Movies

Sundance waves goodbye with stories pitched between fame and obsession

BBG News

In Park City, Utah, the glamour and star power intensified with the arrival of Jennifer Lopez on a Sunday evening, gracing the premiere of director Bill Condon’s moving adaptation of the award-winning musical “Kiss of the Spider Woman.” Lopez embodies two captivating roles, a film actor and a divine spider queen. Her entrance at the Sundance premiere was an exhibition of both her radiant charisma. Ordinary folks might opt for jeans and snow boots, but Lopez chose a cobweb-and-lace, see-through gown and heels that defied the cold weather. Her striking elegance left quite an impression, with everyone in my shuttle the following morning still discussing it, all the while being amazed that her relatively unknown co-star, Tonatiuh, managed to share the limelight.

Sundance Film Festival serves as a platform for budding talents such as Tonatiuh, a gifted actor hailing from Los Angeles, who delivers an impressive performance as a prison inmate adorning his cell with posters of Lopez’s idolized icon. I had previously caught a glimpse of him in the backdrop of the Netflix action movie “Carry-On.” Now, I find myself eager to watch any film he’s involved in. This festival is renowned for nurturing future stars, although it has become increasingly challenging for independent films to secure funding without at least one well-known actor attached.

In essence, it’s safe to say that if the video store clerk hadn’t managed to get Harvey Keitel a script for “Reservoir Dogs”, the movie might not have had the funding, cast, or recognition to debut at Sundance in 1992. Can you imagine how Hollywood would be different today if we never witnessed the iconic opening scene featuring crooks discussing Madonna over breakfast? It makes one wonder, how many undiscovered Quentin Tarantinos missed their opportunity to work with Keitel due to this chain of events?

At this year’s festival, the concept of TopMob, often linked to flashy superhero movies, was a recurring theme. Many films explored the delicate bond between an object and its admirer, the crucial interplay between artist and audience, and the vulnerability that comes with realizing that any prominent career, like J.Lo’s, could crumble without recognition. In “Kiss of the Spider Woman,” Tonatiuh serves as both a student and a protector to Lopez. When his pessimistic cellmate (Diego Luna) proposes that Lopez’s character is traumatized from her childhood, Tonatiuh reacts, “Ah, let her be.

I really enjoyed “Kiss of the Spider Woman,” but it’s surprising that it didn’t secure distribution at Sundance. On a positive note, director James Griffiths’ film “The Ballad of Wallis Island” is set to hit theaters by the end of next month. This movie tells the story of an eccentric lottery winner named Charles (Tim Key), who has the wit of a Borscht Belt comedian. He offers his favorite folk duo, almost $1 million, to perform a reunion show on a secluded beach for just one audience member. Fans of the British game show “Taskmaster” might recognize Key from season one. The twist is that Charles’ favorite bandmates, Herb (Tom Basden) and Nell (Carey Mulligan), are former lovers who have fallen out of touch due to career differences. Herb became famous by selling out, while Nell left the business to sell artisanal jam. When presented with a briefcase full of money from their biggest fan, neither can resist the temptation.

Throughout the movie, Herb frequently displays a scowl, hinting at his suspicion that Charles might be pushing for a reunion on stage and off, romantically speaking. Eventually, Herb loses patience and growls, “You’re just a cheaper version of Geppetto,” he snaps. However, when Key’s lonely widower momentarily sets aside his eagerness to entertain, the depth of his pain is evident on his face. The trio of Key, Basden, and Griffiths have been attempting to develop their BAFTA-nominated short, “The One and Only Herb McGwyer Plays Wallis Island,” into a full feature for 18 years. To bring this project to life, they required an actor of Mulligan’s caliber. I’m pleased that they managed to do so.

As I settled into “Lurker,” a gripping comedy about artists and admirers, I found myself under the shadow of an impending Geppetto-like reprimand. Starring Archie Madekwe as an underground musician and Théodore Pellerin as his manipulative Instagram stalker, this movie explores the perilous dance between rising fame and exploitation. Laced with tension, discomfort, and a dash of anxiety-inducing humor, “Lurker” was one of the standout highlights of the festival for me, despite its ambiguous stance on whether talent or opportunism holds more weight. The film’s recurring motif – the 1960’s R&B ballad “I’m Your Puppet” – serves as a stark reminder that someone is always pulling the strings in this game of art and ambition.

In this intriguing film titled “Opus”, written by Mark Anthony Green and starring John Malkovich as Moretti and Ayo Edibiri as Ariel, tension escalates when a renowned pop star squares off against a journalist. The movie showcases a dash of humor and intelligence, along with an unexpected charm from Malkovich. However, despite these engaging elements, it fails to convey any profound messages. It’s unclear whether Moretti targets Ariel’s colleagues due to excessive flattery or insufficient adoration. The film began powerfully but gradually felt like a cover band that exists primarily for its clever name. (Except for you, Mac Sabbath – the burger-themed metal band, you’re spot on!)

Movies

At Park City, Utah, we arrived for the 41st Sundance Film Festival, famished for a feast. However, we’re narrowing our favorites to only the cream of the crop.

In Gala del Sol’s “Rains Over Babel,” you’ll find a blend of death and saxophones, with the song being a mythical narrative set in a Colombian nightclub that serves as both a gateway to heaven and hell. The story unfolds through two intertwining plots: one focuses on the bar owner’s son (Jose Mojica) and an unlucky gambler (Celina Biurrun), who embark on a perilous journey to free the town’s beloved jazz band leader (Jacobo Velez) from the labyrinth of minotaurs wearing bondage masks. Simultaneously, on the dance floor, a diva known as La Flaca (Saray Rebolledo) wields the power to command death itself. However, one drug-addled partygoer stubbornly refuses to believe that this is his final night of revelry.

The movie is filled with many elements, excluding the smart-talking lizard and the performer, William Hurtado, who challenges his pastor father by sporting a glowing afro wig on stage. The film, layered like multiple hats upon hats, might seem overly adorned with literary references (there’s a character named Dante). Nevertheless, from costumes to makeup to ambition, the spectacle is truly impressive, boasting an abundance of dazzling effects.

In Laura Casabé’s Argentinean film “The Virgin of Quarry Lake,” a person who frequently mentions famous acquaintances stirs up violence merely by being associated with stardom. This subtly eerie teen horror story takes a dark turn when a social climber named Silvia (Fernanda Echevarría) crashes into an exclusive group and boasts about her numerous celebrity friends. Silvia’s arrogance captures the affections of a popular heartthrob named Diego (Agustín Sosa), causing jealousy from local beauty Natalia (Dolores Oliverio), who has always believed that Diego was hers. Essentially, it’s like “Carrie,” but with a spoiled protagonist instead.

2001 serves as the backdrop for this movie, which takes place in internet cafes that are just gaining popularity. Despite the novelty, there’s an ominous feeling that the new millennium is deteriorating. Power outages are frequent, water supply is cut off, and a bloodstain outside Natalia’s home steadily grows. If you’re squeamish about violence, you might want to look away during the initial brutal scenes. The movie concludes abruptly, leaving you hanging. However, before it disappears, “Quarry Lake” is both compelling and assured in its storytelling.

Entertainment & Arts

In simpler terms, “Jimpa,” directed by Sophie Hyde, is a heartwarming family saga based on semi-autobiographical events. It revolves around the character of Jim (played by John Lithgow), a well-known activist for gay rights, and his grandchild Frances (Aud Mason-Hyde), who identifies as non-binary. Affectionately referred to as “grandthing,” Frances was raised in Australia with their mother, Hannah (Olivia Colman). Jim resides in Amsterdam, leaving Hannah behind when he embarked on a journey to live authentically as himself.

The movie opens with Frances and Hannah praising Jim at a distance, speaking admiringly about people who’ve lived bravely despite adversity. However, they fail to mention Jim’s self-centeredness, narrow-mindedness, and inconsistency – traits that make him a domineering conversationalist. Frances hasn’t known Jim well enough. The director’s own offspring, Mason-Hyde, shows great acting talent, while Colman’s character Hannah has long been adept at hiding her grudges. In the role of a filmmaker modeled after Hyde herself, she asserts that it’s feasible to create a film that honors her iconic father’s legacy without encountering any obstacles.

To Hyde’s merit, her script veers from sentimentalism just as often as it embraces it. However, in the final act of “Jimpa”, things tend to slow down a bit. Yet, you are left with the conviction that an inspiring monologue is not the proper way to pay tribute to your role model. Such fanatic speech can stifle challenging discussions. Great films prompt such questions.

Hyde’s script balances sentimentality and avoidance of it. The end of “Jimpa” moves slowly, but you feel that a motivational speech isn’t the right way to honor your hero. Fanatic talk can stop tough questions. Good movies bring up those questions instead.

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2025-02-02 22:02

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