By Amanda Gilmore

Canadian talent is on display at SXSW ’22 with Romantic Drama Stay The Night.

Reserved and very single Grace (Andrea Bang from Kim’s Convenience) spends her days focused on her career and rarely goes out. But when she misses out on a job opportunity at her workplace she decides to take-up her friend and roommate, Joni (Humberly González) on her offer for a night out. When Joni ditches her for a guy, Grace meets Carter Stone (Joe Scarpellino), who unbeknownst to her, is a professional hockey player on the outs. After their attempt at a one-night stand goes awry, they end up spending the evening walking and talking through the streets of Toronto.

Writer-Director Renuka Jeyapalan has created a sweet Romantic Drama that puts Toronto in the spotlight. Although Stay The Night repeats the concept of other one-night romances before it, it stands-out because of its setting. We rarely get to see Toronto shown the way it is here. We see the streets, the transit, the hotels and the food that make the city special. Additionally, it is so unique because because of the Film’s characters.

Grace is on a quest for something that she’s never experienced before. Bang is outstanding in this dramatic role as the reserved and determined Grace. She plays her with restrain while allowing her natural charisma to come through. Therefore, the audience understands and cheers Grace on.

On the other hand, Carter has experienced the very thing Grace is seeking. However, he’s in need of the one thing Grace can help him with: making a career choice. This is where the romance comes in. Each helps the other, at least for the night. Scarpellino is great as the contemplative Carter. This Romance works due to the chemistry between Bang and Scarpellino.

Stay The Night screens at SXSW ’22 as follows:

In-Person:
Saturday, March 12 at 9:45 PM EST – Alamo Lamar A

Monday, March 14 at 12:45 PM EST – Alamo Lamar A

Wednesday, March 16 at 7:30 PM EST – Violet Crown Cinema 1

Wednesday, March 16 at 8:00 PM EST – Violet Crown Cinema 3

Online:
Sunday, March 13 at 10:00 AM EST – Available for 48 hours

By Mr. Will Wong

It is hard to imagine a time where there was any doubt that 9 to 5 would’ve connected with audiences. The 1980 Colin Higgins Comedy starring Jane Fonda, Lily Tomlin and Dolly Parton would go on to gross $103 million at the Box Office (second only to Star Wars that year), a TV Series, over 1,500 stage productions worldwide, a theme song which won Grammys and of course, sparking the conversation about equity in the workplace for women.

Co-Directors Camille Hardman and Gary Lane explore the lasting legacy behind the Film as we learn how its three leads were actually cast before the Script had even been written, to Tomlin leaving the project multiple times and the risks of releasing the Film around Christmas against other heavyweights. The gamble paid off as the Film struck a chord with audiences, breaking ground and empowering women around the world to have agency in their workplaces.

The Documentary on one level gives us insight into the development of the Film, using archived and current interviews with Co-Writer Patricia Resnick, Higgins, Fonda, Tomlin, Parton and of course Dabney Coleman, who played the Film’s misogynistic boss Frank Hart. A perfect storm of elements came together to win audiences over, with a tone that made an impactful statement while audiences at the same time had fun watching it.

On another level, we see the Film’s role in the fight for Women’s Equality. We see various steps forward and backward in the cause, tracing back to the Equal Rights Amendment with efforts made to ratify it in the early ’70s well before the Film existed, to 2020 as the Pandemic hit and Virginia signing-on as the final state needed to ratify the amendment. We learn about the 9to5 movement which inspired the Film, after a group of secretaries came together to draw focus on Pay Equity and family flexibility in the ’70s.

In a post-#MeToo world, re-visiting the themes and message behind 9 to 5 couldn’t have happened in a timely manner. Ironically, did you know Harvey Weinstein hadinvested in and produced the Broadway production of 9 to 5? Tons of interesting tidbits and interviews with those who are a part of the fight for equality and the Franchise’s legacy, including the likes of Allison Janney, Rita Moreno, Megan Hilty and more.

STILL WORKING 9 TO 5 is a comprehensive look at the lasting impact that this unsuspecting film would go on to have on the world. Having seen it when I was very young, I viewed it as entertainment. I now see it through a new lens. You’ll also want to sit through the credits for a new rendition of the titular hit featuring Kelly Clarkson!

STILL WORKING 9 TO 5 screens at SXSW ’22 as follows:

Sunday, March 13^th, Screening @ 3:45pm CT, SXSW Film Theater

Monday, March 14^th, On-line Screening @ 9:00am CT

Monday, March 14^th, Satellite Screening @ 6:00pm CT, AFS Cinema

Friday, March 18^th Screening @ 4:45pm CT, Stateside Theatre

By Amanda Gilmore

This thought-provoking Documentary examines the struggles the LGBTQ+ community and their families face in relation to their Christian faith. It follows two conservative Christian mothers, Sara Cunningham and Kimberly Shappley, and how their love for their LGBTQ+ children has made them advocates for the Queer community. This leads them to join an online community of like-minded Christian mothers called “Mama Bears”.

Director Daresha Kyi has found subjects who are open about their prior faults. Both mothers grappled with accepting their children at first. They were tied to their faith rather than unconditionally loving their children. Once they accepted their children their impactful advocacy began. Cunningham works within the community showing up to events with a “Free Mom Hugs” sticker, which has now become a national movement. And Shappley battles the Texas anti-trans bathroom bill that would prevent her child from using the girls’ bathroom in their hometown.

What Kyi beautifully captures through these two Mama Bears is the profound impact one can have when one chooses love instead of hate. Kyi ties her message together through her third subject, Tammi Terrell Morris. Tammi is a young lesbian who has struggled with self-acceptance. Through her story, the audience has someone who exemplifies why the Mama Bears are so important.

Mama Bears is a touching Documentary that explores the complex intersections of politics, religion and unconditional love.

Mama Bears screens at SXSW:

In-Person:
Sunday, March 13 at 3:00 PM EST – Alamo Lamar E
Monday, March 14 at 4:00 PM EST – Violet Crown Cinema 2

Monday, March 14 at 4:30 PM EST – Violet Crown Cinema 4

Online:
Monday, March 14 at 10:00 AM EST – Available for 48 hours

Willow Smith and Hockey? Who would’ve thought? Punk-Pop princess Willow Smith, daughter of Film and Music royalty Will and Jada Pinkett Smith, was just in-town (or west of it!) to appear at the pre-game concert for the NHL HERITAGE CLASSIC. The match took place at Hamilton’s Tim Hortons Field between the Toronto Maple Leafs and Buffalo Sabres today. Legend Wayne Gretzky was there as an analyst for TNT Network. The pre-show concert saw Smith perform outdoors amidst the snowfall, streamed live on TikTok!

Smith is coming off a big year winning Entertainer of the Year at the EBONY Power 100 Awards for her work with her mother on their Facebook Talk Show RED TABLE TALK, also garnering her two Emmy nominations. She also scored her first Billboard Hot 100 Top 40 hit last year with “Meet Me at Our Spot”, with Tyler Cole.

She flew-into Toronto with her boyfriend De’Wayne, signing a couple autographs, and glancing over for a quick snap. Apologies for the blurriness, she was on-the-go!

See some Snaps:

If you’re unfamiliar with De’Wayne, he’s a talented Rapper in his own right.

(Photo/video credit: Mr. Will Wong/Universal Music/Willow Smith)

By Amanda Gilmore

Blumhouse Thriller Soft & Quiet might go down as one of the most uncomfortable to watch films of SXSW ’22.

The Film follows Emily (Stefanie Estes), a White Supremacist elementary school teacher, who organizes a club mixer of like-minded women. When they decide to move the meeting to Emily‘s house, they stop at the local store to pick up refreshments. When two minority sisters enter, the white supremacist club targets them. This interaction sends the club into a volatile chain of events.

In her first Feature debut, Writer-Director Beth de Araújo sets herself a daring challenge: making her group of antagonists the leads. From the beginning, these spiteful women spew revolting hate speech. de Araújo’s never shies from these vile remarks. Her long, unwavering takes make for a gruelling watch.

For some, this might be an insufferable viewing experience. However, those who brave the hateful rhetoric will be left viewing a terrifying film. From start to finish, audiences will have their skin crawl with the despicable things these women say and do. Yet, that’s the purpose. After all, people in real life believe and do these things. That’s the true Horror of Soft & Quiet.

de Araújo shows what these hateful thoughts can lead to. She wants us uncomfortable, angry and horrified. Throughout, the audience will think one thing: when are these women going to suffer horribly. Because that’s what they deserve. de Araújo’s idea to film this in real-time gives suspense and believability. This authenticity is solidified by her terrifyingly committed Cast.

Estes gives a chilling performance as the leader. She plays Emily with the calm exterior that holds her detestable beliefs. Olivia Luccardi is frightening as the unhinged Leslie, who takes control of the spiralling events. The rest of the talented Cast captivates us to continue watching even when we want to stop.

Thankfully, this group of White Supremacists get no redemption. However, after the challenging watch, some of the audience may not feel redeemed either.

Soft & Quiet screens at SXSW ’22 as follows:

In-Person:
Saturday, March 12 at 5:15 PM EST – Alamo Lamar D

Sunday, March 13 at 7:45 PM EST – Violet Crown Cinema 2

Sunday, March 13 at 8:15 PM EST – Violet Crown Cinema 4

Thursday, March 17 at 1:15 PM EST – Alamo Lamar D

Online:
Sunday, March 13 at 10:00 AM EST – Available for 48 hours

By Mr. Will Wong

Director Michael Morris (Better Call Saul, 13 Reasons Why) is known primarily for his work in Television, but makes his feature debut at SXSW with TO LESLIE. The Texas-set Drama centers on Leslie (Andrea Riseborough), a single mother who has made some poor life choices and after winning the lottery some years ago, blowing it all away. She lost custody of her son and has bottomed-out, going from stranger to stranger, turning to alcohol as her sources of comfort. She’s burned bridges around town and they aren’t afraid to remind her.

She meets Sweeney (Marc Maron), who owns a local motel. He gives her a chance to start again, hiring her on as a cleaner. Leslie however struggles, returning to her old self-destructive ways. This seems to be her last chance at getting her life in order and a shot at redemption with her son, a cross she’s beared for many years.

While TO LESLIE takes some time to unfold, Morris gives scenes the space to breathe and his audience to ponder. And your patience is rewarded if you wait to the end. Riseborough‘s superb work cannot be denied. She delivers a performance that makes one feel the weight of the world she carries on her shoulders. She’s numb to her critics, including Nancy (Allison Janney) who once loved her but now loathes her, and is really just trying to get through the day and not get fired. While her relationship with Sweeney doesn’t erase her problems, it awakens that little bit of vigor she needs to move forward again and for things to fall into place. The Film possesses great heart and soul because of the care and compassion Riseborough puts into Leslie and the struggles she’s facing. Sidenote: she produces the Film alongside Maron.

TO LESLIE screens at SXSW ’22 as follows:

To Leslie at Stateside Theatre

Mar 12, 20228:30pm—10:29pm

To Leslie at Online Screening

Mar 13, 9:00am CDT – Mar 15, 9:00am CDT9:00am—10:59am

To Leslie at Alamo Lamar E

Mar 15, 202212:45pm—2:44pm

To Leslie at Alamo Lamar A

Mar 18, 20229:45pm—11:44pm

By Amanda Gilmore

Nothing is working out for Scientist Cameron Edwin (Jim Gaffigan). His wife has filed for divorce and he’s just been fired from his own television program. When a satellite falls from orbit and crashes into his dysfunctional family home, Cameron seizes the opportunity to fulfil his dream of becoming an astronaut by re-building it into a rocket ship. His wife and daughter believe he’s experiencing a Midlife Crisis, however, when surreal events begin happening around him, a mystery unfolds.

This unique Dramedy relates to the dreamer and romantic within us. Writer-Director Colin West creates a strange world for his characters to exist. However, this odd world is essential to the storyline. It toys with the audience’s concept of time and questions the relationships between characters. Through this one family, West has created a touching story about the relationship between love and memory.

These themes are perfectly captured through the talented Cast. While known for his Comedy, Gaffigan is refreshing in this rare dramatic role that he excels in. He makes an impact as a man stuck and yearning to rebuild his life and dreams. In some scenes, Cameron is shown doing educational science videos similar to those found in schools. Here, Gaffigan allows some of his comedic talents to shine through and gives off Bill Nye vibes.

Gaffigan’s chemistry with Rhea Seehorn, who plays his wife Erin, is strong. Resulting in moving, scenes shared between the two. Erin has a wide character-arch allowing Seehorn to show her range. Rounding off the Cast is Katelyn Nacon, who plays the couple’s daughter Nora, and Gabriel Rush, who plays her schoolmate Marc. The sweet relationship that blossoms between the two are a highlight.

The mystery infused in this peculiar world keeps the audience invested, even if it could benefit from a tighter runtime. However, even with Linoleum dragging in parts, it makes up for it with a heartfelt reveal that makes an emotional impact.

Linoleum screens at SXSW ’22 as follows:

In-Person:
Saturday, March 12 at 8:15 PM EST – Alamo Lamar D

Sunday, March 13 at 1:45 PM EST – Violet Crown Cinema 2

Sunday, March 13 at 2:15 PM EST – Violet Crown Cinema 4

Thursday, March 17 at 7:30 PM EST – ZACH Theatre

Online:
Sunday, March 13 at 10:00 AM EST – Available for 48 hours

By Mr. Will Wong

Based on true events, Hulu Series THE GIRL FROM PLAINVILLE dramatizes the events leading to Michelle Carter’s conviction for involuntary manslaughter of boyfriend Conrad Roy. The Screenplay by Liz Hannah and Patrick Macmanus is inspired by the Esquire article of the same name by Jesse Barron. The then-18-year-old had been struggling with his mental health and commit suicide in 2014 after it was learned that Carter had encouraged him to do so.

In the lead role is the talented Elle Fanning as Carter and the eight-episode Series introduces us to her reacting to news of Roy‘s (Colton Ryan) death. She overreacts, as if to mask her guilt, and is eager to make it known that she is grieving whether it be to her own parents, or Roy‘s mother Lynn (Chloë Sevigny), whom had never met nor heard of Carter through her son. The two maintained a relationship via their phones, only having met in-person a few times. We get a glimpse of Roy, who is seeking professional help and move our way backwards as we understand Carter and Roy‘s connection and how it leads to ill-fated consequences.

Over-compensating and hyper-concerned about her perception, Fanning taps into Carter‘s desire for sympathy and need for others to know how much she loved Roy. One chilling scene in the first episode has her reciting verbatim a scene from “Glee” where Lea Michele‘s Rachel is paying tribute to Finn (Cory Monteith), deeply-haunting. The Series sets this all up perfectly for us to want to unravel the-troubling relationship between Carter and Roy and its consequences. In addition to some fine work from Fanning, Sevigny also disappears completely into Roy’s mother as she navigates her grief and her life intersecting with the young woman responsible for her son’s death.

The Series will be available in Canada on W Network and also STACKTV on Thursday, April 21, 2022 at 9 PM ET/PT. It screens at SXSW ’22 as follows:

The Girl From Plainville at SXSW Film Theater

Mar 12, 202212:00pm—12:48pm

The Girl From Plainville at Online Screening

Mar 13, 9:00am CDT – Mar 15, 9:00am CDT 9:00am—9:48am

By David Baldwin

Jaakko (Petri Poikolainen) is blind and suffers from Multiple Sclerosis. He was not always this way, but now spends his days in pain and confined to a wheelchair. He chats daily with his girlfriend Sirpa (Marjana Maijaala), who he has only ever spoken to online and by phone. When she receives some bad news, Jaakko decides he must go to see here – even if the solo trip takes three hours and will involve multiple forms of transportation and relying on the kindness of strangers.

For 82 paralyzing minutes, Writer/Director Teemu Nikki takes us on a harrowing journey that is just as uncomfortably intense as it is charmingly humourous. The entire Film is told in close-ups, mainly of Poikolainen’s face, with every background object obscured or completely out of focus. Save for a few moments, we are with him the entire time and basically everyone around him ends up being a disembodied voice or a total blur, giving us keen insight into the limitations of Jaakko’s field of vision. It gets rather taxing in some moments, and completely heartbreaking in others. It makes for a tough watch for casual viewers, whereas the more invested viewers will hold onto Jaako’s every word and movement, hoping against the odds that he will make it to Sirpa. We know it will not be easy, and Nikki is acutely aware of what the audience’s expectations are. And while I will not spoil the obstacles he faces, I had to look away more than once out of sheer terror and distress.

All of these feelings would be meaningless without a compelling lead, and thankfully Poikolainen is more than up to the task. Much like Jaako, he is disabled, confined to a wheelchair and suffering from MS, which makes his performance especially more authentic and the situations he finds himself in infinitely more unsettling. It makes for a challenging and demanding dynamic, yet Poikolainen is always up to the task making for a performance that demands your attention just as it sears its way into your brain. Coupled with Nikki’s direction, it makes for an unforgettable experience unlike any other.

THE BLIND MAN WHO DID NOT WANT TO SEE TITANIC screens at SXSW ’22 as follows:

In-Person:

Saturday, March 12 at 6:00PM EST – Alamo Lamar C

Tuesday, March 15 at 7:15PM EST – Violet Crown Cinema 2

Tuesday, March 15 at 7:45PM EST – Violet Crown Cinema 4

Friday, March 18 at 12:30PM EST – Alamo Lamar C

Online:

Sunday, March 13 @ 10:00AM EST – Available for 48 Hours

By Amanda Gilmore

Director Sara Dosa brings us the mesmerizing Documentary Fire of Love at SXSW ’22. It follows real-life couple Katia and Maurice Kraff who were intrepid French Scientists, who spent their lives trying to understand the mystery of volcanoes. Through their work, they captured some of the most spectacular footage of volcanoes ever recorded.

Audiences may flock to Fire of Love for the volcanoes, but they will be swept away by the unexpected love story between Katia and Maurice. Through the use of archived footage, Dosa gifts us with a love story for the ages set against the most stunning recordings of volcanoes. This is what makes the Documentary one to seek out. It’s entirely unique in its storytelling, allowing us to be taken on a journey of love and nature.

Due to the immense knowledge and love the scientists had for volcanoes, we are given a rounded education of them. This information is delivered by footage of the couple and soft-spoken narration from Miranda July. Her narration allows for the information to be understood while never distracting from the mesmerizing archival footage displayed.

Katia and Maurice passed away doing the thing they loved. Fire of Love pays homage to these fearless scientists and their impactful work.

Fire of Love screens at SXSW ’22 as follows:

In-Person:
Friday, March 11 at 7:15 PM EST – Violet Crown Cinema 2

Friday, March 11 at 7:45 PM EST – Violet Crown Cinema 4

Sunday, March 13 at 6:15 PM EST – Satellite Venue: AFS Cinema

Thursday, March 15 at 1:00 PM EST – Paramount Theatre

Online:
Saturday, March 12 at 10:00 AM EST – Available for 48 hours