The life of Tony-winning playwright Terrence McNally (Master Class, Ragtime): 60 years of groundbreaking plays and musicals, the struggle for LGBT rights, addiction and recovery, finding ... See full summary »
F. Murray Abraham,
Jon Robin Baitz
A documentary that follows Mc Linn Da Quebrada, a black trans woman, performer and activist living in impoverished São Paulo. Her electrifying performances (with plenty of nudity) brazenly take on Brazil's hetero-normative machismo.
Summer is a 17-year old carefree black girl, whose world is turned upside down when her mother, a popular meteorologist named Jade Jennings, abruptly converts to Islam and becomes a ... See full summary »
Kate Stone (Taylor Schilling) is career-focused, and enjoys her life that way. Her brash attitude keeps relationships at arm's length, making her an outcast in her own right. When her ... See full summary »
Brian Tyree Henry
SADIE is the story of a girl who will stop at nothing to preserve her father's place on the home front. Sadie (Sophia Mitri Schloss) is the daughter of a soldier and models herself after ... See full summary »
Sophia Mitri Schloss,
John Gallagher Jr.
Set in Brazil's southern city of Porto Alegre, the film focuses on a socially repressed young man who only comes out of his shell during chatroom performances, when he strips and smears neon paints on his lithe body.
After watching this irreverent yet sincere tribute to poet Emily Dickinson, I had the urge to revisit Julie Harris in "The Belle of Amherst". Call me Old School, but I vastly prefer serious filmmaking to the facetiousness of this feature-length SNL sketch approach.
Certainly SNL alumna Molly Shannon as Emily and Susan Ziegler as her sister-in-law, who share the love that dare not say its name in this version of the Dickinsons story give amusing and often moving performances, but the film has no consistent style or tone, and the male characters are predictably straw men mocked for the self-centered Male Superiority attitudes. Even the movie's unreliable narrator, Mabel (Emily's posthumous editor), well-played by Amy Seimetz, is written with such a heavy hand by filmmaker Madeleine Olnek as to lose substance.
Set in 3 different time frames: 1860 for the main story, 1840 for the young Emily and Susan played by disconcertingly lovely actresses Dana Melanie and Sasha Frolova, and Mabel's current era after Emily's death, wherein she pontificates to packed audiences inflating her role in championing Dickinson's career, the movie unfolds in disconnected scenes, many of which might easily have been dropped for sheer dullness, and a couple of which (surreal in nature) clash with the matter-of-fact overall style. Unlike the usual exaggerated beauty of period movies, typified by everything from Merchant-Ivory classics to Kubrick's "Barry Lyndon", Olnek presents the show as if in a low-budget amateur dress-up production representing 2019.
Use of poetry on screen in subtitles as it is recited (and sometimes by itself) recalls Jim Jarmusch's recent use of same in "Paterson", a techinque I found artificial and forced, just as it seems here too.
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