Tribeca Film Festival 2019 Review

Hi everyone! I’m excited to be back writing after an engaging trip this last month; so forgive the tardiness of this article. But better late than never, eh?

In recent times, I’ve been fortunate to apply my passion and skill to many outlets of creativity; one of those being this site. Pretty soon I'll have had this blog for a year (in June), so I thank those of you who have continued to read what I continue (and enjoy to) put out, and, again, hope for an expansion of some sort soon to reach people further with this platform. Sparseness of activity is on my part

Anyway, I delved into many a film last month with the opening of Tribeca Film Festival (my first to be precise), and remained present for a following 2 weeks of dramas, comedies, short films, and speakers, to mention a couple, that made for an insightful, and uniquely bustling experience (never been to a New York festival). It’s interesting to attend, and to compare the different film festivals by all of their quirks, tricks, and thrills. But for another time.

I have already edited many of these reviews down as much as I can bear, without coming across as vague, so stick with me as I submerge in the world of upcoming cinema, that left me with some stimulating perspectives I wish to share. And now without further adieu: this year's look at Tribeca Film Festival 2019.

Roads

In this story we follow a troubled teen, Gyllen (Fionn Whitehead), who, on a vacation abroad, runs away with his stepdad’s RV in the hopes of making it to France where his actual father resides. Though with some technical issues along the way, he stumbles upon William (Stephane Bak), a nomadic refugee who later reveals a personal quest to find his missing brother. 

The two spontaneously hit it off, and begin to bond not only as friends, but as brothers. And in a touching depiction of friendship, family, and young adulthood, we watch as the two encounter German hippies, drugs, and ancient undertones of racism, in a European road trip that, not only uncovers beautiful views and people, but brings each to a place reconciliation within themselves.

This film nicely plays around with realism and theatricality by giving the audience an entertaining, but fairly accurate ending with which we can still leave satisfied. But looking just past the portrayal of comradery was the lifelike representation of the African refugee crisis in France. The filmmakers dually went after news outlets, and discussed the vignette (if even that) placed over the severity of global situations such as this (I won’t go in depth). Anyway, Roads showcases some great cinematography, carrying a steadily engaging paced, all of which support the telling of this story.

Standing Up, Falling Down

This comedy deals with rather deep issues of family ties, losses, and career choices, while also proving itself decently entertaining and witty. 

Ben Schwarz portrays a comic in his mid 30s, whose life is dragging through the mud, as well as his comedy act. He’s miserably funny (in a good way) with no true output, and no real audience. Billy Crystal plays a kooky, alcohol-dependent dermatologist who, after crossing paths on several different occasions, finds new joy in friendship with Schwarz's similarly downhearted character. Both connect perfectly with their quick, firecracker-like chemistry (a relation you can feel sincerely). And each with their own problems, they deal with disappointed parents, and broken hearts with a boundless sarcasm that is ultimately grounded in a mutual  love and respect that the other never new they needed.

It was a joy to watch two massive comedy presences of comedy (Crystal and Schwarz) just jive and hoot, in a (generational) crossover that felt really special. As far as the film itself goes, “decent” is a good term. I had some problems with some one dimensional characters of irritating build, among other quick maneuvers to reach punchlines. Altogether not a film of impressing magnitude, but definitely a fun one to watch.

Georgetown

Christoph Waltz debuts with his first directors credit in this film. We follow the eerie (true) story of Ulrich Mott (Waltz’s character) who is seemingly an accomplished gentleman of business, of art, and of service; a decorated and dutiful man of his country indeed. But after his elder wife mysteriously dies in the night, he is placed under arrest, and held for a series of questionings that begin to uncover secrets that aren’t so evident on first glance. (Without disclosure) The tale of Mott stands by as everything goes out of whack subsequent to the actions of one incredibly over sensitive, sly, and selfish man that just grows annoying, but never less intriguing.

This is film features compelling and humorous twists and turns, though nearly reaching the borders repetition, but ultimately doesn’t really extend its hand in being made personally memorable. I do recommend a watch though if the chance arises.

Come to Daddy

Starring Elijah Wood, we watch as our main character, Norval, finally makes it out to the isolated cabin where his estranged father has lived for the past 30 years. Upon arrival, the two exchange painfully awkward, and no more memorable, greetings, and set off to do the things fathers and sons do. Fish. Hike. Talk about man stuff. That sort of thing.

But after a series of pretty uninspiring ventures, Norval begins to sense an air of question about “dad" when it comes to a dreadful attempt to discuss the reasoning for his failed fatherhood. Pretty moderately, a string of similarly suspicious events surrounding his father begin to build up a peculiar case of fear and doubt, in a weekend adventure that’s sure to keep you up, and on the edge of your seat.

This film showcases some very stimulating cinematography, and sturdy acting among a crazy grouping of talents that certainly make for a piece, but one that comes up short on the scale of satisfaction, with an ending that basks in unoriginality, and seemingly forces a spotlight of “empathy" upon the characters and the audience that is not meaningful. At many times brutal and disturbing, every sound becomes so frightfully precious in a cringeworthy story of fatherhood and deception that starts and ends in the mysterious backwoods of Maine. This film definitely warrants a side of attentive notice, but, regrettably, does not win a high level of merit when it arrives at my doorstep, failing to really connect on that striking, or heartfelt level.

Dreamland

This drama takes place in rural Texas of the Dustbowl Era, where many rapid and tumultuous “ingredients" such as growing innovation, The Great Depression, as well as relentless waves of dust storms, are beginning to dissipate the ways of the old west. We follow Eugene Evans (Finn Cole), a young man coming out of his teenage years, who although is expected to mature in the eyes of the community, still holds fast to years of fantasy inspired by comics, and to the dream of adventure beyond the medium tasks of everyday life. 

One day he stumbles across a woman (Margot Robbie) with a mysterious gunshot wound, and in need of medical care. With excitement, he naturally takes on the role of the chivalrous hero, saving life in the presence of the rough, but beautiful brute of woman. After having patched Allison [Robbie’s character] up though, making her acquaintance, Eugene discovers that she is really a dangerous bank robber, who is on a close spree from the law. And with the police and the posse nearing in to execute apprehension, wether that means dead or alive, Eugene decides to hone all of his family resentment, and lifelong aspiration, into one impulsive, but sure quest to travel with Allison down to Mexico, where each hopes for a new beginning that they can influence for a change.

I've always loved a great western, each offering their own charismatic eccentricities. As for this for this film, I can tell you that we were given subtly excellent (almost under appreciated) production design, authentic costumes, and fun and descriptive shots (cinematography) that portray our characters in all of their joy and their misery. I however cannot say that I enjoyed it much. It was a waste of a good story to go in a direction that I have seen a thousand times. Everything was much too cliche for my taste, ending up with a similarly predictable finish that left ends unresolved, and elicited no real empathy for the characters, from the audience. It was nice in some manners, but as far as the factors of engagement and originality go, deficient and drab are two words that rather come to mind, and as a whole work, it was not redeemed by any of the positive aspects present throughout, to my disappointment.

Place with No Words

This film was so delightful! In a story of life, love, and death, here we are tossed between dear laughs, and genuine tears. Our visual journey jumps in with view of an enthusiastic child, Bohdi (Bohdi Palmer) playing on top of his sullen father (Mark Webber). This sadness, we soon discover, is linked to news of a terminal illness, that causes him many worries, none surpassing his son's future without a dad. In stark contrast to this depressing storyline, we are given an unexpectedly bright and whimsical journey, where the father-son duo undertake the challenges of exploring a magical land, full of angels, fairies, and strange snacks. Our main perspective comes from the youthful lens of a 3 year-old boy, in all of his innocence, cheekiness, and honest wonder that creates an experience that rare few ever return to in their life. I'm delighted to introduce Place of No Words.

This was a splendid film that, as well as being entertaining and profound, went about to accomplish its virtues in ways that are definitely new and fresh in a scape of many recycled narratives and content that doesn’t strike the eye as times once prompted (a bit exaggerated there, but you get the idea). Again, we we regifted with the curious imagination that childhood is, and are reminded that we mustn’t lose that in ourselves. (Note: Bohdi is a scene stealing one man show of a kid, and, fun fact, the pair are actually father and son in real life, making for authentic chemistry that enhances all).

This story follows the father though in equal capacity to the boy. We live in his place; an existence where sickness seems to overtake everything in life. But fortunately, dad never loses sight of his family, making their times together the best adventures that they will ever share. It truly is a touching film, that likewise shows off some surprisingly brilliant visual and special effects, giving an overall design that very much aligns with my own aesthetic. I’m very glad to have experienced this movie, and leave you with a high recommendation of playful interest that hopefully will reach you in the same manner it did me.

Lost Transmissions

We follow a successful and charismatic music producer, Theo (played by the talented Sean Pegg), in this dark drama, who meets a woman, Hannah (Juno Temple), who’s insecure personality differs greatly from the bold talent her voice utters in with every note. In light of this conundrum, Theo takes on the trust of helping her on the way to a surefire career in music. For a while all seems fine, until a drug induced mental condition caused years prior, rears its head, spawning a rollercoaster-like existence for Theo; up and down in happiness and control, ultimately moving downwards in neglecting vital medication. 

Meanwhile, Hannah, being his closest, and only friend really in life, constantly struggles to keep him afloat in a world that seems to turn a blind eye to his tragic situation. In this film, we are shown that the “glamour” aspect of the entertainment business is not always as it's cracked up to be, and that sometimes it is best to stop in all of the madness, and just listen.

Pegg's witty and real performance is great, accompanied by nice supporting role from Temple. The story reminded me very much of A Star Is Born; one star in the sky raises another to its level of fame, slowly falling itself (due to drugs usually), while the other in high life is faced with helping their friend, lover, mentor back to the surface. I hope that makes sense.

Some scenarios were played in repetition, which I guess places the audience in the frustrating perspective of our characters setting; rather quick moving as well, not sparing a second to kickstart Hannah’s career in the beginning (which I thought could've used a bit more footage to bridge the short gap). Beautiful production design and music are played, invoking both fresh and depressing surroundings that work for the film, delivering a decent enough piece that brings us back to a grounded outlook of the reality that: life is tough, but even in the darkest moments is redemption ever present and possible.

Good Posture

This lighthearted drama stands sideline to our character, Lilian (Grace Van Patten), as she has recently emerged from college with no enthusiasm or motivation to pursue a career in her, or any, field; wasting time in anything unproductive really. After being forced from her ex-boyfriend's apartment, her distant father arranges a place with some family friends. She is quickly met with great generosity, at least on the part of the husband. As for his wife, Julia (Emily Mortimer), a reclusive writer, she is a little less keen when it comes associating with others she considers cheeky and ignorant, which basically makes up the entire population. 

But following initial friction between the two comes a delightful spectacle of give and take, with each making sarcastic digs at the other's habitual lifestyle, though always centering back to the heart of a joyful and meaningful connection. The contrasts of their lives —a successful, but lonely artist, and a over annoying young woman — are really enjoyable to see play out, and in an urban navigation of life and art, the humorous and sincere course of these endearing characters brings to light realities of growing up, true friendship, and keeping your essence protected, but flexible as you continue to grow and expand in all walks of life.

I love a lighthearted film that can touch on a variety of emotions, and one that gives the air of a cheery rom-com, while saving plenty of room for good drama; the kind that feels very real and relatable. As time passed, I was ever so pleased with the natural, yarn like unraveling of the storyline and its progression to a place that doesn’t qualify for your typical Hollywood ending, but still leaves you with a strange and comforting contentment, for the characters journey, and for an investment of time well placed. I was met with a production that showcased complimentary colors, in addition to intimate cinematography that captured the highs and lows of situations ranging from creative block, to flawed family relations. It was interesting to see how they integrated interviews (for sake of Lilian’s project, you’ll see in the movie) from real life writers such as Zadie Smith, Jonathan Ames, and Martin Amis; gave a fun swirl on reality. While keeping this piece short(er), I’ll refer to my assured outlook on this soothing and earnest venture which treads into a very familiar world of wavering fortune and opportunity, and is approached through the viewpoint of empathy and admirable tenacity for a young woman who is still just trying to figure things out.

American Woman 

Set in the watchful age of the late 60s, we follow Jenny Shimada (Hong Chau), a former radical who has been hunted for years, due to her dangerous days as a bomb maker. And with money disappearing quicker than planned, and her face posted around the entire country, options are running out fast. But in a sudden deal with a friend, she is moved to a remote country hideout, where she will be paid to supervise the well being of three political fugitives; the friendliest of which (Sarah Gadon) is the kidnapped granddaughter of a major name in the newspaper business. Everything is well, as can be expected under the circumstances, but as time goes on, both the physical and mental shackles of the small space, and the impossibility of a normal and free life, start to bring out the worst sides in everyone. With this expressive tension making itself ever aware amongst the group of “comrades", we watch as a contemplative Jenny rethinks everything, looking back on decisions of the past and their current effect on her life. Refusing to sink into a confined and shrouded state of life, she plans to escape from an increasingly captive situation with her new friend; to live on the road, with no hopeful future for a stationary life, but surely a free one that brings happiness once again.

From producer and writer Semi Chellas (Mad Men, The Romanoffs) comes this story of new beginnings, friendship, and sacrifice that takes the audience to a place where the culmination of a communism poised to strike, the fiery calamity that was Vietnam, and countless other destructive, or unfamiliar events made for exciting, but also unforeseeable times that very much resembled a blind walk in the dark (this essence is beautifully shone in the storyline). As far as my thoughts on the film go, it was relatively okay; pretty monotone, aided, or weighted, by the grayish colors, which were then nicely evened out with moments of drama, tensity, and splashes of vibrancy. There’s not too much to say about this film, but I wasn’t necessarily let down. I think aside from certain aspects of sparsity, I was given a decent film that, while not very stirring, went into an interesting, claustrophobic setting that was tragic, but simultaneously redemptive with the characters' view of what progressreally means, and what that entails for the being of others, and the rest of the world.

Only

The rarer "sci-fi" side of the festival commenced, and concluded with this singular, but interesting drama. Only begins as normal as can be; a couple, Will and Eva (played by Leslie Odom Jr.and Frieda Pinto), set for a romantic weekend in a luxury apartment, with nothing it seems but happiness in their future (classic setup). Though things quickly start to spiral down when a friend suddenly collapses on their doorstep; dead. A strange ash starts to fall outside, and screens everywhere begin to stress breaking news of a similar series of deaths around the globe. Fast forward a year and a half later, we step into an apocalyptic setting, in which the unexpected falling of this virus-carrying ash has wiped out over 99% of female life; every woman has died of this feral disease, except for a fortunate handful that are kept in sterile quarantine by their families. We continue to follow our couple as this disaster has forced them to go from fun-loving and kind to strict survivalist, whose number one goal is to keep Eva alive (sadly, at much cost to the strength of their relationship). And as each day outlived is a fight and a miracle (a fading miracle at that), one question continuously rises to the table; “is a life lived in prison one worth living at all?”.

Rather luring storyline, don’t you think? But to meet my introductory excitement was, unfortunately, disappointment. It turned out to be material of little vigor or potency, that kept dangling the prospect of distant redemption in my face. For a movie dealing with such a devastating existence, not much of anything was shown outside the perspective of the one couple. There were other potential angles they could’ve focused on, but it was very insular, featuring some stimulating aspects of their means for survival, that ultimately drifted into the territory of “same-old same-old". They also take a lot of assumptions with the audience, grasping to the rule of “showing and not telling” I mite too tightly, which makes for a rather confusing, anticlimactic progression, even for the most experience moviegoer.

The relationship between Will and Eva was very strenuous, shallow, and reached a point of madness that just lost my empathy. And I also found many intended scenes to be a flailing attempt at conveying the feminist message of the day (I wish I could go deeper, but as you see, it's difficult even now to edit, retaining engaging readability). Of course not everything is negative, but I don’t feel there is any substantial worth mentioning. This film squanders a compelling storyline, using its potential instead to propose watered down themes of sex empowerment, that make for a morphed work I, unfortunately, don’t endorse.

Prune Nourry and Serendipity 

This was a fun one to partake in. Prune Nourry is a French artist, based in Paris, that has been working for over 15 years now, with exhibitions around the world stirring in themes from illness and death, to science, sexuality, and life. Phenomenal accomplishments indeed, but in this film, we take a unique and equally riveting look at her personal health. 

When Nourry was first given the terrifying news that she had breast cancer, at 31, she was afraid. Naturally, this is very frightening, but what she did after the initial blow of her diagnosis was astounding. Everyone grieves in their own way. And while cure is possible for these women, some deal with it, curling into a ball of darkness; some decide to hit everything on their bucket list; and some people, like Prune Nourry, acknowledge their sickness, but don’t put their life on complete halt. She decided to continue in her work, creating beautiful sculptures and complex multi-media installations that dealt with cancer, and flowed into topics of sex, and equal rights, in a world that seemed like it could use another reminder. 

Certainly, and humanly, with no absence of fear, she kept her eyes straight, set on a course of truth and hope for herself, her family, and other afflicted women everywhere. All of these people she believed could benefit from her suffering in exploitation through her art; and she was right. In a brilliant and artistic documentation of Prune’s remarkable journey, we see that this is not a project that will fade into the past, but will most certainly move on, and grow with the rest of us as we experience, in some form, these in things in our own lives.

Luce 

Our character, Luce Edgar (Kelvin Harrison Jr.), is the golden boy in life. He receives exemplary grades, is a natural athlete, very respectful to both peers and fellow students (played by an assortment of talents, featuring Tim Roth and Naomi Watts), and has a world of opportunity awaiting him after graduation. His life seems perfect in every way. But of course that suspicious flawlessness takes a hit when he is accused of conveying worldviews of violence and terrorism through his school work. 

He instantly denies the heinous accusations, and continues on to win the hearts of virtually everybody. All but one. Luce’s stern, but clever teacher, Ms. Wilson (Octavia Spencer), doesn’t fall for his charms, and believes dubious events are at play beneath the teen’s pleasant exterior. We cautiously watch as both sides continue to present arguments, accusations, and alibis, in an unsettling portrayal of truth and uncertainty that persists in pulling our perceptions back and forth in exhausting excitement (bit of Mr. Popper’sPenelope there. Ppppp). 

This film scores big time on the cringe factor, feeding us characters that disintegrate in stature ever so slowly, that, by the end of the trip, reach heights we hardly feel we know, or trust. Julias Onah, the director, was fully aware of the intriguing unease of this story, and shaped every scene with such underlying tensions of supposition. We are brought to a normal, quiet setting (the suburbs), but then, ever so slowly, are separated from any notions of natural ease or safety, as we experience this venture, and perhaps gain interpretations that look at the state of security and trust in America; a continuous tread through these tempestuous times.

By the end of this competent story, we are sure a roguery has occurred to some degree, but even then we are left in the dark, to twiddle our thumbs, and our minds, in speculative, and ultimate, quandary.

Burning Cane

Directed by 19-year old Philip Youmans, receiving great praise from critics and filmmakers alike, and winning three awards at this years Tribeca Film Festival, is the immersive and unique drama, Burning Cane. Whew! Quite the setup.

Being more of a portrayal than actually carrying a distinct storyline, this film follows a small community in rural Louisiana. Among the surrounding visuals of this povertish reality, our main focus is projected onto the difficult relationships between a tough mother and her lazy, drunken adult son, and a pastor who, although deals with guiding his congregation in the word of God, also struggles with severe case of alcoholism that’s eating away at his life. The woman, having a close connection with both of these characters, relentlessly strives to recover both of these relationships that are suffocated by addiction and depression. But after many an effort it seems her attempts are fruitless, and she must try to navigate the helplessness of this despairing situation.

Depressing summary, I know, but it was very interesting to see how this film was made through the insightful eyes of someone that young. Now, I don’t want to annoy any young artists with a "reverse-ageism", but it really is quite remarkable that a teenager wrote for, gathered the funds, and orchestrated everything necessary to make a film; and one that has been so widely received. And to that I give the highest praise indeed.

Although the visual approach to this venture was fresh and experimental, I found the absence of a storyline, not a bad thing, but certainly disengaging. The aimless wander of the camera shows us some pretty sad lifestyles in an absorbing and personal way, but, ultimately faulters by way of granting the audience with anything more than an unresolved peephole into this world. Although I don’t align myself with the direction of this narrative, I definitely appreciate the development sides of all of the especial departments in creating this film, and give my sincerest congratulations to Youmans and his crew. We shall be awaiting fervently for the next experience with which to step into and explore.

Charlie Says 

In what is a unique portrait surrounding the freakish story of "The Manson Family" and his followers, this film takes a good look at, not only the extreme leader himself, but at the personal lives and the experiences of those who aided in his spiritual monstrosities.

Although we take an array of perspectives in this story, our main view comes from Leslie (Hannah Murray), one of Manson’s closest cult members, where she is introduced to us living in jail, alongside 2 other astute, and similarly brainwashed disciples. A warm hearted graduate student (Merrit Weaver) seeks to help theses girls by guiding them in using their lives, though in jail, to pursue an abandoned education. And as they progress in trust and cooperation, flashbacks begin to paint a portrait, to what events led up to their current setting of infamy. We meet Charlie Manson  (Matt Smith) through Leslie as she is given a tour of the “Family’s” free and beautiful way of life, which she becomes quickly enamored with, thus, joining. But as time goes on we start to go deeper, past the sugar-coating of first glances, in what originally seemed only a sect of psychedelics, the land, and sexual freedom, to a dark story that has chilled the bones of modern history (introducing me to a time I’m not fully familiar with).

Matt Smith was very good in his role, with fantastic makeup to go around, but made for a Manson that was hard to fully believe in all certainty. This film was nicely cast, showcased convincing production design, and great costumes that really immersed me in the peculiar conception of a new, radical people that brought with with them new beliefs and imagination; but of course we observe the shadier side of this fascinating age. Although, through this film, we receive a disturbing glimpse into those fateful events of so long ago, we do so from a safe place of wary curiosity, and surreal belief as we continue to speculate, wonder, and abominate horrendous events such as these from the soiled slate of time.

Plus One

Being the second of the festival comedies I saw, Plus One follows sarcastic best friend duo, Ben and Alice (played by Jack Quaidand Maya Erskine), who both, single and in their 30s, are ready to find that special someone. But unsuccessful in their own romantic pursuits, they make a deal to attend the many weddings each of them has lined up in the coming months, in the hopes of picking up the love(s) of their life, and having a fabulous time along the way. So they set off, wedding to wedding, ranking each by their embarrassing bombs and touching bullseyes. But as the celebrations begin to drag on, a strange, but undeniably familiar mood begins to emerge around the two buddies, in a childishly foolhardy, but endearing adventure that gives the audience a new take on what it truly means to love.

Jeff Chan and Andrew Rhymer definitely created a fun, party like spirit that rang throughout the film. And although the hilarious dynamic between Quaid and Erskine was definitely high energy and spitfire-like, unfortunately, at a certain point, it became just a little too annoying and unbelievable for me. Their comedy kept a pace that I enjoyed, but then suddenly dropped to an extreme opposite. It lagged for a while more, rather elongated to my liking, and reached a culmination of the “happy ending” that was semi anticlimactic and cliche, overall losing my original excitement. 

The romantic comedy has always been a favorite genre of mine, giving both comfort and giggles on (really any day, but especially) those gloomy and cozy rainy days. Although I can't say that I loved this movie, the filmmakers behind this story didn’t do a bad job by any means. Through the familiar, and fresh aspects filtered to the audience in this modern comedy, I was partially entertained, but wasn’t left with the impression I hoped the film might have achieved.

House of Humming Bird

This artistic drama takes us into the rather tumultuous world of a young girl living in South Korea of the early 90s. We uncover relatively quickly that her family is defined by rules, and by a strict set of goals in their education, but unfortunately is held to lesser standards when it comes providing the love and care that should be freely and equally distributed. Our character, Eunhee (played by Ji-hu Park) is a young delinquent who acts out in mischievous, but understandable, ways as she is referred to by all in her life as a lazy no talent, and a weight to her family. 

And after exceeding her limit of second chances, Eunhee is placed in after school studies, where she slowly makes friends with a smart and lovable young teacher who seems to accept [Eunhee] for who she really is. And with this, we begin this wondrously uncertain and tragically exciting journey through Eunhee's eyes, receiving an intimate portrait of the inevitable ups and downs of young adulthood.  

Coming of age dramas fascinate me, with the different ways filmmakers choose to produce a glimpse of the difficulties that spawn during adolescence. Bora Kim, the mind behind this film, brought a fantastic palette of color and gorgeous cinematography to this beautiful painting, which received great acclaim from Tribeca audiences this year.

Anyway, while delving into many a dismal aspect, giving hand to the realism of this touching depiction, we are left with a bright and resolved hope that, with the aid of this (maybe anticlimactic) quote from the film, simply conveys one thing to remember through even the most weary of times:

“For every bad thing that happens, something good occurs to even it out”.

Other Music 

Other Music was an unique icon in the landscape of music; an institution that provided people with both a seemingly infinite knowledge about an even greater selection of records, as well as drawing new talents (introducing bands such as The Yeah, Yeah, Yeahs, The Strokes, Vampire Weekend, and Animal Collective, among others) and the new generation of customers with it. 

So when the owners announced that they would be permanently shutting down in 2016, after 21 years of service, you can imagine the uproar received from fans and acclaimed musicians who knew its importance in the music world, and wanted to keep that history alive. We follow this bittersweet journey that kindles many laughs, tears, and memories, in a thought provoking film that exposes the serenely cluttered, and familial being of the store, concluding with a satisfaction for the work done, and the people inspired.

This documentary portrayed Other Music with a precision that I believe captured its cultured essence, as well as the musical souls of the people that shopped there and participated over the many years.

"With the declining intellectuality of entertainment, so do we begin to dumb down with it”.

In closing, I believe this quote, given by a subject in the film, perfectly sums up the perspective in which the owners approached their love for music, and the exotic, international, and alternative sounds they collected with the desire of sharing that passion with others. 

Other Suggestions:

La Noria (Animated Short)

-A hauntingly vivid and exquisitely painted story about loss, the darkness, and coming back to the light.

My Mother's Eyes (Animated Short)

-An intimate, tear jerking view of the jubilation, as well as the trials motherhood portrayed with beautiful simplicity.

What’s My Name: Muhammad Ali (Documentary)

-(Had to leave halfway through, but) A further, fantastic assurance of the the towering persona that was Muhammad Ali, and what stories, people, and beliefs followed that greatness.

From live talks with Guillermo Del Toro, Sarah Silverman, and David O. Russell, to a special remaster premiere of Francis Ford Coppola’s iconic Apocalypse Now; Tribeca was an experience filled with a great selection of movies, industry wisdom, and, of course, the people that make up, and make possible the incomparable atmosphere of these festivasl. The Moviegoers. Just a real delightful group to connect with, whether they be directors, writesr, or even your impassioned film fan. It’s always a joy to meet likeminded people; to learn a little something, as well as share a few laughs. 

Anyway, I hope you all managed to enjoy some views on this years nice TFF slate. I do enjoy curating, and putting thought into writing these lists, and figuring out the different ways that entail trying to keep my content new and fresh. Another watchlist will be approaching further down the line, with a second look at the Telluride Film Festival in the deep mountains of Colorado, which takes place in September (be set for some great movies, with past screenings and premieres including Oscar graced titles such as Roma, The Old Man and the Gun, The Favourite, and The Shape of Water). So stay tuned for that. Otherwise, I’ll be attempting to output more reviews on the new and upcoming, as well pay tribute to old works that yearn to rise yet again to the surface. I sincerely hope this was descriptive, as well as eloquent in reigning you in for a film or two. Thank you all for taking the time to read this piece, and until next time, make the most of this beautiful summer, and watch movies! Cheers!