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REVIEW: ‘Friendship Bonds’ shorts reveal new perspectives at New Ohio Theatre’s New York City’s Indie Theatre Film Festival

Posted on March 3 by The Sleepless Critic

The New Ohio Theatre presented its 7^th annual NYC Indie Theatre Film Festival live and in person at New Ohio Theatre, 154 Christopher Street in NYC from February 16-19 and then virtually from February 20-26. The New York City Indie Film Theatre Festival offered a variety of films from shorts to features on a wide range of topics and some of the film selections contain mature themes. Click here for more information and to learn more about New Ohio Theatre.

The Sleepless Critic was knee deep in short films and tackled Dating Drama and Friendship Bonds shorts which focused on a variety of perspectives on relationships. Friendship Bonds explores the value and challenges of friendships in various circumstances. Click here for the Dating Drama short film review.

Shorts: Friendship Bonds ‘Andy and Kaliope’ Photo credit to New Ohio Theatre

Beautifully written and produced by Rachel Handler with stirring direction by Crystal Arnette and Catriona Rubenis-Stevens, Andy and Kaliope is a touching short film starring Jai Ram Srinivansan in a sweet portrayal as Andy, a foster child whose big imagination is in a war with his darkest fears. Accompanied by Rachel Handler as warm and encouraging Jamie, Colin Buckingham as Cole, and an extraordinary gift, Andy must muster the courage to move forward. It is a wonderful short film about the power of hope.

Shorts: Friendship Bonds Two Women on A Bridge Photo credit to New Ohio Theatre

Exceptionally directed, written, and edited by Tom Bean, Two Women on a Bridge is a thought provoking journey over the Williamsburg Bridge in May 2020 in a captivating display of black and white cinematography. Starring Karen Maine and Suzanne Lenz to Michael Abiuso’s gentle score, Two Women on a Bridge delves into a fractured friendship and reflects on the overwhelming changes in the world while engaging and hypothetical popup endings instill light humor to some serious themes.

Shorts: Friendship Bonds ‘Eyeballs’ Photo credit to New Ohio Theatre

In a quirky but realistic zoom scenario, a group of students are brought together by a group school project in Eyeballs. Written by Molly Powers Gallagher and starring as Nadine, Ola Pater as Cara, and Zack Palomo as Dev, the small zoom group convincingly conveys the nervousness and the hesitation to share ideas and connect. Directed and edited by Robert Thaxton Stevenson, stay put for this cute comedy’s end credit scene.

Shorts: Friendship Bonds ‘Lindsay, Lindsey, Lyndsay’ Photo credit to New Ohio Theatre

Lindsay, Lindsey, Lyndsey is not an exaggeration, but a tale of three different Lindsays. Lindsay’s fabulous new house. However, things are not quite as they seem. Dan Kuan Peeples, Cameron Cronin, and Daphne Overbeck deal with jealously, unrequited love, and a renewed sense of belonging as they reminisce over old times. Though some of the themes are a bit repetitive, this dramedy examines the complications of long term friendships and what keeps them going through it all.

Shorts: Friendship Bonds ‘The One They Wanted’ Photo credit to New Ohio Theatre

Directed by Catrina Rubenis-Stevens and written by Bryan Harlow, The One they Wanted is an absorbing and important short film about the challenges veterans face from within after they come home. It is a beautiful and poignant look at a pair of brother and sister veterans who share in their internal battles as sister Gabi faces difficulty in daily activities. Margo Serrano as Gabi embodies the veiled emptiness and depression over recent events while Writer Bryan Harlow also stars as Gabi’s nurturing brother Patrick as they attempt to find connection in their shared experiences. It is a genuine and affective short film not to be missed.

Shorts: Friendship Bonds ‘Scene Study’ Photo credit New Ohio Theatre

Scene Study is a sly short film about mixed signals. Written and directed with a few twists and turns by Trace Pope, Russell Sperberg as shy Cal and Joshua Ciccel as charismatic Ryan rehearse a scene study together when something unexpected happens. Director Trace Pope does a remarkable job in this brief time frame to create a light, unpredictable drama that keeps the viewer guessing till the very end.

Remarkably directed by Bandar Albuliwi, Sakrə Fīs (Sacrifice) is a riveting Iranian story about Azaheh, impressively depicted by Tiffany Ariany and Johnny Ferdosi as playful and fascinating Aadan who find themselves in a suspenseful and life threatening situation during a football game. Enhanced by Joe Aguirresarobe’s gripping cinematography and Nima Fakhrara’s affective score, Ariany and Ferdosi’s natural and sweet chemistry and the dangers of daily life in present Iran is what makes this increasingly tense and unpredictable tale such an engrossing and heartrending journey.

Shorts: Friendship Bonds ‘The Bottom’ Photo credit New Ohio Theatre

Do the ends justify the means? A man, at his most vulnerable, is being forced into a mysterious lake at gunpoint. Hostility and tension reach its boiling point in this eerie confrontation between James Kautz as Jude and Alex Grubbs as John before the plot thickens. With harrowing direction by Morgan O’Sullivan and James Kautz and fueled by Adam Bloch’s haunting sound effects, The Bottom is an dark, deeply psychological look at the affect of toxic relationships and may cause more than a chill.

Shorts: Friendship Bonds ‘We (Don’t) Know How to Live Photo credit New Ohio Theatre

On a lighter note, We (Don’t) Know How to Live is a comical and somewhat liberating look at life when reaching a milestone birthday. Four friends unite for Claire’s 30^th birthday party, but Claire receives some distressing news before she arrives which may ruin the whole thing. Jayne McLendon as Betty, Hilary Wirachowsky as Claire, Khadijah Roberts-Abdullah as Darcy and Gordon Harper as Daniel all give off some Friends vibes as they reflect upon the direction of their lives. Reflectively written by Jayne McLendon, Hilary Wirachowsky, and Khadijah Roberts-Abdullah, the festive and inviting setting keeps the mood light as the group tackles relatable and age appropriate musings.

REVIEW: OBIE Award-winning New Ohio ICE Factory’s ‘Isla,’ ‘Acheron: The River of Tragedy’ and ‘Body Through Which the Dream Flows’

Posted on August 19 by The Sleepless Critic

The OBIE-Award winning New Ohio ICE Factory is celebrating its 29^th year and has been presenting a number of innovative works each summer that continue through August 20 live and in person at New Ohio Theatre, 154 Christopher Street in New York City. Virtual shows are available through August 27. Isla, Acheron: The River of Tragedy, and Body Through Which the Dream Flows are just a few of works presented during this annual festival. Click here for further details, how to stream, and for tickets.

Bikes fly, a plane takes off, and cars zoom as a world unfolds in interactive shadows. Produced by Hit the Lights Theatre, Isla is a documentary experience which combines shadow puppets, photos, animation, and live action to depict the warmth of Samantha Blaine’s homeland and the realities of the Cuban invasion she grew up in. Her unique and personal journey with her mother and two free spirited sisters integrates nature and song to demonstrate the realities of invasion, family, and how everything is connected. Featuring strong vocals as well as heartwarming and wistful performances by Samantha Blain, Marlena Mack, Tiffany Ortiz, Kristopher Dean, Mikayla Stanley, Claron Hayden, and Casey Scott Leach, Isla is a fascinating production that explores heartache, division, political turmoil, pollution, and how Blaine’s world was shaken by communism.

A car crash and a tense, mysterious encounter lead to much more than either of these characters bargained for at a river at the Mexican-US border. Directed by Martin Balmaceda, Spanish language production Acheron: The River of Tragedy serves up a wealth of twists and turns in this sordid and at times clever tale. This production has mature themes and is not for children.

A secretive and menacing presence, portrayed by Cinthia Perez Navarro, has entered the life of Leonardo, portrayed with strained intensity by Aline Lemus Bernal, a nattering, impulsive, and yet perpetual optimist who dreams of freedom as soon as that tumultuous river is crossed. However, there is a heavy price for that dream and neither are savory characters. Navarro’s searing intensity and cryptic glances make for some skittish moments while Bernal’s jaunty moves and brisk chatter never quite distract from Navarro’s distressing wrath. Cinthia Perez Navarro and Aline Lemus Bernal are also behind the show’s sharp choreography. Acheron: The River of Tragedy is a gritty tale about the darker side of humanity in the pursuit of happiness.

Acheron ©Hugo Freeman With Aline Lemus Bernal (left) and Cinthia Perez Navarro (right)

Body Through Which the Dreams Flows also explores what it takes to achieve a dream. In this case, it is achieving the Olympic dream as past footage of Olympic champions kick off the production. Part documentary and part stage performance, creator Soomi Kim and company takes a look at the incredible world of gymnastics and the corruption and tragedy that has seeped into the sport and the lives of young girls in training. What does it take to be a champion? Sometimes the price is too steep.

What is really compelling about Body Through Which Dreams Flow are the reenactments of some real life footage as well as Soomi Kim and Alexandra Beller’s beautiful choreography, the sheer athleticism, and interpretation from athletes Lucy Meola, Olivia Caraballoso, Madison Rodriguez, Shayna Wilson, Nora Avci, and Ai Clancy. Enhanced by Amanda Ringger’s haunting lighting, Body Through Which the Dream Flows is a stirring and eye opening production addressing the pressures and what seems like the impossible expectations from coaches while focusing on what past athletes have endured. It also delivers a powerful message on the importance of a child having the chance to be a child.

New Ohio BTWtheDF Full cast_ Ai Clancy, Soomi Kim, Madison Rodriguez, Nora Avci, Shayna Wilson, Lucy Meola, Olivia Caraballoso

The New Ohio ICE Factory 2022 continues live and in person at the New Ohio Theatre through August 20 with virtual availability through August 27. Click here for more information and tickets.

REVIEW: Available on Amazon Prime Video, Unlikely friendships and big dreams fuel indie dramedy METHOD

Posted on July 30 by The Sleepless Critic

The pandemic put life on pause for awhile and for some, it has an interesting way of putting life into perspective and mull over what really matters. Perhaps it is to cherish time with family and friends or to realize that the future is now. It might have prompted regrets and an eagerness to fix the future in any way possible.

Rebecca Lachmansingh as Amy Photo by Andrew Quach/Method

College students Lydia and Amy are at a pivotal point in their lives. Both are ambitious with big dreams, but approach their goals in different ways. Amy decides to shake up her world while Lydia pursues her interests with her feet planted firmly on the ground. Their peculiar and abrupt chance meeting and awkward dialogue takes a moment to latch onto as if these two distinct young women speak different languages. Their observances and approaches to life are in such stark contrast, it is a wonder how they get along.

METHOD, an indie dramedy directed and co-written by Darya Amirshahi with Matthew Choi, is available now on Amazon Prime Video and other streaming services. The film is just under 90 minutes. Click here for more information.

First time director Darya Amirshahi captures the essence of the pandemic with this small cast spending much of their time in solitude and hints at the restlessness of this time. This quiet life has Amy crawling out of her skin while Lydia dares not to dream.

Jacqueline Yushkov as Lydia Photo by Andrew Quach

The title suggests multiple meanings in this film, but what first comes to mind is Amy’s dream to become an actress, a career she pursues impulsively and with some reckless abandon. Serious and steadfast, Jacqueline Yushkov as hardworking Lydia does not seem to indulge in anything other than sensibility and gawks at Lydia’s impulsiveness. Gradually, Lydia tempers Amy’s lofty goals.

Sharon Juhasz amiably depicts Amy’s worried mother and voices her concerns, but Amy is resolute. Rebecca Lachmansingh as controlling and occasionally harsh Amy makes some questionable decisions in the film, but Lachmansingh also brings naïve and idealism that garners some sympathy for her character.

Two unlikely friends discover with a little faith, less reckless abandon, and a few hard lessons, there is hope. The dialogue is farfetched at times and can benefit from having a bit more subtlety, but Yushkov and Lachmansingh work out its believability through their quirky chemistry and gradual understanding of each other.

METHOD, an indie dramedy directed and co-written by Darya Amirshahi with Matthew Choi, is available now on Amazon Prime Video and other streaming services. Click here for more information

REVIEW: ‘Who Killed Jazz’ and ‘Deadguy: Killing Music’ an unusual combination at the New York City Indie Film Festival

Posted on July 14 by The Sleepless Critic

What does an angry, vaguely defined metal band and classic jazz have in common?

Though there doesn’t seem to be much, one thing is certain…both move to beats all their own. At one time, live music was the way of the world, but with the impact of surging technology, the expansion of creativity and simultaneously the lack of original ideas, the use of sampled music and a vast array of music influences, music is a constant evolution.

What hasn’t changed is the effect is has on its listener. Who Killed Jazz explores the art of jazz, a respected, quintessential genre defined by its clever improvisation, and how it fits into the contemporary world. Deadguy Killing Music is a peculiar authorized documentary on Deadguy, a band that hinges on chaotic improvisation. Both were featured in the documentary 13 series at the recent New York City Indie Film Festival at New York City’s Producers Club.

Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it was first launched in 2010. Click here for more information, film submissions for next year, and click here to see what we had to say about NYC Indie Film Festival’s Narrative 14 series, here for film reviews in the Documentary 12 series, and here for a film review of 34 Carmine Street, part of the Documentary 14 series.

Skillfully written, directed, and produced by Ben Makinen and inspired by Makinen’s Jazztown documentary on Vimeo, on iTunes/Apple TV and Google Play Christmas Day, and soon on Amazon and Vudu, Who Killed Jazz is a comprehensive and fascinating analysis of jazz’s exciting history and how the value of it has changed over the years through the eyes of musicians who have lived and are living through it. Becoming a jazz musician is more of a risk than it has ever been before as television, disc jockeys, and pre-recorded music take over the clubs and today’s club owners are paying musicians less. Jazz is an extraordinary and complex genre as well as a standard in music education and yet, it struggles.

Filmed in Colorado and Indonesia with eye-catching cinematography that delivers vintage flair, Who Killed Jazz captures fascinating perspectives, memorable stories, and concert footage from renowned musicians such as Dianne Reeves and various insights from contemporary musicians like Esperanza Spaulding. It takes a hard look at the industry and how jazz and jazz culture has changed to fit in, but in the process, is it losing what made jazz great in the first place?

Photo credit to the NYC Indie Film Festival

Foo Fighters front man David Grohl once advised wannabe musicians to go a yard sale, buy an old drum set, get in a garage, and just suck. Deadguy is a 90s New Jersey metal band that started in a basement who claimed they didn’t care how they sounded and to some, that was part of the appeal.

After all, they had just about given up before they really got started. Before selling some albums, performing with the Misfits or even before the release of their debut album, they had split up. It was a band that almost lived up to their name.

Written, directed, and produced by William Saunders with mature themes, Deadguy: Killing Music is a unconventional, authorized, and fan-focused documentary about Deadguy, a self-proclaimed anti-establishment band with punk influences that seemed to self-destruct before their music raged on. It is a by-the-numbers 90-minute documentary that could have easily gotten away with being a tighter 60 minutes if not for its occasional meanderings and side stories.

If you were a fan of this group, you’ll be satisfied by never-before-seen footage, the band’s self destructive and wildly absurd antics, songwriting, storytelling and just how they created their debut album, Fixation on a Coworker. However, the sheer chaos of the band’s sound as well as their impulsive and rage-fueled delivery can be off putting even if the lyrics have some substance. Having reunited in 2021, it is ironic that they have returned to sing anti-establishment songs while living the suburban life they so rallied against in a house with a mortgage, jobs, kids, and all. Maybe this time they really have something to be frustrated about.

Who Killed Jazz and Deadguy: Killing Music were both featured in the Documentary 13 series at the recent New York City Indie Film Festival which took place live and in person at the Producers Club in New York City. Click here for more information about this annual event, film submissions, and more.

REVIEW: ‘34 Carmine Street,’ featured at the New York City Indie Film Festival, gets to the heart of small business

Posted on July 6 by The Sleepless Critic

You’ve Got Mail, a hit film starring Tom Hanks and Meg Ryan, explores the virtues and survival of a small business bookstore up against a number of factors including corporate bookstore chains. Small bookstore owner Kathleen Kelly and her fictional Shop around the Corner is embraced by the community for its rich history, Kelly’s unique personality reflected in every aspect of her bookstore including the storefront, her handpicked books, and the selection of readers and performers that appear at her store. Every aspect is meticulously designed to make a particular impression for the customer. The Shop around the Corner’s small but knowledgeable staff would not only know each handpicked book by heart and personally assist you in making a selection, but probably knows most of their devoted customers not only by name, but as a friend.

Supporting small business has not only always been a prevalent topic, but has gained that much more significance in the last few years, especially during the height of the pandemic. Corporate business, rising real estate prices, the tough economy, and many other factors continuously impact the survival of small businesses and without more support, they often get left in the dust.

34 Carmine Street was part of the Documentary 14 series featured at the New York City Indie Film Festival that continued through June 19 in person at the Producers Club in New York City. Curated by Gerard van den Broek, Documentary 14 series also included documentary films Cinema and Sanctuary and Trash Day.

Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it was first launched in 2010. Click here for more information, film submissions for next year, and click here to see what we had to say about NYC Indie Film Festival’s Narrative 14 series and here for what we had to say about the films in the Documentary 12 series.

Photo credit to the New York City Indie Film Festival

Directed insightfully by Beatriz Browne, renowned short documentary 34 Carmine Street makes a strong argument not only for the survival of a historic and strong minded Greenwich Village bookstore and other unique, longtime small businesses on that street, but encapsulates what makes small businesses an irreplaceable part of the community without being preachy or political. It digs deep into a part of Greenwich Village’s history where these small businesses have survived for decades while always having something significant to say about the world. It may also change your mind about where you shop next.

34 Carmine Street, Cinema and Sanctuary, and Trash Day were all part of Documentary 14 at the New York City Indie Film Festival which continued through June 19 in person at the Producers Club. Click here for more information on this annual festival and its winners.

REVIEW: ‘Dancing is an Old Friend,’ ‘Hilary,’ ‘Inventory,’ ‘Looking for Jack’ and ‘The Green Line’ explore isolation and more at the New York City Indie Film Festival

Posted on June 30 by The Sleepless Critic

What is it like to feel stuck due to circumstances beyond your control?

Curated by Gerard van den Broek, each film in the Documentary 12 series including Dancing is an Old Friend, Hilary, Inventory, Looking for Jack, and The Green Line at the New York City Indie Film Festival through June 19 featured people who faced unforeseen obstacles in an attempt to find peace within.

Whether facing trauma, isolation in a pandemic, family brokenness or being caught between one nation and another, these themes invite a feeling of powerlessness until hope is found. This particular collection of documentaries delivered some surprising twists and turns in some profound situations in an attempt to discover where one belongs in the world.

The New York City Indie Film Festival featured a variety of films from shorts to narratives to documentaries curated with common themes. Sleepless Critic had the opportunity to review screenings on music, small businesses, love and connection and much more. Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it was first launched in 2010. Click here for more information, film submissions for next year, and click here to see what we had to say about NYC Indie Film Festival’s Narrative 14 series.

Directed by Marta Renzi, Dancing is an Old Friend is written by and stars Leah Barsky and Jennifer Tortorello Walker. It is a relatable account of an amateur ballroom dancer and professional ballet dancer brought together by dance who must find new ways to connect after the pandemic put the world in isolation. They both struggle with this new way of life but are determined to forge ahead together.

During the pandemic, the arts were hit hard. Many professional dancers had to find alternate ways to demonstrate their art and remain in top form until the time came for them to once again take the stage. Dancing is an Old Friend explores the momentum of their daily lives during the pandemic and a chance to examine why they live their lives the way they do and where dance factors into it now and in the future.

‘Dancing is an Old Friend’ Photo credit to New York City Indie Film Festival

What made this film fascinating is not only the captivating athleticism and style of the dancers in action, but comparing each perspective on dance itself and how it demonstrates the bonds of this friendship. This is not a tragic account of being lost during the pandemic, but an intimate and sincere documentary that explores the good and bad in equal measure and the hope that springs forth during this life altering period of time.

What may or may not have happened is a mystery in Hilary.

Hilary Porter, through her own drawings, illustrates a repeated and menacing alien encounter that has left her haunted. Hilary’s harrowing recollection unfolds through her graphic narration and unusual drawings as she shares that she was always thought she was different. Director and producer Mariana Zarpellon offers some insight into who Hilary is and how she has been affected by these encounters and though I was initially intrigued by this film, I was left with more concern for Hilary’s well being than the rationality and content of Hilary’s recollections.

‘Hilary’ Photo credit to New York City Indie Film Festival

Resourcefulness is a defining quality in any artist and nothing less than resourcefulness and love defines the story of Inventory, a documentary directed and produced by Daniella Gitlin, the daughter of sculptor, Michael Gitlin. The film is designed not only to share her father’s relatable journey as a struggling artist, but the unconventional manner in which Michael Gitlin’s legacy is being preserved.

Interwoven into the film are classic American standards such as Someone to Watch over Me, beloved songs from Gitlin’s heritage, and past family photos to create a vintage ambiance and to smoothly rewind the clock to a time before her father’s inventory had accumulated. It is a unique and personal story about how love and family transcends obstacles even under unusual circumstances and how the film’s most extraordinary “inventory” is not just confined to Gitlin’s art.

‘Inventory’ Photo credit to the New York City Indie Film Festival

For anyone who is searching or has searched for a family member, the idea of finding them is met with a plethora of emotions. Sara Zeppilli Freeman captures just that and more in her deeply personal documentary, Looking for Jack. Part of Looking for Jack’s endearing strength is it is shot much like a home movie where it is easy to put oneself in Sara’s shoes. As Sara talks to the camera with a jittery glow, her excitement is palpable at the promise that her life is about to change.

On this special day with Sara wearing a broad smile, one can picture themselves in Sara as she excitedly waits in anticipation and trepidation to meet her father for the first time in 21 years having traveled from Boston to Portugal. No matter the outcome, that moment of time is a monumental experience to be treasured and hopefully not regretted. The pinnacle of the film is that building tension as Sara waits, the camera panning carefully through Sara’s surroundings for that moment of relief.

‘Looking for Jack’ Photo credit to New York City Indie Film Festival

In a land fraught with uncertainty, Yehudit Kahana is no stranger to anxiety and strife for most of her life. Co-written with Sharon Yaish, directed, and produced by Yehudit Kahana herself and set from the early 2000s to today, illuminating documentary The Green Line focuses on Yehudit’s coming of age as she resides in Elon Moreh, a land near the Green Line which borders the Palestine territories and Israel. Since a life changing incident occurred resulting from an innocent child’s game, Yehudit has struggled with the threat of sudden violence, terrorist attacks, and chaos in a place where she doesn’t feel she entirely belongs.

‘The Green Line’ Photo credit to New York City Indie Film Festival

The Green Line delivers a wealth of information on certain incidents in Israel, Palestine, and the Green Line which can be confusing at times, but what is clear was how Yehudit felt in circumstances beyond her control in a harsh and threatening land determined to break free. The Green Line has some lighter and amusing moments with family that not only shed light on Yehudit’s understandably frustrating, strict, and expected traditional place as a female in the world and in the path of the Torah, but also explores how valuable the road less taken can be.

Dancing is an Old Friend, Hilary, Inventory, Looking for Jack and The Green Line were all part of Documentary 12 at the New York City Indie Film Festival which continued through June 19. Click here for more information on this annual festival and its winners.

REVIEW: ‘Chabe,’ ‘Conversations with Female Clowns,’ ‘Dictionary’ and ‘Por Mi Hija’ explore various aspects of love and connection at The New York City Indie Film Festival

Posted on June 24 by The Sleepless Critic

The New York City Indie Film Festival concluded on June 19 after approximately a week of screenings at the Producers Club in New York City. It featured a variety of films from shorts to narratives to documentaries curated with common themes. At this festival, Sleepless Critic had the opportunity to see screenings on music, small businesses, love and connection, and much more which will be explored in future articles. Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it first launched in 2010. Click here for more information.

Curated by Lucie Guillemot, this narrative film collection explored different aspects of love and connection. Directed by John Tsiavis, Chabe is a vivid short film about Isabel Gomez, a woman who assists in a cataracts surgery project for a Mexican indigenous tribe. Rich in unique color and told through Isabel’s eyes, the film evokes Isabel’s sheer joy in helping others and the complex process of this tribe’s journey from dark to light. Chabe made me long to see more on it all.

Isabel Gomez in ‘Chabe’ Photo credit to NYC Indie Film Festival

Directed insightfully by Clare Redden and Joseph Pulitzer, Conversations with Female Clowns is a surprising look at connection through laughter from a unique perspective. Reflected through a group of female clowns, it explores not only the incentive for a woman to become a clown, but the societal and personal norms as a female that seem to relate all too well to this profession. It sheds light on the idea of clowning from a new angle with an opportunity to see these female clowns in action. From a hospital clown to a member of the Big Apple Circus, Conversations with Female Clowns is an eye opening and humbling experience about what it truly means to be funny.

Director and writer Clare Redden of ‘Conversations with Female Clowns’ Photo credit to NYC Indie Film Festival

Dictionary explores the ODU concept of the seven stages of love in vignettes. A tribute to the Indian culture, Aishwarya Sonar has a great deal to convey in the screening’s brief time frame and writer, director, and producer Elena Viklova aptly evokes the fleeting and sacred power of love in each frame. From the warm bloom of attraction to the stillness of grief, Sonar elevates each stage in dynamic subtleties.

‘Dictionary’ by Elena Viklova Photo credit to NYC Indie Film Festival

Por Mi Hija (For My Daughter) is an immersive Spanish language film that addresses familial love and the dream of what is thought to be a better life. Written, directed, and produced by Fernando Rodriguez who dedicated this film to his wife and kids and based on two true stories, Por Mi Hija is a stirring account that examines what creates a fulfilling life in an unconventional way.

Christopher Bustos as Leo and Daniela Vidaurre as Emma are young newlyweds living a happy life surrounded by family in Mexico when they receive life changing news that prompts Leo to seek success in California. Bustos and Vidaurre depict a strong and relatable couple with endearing chemistry as they face moving and realistic trials and tribulations while Luciana Elisa Quiñonez shines as imaginative and sweet Luciana.

Christopher Bustos, Daniela Viduarre, and Luciana Elisa Quinonez in ‘Por Mi Hija’ Photo credit to NYC Indie Film Festival

The real strength in this film lies in its unconventional timeline and how it manages expectations and reality. The various parallel scenes between Leo and Emma including having a meal or riding in a car are gripping as it is weaved into the film’s progression and there is a dreamlike quality looking into the past as well as a hazy, ethereal ambiance of the future. This particular style enhances the film’s poignant message while achieving a balance between the lighthearted and tense moments. It also embodies what the characters cannot quite see at the time until the film’s stunning revelation.

Chabe, Conversations with Female Clowns, Dictionary and Por Mi Hija were all part of Narrative 14 at the New York City Indie Film Festival which continued through June 19. Click here for more information on this annual festival and its winners.

REVIEW: ‘Dear Evan Hansen’ a moving but uneven film adaptation of the Tony award-winning musical

Posted on May 16, 2022 by The Sleepless Critic

A broken arm is the catalyst to much more for Evan Hansen.

Winner of six Tony Awards including Best Picture, Dear Evan Hansen stage musical took Broadway by storm in 2014 by distinctly addressing subjects that are becoming dangerously prevalent in contemporary society. Dear Evan Hansen delves into difficult territory and is not for everyone, but it is not hard to see why this musical has gained such acclaim.

The use of social media, the internet, and digital rather than face-to-face interaction due to the pandemic have had people feeling more alone than ever before which has caused social anxiety to gain a greater foothold in our society. With sweaty palms, a constant stream of over thinking, an overwhelming feeling of loneliness in a crowd, and the pressure to live up to what others expect, senior high school student Evan Hansen struggles with interacting with almost everyone until a chance encounter changes his life.

Based on the Tony award-winning musical, Dear Evan Hansen is available on HBO Max, on DVD, and on demand. Click here for more information.

The film adaptation of Dear Evan Hansen has gained some notoriety among the stage musical’s fans because a portion of the musical’s character driven development is left out of the film. As one who has not seen the musical, Dear Evan Hansen is a pretty somber musical experience about a tragedy and a lie that ends up having a life of its own as the film progresses. There are cringe-worthy moments to be certain, but they stem from how deep the rabbit hole of that big lie goes and its inevitable consequences.

What first attracted me to this production was Requiem, a powerful number with beautiful harmony that still stands as my favorite performance. Kaitlin Dever’s chiming vocals as Zoe carry the poignant conflict and the bitterness of Requiem while still preserving her as a troubled and sympathetic figure. Amy Adams as Cynthia Murphy delivers a heartrending performance highlighted by her part in Requiem. However, without a solo number such as A Little Bit of Light as part of this film adaptation, her character has a lack of dimension and less of a sense of what her actual relationship has been with her late son who is lost to mental illness. Danny Pino as Larry Murphy reveals a compelling and complex relationship with his late stepson, but the film would have been better if the adaptation delved deeper into his character. Julianne Moore has much more to work with as Heidi Hansen, Evan Hansen’s single mother. She and Ben Platt as Evan have a complicated, yet caring relationship and Moore shines for the moving number, So Big/So Small. Amanda Stenberg as overachieving Alana Beck is a fascinating look into another side of mental illness and how people are not so different in Anonymous Anymore.

Ben Platt originated the Tony award-winning role as Evan Hansen and also does a marvelous job for the film. Though he seems a little old for the role at this point, Platt’s portrayal of Evan’s anxiety is palpable as he depicts Evan’s struggles right from the opening number, Waving through a Window. His vocals have a soft and introspective quality as he shares his bewilderment and tenseness in attempting to socialize and make friends. At times he is visibly shaken and some of the mixed signals and missed social cues he reads from others can be painful to watch. His simple and hopeful delivery for All We See is Sky Forever is a pivotal and bittersweet song and You Will be Found is inspiring and universally-appealing. Platt also has some awkward but sweet chemistry with Dever as Zoe in the numbers, Only Us and If I Could Tell Her.

Dear Evan Hansen film is not a powerhouse musical, but is filled with quiet reflections, inspirational messages, and sobering revelations. Much of the film deals with various aspects of coping with life and grief, but it also has scattered humor and a few darkly comical moments in the number Sincerely, Me. The ending is not delivered the same way as the musical and seems to wrap too quickly. As one who hasn’t seen the musical, I was less aware of what was missing and seeing Ben Platt’s performance was worth watching. See Dear Evan Hansen the film for its memorable cast and appealing soundtrack, but hold out for the stage musical to get the entire story.

Dear Evan Hansen is available on HBO Max, on DVD, and on demand. Click here for more information and here to see the stage musical on Broadway or on its national tour.

REVIEW: Comparing music biopic ‘Respect’ and anthology series ‘Genius: Aretha Franklin’

Posted on April 19, 2022 by The Sleepless Critic

Maybe it was because I went in with the highest of expectations.

When casting was announced for the Aretha Franklin film biopic, Respect, the anticipation for this film soared. A cast that included Academy award-winner Forrest Whittaker, multi-Tony award winner Audra McDonald and starring Academy Award-winning Jennifer Hudson as Aretha, it seemed this film could do no wrong. In many ways, it didn’t and in other ways, it did. The movie has my respect, but can’t quite pinpoint exactly why it wasn’t as spectacular as it should have been.

Though Respect is no longer in theatres, it is streaming on HBO Max, VOD, and other platforms. National Geographic’s Genius: Aretha Franklin is available on Hulu.

This is not to say that Jennifer Hudson did not deliver a phenomenal performance. Her dynamic vocal range could run circles around almost any singer today. Just to see her take on the theme song to TV classic, The Jeffersons for Live in front of a Studio Audience: All in the Family and The Jeffersons, her sass and brilliance shines through even for those select few minutes. On a larger scale, she performed The Color Purple on Broadway plus watching her sing a live Prince tribute to Purple Rain alongside Cynthia Erivo (who also went on to embody the Queen of Soul in Genius: Aretha Franklin) the night Prince passed away was probably one of the most endearing versions I have ever heard next to the Purple one himself.

It was the kind of vocals needed to match Aretha Franklin’s superlative falcon soprano voice that mastered an aria for Luciano Pavoratti during a live performance at the 1998 Grammy Awards to the bluesy Chain of Fools to the magnificence of her version of Amazing Grace.

Jennifer Hudson is unquestionably an incredible talent and yet, watching Respect, it was difficult to envision Aretha Franklin. Perhaps if Hudson was a less recognizable or not such an established talent in her own right, it might have been easier to picture it. After watching Respect and Genius: Aretha Franklin back to back, it was easier to envision Cynthia Erivo in the role of Franklin. Not only does Erivo look more like Franklin and her distinct vocals a bit closer to Aretha’s, but she also possesses that determination and sass that Aretha was well known for. However, Erivo also had a lot more room to flourish during an entire season.

Though both adaptations are worth watching, it seems like Genius had too much time to tell Franklin’s story and Respect did not have enough. Respect sometimes seemed choppy and there are scenes that were featured in Genius that would have been better explored in Respect. Respect was once a 3 hour film cut down to 2 hours and 25 minutes, but it would have better with more time. Genius had plenty of time to tell its story, but some parts lingered on events a bit too long.

Hudson delivers a surprisingly subdued performance compared to the strong presence Franklin displayed in life. Hudson masters more of Franklin’s natural instinct and wisdom into music as she navigates the music industry from her early misses to her meteoric success from Franklin’s version of the hit song, Respect (which is an Otis Retting song that Franklin undoubtedly made her own).

Both Respect and Genius: Aretha Franklin feature epic casts. A notable portrayal was that of the young version of Franklin, portrayed by Skye Dakota Turner in Respect. Turner possessed more of the charm, spunk, and valor that Aretha was known for. It is easy to see Aretha has a song in her heart from the very first scene, especially due to director Liesl Tommy’s vivid cinematography. Marc Maron delivers an amazing performance as legendary and steadfast music manager Jerry Wexler though the part is not a great departure from other roles he has delivered over the years. Forrest Whittaker in Respect and Courtney B. Vance in Genius: Aretha Franklin skillfully portray Franklin’s fiercely protective, stubborn, and seemingly strict preacher father. Each actor hones in on different aspects of C.L. Franklin’s strong character. Audra McDonald is dynamite as Barbara Franklin even within her brief screen time. She delivers a memorable performance at the piano with young Aretha for Irving Kahal’s I’ll Be Seeing You.

Respect is also set up like the standard biopic rather than choosing an unconventional way of sharing excerpts from Franklin’s life. Much like recent biopics such as Walk the Line, Bohemian Rhapsody, and Judy, Respect uses this narrative structure from fame to childhood and in sequence and in this instance, surrounded by depictions of Martin Luther King Jr, Barry White, Smokey Robinson, Dinah Washington and Sam Cooke along the way. Though it is an effective formula, it is a bit of a clichéd one. Genius: Aretha offers a fresher and unconventional perspective into Franklin’s life delving into an experience Franklin and her father survived together, leaving the viewer to guess what could be next.

Both biopics have their strengths, but if you are looking for a fresher and more believable take featuring some lesser known experiences on Franklin, dive into Genius: Aretha Franklin. Respect features an incredible cast worth watching for its masterful songs featuring a paramount scene featuring Aretha Franklin recording her signature Amazing Grace not to be missed. Either way, the Queen of Soul’s dynamic life is worth telling twice.

REVIEW: ‘Aimee Victoria’ love beyond boundaries

Posted on April 6, 2022 by The Sleepless Critic

Since the pandemic started, loneliness has increased exponentially. People have been scrambling to find a fulfilling form of communication since quarantine took effect in 2020 and any miscommunication or absence of a loved one quickly became fear and worry of their well being. Even today, people are still struggling with how best to communicate and see each other in person without the fear of illness. For Aimee and Victoria at the start of the pandemic, communication had to come more from the heart than from the head as they celebrate their anniversary apart.

Natasha Ofili as Aimee and Stephanie Noguras as Victoria Photo courtesy of Olivia Long/Aimee Victoria

Directed aptly by Chrystee Pharris and written by Hannah Harmison and Mikail Chowdhury, Aimee Victoria is a short film created entirely remotely during the pandemic in 2020. The film is approximately 10 minutes long. Click here for more information and how to view this film.

Aimee Victoria explores how Natasha Ofili as Aimee and Stephanie Nogueras as Victoria, a deaf couple, cope with being separated by the pandemic on their first anniversary. As many have difficulty communicating their feelings under the best of circumstances, Aimee and Victoria tackle this obstacle in a sweet depiction of love beyond boundaries.

Stephanie Nogueras as Victoria Photo courtesy of Olivia Long/Aimee Victoria

Through the film’s isolating setting and circumstances, Pharris navigates panic, depression, and struggle in these characters as they readjust to this new way of living. For example, Aimee struggles just to get out of bed at a loss for what is next as so many have felt in the past couple of years.

Natasha Ofili as Aimee Photo courtesy of Olivia Long/Aimee Victoria

Aimee Victoria transcends not only the journey of these two people, but the significance of love beyond any obstacles and expressing to anyone, whether friend, family, or significant other, what is truly important. Finding a way to carry that love with them no matter where they are.

Aimee Victoria is available now on streaming platforms and in theatres. Click here for more information on how to view this short film.