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

Posted on July 6, 2022 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, 2022 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, 2022 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: ‘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.

REVIEW: Boston Film Festival’s US Premiere of ‘The Girl Who Wore Freedom’ a moving tribute through generations

Posted on October 15, 2020 by The Sleepless Critic

The 36^th annual Boston Film Festival featured the debut of shorts, feature films, and some fascinating documentaries such as the world premiere of This Hits Home, Me The People, Beyond Zero, and ‘25’ Tony Conigliaro The Documentary, the US Premiere of Memory of Water, as well as the East Coast premieres of Knots: A Forced Marriage Story, Stro: The Michael D’Saro Story, and After the Rain on September 24 through September 27. The festival offered virtual options and live screen opportunities at the Showcase Icon Boston at the Seaport in Boston, MA. Q and A panels were held with actors, directors, and foremost experts. Click here for the full schedule.

Showplace Icon Theatre, located at Boston Seaport. Photo courtesy of Jeanne Denizard

Director, executive producer, writer, and narrator Christian Taylor explores the complicated road to forgiveness in her moving D-Day documentary, The Girl Who Wore Freedom which made its US Premiere at the Boston Film Festival. This extraordinary film provides a unique perspective on D-Day on June 6, 1944 through the eyes of a variety of groups associated with D-Day including citizens of Normandy who were children when the bombs dropped. 20,000 French civilians were killed on D-Day. Taylor narrates this film as an awed spectator and tourist as she invites D-Day survivors to recall their experiences while she demonstrates the paradoxical ways veterans are treated in Normandy than they are in the United States.

Flo Boucherie, pictured, co-producer of ‘The Girl Who Wore Freedom’ Photo credit to ‘The Girl Who Wore Freedom’

The Girl Who Wore Freedom’s co-producer Flo Boucherie is the symbolic Normandy girl that inspired the film’s title. She has a particular tie to D-Day partly because her parents were D-Day survivors when they were children. Her mother worked with the veterans, made Flo’s dress, and participated in the D-Day ceremonies.

Citizens of Normandy, historical representatives, medics, and veterans describe the impact and the dynamic experiences they had from a Normand child’s encounter with an American veteran who inspired him to never start smoking to trading shoes for eggs to harrowing stories of a civilian who got shot and the museum that resulted from it. It also recalls some of the significant and surprising events that occurred after D-Day and how perspective changes over the years as generations look back.

Photo credit to ‘The Girl Who Wore Freedom’

Despite its serious material, the film is not without its lighthearted moments. It is about trauma, heartache, and harrowing loss, but also about liberation, love, friendship, and compassion. What unfolds is a testament to the power of healing and forgiveness, not lost on anyone who has been at war.

Watching this film is an eye-opening experience of one of the most harrowing events in world history. Its emotional complexity may leave some conflicted of what should come out of the atrocities of war.

Tom Rice, an American veteran who was in the March on Carentan Photo credit to ‘The Girl Who Wore Freedom’

The Girl Who Wore Freedom has been released at a pivotal time in the United States and the world with a sorely needed, universal, and thought-provoking message. It encourages you to reflect inwardly and empathize with one another’s struggles. The Girl Who Wore Freedom will unexpectedly move you to tears and make you grateful for the experience.

D-Day Parade Photo courtesy of ‘The Girl Who Wore Freedom’

The Girl Who Wore Freedom is currently touring the film festival circuit nationwide. Click here to see where The Girl Who Wore Freedom will be shown next and here for more about this year’s Boston Film Festival and future updates.

NYC actress, writer, and filmmaker Stephanie Iscovitz talks film career and managing annual ‘New York New Works Theatre Festival’ in October

Posted on September 27, 2017 by The Sleepless Critic

NYC actress, writer, filmmaker, and casting assistant Stephanie Iscovitz is no stranger to a competitive festival, having been on the winning end and a participant. She is taking her expertise to a whole new level running the upcoming New York New Works Theatre Festival, kicking off Tuesday, October 3 and continuing through Saturday, Oct. 21 at New York City’s Duke Theatre with the final gala on Monday, Nov. 6 at Theatre 80.

With a wide spectrum of diverse, carefully chosen theatre productions from hundreds of submissions and created by Gene Fisch, Jr., the New York New Works Theatre Festival is a give back project to help the arts community. It’s an exciting, annual event as award-winning representatives from Broadway and beyond judge the next generation’s promising talent. Click here for the full theatre schedule, tickets, and here for panelist information.

Stephanie Iscovitz delves into her journey as a film festival participant, what to expect at the New York New Works Theatre Festival, and the message she hopes to convey through her work. Click here for more on Stephanie and her upcoming projects.

Sleepless Critic: Starting October 3, you are leading the management team at the New York New Works Theatre Festival.

Stephanie Iscovitz: Yes, I’m managing the New York New Works Theater Showcase and am very passionate about including as many powerful, female and diverse voices as possible.

The New York New Works Theatre Showcase is a theatre competition that provides aspiring writers the opportunity to present their work in a top tier theatre while being mentored by a group of Broadway, television producers, and industry leaders. The distinguished panelists are Broadway producers, Tony Award-winners, Emmy Award-winners, or industry executives that volunteer their time to help aspiring writers. Performances take place in the 199-seat Duke Theatre on 42nd and Broadway from Tuesday, October 3 through Saturday, October 21 with the final gala on Monday, November 6.

I’m eager to take all the wonderful parts of my film festival experience while bringing some great new ideas to the New York New Works Theatre Showcase. As an actor and writer, I know what kind of opportunities I would benefit from and am humbled and excited to provide that for the participants in this year’s showcase.

SC: You bring a broad range of experience to the New York New Works Theatre Festival, including your training at the T. Schreiber Studio and Theatre, a studio that features Edward Norton, Peter Sarsgaard, and Maria Bello, just a few of their renowned alumni. What was that experience like for you?

SI: With only eleven students in the conservatory, it was an extraordinary, life-changing experience. When you’re part of an intense, raw, and emotionally-challenging program like that, the people you experience it with become your family. I still study there as part of their on-going scene study program continually challenged with roles I’m afraid to do. I was most recently working on a character affected with brain damage.

T. Schreiber Studio and Theatre graduate Stephanie Iscovitz T. Schreiber Photo Credit: T. Schreiber Studio & Theatre

SC: What do you think is the most important thing that T. Schreiber has taught you as an actress, filmmaker, writer, and producer?

SI: Terry Schreiber notoriously says that you must give yourself the permission to let yourself happen, which has become my mantra. The first couple of short films I made as an actor, writer, and producer had potential, but they weren’t great. However, I wouldn’t be where I am today or learned as much as I did had I not made those short films, which I consider beautiful stepping stones. Give yourself permission to fall flat on your face and be patient with yourself on this creative journey because in this business, it’s more about the journey than the destination.

SC: Having attended a number of festivals in your career, you have firsthand experience participating in what can be incredibly competitive festivals. What was your first film festival you attended?

SI: The first film festival I got into was for my first film, Ladies Night, presented at a great festival I return to annually, the 2014 Big Apple Film Festival. It’s a comedy held in a karaoke bar and I’ve learned a lot after that first film, like avoid writing a film where music rights are imperative. To my surprise, it was very well received and screened alongside Jerry Stiller in the festival program. I had no idea what I was doing at the festival and was so nervous during the Q&A I could feel my shortness of breath while I was speaking. It’s a comforting thought that no one really knows what they’re doing and just trying to do the best they can with what they’ve got.

Big Apple Film Festival with Jerry Stiller

2014 Big Apple Film Festival – Stephanie won for her first film, which screened along Jerry Stiller. It was a comedy called ‘Ladies Night’ Photo Credit: Stephanie Iscovitz

SC: Recently, you went to Long Beach Island for a film festival not long ago. What is it like for you to attend a festival where your production is featured?

SI: Lighthouse International was the best film festival I’ve attended. Each year, the festival champions a selection of new, often unrecognized films from the US and around the world to compete in the festival and for audience award categories, which screen alongside award-winning spotlight films from Sundance, Cannes, SXSW, Toronto and Tribeca. I saw pre-released films and met other NYC filmmakers, sparking collaboration for future projects.

After the screenings, there were Q&A’s with the filmmakers. We had our world premiere of Bruce Loves You where the shorts programmer, Chip Parham, ran a stellar screening. It was wonderful to have a captive audience interested in knowing more about our film making process and about of course, Bruce the ghost.

'Bruce Loves You' cast at Lighthouse International film fest

‘Bruce Loves You’ team at the 2017 Lighthouse International Film Festival Photo courtesy of Darin Quan

SC: As you attend these festivals, do you feel like you get better at the process or is every festival different? What was it like to win at the festival?

SI: Every festival is different. We’ve started to call it ‘Game of Festivals’ where you win or die and 99% of the time you die. It’s all so subjective and such a gamble, depending upon who’s watching your submission if your submission was actually watched, at what time of day, and what the viewer’s own personal values and tastes are. When you are actually accepted out of thousands of submissions, it feels like a real lottery win.

I met one of my closest friends and collaborators at a film festival where our film, Catslaughter had been rejected. After speaking with her, it turned out we had the same exact film except hers was about a sweater and ours was about a cat. She had submitted early and was already accepted when we submitted late. Timing is everything. A rejection doesn’t necessarily mean your film was bad. There are a number of factors involved and in this case, they had already programmed a similar film. However, it turned out to be a huge blessing because she and I clicked creatively and have gone on to work together on multiple projects.

Filmmaker Cinder Chou at 2016 Big Apple Film Festival Photo courtesy of Stephanie Iscovitz

SC: What is the message that you hope to deliver through your work?

SI: I really want to drive social change through storytelling and that begins with representation on film, particularly through the female lens and experience. I hope to enlighten while helping audiences feel a little less alone.

Tickets are still available to this year’s New York New Works Theatre Festival. Click here for more information and tickets. New York New Works Theatre Festival is also on Facebook, Instagram, and Twitter. Click here for more on Stephanie Iscovitz and her upcoming projects.

Stephanie Iscovitz’s new project Photo courtesy of Rutledge Customs