#SXSW: “BITCH ASS”

By David Baldwin

When the title of your movie is BITCH ASS, it is safe to assume you will attract some attention. Add a splash of ’90s-inspired horror and the gritty, independent flavour of the ’70s Blaxploitation era, and you have all of the hallmarks of a future cult classic in the making.

The Film opens on legendary Horror icon Tony Todd (in deliciously over-the-top Cryptkeeper mode) popping in a VHS tape and introducing us to the titular character (played by Tunde Laleye). He is hideously-scarred, obsessed with board games and lives in his late grandmother’s house, rumoured to be filled with cash and all kinds of valuable items. When a group of teenagers break into the house as a form of gang initiation, the so-called “first Black serial killer to don a mask” springs into action and forces his prey to play a game…to the death!

Is it possible to like a concept and idea more than the execution? That is the question I found myself asking constantly during BITCH ASS. Writer/Director Bill Posley has constructed a very, very fun idea with the demented serial killer forcing his victims into high stake manifestations of classic board games you will immediately recognize. It may be easy to think of the Saw films after reading that, yet Posley’s elaborate games are not nearly as sadistic or mean-spirited (though he may have borrowed some of those films’ editing cues). Where he falters – beyond the budget-conscious, lo-fi look of the Picture – is in his storyline, which seems to never know when to end or where to stop giving out exposition. It is clear from the start who the players are and their relationships/connections to the other characters. You did not need multiple flashbacks to spell it out further. Worse, Posley’s game scenes are so slickly-produced that practically everything else around them suffer (including some horrific lighting effects that should not have been added in post).

While the acting is well-done all around and the gore and makeup effects are solid, I feel like BITCH ASS could have been tightened up. More to the point, it works better as a feature-length proof of concept versus anything else. The ideas and characters are all here, as is the humour and the blood. Posley just needs a healthier budget to bring it altogether.

BITCH ASS screens at SXSW‘ 22 as follows:

In-Person:
Monday, March 14 at 11:00PM EST – Alamo Lamar D
Wednesday, March 16 at 11:15PM EST – Alamo Lamar D
Saturday, March 19 at 4:15PM – Alamo Lamar B

Online:
Tuesday, March 15 at 10:00AM EST – Available for 48 Hours

#SXSW: “THE PRANK”

By David Baldwin

It’s Mid-Term time and Ben Palmer (Connor Kalopsis) is desperate to get his grades. He needs to submit them to his choice colleges, and science teacher Mrs. Wheeler (Oscar-winner Rita Moreno) is holding him up. Seems like someone cheated in her class, and Wheeler is adamant to discover who – at the expense of giving every student an F as she waits. Freaking out, Ben confides in his slacker and coding genius friend Mei (Ramona Young from Never Have I Ever), but strongly discourages her from doing anything about it. Mei does not listen of course, and ends up constructing an elaborate online prank suggesting that Mrs. Wheeler is a serial killer. And it just went viral.

THE PRANK is an outrageously-silly film that would fit in well with the crop of ’90s Horror films that popped up in the wake of Scream. It does not take itself seriously, it dials-up the tension well past plausibility and it has a satirical edge that it consistently tries to inject into the proceedings. It has an amusing tongue-in-cheek style as it lampoons social media and those gullibly-pesky Boomers. If any of those words make no sense to you, than you are not well equipped for what THE PRANK is all too excited to throw at you. Or at least, what it is willing to throw at you during the first two acts. When the Third Act hits, it becomes genuinely chaotic, unruly, and completely unsure of itself. It comes to its logical conclusion, only to continue on a through line ripped from an entirely different movie that trades humour for becoming substantially more preposterous.

While the acting is hit and miss (minus a very campy Keith David, who seems to be acting on an entirely different plane of existence away from everyone else), what remains rock solid throughout is Moreno. From the very start, she is having an absolute blast diving into this mysterious, diabolical character. She chomps right through the scenery and feasts on anyone that gets in her way. She understands the assignment all too well, and relishes in playing such an awful individual. The sinister energy she brings to the picture is reason enough to watch THE PRANK. She just deserved a better outlet to showcase it in.

THE PRANK screens at SXSW ‘22 as follows:

In-Person:
Sunday, March 13 at 12:45PM EST – ZACH Theatre
Tuesday, March 15 at 9:30PM EST – Alamo Lamar B
Thursday, March 17 at 3:45PM EST – Alamo Lamar E

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

#SXSW: “MORE THAN ROBOTS”

By Amanda Gilmore

More Than Robots is about adversity, sportsmanship, giving back, and ultimately finding who you are.

This inspiring Documentary from Actor-turned-Director Gillian Jacobs follows four teams of teenagers from around the world as they prepare for the 2020 FIRST® Robotics Competition. Jacobs narrows-in on the teams from Los Angeles, Mexico City and Chiba, Japan as they work on their unique designs with the goal of competing in the global championships.

Jacobs gets us access to this highly-competitive world of Robotics right before the pandemic hit. Therefore, showing them as they are meant to be: big sporting events. With the fans in the stands and mascots pumping them up, the atmosphere is infectious. Jacobs makes us want to be there right along with it, which makes the final minutes of the Doc all the more upsetting. The teams who made it to the Championship never got to go due to the pandemic.

Jacobs manages to use the pandemic to show us the resilience of these engineers. During this disconnected time, the teammates realize they’re stronger together. Instead of being upset about the cancelled competitions, they mobilize to make changes in their communities. That’s the heart of More Than Robots, the effect this club has on its members. They learn perseverance, patience and collaboration. In doing so, these members learn who they are and what they want to do in the world.

Jacobs’ brilliant turn as a Director with the inspiring More Than Robots will have you rushing to get to the next Robotics Competition in your area.

More Than Robots will release on Disney+ on Friday, March 18, 2022.

More Than Robots screens at SXSW ’22 as follows:

In-Person:
Monday, March 14 at 7:30 PM EST – SXSW Film Theatre

Tuesday, March 15 at 7:00 PM EST – Satellite Venue: AFS Cinema

Wednesday, March 16 at 8:15 PM EST – Alamo Lamar D

Online:
Tuesday, March 15 at 10:00 AM EST – Available for 48 hours

#SXSW: “I LOVE MY DAD” AND “MASTER OF LIGHT” AMONG BIG WINNERS AT SXSW 2022

Winners of the 2022 SXSW Jury and Special Awards have been unveiled. Winning top prize in the Narrative category is James Morosini‘s self-written, directed and starring I LOVE MY DAD. The autobiographical Comedy also starring Patton Owalt as his catfishing father won raves, touching fans with its heart at the Festival. Documentary MASTER OF LIGHT from Director Rosa Ruth Boesten won the Documentary Feature Competition. The Film centers on Painter George Anthony Morton, who cut his teeth in prison, studying the greats.

Additional winners are as follows:

Feature Film Grand Jury Awards

NARRATIVE FEATURE COMPETITION Presented by Panavision
Winner: I Love My Dad
Director/Screenwriter: James Morosini, Producers: Bill Stertz, Patton Oswalt, Sean O’Grady, Dane Eckerle, Phil Keefe, Daniel Brandt, Sam Slater

“A bold, funny film that marks an impressive feature debut for writer-director-star James Morosini, I Love My Dad finely threads the needle with its tale of an estranged father (Patton Oswalt) who catfishes his son (Morosini) in an attempt to reconnect. Working from a screenplay based on his own real-life story, Morosini displays massive empathy as a filmmaker to get into the mind of the father he feels betrayed by, and also as an actor portraying the impact of that betrayal. He’s aided by a great cast, particularly Oswalt.”

Special Jury Recognition for Extraordinary Cinematic Vision: Cast and Crew, It Is in Us All

“Every creative element of It Is in Us All, from its editing and music to its performances and cinematography, works in tandem to craft a haunting atmosphere. Writer-director-actor Antonia Campbell-Hughes’ extraordinary feature debut is a remarkable example of how the various artistic facets of a movie can converge to create something cinematic, in the purest and most soulful sense: a work that accesses some part of you that feels hidden away.”

Special Jury Recognition for Breakthrough Performance: Elizaveta Yankovskaya, Nika

“In her first lead role in a feature, Elizaveta Yankovskaya delivers a knockout portrait brimming with rage, joy, despair, uncertainty and 20-something yearning. She plays Nika Turbina, a real-life figure who, after fame was thrust upon her as a child poet, finds herself past her prime before she’s 30. Whatever narrative conjectures the intimate drama might make, there isn’t a moment in Yankovskaya’s breathtaking performance that doesn’t ring true with messy emotional complexity, or that doesn’t feel like unpredictable life itself unfolding before our eyes.”

A big thanks to our Narrative Feature Competition presenting sponsor Panavision, the global provider of optics, cameras, and end-to-end services that power the creative vision of filmmakers.

DOCUMENTARY FEATURE COMPETITION Presented by IMAX
Winner: Master of Light
Director: Rosa Ruth Boesten, Producers: Roger Ross Williams, Anousha Nzume, Ilja Roomans

“In both substance and form, Master of Light is a gift. The earnest and gifted painter George Anthony Morton embeds viewers in his world as he struggles to render his mother — both on the canvas and in his psyche. Boesten disabuses us of static tropes about America’s merciless drug war and about contemporary art. With astonishing intimacy, the film’s visuals build an artful bridge between two- and three-dimensional realms that are deeply rooted and utterly transcendent. Put this painting of a film in a museum, next to a Rembrandt and a Morton.”

Special Jury Recognition for Exceptional Intimacy in Storytelling: Bad AxeDirector: David Siev, Producers: Jude Harris, Diane Quon, Katarina Vasquez, David Siev

“Stories centered on the pursuit of the “American Dream” abound. Rarely do they portray the sacrifices and recurrent trials that the promise of a better life entails the way director David Siev accomplishes with Bad Axe. Examining those closest to him with profound compassion and incisive curiosity, he paints a distinct and easily recognizable portrait of the alienation many feel in the place they call home, by birth or by circumstance. For its ability to reveal something unexpected about the American fabric and the American family, Bad Axe deserves celebration.”

Special Jury Recognition for Acting in a Documentary: Steve Glew, Pez Outlaw
“Steve Glew is the kind of colorful character that most documentarians dream of capturing, a born storyteller with a crackerjack sense of scene-setting and comic timing. In the tradition of Muhammad Ali in The Greatest and Evel Knievel in Viva Kneivel!, The Pez Outlaw’s reenactment sequences cast the only actor who could credibly bring Mr. Glew’s exploits to life: the man himself. There’s something uniquely American about Glew’s mixture of chutzpah, ingenuity, charisma, and grievance that makes him a mesmerizing onscreen presence.”

Since 1970 IMAX Documentaries have immersed audiences in real-life stories told on a grand scale. In 2022 that tradition continues as a new generation of filmmakers turns its lens to a theatrical experience like no other. Today, IMAX is honored to present this year’s documentary award to recognize the future — gifted storytellers who are bringing their stories to audiences in powerful and wondrous ways.

SHORT FILM GRAND JURY AWARDS Presented by IMDbPro
NARRATIVE SHORT COMPETITION
Winner: All the Crows in the World
Director/Screenwriter: Tang Yi, Producer: Haozheng Li

“The jury recognizes All The Crows in the World as the Jury Award Winner, a film that reminded us of the power of short-form cinema as a stand-alone art form on its own. The film’s balancing of surrealism, bizarreness, tenderness, and reality was only outdone by its inventive narrative and critiques of patriarchal culture, paired with execution by a director who is clearly in command of her craft.” 

Special Jury Recognition for Directing and Community Filmmaking: Glitter Ain’t Gold
Director/Screenwriter: Christian Nolan Jones, Producers: Maia Miller, T. Popps, O. Valerie Nicolas

“The jury awards Glitter Ain’t Gold a Special Jury Recognition for Directing and Community Filmmaking, which stood out for its vibrant narrative and authentically palpable energy filled with compelling visuals and inventive editing harmoniously coupled with powerfully nostalgic music. It was clear that its level of specificity was a direct result of a community that came together to make a profound piece of art that touched us deeply.”

Special Jury Recognition for Outstanding Performances: Aphrodite Armstrong, ​​Kyle Riggs, West by God

“The jury awards a Special Jury Recognition for Outstanding Performances to Aphrodite Armstrong and ​​Kyle Riggs for West by God. Their dynamic and visceral performances beautifully emulate the powerful themes within the film about the human condition and the need for love, no matter what your walk of life.”

DOCUMENTARY SHORT COMPETITION 
Winner: Long Line of Ladies
Directors: Rayka Zehtabchi, Shaandiin Tome, Producers: Garrett Schiff, Pimm Tripp-Allen, Rayka Zehtabchi, Sam Davis, Dana Kurth

“Long Line of Ladies presents an affecting perspective on celebrated generational cultural traditions. The tapestry of beautiful cinematography and vivid character moments elevates the filmmakers’ vision, inviting us into a devoted community that is committed to preserving their heritage.”

Special Jury Recognition for Visual Reflection: not even for a moment do things stand still
Director: Jamie Meltzer, Producers: Annie Marr, Jamie Meltzer, Suzanne Brennan Firstenberg

“In a simple, yet profoundly moving way, not even for a moment do things stand still allows us to sincerely reflect on the lives we have lost over the past two years. The poetic visual language gives us a new perspective on a sadly familiar topic of love, life and loss.”
  
MIDNIGHT SHORTS 
Winner: Moshari
Director/Screenwriter: Nuhash Humayun, Producers: Bushra Afreen, Nuhash Humayun

“Moshari is a terrifying, spine-chilling horror tale centering two sisters that renders a fresh take on blood sucking creatures set in an non-traditional post-apocalyptic world. The compelling performances, the haunting visuals and the layered storytelling highlight the director’s command of the genre and make him someone to watch. Nuhash Humayun has the ability to take recognizable elements, flip them on their head and turn them into nightmares. Moshari has created an allegorical story that will resonate with the viewer on a deeper level.”

Special Jury Recognition for Powerful “Short Trip”: Omi
Director: Kelly Fyffe-Marshall, Screenwriters: Tamar Bird, Kelly Fyffe-Marshall, Producer: Tamar Bird

“Unexpected, effective and engaging film that in under three minutes manages to set up the lore, get us invested in the characters, while leaving us fulfilled and still craving more. Kelly Fyffe-Marshall has created a grounded supernatural story that is provocative, mysterious and unforgettable.”

ANIMATED SHORTS
Winner: Bestia
Director: Hugo Covarrubias, Screenwriters: Martín Erazo, Hugo Covarrubias, Producers: Tevo Díaz, Hugo Covarrubias

“Bestia is an exquisite, intimate peek at the dreams and memories of a sadistic secret agent, set in a tactile stop-motion non-wonderland, where a porcelain exterior isn’t enough to keep the damage away.”

Special Jury Recognition for Unexpected Emotion: Les Larmes de la Seine
Directors/Screenwriters: Yanis Belaid, Eliott Benard, Producer: Carlos De Carvalho

“The magic trick of this film is that it describes great tragedy almost entirely with joy. History comes alive as we are immersed in raw beautiful humanity that jokes, laughs, feels nervous, fights, and dies. By illustrating extreme distress with astonishing euphoria, the directors create a fever dream “photo negative” glimpse of what we’ve missed by living with hatred and abuse rather than love and understanding. Like a sad melody played in major key, the film is both haunting and uplifting while stirring emotions like no film we’ve ever seen.” 

Special Jury Recognition for Visceral Storytelling: Something in the Garden
Director/Screenwriter/Producer: Marcos Sánchez

“It is so important to keep your brain open to play, and we commend this film’s playful spirit combined with its beautiful animation, reminiscent of a graphic novel. It felt at the perfect cross section of horror and ASMR, using impeccable pacing and sound design to take us on a visceral journey that thrilled, scared and delighted us. A brilliant use of the animated short form medium!”

MUSIC VIDEOS 
Winner: Desirée Dawson – ‘Meet Me at the Light’
Director/Screenwriter: Alexander Farah

“Without a single detail wasted, we were all moved to tears by this powerful story from a first-time music video director. Featuring equally beautiful performances, editing, and cinematography, we present the Best Music Video award to Desirée Dawson – Meet Me at the Light by Alexander Farah.”

Special Jury Recognition for Going the Extra Mile: Myd – ‘Let You Speak’
Director/Screenwriter: Dan Carr

“Funny, unexpected, and with a meta wink to the industry, our special jury mention went above and beyond our expectations, taking us around the world to various locations with a group of ragtag misfits that made us LOL along the way. Hence, the ‘Extra Mile’ award. The Special Jury Award for Going The Extra Mile Goes to Myd “Let You Speak” by Dan Carr.”

TEXAS SHORTS 
Winner: Folk Frontera
Directors: Alejandra Vasquez, Sam Osborn

“Centered around characters who call the desert borderlands of Texas their home, Folk Frontera turns the traditional documentary form on its head. Filmmakers Alejandra Vasquez and Sam Osborn imbue the documentary with the same magic and surrealism that feels authentic to the Chihuahuan Desert and its communities. Dreamlike visuals and nuanced presentation of the subjects’ stories make for a special experience.”

Special Jury Recognition for Vision: Birds 
Director/Screenwriter: Katherine Propper, Producer: Sophia Loffreda

“Katherine Propper’s Birds feels both fresh and warmly familiar to anyone who’s grown up during a Central Texas summer. Members of the film’s exceptional young ensemble shine in natural performances that help us see gorgeously shot scenery in a new light.”

TEXAS HIGH SCHOOL SHORTS 
Winner: Honeybee
Director/Screenwriter/Producer: Emilio Vazquez Reyes
“Honeybee is a beautifully-written, thoughtfully-crafted film that unfolds with a gentle and disciplined reveal, helping to humanize the experience of an undocumented immigrant. We felt this film was a graceful way to tell a difficult story, using all of the important elements like cinematography, music and editing to both advance the story and sincerely engage with the audience.”

Special Jury Recognition for Artistic Expression: It’s Getting Bad Again
Director/Screenwriter: Sarah Reyes, Producers: Sarah Reyes, Kenneth Rogers
“As an artist, Sarah Reyes captures a roller-coaster of an emotional exploration that balances darkness, humor and music in a poetic and refreshing way, all the while prompting an important dialogue about mental health awareness.”

A big thanks to our presenting sponsor, IMDbPro. Celebrating its 20^th anniversary, IMDbPro is the essential resource for entertainment industry professionals. This membership-based service empowers entertainment professionals with information and tools designed to help them achieve success throughout their career. IMDbPro has an ongoing commitment to supporting and collaborating with organizations that create greater diversity, equity and inclusion in the entertainment industry and is a service of IMDb, the #1 movie website in the world. Learn more at www.imdbpro.com and follow @IMDbPro

MailChimp is another proud supporter of the Shorts program and have created their own award to help further the career of one lucky filmmaker, as well as provided financial prize support for all of the SXSW Shorts Jury Awards winners.

EPISODIC PILOT COMPETITION
Winner: Something Undone
Director: Nicole Dorsey, Screenwriters: Michael Musi, Madison Walsh, Producers: Max Topplin, Jordan Hayes

“The jury honors Something Undone for cleverly rethinking and repurposing oft-used elements of mystery/horror storytelling. The subtlety of the episode’s writing and acting are complemented by specific and stylized direction and cinematography. And above all, Something Undone sets itself apart with its smart use of diegetic sound, establishing quietly humorous commentary on the sounds of the genre at large — while also totally terrifying us in just ten minutes.”

Special Jury Recognition for Unique Vision in Writing and Directing: Pamela Ribon and Sara Gunnarsdóttir, My Year of Dicks

“For its thoughtful curation of imagery combined with a funny and inventive script, the Special Jury Recognition for Unique Vision in Writing and Directing goes to Pamela Ribon and Sara Gunnarsdóttir for My Year of Dicks. Their bold voices overlap to make for an experience of feminine youth and sexual exploration that is both relatable and entirely its own.”

SXSW Film Design Awards Presented by Adobe

POSTER DESIGN COMPETITION
Winner: More Than I Remember
Designer: Yen Tan, Maya Edelman

“This poster evokes so many feelings at once, from the captivating gaze to the lush swirl of colors that surround you — it draws you in, tempting you to look harder, to try and unlock whatever secret is hidden just beyond reach. The text and illustration are perfectly integrated to create something powerful and mysterious, catching not just your attention, but your imagination as well.”

Special Jury Recognition: The Sentence of Michael Thompson
Designer: Juan Miguel Marin

“Understated intensity and a timeless quality make this poster truly effective —  from across the room it immediately catches the eye. Type, design, and image work together to form a complete narrative, one you want to know more about. Understated intensity and a timeless quality make it truly effective.”

TITLE DESIGN COMPETITION
Winner: Foundation Title Sequence
Designer: Ronnie Koff
Company: Imaginary Forces

“A beautifully constructed sequence that encapsulates the show’s futuristic setting as humans have colonized the galaxy. Using a particle system to form these incredible images each frame is a visual triumph as we journey through this vibrant main title.”

Special Jury Recognition: The White Lotus Title Sequence
Designers: Katrina Crawford, Mark Bashore
Company: Plains of Yonder

“This title’s distinctive design perfectly sets up the audience for the show and reflects the suffering before enlightenment of its protagonists. Its stunning illustrations capture the soul of the story and are enhanced by the flawless score.”

XR EXPERIENCE COMPETITION
Winner: On the Morning You Wake (To the End of the World)
Directors: Dr. Jamaica Heolomeleikalani Osorio, Mike Brett, Steve Jamison, Pierre Zandrowicz, Arnaud Colinart, Screenwriters: Mike Brett, Steve Jamison, Jamaica Heolimeleikalani Osorio, Producers: Arnaud Colinart, Mike Brett, Steve Jamison, Jo-Jo Ellison

“On The Morning You Wake (To the End of the World) is an emotionally impactful and beautifully told story, delivered with stunning technical craftsmanship. This project explores the potential of immersive experiences, refining the grammar of spatial narrative. This particular story deals with the urgency of nuclear disarmament that has very unfortunately come into sharp focus due to current events. It effectively presents a massive geopolitical issue and grounds it in emotional and personal stories, translating what are usually abstract concepts into an embodied context.”

Special Jury Recognition for Immersive Storytelling: (Hi)story of a Painting: The Light in the Shadow
Directors: Quentin Darras, Gaëlle Mourre, Screenwriter: Gaëlle Mourre, Producers: Charlotte Mikkelborg, Gaëlle Mourre

“(Hi)story of a Painting: The Light in the Shadow receives a Special Jury Recognition for immersive storytelling. This experience uses the medium of VR to transport us into history, revealing the story of a lesser known female baroque artist, her resistance to the patriarchy and determination in the face of adversity.”

SXSW Special Awards

Fandor New Voices Award
Fandor is proud to present the first ever Fandor New Voices Award, celebrating an outstanding feature making its worldwide premiere this year at the 35th annual SXSW festival. At Fandor, we are delighted to elevate the work of inspiring, imaginative, and independent storytellers, so it is with great pleasure that we present the Fandor New Voices Award to a female or person of color who is making their directorial debut with a Narrative Feature or Documentary. Fandor is and always will be proud to uplift the work of these amazing filmmakers.

Fandor New Voices Award
Presented to: What We Leave Behind
Director: Iliana Sosa, Producers: Emma D. Miller, Iliana Sosa, Isidore Bethel (co-producer)

Adam Yauch Hörnblowér Award
In honor of a filmmaker whose work strives to be wholly its own, without regard for norms or desire to conform. The Adam Yauch Hörnblowér Award is presented to a filmmaker from our Visions screening category.

Adam Yauch Hörnblowér Award
Presented to: Chee$e
Director/Screenwriter: Damian Marcano, Producer: Alexa Marcano

Adobe Editing Award
Adobe is committed to celebrating creativity for all and empowering everyone to bring their stories to life. By creating greater opportunity for all voices, we can enact change in our communities and move the world forward. We are proud to celebrate the art and craft of editing as we grant the Adobe Editing Award at the SXSW Film Awards. We are also pleased to spotlight this year’s incredible title and poster designers through the Film Design Awards presented by Adobe.

Adobe Editing Award 
Presented to: Everything Everywhere All At Once
Editor: Paul Rogers

Louis Black “Lone Star” Award
To honor SXSW co-founder/director Louis Black, a jury prize was created in 2011 called the Louis Black “Lone Star” Award, presented to a feature film world premiering at SXSW that was shot primarily in Texas or directed by a current resident of Texas. (Opt-in Award)

Louis Black “Lone Star” Award 
Winner: What We Leave Behind
Director: Iliana Sosa, Producers: Emma D. Miller, Iliana Sosa, Isidore Bethel (co-producer)

“Iliana Sosa’s exquisite documentary What We Leave Behind is a love letter to her Mexican grandfather, whose final decline she chronicles with artful grace. It is also a moving look at a family disconnected by both border and dreams, and how their patriarch, too old now for his monthly 20-hour bus rides from Durango into Texas, worries who will hold the center once he’s gone. Eighty-nine year old Julian has the face and gravitas of an old time movie star. Sosa has made a profound, gorgeous movie worthy of her precious subject.”

ZEISS Cinematography Award
ZEISS Cine Lenses is honored to be returning this year to support the SXSW film community in the Cinematography category.  We believe that by supporting the art within the frame, ZEISS helps filmmakers realize their creative vision.

ZEISS Cinematography Award
Winner: A Vanishing Fog
Cinematographer: Gio Park

Mailchimp Support the Shorts Award
Mailchimp is committed to uplifting and supporting creators. We’re so proud to support SXSW by helping short films win big. We congratulate the honorees of the Support the Shorts Award as well as the entire SXSW-invited filmmaking community.

Mailchimp Support the Shorts Award
Presented to: The Voice Actress
Director/Screenwriter: Anna J. Takayama, Producer: Joe Skinner

“With its impeccable compositions and captivating lead performance, The Voice Actress offers a sensitive peek behind the scenes of an ever-changing industry. This patient study of imagination and aging achieves extraordinary depth thanks to Anna J. Takayama’s soulful direction, and we are delighted to support the career of such a remarkable talent.”

#SXSW: “NIKA”

By Amanda Gilmore

Nika is an outstanding film that tells the story of one woman while being able to resonate to many.

It tells the true story of the once world-famous Soviet child Poetess, Nika Turbina (Elizaveta Yankovskaya), who stopped writing and reciting her poetry at the age of 14. The Film takes place in the 1990s when Nika is 27 and full of uncertainty about her creative future. She decides she wants to become an actress. Due to age restrictions, she only has one final year to apply. However, when memories of her traumatic past surface they threaten her last shot at getting into Drama School.

Director and Co-Writer Vasilisa Kuzmina gives us a coming-of-age film for a late 20’s woman through Nika’s harrowing biographical story. It’s a story of finding what makes us happy and achieving our dreams. However, it also depicts how debilitating past-traumas, and in this case current traumas, can be.

In one scene, Nika is asked why she stopped creating and reciting her Poetry. She says it stopped making her happy. We learn this is only half true. Nika’s mother was the cause for her past-traumas. Through the skillful Direction and Editing, by Aleksey Starchenko, cuts are made to flip back-and-forth in time. We go from 14-year-old to 27-year-old Nika. Showing how past wounds have halted the creative life inside her that’s begging to break free.

Nika is portrayed with a tour-de-force performance from Yankovskaya. It comes as no surprise that she took the Special Jury Recognition Award for Breakthrough Performance at SXSW ’22. She exudes the suffocation Nika feels from her oppressive mother and the mix of fear and excitement she carries for starting a new creative life. In the final act, Yankovskaya gives a heartbreaking performance when Nika hits a breaking point where she can no longer smoother her distressing memories.

Overall, Nika is one of the best films to screen at SXSW ’22.

Nika screens at SXSW ’22 as follows:
In-Person:
Monday, March 14 at 2:15 PM EST – Alamo Lamar D

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

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

Thursday, March 17 at 10:00 PM EST – Stateside Theatre

Online:
Tuesday, March 15 at 10:00 AM EST – Available for 48 hours

#SXSW: “SLASH/BACK”

By Amanda Gilmore

This outstanding Feature-Debut from Canadian Filmmaker Nyla Innuksuk takes place in Pangnirtung, Nunavut, a sleepy hamlet of Baffin Island. Teenager Maika (Tasiana Shirley) and her group of friends spend their summer days like normal. However, when the wildlife begin acting strange Uki (Nalajoss Ellsworth) gets suspicious. She goes searching for an answer and discovers that Pang has been invaded by aliens. These girls are used to being underestimated, so they bet on themselves. Using makeshift weapons and their Horror movie knowledge, the fate of the world rests in their hands.

Slash/Back is a special Alien genre film because it focuses on the bond these friends share. These teens are at a point in their lives where they’re forming new opinions that might not align with their friends. This is happening with Maika, who has started to stray from her culture, while her friends, particularly Uki, celebrates her ancestors’ oral teachings. Innuksuk and Co-Writer Ryan Cavan use the invasion as a way to bring this group back together.

The two girls played by emerging talent Shirley and Ellsworth are cast perfectly. For such young Actors, they have the insight and ability to give depth to their characters. Shirley excels as the young Maika who uses the hunting techniques her father taught her in order to save the world. Ellsworth is a joy as Uki, believing in herself even when her closest friends don’t. Their authentic chemistry is highlighted in moments where the two butt-heads in their diverging views.

The aliens have invaded one of the most beautiful places Canada has to offer. The majestic Pang is surrounded by towering mountains and the calm, captivating Arctic Ocean. Innuksuk and Cinematographer Guy Godfree capture the natural beauty of this sleepy hamlet. The Visual Effects are left at a minimum. Using them solely for the alien ship, which is seen from afar, and the alien visuals. 

Slash/Back is fun for the whole family with effective, atmospheric music from The Halluci Nation and Michael Brook. It’s got a heartfelt story about female friendship and kids saving the world. For the most part, the alien scenes are kid-friendly, with many frightening moments sprinkled throughout.

A Lot of Nothing screens at SXSW ’22 as follows:

In-Person:
Sunday, March 13 at 1:45 PM EST – Alamo Lamar D

Monday, March 14 at 4:45 PM EST – Violet Crown Cinema 1

Monday, March 14 at 5:15 PM EST – Violet Crown Cinema 3

Thursday, March 17 at 7:15 PM EST – Stateside Theatre

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

#SXSW: “SPIN ME ROUND”

By Mr. Will Wong

Yet another whacky time at SXSW! Jeff Baena & Actress Alison Brie team-up to co-write Comedy SPIN ME ROUND, with the former also directing. The Film centers on a group of high- performers at an Italian-American restaurant chain get invited to attend an educational retreat in Florence, Italy and get way more than what they bargained for!

Amber (Brie) has worked at her restaurant as a manager for nine years and hopes secretly that this retreat will help her find love. Her last boyfriend left her in severe debt, leaving her to work this job. She’s incredibly-drawn to the face of the chain Nick Martucci (Alessandro Nivola) who will be on the retreat as well. And wouldn’t you know it, he is attracted to her too! Kat (Audrey Plaza), his assistant, tries to warn her of his ways and she finds herself confused between this looming affair and being subjected to this horribly mundane retreat.

The interesting thing about SPIN ME ROUND is that the Film begins like many other Retreat Comedies we’ve seen, with a clash of personality types, including Deb (Molly Shannon), the larger-than-life one in the group who seems to get in the way. But as things progress in the Second Act, we begin to realize that like this retreat, this Film isn’t quite what we signed-up for. Is this a Horror? By the Final Act, chaos ensues, but we’re here for it as it makes the Comedy memorable. We cannot unsee this, and yay, justice for pigs!

Brie is just great in the leading role as our eyes into this wild escape and through it all, the story has a strong feminist message that deviates from the standard Rom-Com fare. Nivola is entertaining and irresistibly greasy, though his allure makes it easy to see why Amber is so torn at times. Plaza is wonderful, though hardly seen enough in Kat’s chill. And Shannon of course is a hoot, perpetually self-absorbed in Deb‘s world, while others simply are living in it!

Don’t be surprised if you find yourself craving some Olive Garden after this!

SPIN ME ROUND streams at SXSW ’22 as follows:

Spin Me Round at ZACH Theatre

Mar 12, 20226:15pm—7:59pm

Spin Me Round at Online Screening

Mar 14, 9:00am CDT – Mar 16, 9:00am CDT9:00am—10:44am

Spin Me Round at Alamo Lamar E

Mar 15, 20224:15pm—5:59pm

Spin Me Round at Satellite Venue: AFS Cinema

Mar 15, 20229:00pm—10:44pm

Spin Me Round at Rollins Theatre at The Long Center

Mar 16, 20224:00pm—5:44pm

#SXSW: “A LOT OF NOTHING”

By Amanda Gilmore

Successful, married couple James (Y’lan Noel) and Vanessa (Cleopatra Coleman) are shocked at what they witness on the news one night. What they see is cellphone footage of their police officer neighbour, Brian (Justin Hartley), shooting an unarmed youth. After debating what they should do, Vanessa takes the reins and holds Brian hostage.

It’s ironic that it’s called A Lot of Nothing, considering it’s about many things. Co-Writer and Director Mo McRae makes an impact with this bold satirical Feature debut. Playing out over one night, the central story focuses on holding police officer Brian hostage. Hartley is strong as the manipulative Brian. He uses the layered Script to create mystery around his character, causing the audience to question the intent behind his motives.

McRae and fellow Screenwriter Sarah Kelly Kaplan use this central story to create an in-depth character study. Coleman is a force as the wealthy, determined Vanessa. Her commitment to Vanessa’s passion for her expensive material items allows levity on these heavy topics. The tension she shares with James is immense. Noel excels in playing James’ compassion against his desire to make Vanessa happy.

This tension ignites further when A Lot of Nothing introduces James’ brother Jamal (Toronto’s Shamier Anderson) and his expecting partner Candy (Lex Scott Davis). Through these two couples, critiques on wealth and familial acceptance shine through. The extravagance of James and Vanessa conflict with the naturalistic lifestyle of Jamal and Candy. However, when the guests find out what their hosts are doing they become active participants. Particularly Jamal, played to great effect by Canada’s own Anderson, who sees this as an opportunity to get revenge on the police officers who’ve targeted him. And Scott Davis is captivating as the forgiving, aura reading Candy, who has something to hide.

Overall, A Lot of Nothing is an audacious film that touches on many socio-political topics through its exquisitely-written characters.

A Lot of Nothing screens at SXSW ’22 as follows

In-Person:
Sunday, March 13 at 4:45 PM EST – Alamo Lamar D

Monday, March 14 at 1:45 PM EST – Violet Crown Cinema 2

Monday, March 14 at 2:15 PM EST – Violet Crown Cinema 4

Friday, March 18 at 4:30 PM EST – Alamo Lamar A

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

#SXSW: “DEADSTREAM”

By David Baldwin

Shawn Ruddy (Joseph Winter) is an online influencer and streamer who is left in ruins after uploading a controversial video. Wanting to get back into the public’s good graces, Shawn decides to livestream his visit to an abandoned haunted house where real murders have taken place. He locks himself in for the night, sets up his cameras and waits for something to happen. When he accidentally pisses-off the vengeful spirit that inhabits the home, he must find a way to survive by any means necessary.

Watching a Film play out in the same way you may watch an influencer’s videos on YouTube and Twitch may seem like a less than riveting experience. Yet by tapping into and satirizing that visual language while employing the bloody gross out gags of low-budget ’80s Horror films, the Writing/Directing/Editing team of Winter and Vanessa Winter have created a film that needs to be seen to be believed. Ruddy is an extremely annoying character (think of a personality along the lines of Jake and Logan Paul) who becomes rather insufferable as the Film sets all the pieces in motion in real time. Thankfully, you are not so much watching him in these early scenes so much as you are watching the Winters edit a cohesive picture together using various platforms and cameras. It feels like a genuine evolution of the style we have seen in Horror films like Unfriended and Host, but instead of static cameras staying put, we are getting first person movements along the lines of a Hardcore Henry. The Film even employs some video game language and motifs to assist with some of the action.

Once Ruddy pisses off the spirit, all bets are off and the Film becomes one hilarious and obnoxiously bloody gag after the other in the vein of the early gonzo horror flicks by Sam Raimi and Peter Jackson. Winter’s Ruddy even seems to be aping some of the hallmarks of Bruce Campbell’s legendary performance as Ash Williams in many of these scenes, and becomes a whole lot more tolerable than he was satirizing real-life streamers. He leans in wonderfully into the Physical Humour and the jump scares, and really lends to how captivating DEADSTREAM quickly becomes. While the creature effects are a bit too crude and cheaply done, the gore and makeup effects are top-notch. I had a lot of fun watching this one, and can only imagine how much more entertaining it would have been with a crowd.

DEADSTREAM screens at SXSW ‘22 as follows:

In-Person:

Friday, March 11 at 11:45PM EST – Alamo Lamar E

Monday, March 14 at 3:00PM EST – Stateside Theatre

Tuesday, March 15 at 8:30PM EST – Alamo Lamar E

Wednesday, March 16 at 10:45PM EST – Alamo Lamar E

Online:

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

SXSW: “I GET KNOCKED DOWN”

By David Baldwin

If you were a child of the ’90s, there is absolutely no way you were able to escape “Tubthumping”. That song was everywhere and so was the Band who sang it, Chumbawamba. Dunstan Bruce was the Band’s frontman, and now 20+ years after the release of that one-hit wonder, is not sure how to stay visible in a rapidly-deteriorating world. Haunted by the adult manifestation of the baby on the Band’s album cover, Bruce must question everything he was a part of before and find a way to become relevant again.

Part-Documentary, part-Mockumentary, part-fever dream, and part-dystopic hellscape. I feel like that just about covers the anarchistic style of I GET KNOCKED DOWN, which obviously takes its title from the lyrics of Chumbawamba’s hit song. The Film is all of these things at once, and feels like a bold example of avant-garde narrative that really stretches the limits and patience of its audience. When it is acting as a Documentary however, it brings together a wealth of vintage interview clips, candid clips from the Band living together and their first shows, and new clips of Bruce interviewing his Bandmates about what the song and accompanying album meant to them and how it has lead them to where they are now. I did not know much about the Band prior to watching the Film, and learning of their Punk anarchist roots, it makes sense that the Film is such a wildly chaotic pastiche of ideas and styles. Bruce holds the whole thing together, with his interactions with the baby’s adult manifestation really honing-in on his bizarre sense of humour.

Not all of it works of course, and a deviation into Bruce’s new Music at the end and a take on a pivotal scene from Reservoir Dogs really do not add much to everything that came before it. When the Film is celebrating the importance of “Tubthumping” and discussing what the Band did with its newfound fame and influence is where it really shines. I wanted more of that, and a lot less of the surreal nonsense in-between. I would be hard-pressed to suggest it is anything but a true original though.

I GET KNOCKED DOWN screens at SXSW ’22 as follows:

In-Person:
Friday, March 11 at 9:45PM EST – Alamo Lamar B
Tuesday, March 15 at 11:30PM EST – Alamo Lamar E

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