In Review: SXSW Film 2021
Alrighty, so normally when it comes to film fest coverage, I give you chunky blurbs on everything I was able to see. For SXSW 2021, I’m going to switch it up a bit and highlight my top five films. Hopefully that makes the column a little easier to comb through and – ultimately – directly points out the films you should seek out. Enjoy.
Side note, doing SXSW online was a weird thing, but I have to give it up to the fest – it was super easy to use their platform. I saw 14 films in total, and they were all very easy to find, RSVP for and view. The quality was great as well. I know SXSW intends to return to its normal setup next year, but I wouldn’t be upset if the online screenings managed to stick around.
I only hit play on Language Lessons because it had two familiar faces – Natalie Morales and Mark Duplass – and not because I had any real interest in watching a movie that takes place via video calls. Admittedly, the whole Zoom all day everyday thing that the pandemic brought about has really burned me out on communicating in that way, but Language Lessons did well to remind me that regardless of the format, connecting with someone (and staying in contact) is what’s important. As for the film itself, it has a simple setup – Adam (Duplass) connects with Carino (Morales) for Spanish lessons via video chat, and eventually they become friends. Only, it’s more than friends. Not in a romantic way, but in a supportive fashion. Maybe it’s because they exist way outside of each other’s day to day lives or maybe it’s because their day to day lives are so different, but their distant connection is one that both of them very much needs. What a nifty, endearing film this is on all fronts. Here’s hoping Natalie Morales directs another movie soon.
If you’re into folk horror, then The Feast is set to delight you. The film is a total slow burn, but not so much to delay the action or really even build tension, it’s more to let you get to know the family that’s at the center of its story. And these people, well, these people aren’t great, so don’t expect to find yourself in a place where you feel bad for them once the blood starts flowing. I don’t know the last time I (or even if I’ve ever) rooted for a horrific entity to come out on top, so not only is The Feast creepy, but it’s original, too. Director Lee Haven Jones is definitely one to watch moving forward. Also, Annes Elwy is stellar in this – what a thousand-yard stare she has.
Udo Kier shines oh-so-very bright in Swan Song, which is about a retried hair dresser, Pat Pitsenbarger, who gets called on to style a deceased former client’s hair. For all intents and purposes, Swan Song is a road trip movie. Pat may not be in a car, but he goes on a journey by foot around the town that he once used to be a big part of, and overall it’s a damn delight. It’s also, you know, one of those big time reminders about how the world keeps spinning on without you, so even though the film is heartwarming and such, it’s certainly a bit of a punch to the gut as well.
It’s sort of weird to explain How It Ends because when it’s written out it sounds crazy, but it all works so well in the actual film. Anyhow, the world is about to be obliterated by an asteroid, so a woman named Liza (Zoe Lister-Jones) decides to go see a shortlist of people one last time before hitting a party where she hopes to see her longtime crush. Accompanying her on this walkabout is … well, her younger self. Liza’s metaphysical form is her as a teen, and now that the Earth is about to explode and everyone’s minds are free, young Liza (Cailee Spaeny) can be seen by people other than just Liza, and Liza can see other people’s projections. Again, I know that sounds wonky, but it’s a home run on the screen because this is a clever film, one that uses a kitschy premise to explore how positive and healthy it is to come to terms with others and – more importantly – yourself. Side note, this movie has a slew of great (and mostly funny) cameos in it.
The End Of Us takes so much from the pandemic – the Zoom sessions, shaky job situations, COVID misinformation, etc. – and bundles it all into an engaging little story about two people – Leah (Ali Vingiano) and Nick (Ben Coleman) – enduring a break-up. Because of the lock down though, they can’t fully split, so they’re left to just exist together-but-separate in the same house. Last year’s Locked Down explored the same kind of setup, but where that movie decided to weirdly loop in a heist, The End Of Us stays focused on Leah and Ben and it’s all the better for it.
Here’s some quick thoughts on the other films I saw:
See You Then – The film spins itself into slightly too much of a tizzy, but it does have some excellent dialogue.
Women Is Losers – This one is all heart, and I enjoyed it.
Gaia – The concept here is fantastic and the film’s ominous vibe is nicely dialed, but it fizzles when it should soar.
Potato Dreams Of America – It has an interesting story, but it’s so tonally scattered that it’s hard to connect with.
Witch Hunt – This has a real series pilot feel to it in that it posits a lot of neat things and then just leaves you hanging on most of them.
The Spine Of Night – Great animation and it’s brutal as all get out, but the back half of the film dragged for me.
Paul Dood’s Deadly Lunch Break – Everyone involved in this feels like they’re trying way too hard to be clever, but I thought the movie was still OK.
Islands – A big time drama about an older man finally learning how to take care of himself. I liked it, but it’s not an easy one to watch.
Violation – This film was far too much for me – it’s thoroughly brutal and I would not recommend it unless you’re into hardcore horror.
