Skip to content
Latest
Posted Female Filmmakers

Fair Play

“Para tener una familia linda tienes que trabajar juntos.”

“To have a beautiful family you have to work together.“

As the saying goes, “happy wife, happy life.” However, this is not the reality for many married couples. While the husband might be living his happy life his wife is overwhelmed by inequity of domestic labor. Wives are burdened with the majority of household work while also caring for their children and working a full-time job. And husbands have been conditioned to expect that work to be done by women and either contribute little to domestic labor or when they’re asked to do more they weaponize their incompetence to make sure they’re never asked again.

This is a sad state of affairs but the tides are turning. There is a growing awareness of domestic inequality and women are speaking up about it. Directed by Jennifer Siebel Newsom and based on the book by Eve Rodsky, Fair Play is a documentary that examines the family dynamic when it comes to domestic labor and how couples can work towards a more equitable situation. While the focus is on straight couples there is also a spotlight on queer couples and how they manage this dynamic within their own relationships.

Women will feel both validated and infuriated watching this documentary. With that said, Fair Play offers viewers hope that things can change. I appreciated Eve Rodsky’s discussion on the nuances of mental labor because it’s unseen work that really isn’t appreciated. Ultimately, the film offers a balanced perspective with the goal that men can ultimately change and that divorce doesn’t have to be the resolution.

I believe that the ongoing discourse, anthems like “You Make Me Do Too Much Labour” and films like Fair Play will help shift the dynamic. We need to keep talking about this so eventually we do reach that ideal of “happy wife, happy life”.

Where to Watch
Still from The End of Quiet
Posted Film Reviews

The End of Quiet

In a remote part of West Virginia lies Green Bank, a small town of just under 150 residents. Since the 1950s, Green Bank has been the home to the National Radio Astronomy Observatory which detects even the faintest of transmissions from space. In order for the observatory and its employees to do their job, there must be a “Quiet Zone” of 35k square kilometers. That means that anyone living in this zone is prohibited from using cellular services or WiFi. As the years go by, this self-imposed restriction is becoming harder and harder to enforce. With so much of our social infrastructure relying on some level of connectivity, it’s becoming impossible to live without it. Can Green Bank stay as it is or is this the end of quiet?

Directed by Kasper Bisgaard and Mikael Lypinski, The End of Quiet is a contemplative documentary that follows the stories of a handful of Green Bank residents living and working in the Quiet Zone. Instead of talking head interviews, the film captures snippets of the lives of the residents. Subjects include employees of the observatory, a gun enthusiast and his granddaughter, a young couple growing their family, a lonely Vietnam vet and a chronically ill woman and her dog. We observe the subjects as they display varying degrees of calm and unease living in this unique part of the world. There is a sense of paranoia throughout the film. Discussions of alien life seem to point to an underlying fear of authority and forces on the outside.

I was particularly interested in the idea of technological remoteness as a form of control or isolation. I would have liked more information about the observatory and a greater focus on the particulars of the Quiet Zone. However, this documentary seems to be more of a time capsule of the last days of this community’s particular way of life. The End of Quiet will get audiences thinking about their reliance on connectivity and the ramifications of modern life.

The End of Quiet is an official selection of the 2025 Tribeca Film Festival Documentary Competition.

Posted BIPOC

Tinā

“What’s a parent without their kids?”

Mareta (Anapela Polataivao) is grieving the loss of her daughter who tragically lost her life during the Christchurch, New Zealand quakes of 2011. Unsure what her future holds for her now, Mareta receives help from Sio (Beulah Koale) who helps her file for unemployment. When that runs out, his next step is to help her land an interview for a teaching position at an elite school attended mostly by Pākehās (non-Polynesian New Zealanders). Mareta is an imposing woman with a heart of gold. She dons her native Samoan garb, standing out from the rest of the teachers at the school, and is affectionately called Tinā (Samoan term for mother). Mareta soon bonds with Sophie (Antonia Robinson), a talented young singer who is dealing with an alcoholic mother and the physical and emotional scars from a terrible accident. Their mutual interest in music eventually sparks an idea. Mareta will lead the school’s very first choir. It’s a rough start but once the students learn to appreciate Mareta’s tough love approach the choir becomes something extraordinary. As the choir group prepare for a singing competition, looming villains and tragic news threaten the disrupt the beautiful harmony.

Directed by Miki Magasiva, Tinā film hits all the right notes and deserves to be up there with feel good stories about teachers like Dead Poets Society (1989) and Radical (2023). It will send you on an emotional rollercoaster and by the end you’ll find yourself sobbing into a fistful of tissues. While the story is rather sentimental and almost veers towards cloying, it ultimately finds a balance especially when punctuated with its musical sequences. I really enjoyed the performance by Polataivao who gives her character a sense of mystery and charm.

Tinā is sure to be a crowd pleaser.

Tinā is distributed by Rialto and hits theaters in select markets (Hawaii, American Samoa and Guam) August 29th and nationwide on September 5th.

Posted BIPOC

Remaining Native

“I want to hurt for him and all my other ancestors. I want to remember where I come from and to not forget the community that raised me.” — Ku Stevens

Trauma carries on through generations with the ripple effects lasting long after the ancestor’s pain is forgotten. One young man is keeping the memory of his great-grandfather alive. It’s not something he has to do but rather something he feels compelled to do.

Directed by Paige Bethmann (Haudenosaunee), Remaining Native is a documentary that follows the story of Ku Stevens, an Indigenous teen and track star who dreams of becoming a college-level athlete. He runs on the open dirt roads of his native rural Nevada. It’s the same path that his great-grandfather ran when he escaped the Stewart School, a reformatory boarding school that forced Native American children to assimilate into white culture.

As Ku, whose full name Kutoven means “the eagle who brings light from the darkness”, trains towards a sub 9 minute 2-mile run, he contemplates the times his great-grandfather had to run and the suffering he must have endured to escape a cruel system that tried to strip him of his Native identity. Ku is wise beyond his years. To honor his ancestor and to help his community honor theirs, he helps lead a Remembrance Run; a 2-day, 50 mile race that follows the path that his great-grandfather would have taken to escape the Stewart School and return to his homeland.

Remaining Native beautifully balances the duality of the story in which Ku’s journey to become a college athlete mirrors his great-grandfather’s pursuit of freedom. It also works as a sports documentary with much time spent on Ku’s athletic journey. Ku is a fascinating subject and it’s clear he’ll go on to do great things. I do wish there was a bit more information about the history behind the Stewart School and how it affected Ku’s community. But overall this is Ku’s story and it’s an honor to witness it.

Remaining Native is part of 2025 SIFF’s cINeDIGENOUS festival program.

Posted BIPOC

Dear Aloha

“Aloha sustains Hawai’ians by reminding us who we are.”

Hawai’i is one of the most beautiful places on earth and the Kanaka (Native Hawai’ians) feel a strong connection to their homeland. However, over the years life on the islands has become too expensive for the Kanaka to live and thrive. Many move to the mainland to raise their families including director Cris Romento’s family who moved to Vancouver, Washington over thirty years ago. In Romento’s short documentary Dear Aloha, she interviews members of the Hawai’ian diaspora, in particular her father Eric who still mourns losing his homeland. He still feels the pride of his homeland as many in the diaspora do.

The film explores this displacement of Hawai’ians and the ongoing fight for the Kanaka to stay. A tender and bittersweet film with a lot of heart and a bit of hope for the future. I would love to see this expanded into a full-length feature. There are many films about immigration but not enough about diasporas. And the plight of the Hawai’ian diaspora is one that definitely needs to be spotlighted.

Description: “Two Native Hawai’ians living in the Pacific Northwest reflect on how Aloha sustains them amidst distance, loss, and longing.” (source)

Dear Aloha is part of 2025 SIFF’s cINeDIGENOUS festival program.

JustWatch.com