PJ (Rachel Sennott) and Josie (Ayo Edebiri) are bonded by their lifelong friendship and shared experience as lesbian misfits at their high school. They both have their eye on cheerleaders Isabel (Havana Rose Liu) and Brittany (Kaia Gerber). Their awkwardness becomes a roadblock in their quest to get laid. When Josie injures Jeff (Nicholas Galitzine), the star of the football team and an idol on campus, her crush Isabel is impressed. PJ and Josie soon concoct a plan. They start a girls-only fight club on campus, with the guise of building community, in order to impress their crushes. They even trick their teacher Mr. G (Marshawn Lynch), who is otherwise distracted by his divorce, into sponsoring them. What begins as a ruse becomes more earnest as the club members feel more empowered by their new skills and each other. All the events lead up to a football game between two rival high schools.
Directed by Emma Seligman, Bottoms is absolutely bonkers in the best way possible. The film unabashedly leans into its ridiculousness and is bolstered two strong leads. High school cliches are turned up several notches to great comedic effect. The story was co-written by Seligman and Sennott, their sophomore collaboration after the hit indie film Shiva Baby (2020).
My only quibble is that the romantic pairs, both lesbian and straight, have little chemistry. You have to suspend your disbelief in order to buy that these young people are into each other.
The cast is really stupendous. In addition to Sennott and Edebri, who have great on screen camaraderie, Marshawn Lynch, Miles Fowler and Ruby Cruz also shine in their respective roles. Bottoms is great fun and sure to be a crowd-pleaser.
Bottoms had its world premiere at the 2023 SXSW Film Festival and is distributed by Orion Pictures.
Donna Summer achieved a level of fame and adoration that few singers have been able to attain. “Love To Love You”, “Last Dance”, and “She Works Hard for the Money” were all major hits and became anthems for sexuality, indulgence and feminism. Despite her incredible celebrity, Donna Summer had always been an enigma. Fiercely private, when she wasn’t on stage Summer was off-limits.
Directed by Roger Ross Williams and Summer’s daughter Brooklyn Sudano, Love To Love You, Donna Summer gives viewers a peak at the real woman behind the iconic image. The documentary is comprised with archival footage from performances, television appearances and home movies along with a few scenes of Brooklyn Sudano in present day interacting with her family. There is no real narration, instead Summer’s story is told primarily through audio interviews with family members and some archival interviews from Summer herself. The film does address her religious beliefs and the controversy surrounding them during the 1980s.
Love To Love You, Donna Summer isn’t as revelatory as it promises to be and leaves the audience with more questions than answers. Donna Summer was and continues to be an enigma and although this documentary gives us a look at her celebrity and personal life, it does so in a fairly biased and roundabout way that will ultimately leave viewers unsatisfied.
Love To Love You, Donna Summer had its US premiere at the 2023 SXSW Film Festival and will be released by HBO in May.
The image of the blond, slim and white Barbie has been seared into our collective minds. With the Greta Gerwig movie starring Margot Robie on the horizon, Barbie has stepped back into the limelight as an important yet frivolous part of American culture. But what about Black Barbie? While the first ever Barbie doll was released in 1959, it took until 1980 for the debut of a Black Barbie. In fact, throughout history dolls have predominantly been white. When the toy industry pivoted to creating and marketing dolls with different skin colors, it was revolutionary. It’s still a work-in-progress and we’re many years from dolls being truly representative and the white Barbie to be considered the default “regular” Barbie. But Black Barbie… well she made some really important strides.
Twelve years in the making, Lagueria Davis’ debut film Black Barbie: A Documentary is an ambitious exploration of the impact Black Barbie has had over the past four decades as well as an examination of the complexities of racism and representation. Davis’ aunt, who worked for Mattel from the mid 1950s until the 1990s, was the inspiration for the project. She is interviewed extensively along with two notable Barbie designers, including Kitty Black Perkins who designed the first Black Barbie, as well as various other experts and commentators. Interviews take place on colorful and vibrant sets making it look like the subject is in a makeshift doll house. Various Barbie dolls are used as puppets in fun animation sequences
What really impressed me about this documentary is how it approaches its subject from so many angles. It’s not just a historical documentary on the history of Black Barbie. There are numerous deeply personal, philosophical and psychological discussions about the subject matter that are all done in a way that add something important to the conversation. All of these elements are pieced together in a way that keeps the audience engaged. You don’t have to even be interested in Black Barbie to be completely engrossed with this documentary. It’s just that good.
Black Barbie: A Documentary premiered at the 2023 SXSW Film and TV Festival.
Saúl (Gael García Bernal) is a gay wrestler who performs for his local lucha libre matches. Wanting to evolve from his typical role as a El Topo, he develops the persona of Cassandro, a flamboyant “exótico” whose feminine energy taunts his more macho luchador opponents in the ring. Exóticos usually elicit boos from the audience and ultimately lose the match. But Cassandro wants to change that. As Saúl/Cassandro works with a new trainer on his skills, he grapples with his relationship with his in-the-closet boyfriend, his distant and homophobic father and his ailing mother.
Directed by Roger Ross Williams, Cassandro is based on the true story of wrestler Saúl Armendáriz, known as the Liberace of lucha libre. Gael García Bernal delivers one of the most spirited performances I’ve ever seen. He truly embodies this character, giving Saúl gravitas and Cassandro verve. The film conveys a strong message of acceptance and joy in individual expression. This one will be a crowd pleaser for sure.
Cassandro premiered at the 2023 Sundance Film Festival.
“Cults are living creatures that feed on people’s anxieties. If you are too pure and sincere, you may end up in a place that is different from where you had set out to be in the first place.”
In the 1980s, Japan experienced an occult boom, an after effect of the Cold War and a result of the growing disenchantment in the country’s government. It was during this time that self-imposed guru Shoko Asahara transformed his yoga school into a doomsday cult: Aum Shinrikyo (“Supreme Truth”). Hundreds of members followed Asahara’s every word and command. What started off as a quest for spiritual enlightenment took a deadly turn. After a disastrous run for local government, Asahara soon transformed AUM from a cult into a terrorist organization, one that would ultimately be involved in the deadly Tokyo subway sarin attack of 1995.
Directed by Ben Braun and Chiaki Yanagimoto, AUM: The Cult at the End of the World examines the complicated history of AUM and its leader Shoko Asahara. Interviews with former members, including a high ranking monk, loved ones who started a Victims Association and those affected by various sarin attacks, really drive home just how dangerous this cult was in its time. Cult documentaries have gained a following in recent years and anyone fascinated with mind control and cult mentality will find a lot to be horrified by in this film. Apparently AUM is a touchy subject in Japan and the directors made it their mission to handle with delicate topic with great care.
AUM: The Cult at the End of the World premiered at the 2023 Sundance Film Festival.