Movies

Oak Cliff Film Festival 2025 mini-reviews: Curses, messes, and podcast chaos

BBG News

In June 2019, I attended my first-ever film festival – the Oak Cliff Film Festival held in Dallas, Texas, at iconic venues like the Texas Theatre and surrounding locations. It seems like a lifetime ago, but I can still vividly recall the excitement as I stepped into the Texas Theatre for the very first time, feeling as if I’d won a golden ticket. After all, this was a film enthusiast from Allen, Texas, getting to immerse herself in the same world-class cinematic experiences usually reserved for Cannes, New York City, Los Angeles, or other glamorous destinations far beyond our Lone Star State borders.

In the previous year, I once again attended the Oak Cliff Film Festival and enjoyed another exceptional experience immersed in a variety of independent films. Despite the numerous hurdles faced by domestic cinema in the 2020s, there was no sign of apocalyptic despair at the Texas Theatre and Bishop Arts Center during these screenings. People from various backgrounds came together to enjoy movies as they were intended: on screens that fill your entire field of vision. These productions, often created with minimal resources and an indomitable spirit, resonated strongly with creative passion.

It would be more beneficial for tech firms and film studios to focus on their creative, independent productions rather than relying on artificial intelligence-generated content. After all, the spirit of originality thrives in homegrown independent cinema.

Natchez (dir. Suzannah Herbert)

In Natchez, Mississippi, a city in the South, the economy thrives on offering tours of opulent mansions from the antebellum era. The proprietors of these properties don historical costumes from the 19th century, including uniforms of Confederate generals, to entertain wealthy tourists with stories of the past. Meanwhile, local residents such as Tracy Collins and Ser Clifford Boxley – members of the African American community – are working to shed light on the grim reality of slavery that these mansions were constructed upon. The use of quaint costumes by white residents is seen by some Natchez residents as a disturbing distortion of history.

Despite its history as a site of horrors such as the Forks of the Road slave market, Natchez, Mississippi, is now more commonly associated with costumes and performances inspired by ‘Gone with the Wind’.

Suzannah Herbert’s approach in directing the film “Natchez” isn’t groundbreaking, but it stands out for its subtle filmmaking style that puts the stories of Collins, Boxley, and others at the forefront. Notably, Herbert seldom uses traditional storytelling devices like talking head interviews or voice-overs. These techniques, commonly used to guide audiences through expository parts, can sometimes create a distance between viewers and the residents of Natchez. Instead, Herbert chooses to document real events as they happen, offering a more emotionally engaging experience that mirrors the raw immediacy and pressing need for confronting the past.

Additionally, this method acknowledges the intelligence of the viewers. It’s unnecessary for someone to address the camera and directly explain the contrast between white Natchez residents living in grand homes and the Black descendants who were enslaved and forced to live 35 minutes away from Natchez. Instead, Herbert captures these realities through vivid, personal visuals that speak volumes.

This well-organized scene is justified by the powerful moment when Herbert focuses on a white woman discussing the past, while he sits in a former slave quarter now owned by Deborah Cosey. As she talks on, the camera moves to show Deborah, her head bowed in frustration against a fireplace. This visual storytelling, skillfully reflecting Deborah’s emotional state, is particularly effective in this sequence of Natchez. Such impactful scenes make this an exceptional documentary that highlights the contrast between people who must confront reality and the privileged who can choose to ignore it. It also serves as a poignant cinematic commentary on how unfortunately, cis white gay men continue to be significant figures in these narratives.

$POSITIONS (dir. Brandon Daley)

Imagine if Cooper Raiff was cast in a gritty, crypto-infused reimagining of “Red Rocket,” with a touch of the Safdie Brothers’ signature style – that’s what $POSITIONS is all about! This darkly humorous tale revolves around Mike Alvarado (played brilliantly by Michael Kunicki), a man who becomes overnight sensation in the world of cryptocurrency. Leaving his job and basking in newfound arrogance, Alvarado’s virtual empire begins to crumble before his eyes. As his stocks plummet and misfortune piles up, he becomes consumed with an unyielding desire to regain his former position, only to find himself ensnared in a web of chaos and calamity.

Brandon Daley’s debut as a writer/director begins with an apparent misstep. His film influences, such as ‘Good Time’, ‘Daddy Longlegs’, ‘Shiva Baby’, and some works by John Cassavetes, are known for creating intense tension from characters who seemingly had little to no substance. With these characters often having minimal resources, it was unpredictable what they might do next.

While Alvarado’s interest in cryptocurrency may be fostered by $POSITIONS, it’s essential to note that this platform typically caters to individuals who already have a certain degree of financial security. As Dan Olson aptly stated, these crypto enthusiasts are more likely to be middle-class men with disposable income, rather than the struggling, lower-class characters often depicted in films that explore anxiety themes.

Clearly, it’s challenging to empathize with Alvarado’s predicament or anticipate tension as the story unfolds due to his constant access to shelter and resources to escape trouble. The narrative seems more akin to contemporary comedies rather than a gritty reinterpretation of films like ‘After Hours’. Alvarado encounters difficulties, but they are not as severe as one might expect in a film portraying the underbelly of society. Director Daley refrains from delving too deeply into darker themes, and Alvarado’s decent nature keeps him from experiencing truly harrowing events. Instead, the worst scenarios that befall Alvarado are tame R-rated comedic situations, such as being tricked into drinking urine thinking it was beer.

The cautiousness to avoid an overly psychotic finale results in a slow-moving third act and a sentimental conclusion for the movie, which might have benefited from a more chaotic, bleak ending instead. However, it’s important to note that there are commendable aspects of $POSITIONS. Kaylyn Carter, portraying Alvarado’s girlfriend Charlene, delivers some hilarious lines despite being given a very unappealing character by the script. Trevor Dawkins, as Lavarado’s recovering addict cousin Travis, provides the production with its funniest moment through his brilliant performance of Travis reminiscing about feeling he encountered a gangster in “a past life.

The film $POSITIONS, while intriguing, doesn’t quite capture the pulse-pounding intensity found in works by Emma Seligman or Josh & Benny Safdie. Furthermore, it falls short of the boldness demonstrated by Harmony Korine and Michael Haneke when exploring darker themes. Ultimately, $POSITIONS serves as a gentle nudge to viewers, suggesting they might want to explore more impactful films in its stead.

Fucktoys (dir. Annapurna Sriram)

Finally, a movie for us lesbian perverts who love when films are shot in 16mm. 

In a thrilling and unconventional narrative style, Annapurna Sriram’s first directorial effort, titled Fucktoys, chronicles the adventures of sex worker AP (played by Sriram herself). This captivating tale mirrors The Fool’s Journey from the Tarot cards, as AP embarks on a modern-day odyssey. Unbeknownst to her, she is burdened by a mysterious curse that significantly impacts her life. To alleviate this curse, a hefty fee of $1000 must be paid. Consequently, AP embarks on a mission to find creative ways to earn money in the gritty and unforgiving town of Trashtown.

As they journey through, character AP reconnects with his former love interest Danni (Sadie Scott). The two of them then traverse Trashtown on AP’s scooter. A variety of large-scale personalities populate Fucktoys, such as intuitive psychics, eccentric wealthy individuals, and surprisingly useful suburban dad Robert (Damian Young) who aid their adventure.

Following the screening of my film titled “Fucktoys,” the discussion moderator insightfully pointed out that the entire feature revolves around interactions involving “business-based relationships.” This observation is remarkably astute, as it highlights how the film casually de-stigmatizes sex work. Instead of portraying it as an anomaly in a “normal” world, as often seen in many movies, “Fucktoys” presents it as just another job where individuals exchange money to aid each other.

In a similar vein, the film “Gem Fantasy A Gets A Mattress,” which premiered at last year’s Oak Cliff Film Festival, centers around an autistic protagonist surrounded by significantly stranger neurotypical characters. Similarly, in “Fucktoys,” sex workers such as AP and Danni serve as the “normal” or “straight men” contrast to the eccentric characters who are not typical of this profession.

In a refreshing way, the movie’s portrayal of “sex work is work” has rarely been so engaging, creatively presented, or seamlessly integrated into a film.

In addition to its innovative portrayal of sex work in film, the movie Fucktoys is incredibly entertaining to watch. Unlike many tributes to camp cinema that strive too hard to recreate the unique brilliance of films like Ed Wood or Showgirls, Annapurna Sriram’s creativity ensures an unending stream of enjoyment. The post-apocalyptic setting, filled with workers in hazmat suits casually raking leaves or cleaning floors in the background of wide shots, is visually captivating and serves as a striking representation of our struggle to fulfill capitalist duties amidst societal collapse. It’s an incredibly vibrant and arresting depiction of how we navigate our obligations under capitalism while the world disintegrates around us.

The sexual attraction between Sriram’s visual portrayals of AP and Danni is undeniably captivating. Their chemistry evokes both “aww” and “oh my!” responses from me. Sriram skillfully conveys the unspoken romantic tension between these two, from Danni nuzzling AP’s shoulder to those intense moments where their lips are mere inches apart. I also appreciate the balanced representation of scantily-clad female bodies in the work Fucktoys.

It’s undeniable that there are powerfully sensual visuals throughout this piece, stirring excitement among all queer audience members. Yet, AP and Danni serve more purposes than simply pleasing the eye. Sriram and cinematographer Cory Fraiman-Lott skillfully incorporate moments of quiet introspection, such as close-ups without dialogue, which offer profound glimpses into the characters’ minds. One particularly striking scene is when the camera gradually withdraws from AP, sitting in stillness following an emotionally taxing shift at the strip club.

In a more casual and relaxed manner, AP’s bare body depicted in the bathtub by AP or the lack of emphasis on Danni wearing a binder, suggests that the film “Fucktoys” chooses intimate, everyday imagery when portraying moments outside mainstream society. The film offers an array of attractive bodies as if from a grindhouse movie, but it also presents these visuals with a great deal of thoughtfulness, enhancing the viewer’s deep emotional connection to AP and Danni’s journey.

In every nook and cranny of “Fucktoys,” there’s a noticeable attention to detail that showcases artistic craftsmanship at its finest. The 16mm cinematography, for instance, is truly exceptional. This gives the film an eerie feeling as if it were a forgotten midnight movie from the 70s/80s, and it intensifies the rundown atmosphere of Trashtown. Simultaneously, Sriram’s screenplay maintains a sense of unpredictability and anarchic energy. This relentless chaos not only keeps things exciting but also creates space for one of cinema’s most thrilling sights: lesbians expressing anger and destroying objects/people.

By blending it with bursts of dark humor that’ll leave you laughing uneasily, a stellar cast delivering standout performances (Damian Young’s portrayal of “bop!” will forever change how I perceive that word), an abundance of intriguing characters from various genders and sexualities gracing the screen, it’s no surprise Fucktoys is the epitome of wild, unconventional cinema. Annapurna Sriram effortlessly earns a spot alongside Vera Drew and Aimee Kuge in keeping the spirit of quality trash and boundary-pushing filmmaking alive.

Age of Audio (dir. Shain Michael Colon)

The Age of Audio” is a documentary that traces the growth of podcasts into a significant art form in today’s world. It starts by delving into the origins of this medium, which can be traced back to MTV veterans launching a podcast on an RSS feed and sharing Grateful Dead tunes, marking the initial spark of the podcast revolution. Further, it takes viewers through the five-act narrative, exploring how podcasts gained traction, the challenges that surfaced when large corporations entered the scene, and speculating about the future direction of this medium.

As a cinephile, watching Colon’s execution for “Age of Audio” seems quite conventional within the documentary genre. At times, it reminds me of a well-produced video essay you might find recommended after binge-watching an insightful Todd in the Shadows or Jenny Nicholson video. Yet, the infectious enthusiasm from the interview subjects about this subject matter, coupled with its brisk, concise pace, makes “Age of Audio” a delight to watch. One smart move was consistently revisiting the story of independent podcaster Ronald Young Jr., who also serves as the narrator.

Let’s lay everything out in the open: today’s podcasts can cover a wide range of topics, but many popular ones in America are often used to spread anti-vaccination and fascist viewpoints. It’s ironic that an interview on Age of Audio suggests that podcasts empower the working class, when one of the most popular podcasts provides a platform for people like the head of the FBI. Age of Audio doesn’t confront this issue directly, but it makes a smart choice by featuring Ronald Young Jr. as the symbol of modern podcasting instead of glamorizing wealthy, harmful men as worthwhile figures to support.

Young Jr.’s podcasts beautifully demonstrate the great possibilities of this medium, despite his ongoing challenges with paying rent each month. His shows, such as Weight for It, present perspectives that would have been impossible on traditional broadcast radio before podcasting. What makes it even more delightful is that the series Age of Audio places significant emphasis on Young Jr., given his exceptional narration skills.

Additionally, unique visual elements like closely framing interviews or embedding words within footage of daily activities (such as reading a map in the woods) are thoughtfully included. According to comments made during a post-screening Q&A, these visual qualities reflect the intimate, auditory nature of podcasts.

The Ride” boys included.

Messy (dir. Alexi Wasser)

Stella Fox, portrayed by Alexi Wasser, truly embodies the spirit of disorderliness in the film she wrote and directed, titled “Messy”. This movie chronicles Stella’s life in New York City following a devastating break-up. In search of her ideal man, she embarks on a string of casual relationships and romantic encounters, which lead her to various characters such as Max, the guy with a rattail (Thomas Middleditch), The Mayor, an older bar owner (Adam Goldberg), and other unusual suitors. Despite the counsel and camaraderie from friends Ruby Soho (Ruby McCollister) and Mandy, Stella’s life remains tumultuous. One character poignantly observes, “The most challenging aspect of life is simply living it.

While Messy certainly has many praiseworthy aspects, its standout feature is its uproarious humor. Wasser’s uncanny knack for screenwriting infuses riotous verses from lewd comedy into the script, such as Ruby’s exclamation that “camel toe is the new cleavage!”, Mandy’s observation that “if you’re not doing hard drugs [in New York City,] you’re practically sober”, or Fox casually discussing a man’s previous lover’s vagina aroma. The script for Messy also provides its main character with some brilliantly awkward comedic moments to tackle. An early instance of this is when Fox (during a long, uninterrupted take) lists a series of amusingly stringent conditions for any man Ruby gets romantically involved with, including him having “no sisters, mom, or other female acquaintances.

The writing is exceptionally well-crafted, and Fox’s minimalistic, observational visual style allows viewers to fully appreciate the clever, risqué dialogue. Scenes featuring Fox, Soho, and Mandy lounging in their apartments and engaging in lengthy, wide-angle shots are outstanding examples of this filmmaking technique. Wasser and cinematographer Barton Cortright skillfully ensure all three characters remain within the frame throughout, subtly emphasizing their strong bond. In these frames, Wasser, McCollister, and Merlot subtly convey their characters’ distinct personalities through nuanced body language.

Instead, “Messy” immerses us deeply into the genuine bond shared by these three women, a connection that feels palpable in each unhurried, expansive shot. It doesn’t rush from one close-up to the next, but rather takes its time to explore the intricacies of their relationships and emotions.

The subtle yet luxurious visual elements and humorously appealing performances are key reasons why Messy‘s dialogue-focused storytelling is so effective. Wasser’s enthusiasm as both a performer and writer also significantly contributes to its success. Unlike some directors who star in their own films, many tend to create protagonists that are overly admired or offer roles that showcase their coolness or overshadow Charlize Theron before the end credits.

Meanwhile, Wasser delivers Stella Fox with captivating intensity and unending chaos. This versatile performer fearlessly portrays Fox in various raw situations, such as waking up with vomit stains on her face, sucking on a lover’s toes, or making questionable choices regarding whom she should be intimate with. The audience can’t help but be intrigued by where Wasser’s unpredictable energy might lead next. However, these gritty aspects of Fox also resonate deeply, as they hint at something genuine. Drawing from personal experience, the longing to connect with someone can drive people to unusual places. Love acts as a powerful incentive, pushing us to do things that we once thought unimaginable.

In my opinion, Wasser’s work as Stella Fox – be it in acting, writing, or directing – never reduces her to a mere shock-value joke. Instead, there’s an authentic emotional core that resonates deeply, suggesting the tantalizing possibility that love could be just around the corner. This relatable sentiment is woven throughout Wasser’s work, making Messy an engaging feature. It combines its ceaselessly amusing dark comedy and exceptional performances with aplomb. It’s no surprise to me that John Waters chose this as one of his favorite movies from 2024. The visually sharp Messy is a triumph of hilariously written storytelling.

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2025-06-30 20:15

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