over. WELCOME TO THE USA feels slightly undercooked especially as Aliya still feels like a cipher through to the end. We know she's still trying to figure out if her life somewhere else would really be better than her current life as she spends time with her dependent mom, her traditional sister, her opinionated queer friends, her wishy-washy ex... but I think we needed a stronger ending or something to wrap it all up.

SHORTS: BLACK FAMILY MATTERS

I can't say it better so I'm just going to quote the website by saying that this shorts program features "the importance of Black family, friends, and community in these times of civil and racial unrest in the United States and serves as a reminder that all Black lives matter. Forever and always."

The most striking short film for me is -SHIP: A VISUAL POEM about a young boy taking in a very confusing world especially in relation to masculinity and life and death. The way this short film is structured and edited is a master class of vision.

My favorite short film is MERCURY AFROGRADE because the central family deserves to star on their own TV show. That said, the title is cute, but the whole "Mercury in retrograde" aspect of the film is a bit superfluous since the well-defined characters and their amusing secrets are enough.

The last short film I'd like to highlight is PLUS, about a guy in college reacting to his sudden diagnosis of HIV. The lead performance is heartfelt and aching, but the focus on friendship and self-worth really makes this short film shine.

Which films did I see on the last day of the festival? Come back tomorrow and see.

NewFest Film Festival: Day 9

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. Click here for my other reviews of the festival.

As I mentioned yesterday, we're getting down to the wire and it's a bit of a race to get in a few more screenings before the end of the festival which explains why I ended up seeing four full-length films plus a webseries. Apologies in advance for the slightly shorter reviews.

DRY WIND (dir. Daniel Nolasco)

This movie is for everyone who yearned for the Tom of Finland aesthetics which they didn't get from that 2017 Tom of Finland movie. It's hot, a little disturbing, and a lot sexy. The neon-tinged look and feel of the film perfectly complement the often sensual, sometimes haunting images of gay fantasia brought to life here. Its decision to center the film on a regular factory worker whose spectrum of emotions (lust, ecstacy, longing, jealousy, fear, regret) we latch on to is quite well-done. But while the movie's style speaks for itself, DRY WIND comes up short trying to wrap it all up at the end. Technically it ends in a sort of a happy ending, but the journey to get there is muddier than expected.

GOSSAMER FOLDS (dir. Lisa Donato)

Beautifully told with a couple of breakthrough performances and a kicker of an ending, this film is so full of heart, it's impossible not to love. When precocious, dictionary-loving 10-year-old Tate is relocated by his parents to the suburbs, he starts an unlikely friendship with next-door neighbor and bigger-than-life Gossamer who is confident in the decisions she has made and in the dreams she wants to achieve. Jackson Robert Scott and Alexandra Grey, as Tate and Gossamer respectively, absolutely crackle on the screen as they both grapple, apart and together, a world that is increasingly hostile to what they imagine their life should be. GOSSAMER FOLDS is an excellent addition to the well-worn "unlikely friendship from two different worlds" film genre like this year's acclaimed Driveways. I cried at the end.

THE OBITUARY OF TUNDE JOHNSON (dir. Ali LeRoi)

I'm a big fan of time-loop films and often intrigue to see how filmmakers put their own twist on this category of movies. In THE OBITUARY OF TUNDE JOHNSON, writer Stanley Kalu mines the tragic reality of Black people experiencing police brutality as we see the titular character of Tunde, played by the excellent Steven Silver, die over and over again by cops only to wake up anew to repeat the day. It's not an easy watch and the repetition doesn't make it any easier. In fact, as Tunde repeats his day, things don't repeat in the same manner as in many time-loop situations. A handful of things are generally constant like him coming out to his parents, spending time with his closeted jock boyfriend, and dealing with his best friend, but they all never progress exactly the same each time. That's where the movie falls apart a bit as the time-loop aspect isn't given enough structure and logic for it to have narrative weight or cohesion especially by the film's choice for how it ends. Still, I admire it for doing something different and doing so it with such a tricky, but timely and powerful subject matter.

KELET (dir. Susani Mahadura)

Kelet is a Somali-born trans woman who now lives in Finland trying to make it as a model. Through her own words and reflections of her life and her choices, we get an intimate glimpse into the amazing strength she has to come out as trans, cut ties with non-supportive family, move to a new country, and gain more traction as model. This inviting documentary is disarming in the quiet vulnerability and searing honesty of its subject matter. Looking forward for the rest of her journey.

DINETTE (dir. Shaina Feinberg)

This is a webseries about a group of women connected by a local restaurant where they hang out as a safe space and the trials and laughs they go through to hold on to it for as long as they can. The characters are delightful and most of the dialogue are just hysterical, but even at less than an hour total, this 6-episode series weirdly feels like it didn't have enough story to tell. If there's a new season, I hope they work on the plotting a bit more, because the cast is aces.

I likely won't be able to see anything tomorrow, but after that there's two more days. Already freaking out about which final movies to see!

NewFest Film Festival: Day 8

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. Click here for my other reviews of the festival.

Yesterday was my birthday so I thought I wouldn't have time to see any movies, but I saw one early on and the other later that night and based on my feelings I probably should've swapped the order. Onwards...

CICADA (dir. Matthew Fifer)

This is the kind of film that lives and dies with the chemistry of its two leads especially because we spend so much time with them together as they learn things about one another and navigate the ups and downs of their burgeoning relationship. Fortunately, Matthew Fifer (also the writer and director) and Sheldon Brown have it in spades especially in deftly portraying the wide spectrum of a relationship from the joy of its start to the difficulty of figuring out the exact meaning of how it is to be a couple. For the latter, in this film, it's about how both of their characters are able to move on from or simply acknowledge past traumas not only for themselves but in order to open themselves up to another person. CICADA walks a delicate tightrope in giving the audience lingering, meandering, seemingly random moments (usually with a dreamy New York City as its backdrop) while also incisively dealing with the specific issues of its characters with sensitivity and heartfelt direction. Some patience may be required, but this intimate journey is worth it. Also shout out to some real interesting cameos from Colbie Smulders, Bowen Yang, Scott Adsit, and David Burtka.

ELLIE & ABBIE (& ELLIE’S DEAD AUNT) (dir. Monica Zanetti)

I really wished I liked this movie more, because the title is fantastic and its premise is probably one of the most exciting, original thing I've come across this whole festival. Basically, after coming out to her mom, Ellie suddenly starts seeing her dead aunt who died a long time ago. You see, Ellie's aunt Tara is also a lesbian and she's come back to be Ellie's mentor and to help her ask her crush Abbie out to the school's formal. Unfortunately ELLIE & ABBIE (& ELLIE’S DEAD AUNT) doesn't really live up to this awesome concept. It instead relegates Tara missing for scenes she definitely should've been in as well as kneecaps what should've been a cute story about two girls discovering they liked one another by giving the characters one nonsensical roadblock after another. The latter gives the movie no real momentum towards the climax and the inevitable resolution. The movie shouldn't be dismissed though since the performances are good and there's a handful of truly lovely scenes. Also they name dropped Roger Federer, which is always a plus for me.

We're getting down to the wire! Perhaps I'll do a triple feature next. Or more. Follow me on Letterboxd if you like.

NewFest Film Festival: Day 7

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. Click here for my other reviews of the festival.

RŪRANGI (dir. Max Currie)

Heartfelt, funny, and wholly affective, this film really surprised me. Starring Elz Carrad as the brooding trans activist Caz, RŪRANGI tells the story of his homecoming after leaving his small town a decade ago. The expectation for this kind of film is to lean on the drama. But while there's still plenty of that to give due weight to the trans experience, the humor and joy really make a difference. A lot of that comes from scenes between Caz and his ex Jem (adorably portrayed by Arlo Green) as they navigate potential reignited feelings. Does the movie try to do a lot? Yes, it does, but I counter that instead of distracting, it gives us a better idea of the world Caz had left and is now returning to possibly stay. Apparently this was conceived and presented as a TV show, which wasn't too evident for me until I screamed "I need a sequel!" after the last scene. Another details to call out is the film's concerted effort to get participation from POC and LGBTQ people on and off screen.

SHORTS: THE GAG’S ALL HERE (2.0)

I foolishly thought that I would need to see some funny movies after seeing the above film. Thankfully, no, but I stuck to my guns because I thought it'd be good counter-programming to what was on TV at the time (hint: debate). In any case, this shorts program was all about providing an extreme amount of quirk and laughs. Some were better at it than others.

My two favorites begins and ends the slate. The first film is called HEART TO HEART which tells a story of a girl who hears a foul-mouthed voice in her head after heart surgery. Turns out, it's her heart, randomly voiced by the great David Tennant, and it was her to get laid. A lot of the humor comes from the crazy things Tennant is forced to say in that accent of his, but man did I laugh!

MONSIEUR is the last film and as you can tell, it's French. It's about a guy wanting to participate in a pageant and gets to with the help of his best friend. That's all well and fine until it transforms into a musical (which you guys know I love) complete with sassy choreography and a surprise requited love twist. The ending is a bit limp, but the rest soars.

Other standouts for me are 2 DOLLARS (think The Office if Jim were a queer, black woman) and DON'T TEXT BACK (think Little Shop of Horrors except with Men's Rights Activists and a cursed necklace minus the singing).

The next day (i.e. today) is my birthday so not sure I'll have time to see things. What am I saying? I definitely will. Follow me on Letterboxd!

NewFest Film Festival: Day 6

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. Click here for my other reviews of the festival.

Didn't have as much time yesterday so I ended up seeing a few short films and a short series. But there were still plenty to recommend!

SHORTS: GIRLS LAUGHING, LOVING, FIGHTING, F**KING

On the website for this shorts program, the first line to describe these set of films is "Who hasn't loved a messy dyke?" and that's just hilariously spot on.

My favorite of the bunch is A SINGLE EVENING mostly because it's a musical and I've been wanting a gay musical for awhile now. I can't keep re-watching Were the World Mine! The great thing about this short film though is have well-done it is? The music is catchy, the choreography is inventive, and the story (bisexual woman trying to figure out love through dating apps) is fun.

Next favorite is BREAK IN which tells the tale of a woman who accidentally texts her crush an erotic story she wrote about them WITHOUT changing anyone's names. As you groan in empathy, think about the lengths you'd go through to fix this and you have this insanely funny short.

Then there's GIRL, SWEETVOICED featuring two women at a bus top as we hear their longing through the poetry of Sappho. It's actually pretty affecting especially with the repetition, the flash-forwards, and the stirring score.

The last film I'd like to single out is ANCIENT METHODS, because I need more of it! It's about a woman who gets dumped by her alien girlfriend. Alien as in from space. The setup is genius and it's a crime that we only have 5 minutes of this story.

SIDEWAYS SMILE

This webseries about one young Asian woman's journey to get in touch with her sexuality is a must-watch. The entire first season is just 53 minutes containing of 5 short episodes and by the end you will wish there is more. Protagonist Alex, skillfully played by Kathy Huynh-Phan, has never had an orgasm, dates a white guy, and has a sex-positive roommate who loves to push boundaries. Need I say more? Okay, fine. Each episode has its own distinct feel giving the series a dynamic energy. My personal favorite is the show's ode to Get Out with its second episode. Scarlett Johannson makes a fun appearance as well.

What will tomorrow bring? Probably more movies.

NewFest Film Festival: Day 5

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. Click here for my other reviews of the festival.

It wasn't planned, but yesterday I ended up seeing two films starring Rachel Sennott which takes place in the aftermath of a Jewish funeral as she tries to deal with complicated romantic feelings from a girl friend and get the attention of a guy she has a crush on. Yeah, it's a niche!

TAHARA (dir. Olivia Peace)

Forcing teenagers into a room to deal with their feelings is always going to be a recipe for drama and in TAHARA it's that and more especially when it's to talk about their grief about their classmate committing suicide under the lens of their Jewish faith. Madeline Grey DeFreece and Rachel Sennott play best friends Carrie and Hannah. Carrie is going through various existential questions and crises which Hannah doesn't notice due to her own problems and inherent self-centeredness. There's a lot to like here from writer Jess Zeidman's uncanny ability to write authentic teenagers to the cool use of the square aspect ratio. DeFreece, Sennott and really the rest of young cast are on point, but it feels slightly undercooked and unfinished with a lot of ideas thrown and not developed enough.

SHIVA BABY (dir. Emma Seligman)

When you're obligated to go to a shiva and you don't even know who died, you know it's not going to be your kind of day. That's what Danielle finds out in this hilarious cringe comedy where literally everything feels like it's acting against her. Rachel Sennott as Danielle brings a different kind of jaded energy in this role that feels believably lived-in especially as she navigates disappointed parents, surprise exes, people trying to constantly feed her, and a very loud baby. She's amply supported by a sterling cast which includes Polly Draper, Fred Melamed, Molly Gordon, Dianna Agron, and Jackie Hoffman. SHIVA BABY also does some cool things with music and lighting which gives the movie a horror tinge, an unexpected but pleasant surprise.

SHORTS: EVERY BODY + BOOTY!

This short film program focused on body positivity and body love. All of the films here have great style and a few really went for experimentation, but some just didn't vibe with me. There were a few films that didn't vibe with me, but thankfully there were a couple of gems like MES CHÉRIS and DOWN DOG. The first featured trans sex worker Bat Boi who, in preparation for his top surgery, creates a loving tribute to his boobs via porn. The second is a beautiful film featuring yoga instructor Tammy and her quiet journey of disclosure.

The only other film I'd like to single out is TOOMAS BENEATH THE VALLEY OF THE WILD WOLVES, because I can't believe it exists.  It's an animated film with animals sexing it up. It's actually entertaining if a bit wild. Its ending was my favorite.

There's still plenty to watch. Stay tuned for more!

NewFest Film Festival: Day 4

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. Click here for my other reviews of the festival.
 

ALICE JÚNIOR (dir. Gil Baroni)

A classic fish out of water high school tale with a queer twist, this Brazilian film starring the way-too-cool Anne Celestino in the titular role is a little too scattered for my taste, but worth a watch nonetheless. The setup is interesting enough: a fierce, teenage, out and proud trans social media influencer is forced to move to a small town and attend a Catholic school. And while Celestino is pitch perfect, the rest of the movie feels all over the place from the underdeveloped side characters to the strange B-plot of whatever her dad was doing to the seemingly rushed resolution in the third act. The on-screen graphics also verged on being too distracting by the end. In spite of that, ALICE JÚNIOR is a movie I'm glad exists because the character of Alice is immediately iconic and a necessary role model. Shout out to the poster of Tangerine in Alice's room. Respect.

COWBOYS (dir. Anna Kerrigan)

I won't bury the lede here... Steve Zahn did that. I'm thoroughly impressed he had this role in him! Zahn plays father of Joe, a young child who realizes that dressing up in cowboy gear is much more natural to him than wearing dresses and bows. Zahn's character goes through A LOT in this movie and the ease of which he's able to access all the different emotions and succeed in conveying them is a master class. Newcomer Sasha Knight is wonderful as Joe especially with small gestures revealing their inner turmoil and longing. The incredible actresses Jillian Bell, who plays Joe's mom, and Ann Dowd round out the excellent cast. There are some slight pacing issues and some emotional beats which do not get fully developed, but in the grand scheme of things, COWBOYS is a sensitive film about parents and what it means to love their child as they are.

Only two films? What's happening to me? Let's see how many I can watch tomorrow. Don't forget to follow me on Letterboxd if you want.

NewFest Film Festival: Day 3

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. Click here for my other reviews of the festival.

ÉTÉ 85 (dir. François Ozon)

Having only seen a handful of films from director François Ozon, I knew about his penchant for queering his stories and using human sexuality as a conduit for his characters. So when I heard about him doing a coming-of-age Call Me By Your Name-style gay movie, I was immediately intrigued. ÉTÉ 85 (Summer of 85) revolves around 16-year-old Alexis who begins a whirlwind relationship with slightly older, motorbike-riding, laissez-faire, hero-to-all David. Félix Lefebvre and Benjamin Voisin, playing Alexis and David respectively, have an easy chemistry with one another complementing the picturesque Normandy beachside town where the movie takes place. I probably would've been happy if the movie stayed on this level, but for better or worse, the movie capsizes expectations in a few ways serving up a central mystery that worked for me in the end even if it might not work for others.

SUBLET (dir. Eytan Fox)

One of these days, we will be able to freely travel again and meet exciting new people from far-off lands. Until then, we will all need to vicariously live through films like SUBLET. Here, Michael, played by the always watchable John Benjamin Hickey, is a New York Times travel writer on assignment in Tel Aviv where he sublets the place of much-younger-than-him Israeli man named Tomer played by the very handsome newcomer Niv Nissim. From there you think you know where the film goes, but like the conversations and trips the two men engage in, there are various detours and surprises. It's a lovely back-and-forth between the two characters, prodding, challenging each other as men from different generations and different cultures. I've been a fan of Eytan Fox for awhile now (Yossi & Jagger is a classic and The Bubble is underpraised). SUBLET continues his winning streak for me.

KEYBOARD FANTASIES: THE BEVERLY GLENN-COPELAND STORY (dir. Posy Dixon)

Knowing nothing about the history of electronic music, I have never heard of Glenn Copeland and his work. This loving documentary is brisk (it's just over an hour long) and it does feel like we're missing some parts of his amazing journey. But the focus on his most recent tour surrounded by young musicians allows Glenn, through his own words, to reflect on and savor his own legacy and his impact as a musician and a transgender icon giving the documentary an inspirational vibe that feels like a warm hug. I immediately downloaded a couple of his songs afterwards.

I've already seen my Day 4 movies, but those reviews will be posted tomorrow!

NewFest Film Festival: Day 2

This is me reviewing the films I've seen at this year's NewFest LGBTQ Film Festival. Click here for my other reviews of the festival.

LOS FUERTES (dir. Omar Zúñiga Hidalgo)

Amidst the breathtaking and almost other-worldly landscape of Chile and its coast, LOS FUERTES (Strong Ones) tells a story about two men who meet and fall in love for a brief moment in time before continuing on to their own respectively journeys in life like two gay ships passing each other in the night. It's not a groundbreaking film by any means as countless of other movies in this genre have trodded this very same path, but it almost doesn't matter because you're completely enchanted by the leads played by Samuel González and Antonio Altamirano the same way their characters are to one another. Suffice to say, they're both gorgeous (Altamirano in particularly gives off a Louis Garrell vibe) and their chemistry is off the charts. What I found most fascinating is the film's deftness in giving both men a story beyond their love story which enrichens the characters and their relationship. There's also a lovely thread about trying to achieve independence (the war reenactments, escaping estranged family, starting a business), which grounds the movie and gives you hope in the end.

BREAKING FAST (dir. Mike Mosallam)

This movie made me so hungry with its various displays of food and cooking. It also made me hungry for more films like this i.e. romcoms featuring different kinds of people, in this case a gay Muslim man played by the beautiful (and out and proud actor) Haaz Sleiman. BREAKING FAST centers around Mo played by Sleiman, a devout Muslim doctor who is newly single after the film's prologue, having a difficult time moving on from and reconciling certain aspects of his life. He meets Kal (short for Kal-El aka Superman which also leads to the most adorkable running gag in the film), a working actor with an interesting background that gives him a unique perspective on Sleiman's faith and culture. It's a romcom so expect a lot of sweetness (Chekov's gospel choir, I won't say more), but where this movie goes beyond are the not-so-sweet parts. It puts in the work in discussing what it means to be gay and a practicing Muslim and doesn't settle for clear-cut answers or solutions. More impressive is the movie's treatment of the "gay best friend" Sam, perfectly played by Amin El Gamal. Sassy and armed with the best one-liners, Sam plays Mo's friend and foil, himself Muslim but not as devout. The film uses Sam's different perspectives on faith, masculinity, sexuality, and life in general not just as a counterpoint to Mo's but as valid interpretations worthy of discussion. Watch this movie and feel satisfied afterwards.

SHORT FILM PROGRAM: FREE TO BE ME

After yesterday's foray to beautiful boys, I thought I'd check out what the girls are up to... and then I accidentally clicked on a different program instead which was specifically curated for queer high-school audiences featuring young filmmakers making debuts. It was a happy accident as it provided a glimpse into the future.

My favorite film was the longest clocking in at 26 minutes. SHÉÁR AVORY: TO BE CONTINUED gives us an all-too-brief glimpse of a real life 17-year-old navigating being young and needing support. The shortest film, AND THEN SHE KISSED ME, is essentially a 2-minute music video which I immediately wanted expanded into a full feature. ALL OF THE SIGNS, a short film about two friends trying to guess if a crush is gay or not, is delightfully low-budget in style, but gets high marks in story and humor. Finally, EGGHEAD & TWINKIE and WERE YOU GAY IN HIGH SCHOOL both make interesting use of flashback to tell their stories. Check out the full list of shorts from this program here.

I wonder what Day 3 will bring. Stay tuned and feel free to friend me on Letterboxd if you wish.

NewFest Film Festival: Day 1

In this day and age of closed movie theaters and shifting release dates, I, like many fellow cinephiles, have been taking advantage of what's streaming on Netflix, Amazon Prime, Hulu, HBO Max and the like. It's been an interesting film journey during this pandemic which I might write about someday including trying to check off some "how have I never seen this movie before" bucket list. But I've seen a good amount of stuff from this year as well, but certainly not in the same vein as I would've in a normal year.

Enter NewFest which hosts an LGBTQ Film Festival in New York annually for the last 32 years. Previously I had been able to find the time to usually see a movie or two. This year, however, like most film festivals which haven't been canceled outright, they went virtual which allowed me the opportunity to do something I can also check off from my movie lovers bucket list: purchase an all-access pass to a film festival. And so now for the next 11 days, I can see new/new-ish LGBTQ movies from the comfort of my own home and I'm going to attempt to write about it. 2020 really is something.

Yesterday was the festival's first day. With the Virtual All-Access Streaming Pass, most of the films in their line-up were immediately made available. There are a couple of drive-in specific screenings I can't see (like Opening Night's AMMONITE starring Kate Winslet and Saoirse Ronan) and a handful of "spotlight" movies held back for a few days, but for the most part, I can literally watch whatever I wanted. You'd think I'd have trouble choosing, but I knew exactly the two movies I wanted to start with.

MONSOON (dir. Hong Khaou)

Like everyone else, I fell head over heels over Henry Golding in Crazy Rich Asians and when I found out that he was attached to a movie from director Hong Khaou who previously devastated me with Lilting a few years ago, I was beside myself. MONSOON is less traumatic than Hong's earlier movie, but no less affecting. Golding plays Kit returning to Vietnam after escaping it as a child with his mother and brother en route to Britain. Kit's uneasiness is apparent from the get-go as he navigates a world, a language, a culture he barely understands. His search leads him to another wayward soul in the form of Lewis played by the fetching Parker Sawyers. They both bond as unmoored individuals in a foreign country and their chemistry is electric. I wanted more of that, but I get why it wasn't the focal point of the movie. There were a lot of quiet, introspective moments in the film as we see Kit just observing, searching, listening which might have outstayed its welcome for some, but for me I was just fine staring at Henry Golding's face the entire time.

DATING AMBER (dir. David Freyne)

After seeing the aforementioned dramatic film, I knew I had to see a comedy next and I couldn't have picked better than this hilarious coming-of-age film starring two young, captivating actors. Fionn O'Shea and Lola Petticrew respectively play too-sensitive Eddie and too-abrasive Amber who team up by pretend dating to get the bullies at school and their families at home off their backs, because, oh right, they're both gay. DATING AMBER is at once playful and hilarious as well as heartbreaking and moving. O'Shea and Petticrew make an excellent pair making you invested in their parallel, but still unique journeys in accepting themselves for who they are. Set in mid-1990s Ireland, the spectres of homophobia, toxic masculinity and Catholic traditionalism hang over the procedures but the film maintains its feel-good vibe to the end.

SHORT FILM PROGRAM: BEAUTIFUL BOYS, BEAUTIFUL JOURNEYS

One of the selling points of the festival for me this year was its robust short film programs boasting 10 individual programs ranging from 6-9 short films  in each with each set curated by a theme of sorts. So of course I went and checked out these beautiful boys and their beautiful journeys.

My two favorites book-ended the program with QUERY at the beginning and SEE YOU SOON at the end. Both movies feature characters wrestling with the nature of their relationship--two roommates unpacking their straight and maybe not so straight desires in the first and two guys from opposite coasts finally uniting trying to figure out if they can continue this in the second. Another film I really liked, KIND OF, also revolves around this same theme of two characters grappling with their relationships, in this case what it means to be a trans couple in a cis world. Other standouts for me were POMPEII and THE DICK APPOINTMENT which both uses apps and social media to hilarious and poignant results. Check out the full list of shorts from this program here.

Stay tuned for more reviews! In the meantime, feel free to friend me on Letterboxd which I really should use to post short reviews versus just logging all the films I watch.

Thoughts on Oscar Noms and Predictions

Every awards season has its own unique tone and this one was surprisingly... tame. Perhaps its the shorter and more condensed season giving people less time to marinate on things. Or perhaps it's the odd lock-step of acting wins which everyone seems to be fine with in their inevitable road to the Oscars. Or maybe it's because the top two films vying for the top prize are both pretty damn great with not much to negatively campaign about them. Or we're all just trying to get through an increasingly awful state of reality and staying (relatively) positive over things like the Oscars might just be a defense mechanism. Who knows? It's been nice. Onwards to my thoughts and predictions...

BEST PICTURE

• Ford v Ferrari
• The Irishman
• Jojo Rabbit
• Joker
• Little Women
• Marriage Story
• 1917
• Once Upon a Time in Hollywood
• Parasite

The big shock here is the inclusion of Joker and its leading nomination count. And yet it's made the most out of all nominees, people won't stop talking about, and it did win at the Venice Film Festival. The early story of the season is that this was going to be Irishman vs. Once Upon a Time, because legendary directors doing the kind of films the Academy loves seem to make sense. But 1917 is the war movie du jour with its impeccable technical wizadry and is peaking at the perfect time. Speaking of peaking, Parasite is THE movie of the year and it's the one movie everyone (EVERYONE) seems to agree on. I hope the Academy makes history and picks it.

PREDICTION: Parasite
ALTERNATE: 1917
FINAL WORD: It was always a longshot but The Farewell is my favorite movie of the year and should've been here. It was Knives Out that probably just missed though.

BEST DIRECTOR

• Martin Scorsese, The Irishman
• Todd Phillips, Joker
• Sam Mendes, 1917
• Quentin Tarantino, Once Upon a Time in Hollywood
• Bong Joon Ho, Parasite

Okay, when I said this awards season has been relatively tame, I guess I was mostly talking about the general resigned mood at the end. But let's not forget, or gloss over, that yet again we have an all-male Director line-up when Greta Gerwig and Lulu Wang and so many other women did amazing work this year. I was also pissed that DGA-nominated Taika Waititi was pushed aside for Phillips. Anyways, this is Mendes vs. Joon Ho. Would be a good choice regardless.

PREDICTION: Sam Mendes
ALTERNATE: Bong Joon Ho
FINAL WORD: I said this last year and I'll say it again this year... maybe look at the amazing women making films next year? It's getting old.

BEST ACTRESS

• Cynthia Erivo, Harriet
• Scarlett Johansson, Marriage Story
• Saoirse Ronan, Little Women
• Charlize Theron, Bombshell
• Renee Zellweger, Judy

When Zellweger won last night at the Spirit Awards, I was thinking how insane it is that any one actor (let alone four this year) would practically sweep ALL the awards in a single year. That should NOT be possible with the sheer amount of amazing talent and performances out there. And I LIKE Zellweger's Judy and think she'd make a great Oscar winner. But to get EVERY award when Ronan is doing yet-again stupendous things or when Lupita Nyong'o or Elisabeth Moss or Alfre Woodard or Awkwafina weren't even nominated. It's ridiculous.

PREDICTION: Renee Zellweger
ALTERNATE: Saoirse Ronan
FINAL WORD: I'm still shocked/not shocked about Nyong'o's snub. Do better.

BEST ACTOR

• Antonio Banderas, Pain and Glory
• Leonardo DiCaprio, Once Upon a Time in Hollywood
• Adam Driver, Marriage Story
• Joaquin Phoenix, Joker
• Jonathan Pryce, The Two Popes

Phoenix is the clear frontrunner here and as much as I don't like his film, I'm not too disturbed by him winning his 1st Oscar. I can pretend it's for Her or The Master. In any other year, especially if he hadn't won already, DiCaprio would likely be cleaning up. First nominations for Banderas and Pryce are good things! That said, I'm sad Taron Egerton and Eddie Murphy couldn't break through. Egerton's "snub" particularly hurts especially after Rami Malek actually won an Oscar the previous year for a worse version of similar films and performances.

PREDICTION: Joaquin Phoenix
ALTERNATE: Adam Driver
FINAL WORD: I'm already thinking about next year. I hope Anthony Ramos for In the Heights makes it in.

BEST SUPPORTING ACTRESS

• Kathy Bates, Richard Jewell
• Laura Dern, Marriage Story
• Scarlett Johansson, Jojo Rabbit
• Florence Pugh, Little Women
• Margot Robbie, Bombshell

This category is so dumb. First of all Jennifer Lopez and Zhao Shuzhen should've been no-brainers here and yet. Thankfully Lopez kicked ass at the Super Bowl last weeked and Shuzhen kicked ass at the Spirit Awards last night. Dern is the overwhelming favorite here and I love her and it's great that she'll finally have an Oscar, but this role isn't really "sweeping all awards" worthy. The only one here (okay, I haven't seen Richard Jewell) that feels like a worthy nomination/win is the breakout Pugh.

PREDICTION: Laura Dern
ALTERNATE: Scarlett Johansson
FINAL WORD: Forgot to mention, it's great that Johansson finally got her first (and second) Oscar nomination this year. She deserves both of them. But the optics (with Erivo as a slave as the only POC nomination) aren't great.

BEST SUPPORTING ACTOR

• Tom Hanks, A Beautiful Day in the Neighborhood
• Anthony Hopkins, The Two Popes
• Al Pacino, The Irishman
• Joe Pesci, The Irishman
• Brad Pitt, Once Upon a Time in Hollywood

These were pretty much the five that everyone predicted throughout the season with Tracy Letts and Willem Dafoe probably in the long list. The big hope for a Parasite acting nomination was here for Sang Kang Ho, but the category is just full of Oscar winners. The lone nominee who hasn't won an Oscar acting award is Brad Pitt (but he has won non-acting ones) and he's the one to beat. It's pretty much a done deal actually.

PREDICTION: Brad Pitt
ALTERNATE: Brad Pitt.... seriously.
FINAL WORD: Do we buy that Brad's role is actually supporting? I don't.

BEST ADAPTED SCREENPLAY

• The Irishman
• Jojo Rabbit
• Joker
• Little Women
• The Two Popes

It's a few Best Picture nominees plus The Two Popes. Truly wish they found room for Hustlers or A Beautiful Day in the Neighborhood. Or to be honest, Avengers Endgame if they had to give it to a comic book movie. In any case, this is Waititi's award to lose (he won WGA), but Gerwig could be a formidable alternate. If either won, I'd be happy.

PREDICTION: Jojo Rabbit
ALTERNATE: Little Women
FINAL WORD: Can we just have a tie? Think of their joint speech!

BEST ORIGINAL SCREENPLAY

• Knives Out
• Marriage Story
• 1917
• Once Upon a Time in Hollywood
• Parasite

This is a very interesting race. Everyone thought Tarantino would walk away with this award all season and he did win Critics Choice/Golden Globe. But Baumbach has been the indie darling and recently won the Spirit Awards and Joon Ho surprisingly came out on top at the WGA. And everyone seems to love Knives Out. I AM shocked 1917 made it in at least over The Farewell, Dolemite is My Name, Booksmart, etc.

PREDICTION: Once Upon a Time in Hollywood
ALTERNATE: Marriage Story
FINAL WORD: I'm not predicting Parasite, but if it wins here (and it has a strong chance), then Best Picture might be in the bag as well.

BEST INTERNATIONAL FEATURE FILM

• Corpus Christi
• Honeyland
• Les Miserables
• Pain and Glory
• Parasite

As I previously mention, Parasite has been the movie of the year. It's going to win here. There's no doubt. I think there'll be riots if it doesn't win. Honeyland is apparently the first documentary to be nominated here?

PREDICTION: Parasite
ALTERNATE: If it doesn't win, the world will end
FINAL WORD: France didn't pick Portrait of a Lady on a Fire. And now we have to wait forever (next week) to see it. GO PARASITE!

BEST ANIMATED FEATURE

• How to Train Your Dragon: The Hidden World
• I Lost My Body
• Klaus
• Missing Link
• Toy Story 4

What a weird year! No room for the highest-grossing animated film of all time (Frozen 2)? Or critically-acclaimed Weathering with You? Anyways, other than The Hidden World, the other films have won various awards this season keeping this awards in flux. Would Disney power Toy Story 4 to a win? Would they finally give Laika an awards (for Missing Link)? How about Netflix's two audacious offerings? We'll see!

PREDICTION: Toy Story 4
ALTERNATE: Missing Link
FINAL WORD: My sentimental favorite is How to Train Your Dragon. It hasn't won one! And as much as I'd love Laika to win one as a studio, Missing Link has been my least favorite of their output.

BEST CINEMATOGRAPHY

• The Irishman
• Joker
• The Lighthouse
• 1917
• Once Upon a Time in Hollywood

Lots of beautifully-made films here. I think ASC winner Roger Deakins will get his 2nd Oscar this year especially with so many people in love with 1917's technical prowess. The nod with The Lighthouse is inspired.

PREDICTION: 1917
ALTERNATE: The Irishman
FINAL WORD: Parasite, Ad Astra, and Ford v. Ferrari were likely in their longlist.

BEST FILM EDITING

• Ford v Ferrari
• The Irishman
• Jojo Rabbit
• Joker
• Parasite

Parasite's inclusion here signals strong support for the film and with its ACE Eddies win, it's the unlikely frontrunner especially with 1917 not nominated here.

PREDICTION: Parasite
ALTERNATE: Joker
FINAL WORD: Remember when Bohemian Rhapsody won last year. The darkest timeline.

BEST PRODUCTION DESIGN

• The Irishman
• Jojo Rabbit
• 1917
• Once Upon a Time in Hollywood
• Parasite

Apparently, the Academy only saw like 12 films this year. ANYWAYS, the ADG Awards went to Parasite and Once Upon a Time. And it's going to be either one of those two and I'm leaning towards the latter because well... Old Hollywood and all.

PREDICTION: Once Upon a Time in Hollywood
ALTERNATE: Parasite
FINAL WORD: But that Parasite house though.

BEST COSTUME DESIGN

• The Irishman
• Jojo Rabbit
• Joker
• Little Women
• Once Upon a Time in Hollywood

I screamed on Oscar nomination morning when Dolemite is My Name was left out. I was also holding out hope for Downton Abbey here or more unlikely, Avengers Endgame. And to be honest, Hustlers should've been here for Jennifer Lopez's fur alone. As for the winner, who knows? CDG gave it to two films not nominated and Jojo Rabbit while the BAFTAs went with Little Women. And still the other films might be more to Hollywood's tastes. So?

PREDICTION: Jojo Rabbit
ALTERNATE: Little Women
FINAL WORD: No, but really what disrespect to Ruth E. Carter.

BEST VISUAL EFFECTS

• Avengers Endgame
• The Irishman
• 1917
• The Lion King
• Star Wars: The Rise of Skywalker

I can't believe the de-aging of The Irishman made it here because it was SO DAMN DISTRACTING. I'm also shocked that 1917 made it in, because its effects actually weren't too showy? I do wish Avengers get this. How can you not give the highest grossing film of all time any Oscars?

PREDICTION: Avengers Endgame
ALTERNATE: 1917
FINAL WORD: Imagine if Cats had been nominated? The fact that it was even included in the long list was HILARIOUS and ridiculous.

BEST MAKEUP AND HAIR

• Bombshell
• Joker
• Judy
• Maleficent: Mistress of Evil
• 1917

It's the first year that this category has 5 nominees. It was always weird to me this only had 3. EVERY film has makeup and hair. Anyways, it's probably between Bombshell or Judy because the transformations are OBVIOUS. I'm pissed that Rocketman wasn't included here. I would've picked it for the win.

PREDICTION: Judy
ALTERNATE: Bombshell
FINAL WORD: Also pissed that Dolemite is My Name and Little Women weren't included here. Do better.

BEST DOCUMENTARY FEATURE

• American Factory
• The Cave
• The Edge of Democracy
• For Sama
• Honeyland

This is a good list, but my two favorite documentaries of the year--Maiden and Apollo 11--weren't included and I'm sad. That said, I've seen 3 of these and they ranged from good to excellent (my favorite is probably the deeply personal For Sama). American Factory has the Netflix/Obama factor though that might give it the edge.

PREDICTION: American Factory
ALTERNATE: Honeyland
FINAL WORD: But seriously, check out Maiden. It felt like a movie thriller.

BEST SOUND EDITING

• Ford v Ferrari
• Joker
• 1917
• Once Upon a Time in Hollywood
• Star Wars: The Rise of Skywalker

Other than Joker, these nominations makes sense. You'd think it'd be between 1917 and Ford v Ferrari and same goes to the Sound Mixing award.

PREDICTION: 1917
ALTERNATE: Ford v Ferrari

BEST SOUND MIXING

• Ad Astra
• Ford v Ferrari
• Joker
• 1917
• Once Upon a Time in Hollywood

This is Ad Astra's sole nod. Weird. Anyways, see above.

PREDICTION: 1917
ALTERNATE: Ford v Ferrari

BEST ORIGINAL SCORE

• Joker
• Little Women
• Marriage Story
• 1917
• Star Wars: The Rise of Skywalker

Joker's Hildur Guðnadóttir is the first woman to be nominated in this category and she's the front runner! Again, I'm not a fan of the film, but I wouldn't be sad about this win. I personally would given it to either Little Women's Alexandre Desplat or 1917's Thomas Newman (who's the Susan Lucci of this category).

PREDICTION: Joker
ALTERNATE: 1917
FINAL WORD: John Williams is a true legend, but... stop. Star Wars doesn't have to be nominated every single time.

BEST ORIGINAL SONG

• "I Can’t Let You Throw Yourself Away," Toy Story 4
• "I’m Gonna Love Me Again," Rocketman
• "I’m Standing With You," Breakthrough
• "Into the Unknown," Frozen 2
• "Stand Up," Harriet

The wrong song from Frozen 2 was nominated. No "Glasgow" from Wild Rose. No surprise nomination for Parasite's original song. They passed over the fun "Catchy Song" from Lego Movie 2 or the original song from Aladdin. But sure, let's nominate some dirge from Diane Warren.

PREDICTION: I'm Gonna Love Me Again
ALTERNATE: I Can't Let You Throw Yourself Away
FINAL WORD: I'm just going to listen to "Show Yourself" a bunch of times.

BEST LIVE ACTION SHORT

• Brotherhood
• Nefta Football Club
• The Neighbors’ Window
• Saria
• A Sister

I try to watch this every year, but I skipped last year and didn't find the time this year. I hate the shortened Oscar season.

PREDICTION: Saria
ALTERNATE: The Neighbors' Window

BEST ANIMATED SHORT

• Dcera
• Hair Love
• Kitbull
• Memorable
• Sister

I've only seen Hair Love and it's wonderful.

PREDICTION: Hair Love
ALTERNATE: Sister

BEST DOCUMENTARY SHORT

• In the Absence
• Learning to Skateboard in a Warzone
• Life Overtakes Me
• St. Louis Superman
• Walk Run Cha-Cha

I've only seen Life Overtakes Me. It's okay, but I think could've been much better. So I have no idea what to say

PREDICTION: Learning to Skateboard in a Warzone
ALTERNATE: In the Absence

So I predicted Parasite to get 3 Oscars including Best Picture while 1917 walks home with the most at 4 wins including Best Director. I actually think that might be too small for 1917, but I'm all about predicting spread-the-wealth sort of thing. I do hope Parasite gets those 3 wins (and maybe more)?

Click here for my picks on who should win.

Best Picture Tweets

Since I don't do regular reviews, I depend on my quick takes on twitter to remember what I thought of movies I've seen over the year. I don't do it for every film, but I do try to do it for films I really like or films that might be nominated for Oscars.

And so in the order of when I saw the movies, here are my initial reactions for the Best Picture nominees this year...

I enjoyed Brad and Leo's natural chemistry with each other and Leo in particular was impressive in everything QT had him do. His scenes with the little girl were my favorite. Movie certainly did NOT need to be that long and Robbie was a bit of a non-entity?

— Ryan ❄️ (@sortathatguy) July 26, 2019

With that said... surprisingly we all agreed that the last third of the film was its strongest highlighted by how breathtakingly ICONIC Phoenix's #Joker looked and felt. We also agreed Joaquin blew the role out of the water. His face is SO interesting.

— Ryan ❄️ (@sortathatguy) October 6, 2019

PARASITE is damn good. And I totally get why people have said to go into the movie cold but if you're like me and you were slightly unsure to see it because you thought it'd be TOO weird or a horror film... it's neither. So now go forth and see it! 🍑

— Ryan ❄️ (@sortathatguy) October 18, 2019

JOJO RABBIT is pretty amazing. The kid actors were absolutely superb. I laughed. I cried. ALSO there was a Q+A afterwards and Taika Waititi himself was in attendance! He is HIGHlarious. Thanks @FPNYC for the free tickets. #JojoRabbit pic.twitter.com/cGI4yt2Ec5

— Ryan ❄️ (@sortathatguy) October 20, 2019

Like the movie's emotional je ne sais quoi doesn't REALLY hit until Jupe's character asks one of the adults "Have you ever been on fire?" The movie then takes on a new level after that moment. #FordVsFerrari

— Ryan ❄️ (@sortathatguy) November 15, 2019

Both leads--Scarlett and Adam--are magnificent. But hey let's give it up to Merritt Wever. Her whole serving paper bit needs to be re-cut as a short film and it should win all the awards.

— Ryan ❄️ (@sortathatguy) December 24, 2019

LITTLE WOMEN is just absolutely delightful. I'm going to need Gerwig/Ronan/Chalamet to keep working together forever.

— Ryan ❄️ (@sortathatguy) December 27, 2019

Well, I REALLY liked the last 40 minutes or so of THE IRISHMAN. The movie is 3 hours and 29 minutes long.

— Ryan ❄️ (@sortathatguy) December 29, 2019

Oh and Roger Deakins is a fucking master. Those night sequences are *chefs kiss*. #1917Movie

— Ryan ❄️ (@sortathatguy) January 12, 2020

Of course, there are some other films that probably should've been nominated for Best Picture. So let's see what my initial thoughts on those as well...

THE FAREWELL is a magnificent film. It's so rare for a heart-wrenching story to also be side-splittingly hilarious. It's very probably my favorite film of the year so far. For the love of everything good, everyone should see this movie ASAP.

— Ryan ❄️ (@sortathatguy) July 21, 2019

Oh. My. God. #AvengersEndgame

— Ryan ❄️ (@sortathatguy) April 28, 2019

🎂👨‍👧‍👦👩‍⚕️💉🗡️💩🍩🤮 #KnivesOut

— Ryan ❄️ (@sortathatguy) December 1, 2019

BOOKSMART is so good. And so funny. The ensemble was also a pleasant surprise. Go see it in theaters because we need more movies like this!

— Ryan ❄️ (@sortathatguy) May 25, 2019

My Personal Oscar Ballot 2020

I can't believe the Oscars are tomorrow already! This speedy af awards season isn't my preference, but what can I do. Anyways, before we see the Oscars make probably stupid decisions (see Best Picture/Actor last year), let's take a look if they went with everything *I* wanted. Presenting, my personal ballot...

Note: For Best Picture, Academy voters are asked to rank their choices. For the other categories, they are only asked to pick their choice of winner, which is exactly what I've done.

Best Picture
1 - Parasite
2 - Little Women
3 - Jojo Rabbit
4 - 1917
5 - Marriage Story
6 - Ford v. Ferrari
7 - Once Upon a Time in Hollywood
8 - The Irishman
9 - Joker

Best Director: Bong Joon Ho, Parasite
Best Lead Actor: Antonio Banderas, Pain and Glory
Best Lead Actress: Saoirse Ronan, Little Women
Best Supporting Actor: Brad Pitt, Once Upon a Time in Hollywood
Best Supporting Actress: Florence Pugh, Little Women
Best Animated Film: How to Train Your Dragon: The Hidden World
Best Original Screenplay: Parasite
Best Adapted Screenplay: Jojo Rabbit
Best Foreign Language Film: Parasite
Best Documentary: For Sama
Best Original Score: 1917
Best Original Song: "Into the Unknown," Frozen 2
Best Editing: Parasite
Best Production Design: Parasite
Best Cinematography: 1917
Best Costume Design: Little Women
Best Makeup and Hair: Judy
Best Sound Editing: 1917
Best Sound Mixing: Ad Astra
Best Visual Effects: Avengers: Endgame
Best Live Action Short: The Neighbors' Window
Best Animated Short: Hair Love
Best Documentary Short: In the Absence

I went a little Parasite/Little Women crazy, but as they are my top two favorite Best Picture films (and likely my personal top 10 for the year), it makes sense. 1917 also did well, on the strength of its technical achievements. If only the Academy had my awesome taste, right?