When it comes to cursed families, a few names come to mind: the Kennedys, the Grimaldis, the Hemingways, Bruce and Brandon Lee. Now add to that list the Beksinski family. Famous in their home country of Poland, the Beksinski family included: Zdzislaw Beksinski, a celebrated Polish artist known for his macabre paintings and sculptures, his son Tomasz, a well-known radio presenter, movie translator and journalist, and his wife Zofia, the devoted matriarch who created a balance in a household with two very eccentric figures. Tragedy first struck the family in 1988, when Tomasz survived a plane crash which left one person dead and many injured, including himself. The experience left Tomasz, who was already prone to depression, shattered. A decade later, another blow to the family came with the sudden death of Zofia. A year later, on the eve of Y2K, Tomasz committed suicide. His father found his body. The final and most brutal tragedy of the Beksinski’s family story came in 2005 when Zdzislaw was stabbed to death over a dispute with a teenager about a small loan.
“I’ve started to use my camera as a diary, because I’m too lazy to write it.”
Needless to say that the story of the Beksinskis ended with great sorrow. When Zdzislaw died, he left behind hours and hours of home video footage. Everything from personal conversations, footage from art shows, family trips, important and mundane moments in the life of the Beksinkski tribe were all recorded. Fascinated by technology, Zdzislaw decided to forego the route of a traditional diary to create a video archive instead. Director Marcin Borchardt spent three years sifting through 300 hours of archival footage and the result was his documentary: The Beksinkis: A Sound and Picture Album. This living scrapbook is a portal into their world. In the era before social media, these recording were not fabricated for public consumption. According to Borchardt, this is what makes Zdzislaw’s footage so authentic. No one is putting on a show. The viewer is drawn into an intimate space where the Beksinskis have have deep conversations, especially about their son’s depression.
“I’m finished. I’m a wreck. I’m no good for anything any more.”
Borchardt’s documentary offers a compelling portrait of a creative and tortured family. It reminded me of Sophie Fiennes’ documentary Grace Jones: Bloodlight and Bami which is entirely comprised of home video. However, I found Borchardt’s approach a lot more engaging. It does require some patience of the viewer to sit through stitched footage to make sense of what we’re being shown. The upside to this documentary is that while there is no real context provided, Zdzislaw narrated a lot of his footage so we hear the story of the Beksinksis through his words.
The Beksinskis: A Sound and Picture Album had it’s US premiere at Slamdance 25.
Directed by Joe LaMattina, Memphis ’69 is a new documentary that serves as a time capsule for the 1969 Memphis Birthday Blues Festival held on the 150th anniversary of the city’s founding. Made up almost entirely of archival footage from the three day festival, a few title cards at the beginning give the film some context. The festival ran from 1965 to 1969 during a time of much racial strife in the city. It was one year after the Martin Luther King Jr.’s assassination and the KKK held a rally in the city concurrent with the event.
The folk and blues revival of the 1960s helped launch new stars of the genre but also allowed for the rediscovery of older blues performers. A wide range of blues, folk, country and even gospel musicians performed on stage for a motley crew of attendees. The attendance fluctuated throughout the three days but it never put a damper on the spirits of the musicians who played their hearts out.
Memphis ’69 takes viewers on a time travel trip to this one-of-a-kind blues festival. It lingers over many of the performances and also captures the spirit of the time. All of the performers featured in the documentary are long gone and this film now serves as a tribute to them.
Performers featured in Memphis ’69 include:
Nathan Beauregard (106 year old, blind performer)
Sleepy John Estes
Jo Ann Kelly
“Backwards” Sam Firk
Rev. Robert Wilkins & Family
John D. Loudermilk
Jefferson Street Jug Band
The Insect Trust
The Salem Harmonizers
Mississippi Fred McDowell
Memphis ’69 was screened at Slamdance 25 and is nominated for a Grand Jury Prize for Best Documentary Feature.
Boni Bonita, directed by Daniel Barosa, is a Brazilian-Argentine film, mostly in Portuguese, about a rebellious young woman and an aging musician. The story takes place over nine years, starting in 2007 and ending in 2016, and follows Beatriz (Ailin Salas) as she struggles with the loss of her mother, her complicated relationship with her father, self-harm and the musician who seems just out of her reach. Rogerio (Caco Ciocler), has his own struggles. He lives in the shadow of his grandfather’s musical success and has casual rendezvous with women as a way to avoid something more meaningful. Over the years Beatriz and Rogerio reunite at Rogerio’s summer home. The film explores what it means to come of age and also to go through a mid-life crisis.
The title is a reference to a song by classic Argentine singer Alberto Cortez. Rogerio plays the song for Beatriz and often calls her “Bonita”. Filmed over three years, Boni Bonita was shot in 16mm, super 16mm and digital. An inventive technique that gives the film a grainy, fuzzy appearance, as though we were watching filtered memories. According to the director Barosa, the story is based on his own experiences of the indie music scene of Sao Paolo Brazil.
I couldn’t engage with Boni Bonita no matter how hard I tried. I enjoyed the mixed media style and Ailin Salas’ performance in particular. The characters and the story didn’t draw me in and I couldn’t help but feel disconnected.
Boni Bonita is distributed by Nimboo’s Films and had its premiere at Slamdance 25 as part of the Narrative Feature Competition. It’s the only film from Latin America at the festival. Boni Bonita was a finalist for the Guioes, selected for the French Workshop Eave on Demand and a finalist for best original screenplay at the Havana Film Festival among other honors.
A man drives down a slip road into the woods. With him inside the vehicle is a mysterious creature. They exchange no words. The car stops when the man encounters children, all dressed in white,who proceed bang on the car from the outside. Once they disappear, he makes his way through a group of adults who are partying in front of a bonfire. The creature is waiting on the other side of a muddy pond. It’s time for the man to fulfill his end of the bargain with the creature and continue his journey.
Slip Road is an ominous and mysterious short film that begs the viewer to extrapolate their own meaning from the series of events in the story. I saw the film as a metaphor for creation and sacrifice. The slip road and the children represent a birth. It’s also the first sacrifice the man must make. He must ignore the children, and the prospect of being a father. He then makes his way through the party but choses not to participate. When he brings a sacrificial offering to the creature, a baby wrapped in a white blanket, the creature drowns him and another version of the man appears. To me this represented more sacrifice. The man must abandon the party life if he wants to fulfill his end of the bargain with the creature and become a creator. I also reinterpreted the whole film as the abandonment of one way of living in order make way for another.
Slip Road was written, produced and directed by Australian filmmaker Raphael Dubois. It stars Izaak Love as the man ‘Wendell’ and Sohaib Zaman as the creature. There is no dialogue but some powerful yet quiet performances from the two stars. It’s beautifully shot with stunning imagery. I was very excited to see this after watching the trailer and it was even more mysterious than I expected.
Slip Road premiered at Slamdance 25 as part of the Anarchy Shorts series.
No it’s not porn. But it is funny. Butt Fantasia is a short 5 minute comedy set in Austin, TX and in the magical land of butts. An older man sits at a bus station when a magic red hat falls from the sky. The hat lands on his head transporting him to Butt Fantasia. Here butts reenact scenes to orchestral music. There is a butt party, a butt execution scene, a 50 foot butt takes over a city causing utter chaos and finally our hero goes on a journey to discover the fate of his own butt.
Butt Fantasia doesn’t make a lot of sense but does it have to? This is pure entertainment for viewers who think behinds are hilarious. This troupe of choreographed derrieres dance, they smoke, they shoot guns, they delight and they might gross you out but only a tad.
This short film was directed by Mohit Jaswal and Nathaniel Hendricks and was one year in the making. Co-producer Zach DeSutter calls the film “a labor of love for stupid cinema… it’s loosely based on the original Fantasia, except with butts.” If you’re curious about the butts themselves, they are mostly male and I only spotted a couple female ones. In an industry where male nudity is scarce, it’s refreshing (is that the right word?) to see more male butts!