Shadows on the Wall | Arthouse Films

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On this page: DREAMS IN NIGHTMARES | REALLY HAPPY SOMEDAY | RESTLESS

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See also: SHADOWS FILM FESTIVAL | Last update 2.Apr.25

Dreams in Nightmares
Review by Rich Cline | 3.5/5

dir-scr Shatara Michelle Ford
prd Ben Stillman, Chris Quintos Cathcart, Ana Leocha, Tyler Bagley, Robina Riccitiello
with Denee Benton, Mars Storm Rucker, Dezi Bing, Sasha Compere, Charlie Barnett, Jasmin Savoy Brown, Molly Bernard, Regina Taylor, Robert Wisdom, Alfie Fuller, Malek Mouzon, Joss Barton
release US Aug.24 bsff,
UK Mar.25 flare
24/US 2h08

BERLIN FILM FEST

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Strikingly photographed by Ludovica Isidori, this drama has a wonderfully visual kick, pulling us in with dreamlike imagery and vividly sensual textures. Writer-director Shatara Michelle Ford uses the loose structure of a road movie to send three characters on an odyssey into their souls, and into the soul of their nation. While the film is a bit meandering, it continually touches on resonant issues from knowing perspectives.

After her creative writing course is terminated, Los Angeles professor Z (Benton) needs to decide whether to stay in academia or finally write her book, supported by her lovely boyfriend Reece (Barnett). First, she visits also out-of-work friends Tasha (Compere) and Lauren (Bing) in Brooklyn. After a raucous night out, they take a road trip to Iowa to check on their oddly silent friend Kel (Rucker). But Kel's still-angry ex Sabrina (Brown) doesn't know where Kel is, and neither do Kel's parents (Taylor and Wisdom) in Kansas City. Finally, they track Kel to Mexico.

Essentially a voyage into queer middle America, as they encounter various artists and have a chaotic dinner party in a power blackout during a thunderstorm. There are lots of lively conversations, as well as a few amusingly awkward ones. These artists reject the usual binary labels and sexualities, and they struggle to hold their tongues when someone repeatedly uses the wrong pronouns. And continual glimpses inside these characters bring the film to life.

Performances have an offhanded honesty to them, keeping emotions just barely beneath the surface. Benton's Z is an over-thinker, struggling to clarify what she wants in life. Barnett's charming Reece wants to formalise their connection, but this only freaks Z out. Her deep desire is to dig into her own roots. Compere's Tasha takes things fairly seriously, while Bing's scene-stealing Lauren is much more open to whatever life has in store. And Rucker's Kel is the life of the party.

The introspective approach sometimes leaves the film feeling rather swirly and dreamy, and also overlong. But there are terrific sequences throughout the narrative, with occasional swirly montages that capture the mood instead of making plot points. Interrelationships between these people remain complex and somewhat opaque, in an unusually realistic sort of way. But Kel has discovered a place without the hassles and harassment of the big city. And that might be what Z needs too.

themes, language, sexuality 24.Mar.25

Really Happy Someday
Review by Rich Cline | 4/5

dir-prd J Stevens
scr J Stevens, Breton Lalama
with Breton Lalama, Khadijah Roberts-Abdullah, Xavier Lopez, Ali Garrison, Katharine King So, Aisha Evelyna, Lauren Beatty, Perrie Voss, Lior Maharjan, Marley Kajan, Paloma Nunez, Raffa Wyman
release Can Sep.24 tiff,
UK Mar.25 flare
24/Canada 1h30

TORONTO FILM FEST

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Quietly observational, this warm drama follows a young trans man struggling to redefine both himself and who he wants to be. Director J Stevens takes an offhanded approach, shooting scenes like a fly-on-the-wall documentary to add a striking sense of authenticity. It's also infused with Broadway songs that contain huge emotionality, allowing us to see into the soul of the lead character, who is played beautifully by cowriter Breton Lalama.

Because hormone injections are playing havoc with his voice, Z (Lalama) has a disastrous musical theatre audition that badly shakes his confidence. His girlfriend Danielle (Roberts-Abdullah) is supportive but doesn't know how to help him. All he has ever done or wanted to do is sing on stage, but he instead gets a job in a bar managed by Santi (Lopez), who Z is surprised to learn transitioned eight years ago. As they become friends, Z also starts retraining his voice with Shelly (Garrison). But none of this goes the way he expects it to.

With its intimate camerawork and openly emotive performances, we are drawn deeply into the mindsets of the intriguing variety of people on-screen. Scenes play out in ways that feel improvised and unpredictable. Conversations are warm and often funny, such as when Santi warns Z about impending nose hair. Or when Z tries to explain how his deeper singing voice doesn't sound like his own yet.

Lalama makes Z seriously cute and likeable as he so earnestly sets out to get his life back on track. Watching him come back to life as his voice kicks into gear is wonderful, even as further changes set him back. Z's friendship with Santi is sparky and fun to watch, as Lopez brings his own energy to their scenes together. And Roberts-Abdullah's Danielle has a very different kind of chemistry with Z that's earthy and sexy.

In order to be himself, Z feels like he must give up what defines him; the very thing that makes him a man forces him to create a whole new voice. And perhaps this also means creating a whole new future for himself, which includes to being open to new things, including romance in an unexpected place. This is a warmly uplifting drama that is both involving and easy to identify with.

themes, language, sexuality 20.Mar.25

Restless
Review by Rich Cline | 3.5/5

Restless
dir-scr Jed Hart
prd Benedict Turnbull, Jens Nielsen, Iain Simpson, Harri Kamalanathan, Sophie Ede
with Lyndsey Marshal, Aston McAuley, Barry Ward, Kate Robbins, Denzel Baidoo, Matt Emery, Ciara Ford, Gillian Daniels, Tom Keller, Martin Razpopov, Peter Dean, Diago Gomez
release US Jun.24 tff,
UK 4.Apr.25
24/UK 1h29

Is it streaming?

Opening with a bold Hitchcockian sequence, this British thriller has an audacious sense of urgency as it recounts the preceding week. Set in a seaside town, the film centres around an all-too-recognisable situation, which writer-director Jed Hart exaggerates to terrific effect. This immersive film puts us right into a situation that feels utterly unsolvable, echoing a real sense of frustration that most of us feel about modern life.

Alone in her house, middle-aged nurse Nicky (Marshal) is unnerved when thuggish new neighbours move in next door. Struggling with the noise, she asks Dean (McAuley) to tone it down. But it gets louder. She tries various things to find peace, including turning to her friend Kevin (Ward), only to dodge his advances. And the situation with Dean escalates into all-night parties and tit-for-tat nastiness. Then she has a run-in with Dean's friend (Baidoo) in her garden. And her sleep-deprivation starts causing trouble at work. So when her cat goes missing, she stops playing nice.

It's hard not to think that some good earplugs might at least help Nicky get some rest, although her vivid nightmares aren't helping either. So even as she begins to come unglued, we can identify with her exasperation at what feels like a deliberate attack from Dean and his gang. The story is so sharply shot and edited through her perspective, with an amazing sound mix, that we begin to have murderous thoughts ourselves.

Marshal invests Nicky with an almost overpowering emotionality as she is pushed far over the edge. It's such a skilfully sympathetic performance that it's not easy to watch her get increasingly desperate and distressed. Indeed, the actions she takes begin to feel uncharacteristic, even to her. McAuley gives a wonderfully unflinching turn as the defiant Dean. And Ward is also terrific as a friendly guy who sometimes gets it very wrong.

The story takes turns that are both outrageously nasty and hilariously bonkers, leading to a series of unexpected final scenes that gleefully scramble any potential messages here. But there are underlying ideas that add weight to the movie as it depicts both the strains of everyday life and offers perhaps unhelpful advice for dealing with people who simply refuse to play by the rules of polite society.

themes, language, violence 2.Apr.25

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