Tag Archives: Tribeca Reviews

Tribeca 2020: P.S. Burn This Letter Please (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 25, 2020)

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Can we dish? I admit that going into this documentary, what I knew about the history of the 50’s drag scene in New York City wouldn’t have filled a flea’s codpiece. But some 100-odd minutes and several fabulously accessorized costume changes later…my codpiece was full. That did not come out sounding right. Suffice it to say Michael Seilgman and Jennifer Tiexiera’s Ken Burns-style documentary is an eye-opener. Inspired by a box of letters found in an abandoned storage unit, the film is an intimate history of a unique art form that managed to persevere and thrive during an era not too long ago when the LGBTQ community was forced to live in the shadows.

Tribeca 2020: Pacified (***½)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 25, 2020)

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The impoverished, densely populated favelas of Rio and the volatile political climate of contemporary Brazil provide a compelling backdrop for writer- director Paxton Winters’ crime drama. Sort of a cross between The King of New York and City of God, the story takes place during the height of the strong-arm “pacification” measures conducted by the government to “clean up” the favelas in preparation for the 2016 Rio Olympics.

The narrative centers on the relationship between 13-year old Tati (Cassia Gil), her single (and drug-addicted) mother Andrea (Débora Nascimento), and Jaca (Bukassa Kabengele), the former “godfather” of the neighborhood who has just been released from prison. Jaca, who has mellowed while in the joint, is nonetheless chagrined to learn that the young protégé he left in charge has essentially declared himself boss, become a neighborhood terror and now views Jaca as a threat to his regime. Tight direction, excellent performances and gorgeous cinematography by Laura Merians.

Tribeca 2020: Love Spreads (***½)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 25, 2020)

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I’m a sucker for stories about the creative process, because as far as I’m concerned, that’s what separates us from the animals (even if my “inner Douglas Adams” persists in raising the possibility that “there’s an infinite number of monkeys outside who want to talk to us about this script for Hamlet they’ve worked out.”). Welsh writer-director Jamie Adams’ dramedy is right in that wheelhouse.

“Glass Heart” is an all-female rock band who have holed up Led Zep style in an isolated country cottage to record a follow-up to their well-received debut album. Everyone is raring to go, the record company is bankrolling the sessions, and the only thing missing is…some new songs. The pressure has fallen on lead singer and primary songwriter Kelly (Alia Shawcat) to cough them up, pronto.

Unfortunately, the dreaded “sophomore curse” has landed squarely on her shoulders, and she is completely blocked. The inevitable tensions and ego clashes arise as her three band mates and manager struggle to stay sane as Kelly awaits the Muse. It’s a little bit Spinal Tap, with a dash of Love and Mercy-bolstered by a smart script, wonderful performances, and catchy original songs.

Tribeca 2020: Call Your Mother (**½)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 25, 2020)

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Why are some people inherently “funny”? Funny, as in-other people will pay to watch them crack wise in front of a brick wall? Where does a “sense of humor” come from…nature or nurture? In this breezy (if lightweight) documentary, co-directors Heidi Ewing and Rachel Grady suggest it is …your mom. And they mean that in a nice way-as demonstrated by comics Louie Anderson, Tig Notaro, Kristen Schaal, Bobby Lee, Judy Gold, David Spade, Rachel Feinstein, et.al. who share anecdotes about (in some cases, camera time with) their moms. Initially fun and even endearing, but ultimately eschews any real insight for seeking 50 ways to say “My mom is such a card!”

Tribeca 2020: Banksy Most Wanted (**½)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 25, 2020)

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Almost everybody knows what internationally celebrated guerilla street artist Banksy does, but despite years of investigative journalism, amateur-to-professional sleuthing and “outings”…nobody but he/she/themselves knows who the real McCoy(s) is/are. Co-directors Aurélia Rouvier and Seamus Haley give it a whirl in their slickly made but ultimately frustrating documentary. Promising leads are followed, but no Big Reveals.

The best parts of this globe-trotting quest are the glimpses at Banksy’s brilliant work, which continues to defy logic as to how he/she/they manage to pull it off while cunningly remaining hidden in plain sight. To be fair, the directors had a tough act to follow: Banksy’s own meta-documentary Exit Through the Gift Shop (2010).

Tribeca 2020: Ainu Mosir (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 25, 2020)

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This drama from writer-director Takeshi Fukunaga offers a rare glimpse into Japan’s Ainu culture (historically marginalized, the Ainu people were not officially acknowledged as “indigenous” by that country’s government until it passed a bipartisan, non-binding resolution in 2008 that also urged an end to discrimination against the group).

14-year-old Kanto (Kanto Shimokura) lives with his mother in an Ainu village with a tourist-based economy. Kanto’s mother encourages him to take counsel from a long-time friend of his late father who strongly believes in passing on the cultural traditions of the Ainu to its young people. When the family friend invites the teen to join him in clandestine preparations for a sacrificial ceremony certain to stir up discord within the community, Kanto must navigate a way to embrace his heritage and honor his father’s memory while reconciling with modern mores. Sensitively directed and acted.