Movies

Lisa Laman’s SXSW 2025 reviews PART ONE – Marriage woes and vulnerable soldier prose

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In Texas during March, there’s only one thing that stands out: the return of bluebonnets along the roadsides and the commencement of the South by Southwest (SXSW) festival in Austin, TX. Since 1987, this gathering has been attracting a diverse crowd of travelers and artists worldwide with its lineup of major film premieres, concerts, keynote speakers, and various entertainment events. Despite its roots in the ’80s anthem “Nothing’s Gonne Stop Us Now,” SXSW remains a vital platform for artists from all backgrounds.

I Really Love My Husband (dir. G.G. Hawkins)

I Really Love My Husband” is a delightful stew (as a wise Santa Claus might describe it) blending various cinematic flavors. The dialogue, deliberately rough around the edges, recalls the independent films of the Duplass Brothers from the 2000s. The central story, about Teresa (Madison Lanesey) and Drew (Travis Quentin Young), a married couple facing continuous turmoil on their long-postponed tropical island honeymoon, brings to mind Elaine May’s works such as “A New Leaf” and “The Heartbreak Kid.” The screenwriters, G.G. Hawkins, Lanesey, and Scott Monahan, generously season the narrative (particularly Teresa’s uncomfortable outbursts of suppressed disdain for Drew) with cringe comedy that would impress Nathan Fielder himself.

This narrative weaves together events showing Teresa growing tired of Drew’s cheerful demeanor during their honeymoon, which takes an unexpected turn with the arrival of Paz (Arta Gee). Teresa finds herself drawn to Paz and experiences a long-absent romantic connection. As a result, she persistently proposes to both Drew and Paz that they share an intimate experience together. The storyline bears resemblance to films like “Forgetting Sarah Marshall” or any season of “White Lotus“, illustrating how even the most idyllic destinations can harbor complex emotional entanglements.

What makes I Really Love My Husband stand out is its ability to feel refreshingly contemporary without relying on overused symbols of a 2025 setting, such as characters mocking TikTok. The movie effectively showcases this trait early on through clever editing in the scene where Teresa and Drew struggle with their relationship issues using current counseling language. However, the camera frequently cuts to them at various locations within their rented home, saying phrases like “I see you,” without fully capturing the deeper physical and emotional efforts required to truly understand each other. Despite their savviness with social media, they believe that simply repeating trendy Tumblr terminology will resolve all issues. They are unaware of the true art of caring for one another’s needs, which is a classic problem of our times.

The script for “I Really Love My Husband” is skillfully constructed, balancing the portrayal of Teresa as a complex and unconventional character (often found in movies with female leads who are less than likable) and maintaining an element of unpredictability about its plot. However, it remains to be seen if this screenplay would hold up during multiple viewings. With the suspense surrounding future chaos dissipated, one might question if “I Really Love My Husband” would continue to captivate narratively. Simultaneously, director Hawkins and cinematographer Ryan Thomas fail to infuse the story with the visual flair that one might expect. Regrettably, even a standard drug trip sequence in the third act does little to alleviate the film’s visual uniformity.

Despite some typical flaws found in contemporary indie comedies, the island settings are stunningly beautiful and the acting, particularly by Travis Quentin Young as Drew, is remarkably authentic. He skillfully portrays Drew as a likable character who manages to avoid the annoying traits one might anticipate at the film’s onset. I Really Love My Husband may not escape its minor drawbacks or comparisons to pop culture icons like Elaine May and Nathan Fielder, but it is a blessing and a curse in equal measure. Any movie that keeps me guessing about where the story will go next is certainly praiseworthy. Additionally, the film’s unique feel of being from 2025 offers a refreshing change in today’s cinematic landscape.

American Sons (dir. Andrew James Gonzales)

Many war films, whether they are stories or documentaries, have demonstrated that the fight for soldiers doesn’t stop when ground combat is over. The psychological scars of war persist indefinitely, as evidenced by the Marine group in American Sons. These men served in Afghanistan during the 2000s and tragically lost their comrade Corporal JV Villarreal in 2010. The film American Sons portrays these individuals as they confront mental health issues in the years 2020 and 2021, all while continuing to grieve the loss of Villarreal.

The most emotional parts of the series “American Sons” are also its most personal and tender moments. Even a person without feelings would struggle not to be moved by scenes like Villarreal’s mother tightly holding a camouflage-covered teddy bear that she occasionally calls “JV”. Similarly heart-wrenching are instances where the veterans bare their souls in an incredibly raw and open manner. They’re all grappling with relentless mental turmoil, finding different ways to cope – some resorting to excessive use of medication, others expressing their feelings through rap, and some engaging in late-night phone conversations with one another. These soldiers are utilizing a wide range of resources beyond just weapons in their efforts to wage this battle within civilian society.

Regrettably, the documentary American Sons is disjointed, making it difficult for many heartfelt moments of intimacy to shine through. For instance, director Andrew James Gonzales frequently shifts between different time periods instead of lingering in one for too long. The transitions from 2000s archival footage by Villarreal to scenes in the 2020s feel jarring. Interesting elements, such as a casual remark that Villarreal’s veterans seldom interacted with their families until recently, are lost amidst brief narrative mentions. Characters who were soldiers in Villarreal’s unit serve mainly as supporting characters before suddenly becoming the focus, sharing their perspectives directly through the camera. Their words are genuinely raw, but the abrupt shift to them without proper build-up makes the sudden spotlight on them feel rushed rather than impactful. Given its short runtime of 59 minutes, American Sons should have provided more time for viewers to connect with these characters.

The film American Sons doesn’t entirely escape the feeling that it could have been more unconventional in its presentation. These veterans, having undergone training focused on battlefield yelling to be heard over gunfire, tend to suppress emotions rather than express them freely. Although the soldiers’ emotional vulnerability challenges Marine norms, American Sons adheres to a conventional style and employs a score that is emotionally charged, similar to many other documentaries. Each soldier’s battle with PTSD and related mental health issues is distinct. Unfortunately, American Sons seems to be hampered by derivative and disjointed filmmaking techniques.

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2025-03-11 01:54

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