Tag: 2019

[31 Days of Horror Part VIII: Jason Takes Manhattan] Day 18 – We Summon the Darkness (2019)

Director: Marc Meyers
Cast: Alexandra Daddario, Keean Johnson, Maddie Hasson, Logan Miller, Amy Forsyth, Austin Swift, Johnny Knoxville
Screenplay: Alan Trezza
91 mins. Rated R for bloody violence, pervasive language, some drug use and sexual references.

Satanic Panic in horror has been a slow-moving trend in horror for a few years now. Not satanic panic in the traditional sense, but the type of horror that commits to a satirical view of the insanity faced by the public in the 80s. We Summon the Darkness is one of those films, and it looked like a lot of fun. Yeah, it sure LOOKED that way.

Alexis (Alexandra Daddario, Baywatch, TV’s The White Lotus) and her two friends are road-tripping to see a favorite heavy metal band, fully aware that there’s been a string of satanic killings going around the area recently, and bodies are piling up. Once they arrive, they make friends with another group of three, led by Ivan (Austin Swift, Cover Versions, Breaking the Whales), and Alexis invites them to hang out at her dad’s house. What starts as a fun night evolves quickly into a dangerous and unpredictable night that will test each of their survival skills.

We Summon the Darkness is a movie of wants and missed opportunities. It wants so desperately to enter into that canon of stylistic, sassy, and conceptual single-location horror movies like Ready or Not and You’re Next. It aims for this realm and completely misses it. There are a number of reasons why this happens, but let’s start with what works.

Alexandra Daddario is a solid and effective lead in the film. This is an actress that has some serious talent, but she’s consistently overlooked because people are so focused on her looks, but I’ve continued to see an steady climb in her acting abilities, and she’s fun and engaging as Alexis. While she may not be written in the best way, Daddario puts her all into it.

Most of the other performances work well enough for what the film is, but I’d like to focus on Logan Miller (Scouts Guide to the Zombie Apocalypse, Escape Room: Tournament of Champions) as Kovacks, a member of the group of guys that Alexis meets at the concert. Miller is seemingly placed in unlikable roles throughout his young career, and he’s really good at them, but he works pretty well in most of his performances. I remember being swayed by him in Escape Room, and he adds layers to a character that maybe should be more forgettable.

The reveals that come up in this movie are so overwrought and easily guessable that it takes a lot of the excitement out of the movie. Five minutes in and you could guess just about every major plot point. I did, and I was pretty much right about all of it. That’s the problem that plagues We Summon the Darkness: the predictability kills it. That’s a tough thing to work around, and it looks like director Marc Meyers (My Friend Dahmer, All My Life) and screenwriter Alan Trezza (Burying the Ex) were unable to overcome that issue. With that issue comes the cardinal sin of horror: boredom. This movie just kind of bored me, and while it isn’t an experience-killing boredom, I don’t ever see myself watching this movie again.

There are also a few production goofs that, on their own, wouldn’t have mattered, but with the amount of issues in the film, they really took me out. Issues like a movie set in 1988 using newer paper money designs or the Bluetooth light in the girls’ car. These seem like small issues but each time they came up, I was pushed back out of the limited focus that the movie had on me. Everyone has an amount of investment they can afford to lose before they lose focus on the movie, and this one pummeled me just enough to lose me often.

We Summon the Darkness could work for some people, but I’m convinced that many of them have not seen better movies that do what this film can do but better. It wants to be subversive, and it’s mildly entertaining purely for its performances, but it could’ve been so much more. It should’ve been so much more.

2.5/5
-Kyle A. Goethe

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[31 Days of Horror Part VIII: Jason Takes Manhattan] Day 7 – Daniel Isn’t Real (2019)

Director: Adam Egypt Mortimer
Cast: Miles Robbins, Patrick Schwarzenegger, Sasha Lane, Mary Stuart Masterson, Hannah Marks, Chukwudi Iwuji, Peter McRobbie
Screenplay: Adam Egypt Mortimer, Brian DeLeeuw
100 mins. Not Rated.

A colleague of mine, Nick Palodichuk from the St. Paul Filmcast, has been incessantly pushing me to watch Daniel Isn’t Real for months now, curious to see my reaction to the festival favorite that failed to make an impression on streaming services in 2019. I wasn’t exactly skirting the need to watch it, but I’ll be honest, it’s a terrible title for a movie, and I just didn’t feel the want to see it. Well, I finally took the time, and now here we are. So what did I think?

While struggling through mental health issues in his family, college freshman Luke (Miles Robbins, Blockers, Halloween) brings his old imaginary friend, Daniel (Patrick Schwarzenegger, Scouts Guide to the Zombie Apocalypse, The Benchwarmers), back to life. At first, Daniel gives Luke all the confidence he could ever want, but Luke soon discovers how difficult it is to Daniel away again, as Daniel decides he wants to stay free this time.

It seems that the divide among viewers with Daniel Isn’t Real is whether the “out there” stuff that is revealed as the film goes on work for some and fail for others. I’ll be the guy that says that the crazier this story got, the stronger the experience ended up being. I love when films take the initiative to try something new, and Daniel Isn’t Real plays with a mythology that is pretty engaging, albeit one that breaks its own rules occasionally.

The film has themes of Mental Illness that are fairly rote, but it shines with the way it portrays the primordial drive of toxic masculinity as a trait within our society that keeps taking over our bodies and pushes up to extremes in order to fit in. This is an interesting new idea and the way director/co-writer Adam Egypt Mortimer (Archenemy, Holidays) explores this theme with Daniel Isn’t Real was particularly effective.

Mortimer’s screenplay with Brian DeLeeuw (who wrote the original story In This Way I Was Saved) also effectively balances a questioning of reality layer that accomplishes this feat quite nicely, something most other films try but few are able to achieve. There were several times throughout when I questioned what was really happening, and oftentimes, where certain lesser scenes in the movie started to lose my interest, Mortimer would drop another clue that made me revisit my theories.

Unfortunately, the film also has some drawbacks. I was not terribly convinced by either Miles Robbins or Patrick Schwarzenegger in their respective roles. There are some strong performances in the film, particularly from Sasha Lane (American Honey, Hellboy) and Hannah Marks (After Everything, Accepted) as Cassie and Sophie, two potential romantic interests for Luke.

I also found a number of logic gaps in the film. I questioned the lossless motive of Daniel in the film. We find out just enough about Daniel to make us question why he’s doing anything he’s doing. What’s his motive in the story? Sex? Violence? What drives him in the narrative?

I also questioned Luke’s struggle to get rid of Daniel. Early on, we see a younger Luke mentally transport Daniel into a toy dollhouse and imprison him there for years. Yet, this idea never occurs to Luke throughout the film. We’re also told that the two cannot be separated, and Luke just believes this, even though we’ve seen evidence to the contrary.

The ending of the film is where these gaps in logic are most apparent, and it’s where the quality takes a bit of a nosedive in order to leave us questioning events and characters, and it just didn’t work, and instead I found Daniel Isn’t Real ending on a disappointing note.

Daniel Isn’t Real showcases a major talent in Adam Egypt Mortimer, and I’m excited to see more from this new filmmaker. The film is heavily flawed, but what works in the movie works very well, and his imagination is on display, even if it extends beyond his budget. It won’t work for everyone, but it’s worth checking out all the same.

3/5
-Kyle A. Goethe

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[Early Review] [Dark Star Festival] Climate of the Hunter (2019)

Director: Mickey Reece
Cast: Mary Buss, Ginger Gilmartin, Ben Hall
Screenplay: Mickey Reece, John Selvidge
82 mins. Not Rated.

Recently, I was able to virtually attend the Dark Star Festival, where I was treated to several new and upcoming releases. While I was not fortunate enough to catch all the films that played, I was able to see Climate of the Hunter, a low-budget horror film with a lot of style and a unique filmmaker behind the camera. Today, let’s take a look at this “vampire” film and see if it’s worth hunting down.

Climate of the Hunter is a small story, mainly concerned with two sisters, Elizabeth (Mary Buss, Lord Finn, Camp Cold Brook) and Alma (Ginger Gilmartin, Fingerprints, Hosea) as they meet up at a cabin to reunite with an old friend they’ve not seen for twenty years, Wesley (Ben Hall, Gosnell: The Trial of America’s Biggest Serial Killer, Adventures of Rufus: The Fantastic Pet). As Elizabeth and Alma each try to gain the romantic interest of Wesley, Alma begins to suspect that he is a vampire.

There’s little new in terms of story for Climate of the Hunter (it almost feels like a mumblecore vampire film in the simplest terms), but the real impact of the film is in its director, Mickey Reece (Strike, Dear Mistress, and Cure His Heart, Arrows of Outrageous Fortune) and his uncanny ability to present a simple and easily accessible story within the confines of a gorgeously atmospheric dreamscape of a film. Reece has crafted a visually arresting world here that is unlike much of what I’ve seen before, even though the film’s cinematography evokes elements of 1970s horror cinema in its execution. There’s also bits of Napoleon Dynamite-like meal platters and bits of dialogue that seemingly misdirect viewers in the narrative. It’s almost like a hangout movie mixed with gothic horror to great appeal, but it never feels like it’s trying to be smarter than its audience. Though full of dreamlike, striking imagery, it isn’t attempting to go over your head, at least for the most part.

Where the film ultimately stumbles for me is in its climax and closing moments, for I was quite enthralled by most of the story up until that point. I felt like the narrative was driving us somewhere captivating and unusual for its finale, I ended up being quite let down by an easily guessable, underwhelming end that left a sour taste in my mouth, and not in any way that works. It’s an ending that we’ve seen before, and it never seems to work for me. It’s also an ending that leans away from the atmosphere that the whole film has been building to. It’s just all-around a disappointing way to complete a journey like this one. I won’t go as far as to say that it is a bad ending or that it ruined the film. It just lessened the impact of the movie drastically.

Climate of the Hunter works until it doesn’t. Thankfully, it works for the first 90%, and the swift run time allows for a less-than-stellar ending to not fully detract from the overall experience of the film. It also gets my recommendation. It’s a weird, wild, surreal, and memorable movie that makes a hell of a case for its crew. Mickey Reece is a director to keep an eye out for, and Climate of the Hunter is a strong outing, for the most part.

3.5/5
-Kyle A. Goethe

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[Early Review] Sound of Metal (2019)

Director: Darius Marder
Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff, Mathieu Amalric
Screenplay: Darius Marder, Abraham Marder
130 mins. Rated R.

Sound of Metal has had a long road on the way to being completed. Initially Derek Cianfrance had been working on a film called Metalhead, described as a docufiction, which has languished in post-production since 2009. That film will likely not see the light of day anytime soon, so one of the writers of that film, Darius Marder (Loot), has instead stepped into the director’s chair with a complete reworking of that film’s story from the ground up, crafting a new movie from the bones of Metalhead, with Cianfrance’s blessing. There was also a previous attempt at making this film in 2015 with a completely different cast, and now, after premiering in the film festival circuit last year, Sound of Metal is finally dropping on Amazon Prime in December. It’s been a long road, so is the movie any good?

The film stars Riz Ahmed (Nightcrawler, Weathering With You) as Ruben, a drummer touring the nation with girlfriend and band mate Lou (Olivia Cooke, Ready Player One, Life Itself). Through several nightly concerts, Ruben begins experiencing sudden spurts of hearing loss. Ruben also learns that the cost of implants to save some of his hearing is going to run tens of thousands of dollars, money he doesn’t have. The stress of losing his most important sense has Ruben contemplating drug use again, so his sponsor sets him up at a rehab clinic for the deaf, where he begins a journey of discovery in a world without sound.

Sound of Metal is a character piece, through and through, and it doesn’t work if its central character doesn’t work. After many notable supporting roles, Riz Ahmed kills it as Ruben. There are a lot of emotional beats in this performance, from Ruben’s anxiety and stress to his emotional loneliness while at the rehab home, and in his frustrations in trying to communicate in a world without sound. Not to mention Ruben’s contemplation over drug use after years of being clean. There’s a lot happening in Ruben’s head, and then taking away the character’s ability to hear and interpret conversation in the way he is used to needs to come across realistically. Ahmed is able to handle all of these factors in a performance that is equal parts bombastic and subtle, creating a well-rounded character that isn’t always likable but always captivating.

The rest of the supporting cast is quite strong as well, most of it made up of a largely deaf group of actors. They add layers of realism to the world and help to elevate Ahmed’s performance. I was quite fond of Olivia Cooke’s work as Lou. She disappeared into the role so seamlessly that I didn’t even realize it was her, thanks to a strong level of makeup and costuming with her character. Then there’s Paul Raci (No Ordinary Hero: The SuperDeafy Movie, She Wants Me) as Joe. I don’t think I’ve seen Paul Raci in a performance before, but he was wholly captivating, and his chemistry with Ahmed was incredibly strong. Their scenes ranged from emotional to heated and sometimes both at the same time, and I was taken in by it all. All of these players just added to the sense of realism at play here.

Marder’s film does not try to dazzle with unique cinematography, it isn’t showy in its execution, but where it does stand out, from a technical perspective, is in its exemplary sound design. The way in which the sound is given to us as viewers and then taken away to put us in Ruben’s headspace is some truly powerful work in forcing us to confront the problems he is encountering with him. This element, combined with the choice not to utilize subtitles for the ASL scenes until Ruben begins to understand them help to put us in the character’s shoes in a way that left me in awe.

Sound of Metal is a hard watch, I’m not aching to see it again, but Darius Marder’s film really drives home life’s way of surprising us. It’s a story about coming to terms with unpredictability on our individual journeys, and for me, it broke my heart to see Ruben consistently struggle throughout the film. It’s an introspective movie, one that I very much recommend.

3.5/5
-Kyle A. Goethe

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[31 Days of Horror Part VII: The New Blood] Day 6 – Darlin’ (2019)

Director: Pollyanna McIntosh
Cast: Lauryn Canny, Bryan Batt, Nora-Jane Noone, Cooper Andrews, Pollyanna McIntosh
Screenplay: Pollyanna McIntosh
100 mins. Not Rated.

A few years back, I saw the film The Woman, not even aware of the fact that it was a sequel. This is the risk sometimes with not including a 2 in the title, but then again The Woman is a rather different film than its predecessor, Offspring. You don’t really have to have seen Offspring to understand The Woman. I recall really not liking The Woman for quite a number of reasons, and when the opportunity finally arrived to catch Offspring, I figured it was worth a try, and hey, it might make me like The Woman more. It did not. Offspring just didn’t work for me either, but I remained vigilant, and when news spread of a third film, this one titled Darlin’, I knew I had to see it, because this is what I do. I’m curious…like a cat, and I needed to see if this third film, written and directed by series star Pollyanna McIntosh (Deathcember), would finally win me over.

Set some time after the events of the previous film, the missing girl Darlin’ (Lauryn Canny) has been found outside of a local hospital and taken to St. Philomena’s, a Catholic boarding school, to be reformed from her feral personality. As Darlin’ begins to see her human traits returning, she tries to put together elements of her past in her search for salvation. But St. Philomena’s isn’t a safe place, as Darlin’ soon realizes. The Bishop (Bryan Batt, Easy Does It, TV’s Mad Men) is a child molester who has set his sights on Darlin’, and the Woman (McIntosh) is searching for her as well.

I’m sad to report that Darlin’ is a bad movie. I was really hoping this time around to get something from this film and franchise, but it just hasn’t won me over. It seems that each film tries to ask some interesting questions and mine the story for something fascinating and unique in the unusual characters and events, but they never really go anywhere. Of course the Bishop is a pedophile. Of course Darlin’ finds a rebellious new friend at St. Philomena’s. Of course, the ending it exactly what I expected. It’s a frustratingly simple narrative that always feels like it’s going somewhere only to abandon the journey along the way.

The tone is another misfire here, but it was a problem for The Woman as well. This is a horror story. If it was told with less of a satirical viewpoint, I think it would have been stronger. Lean into the horror. This whole trilogy deals with some fucked up characters and plot points. Treat it like a horror story and it might actually feel like one. Instead, there are these little flashes of attempts at humor that took me out of the film and lost my focus.

Sadly, Darlin’ just another film in this franchise that does nothing for me. It squanders an initially interesting setup by falling into cliche and not taking the material seriously. It sits at the edge of fascination but never leaps into compelling storytelling, and I just didn’t enjoy any of it. It’s a downright bad movie in a franchise that has gone on longer than necessary.

1.5/5
-Kyle A. Goethe

  • For my review of Andrew van den Houten’s Offspring, click here.
  • For my review of Lucky McKee’s The Woman, click here.
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Hustlers (2019)

Director: Lorene Scafaria

Cast: Constance Wu, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo, Cardi B

Screenplay: Lorene Scafaria

110 mins. Rated R for pervasive sexual material, drug content, language and nudity.

 

I recall the surprise that surrounded Hustlers when it turned from a movie that no one really had much faith in to a critic-beloved darling of a film. It was so shocking to find that it wasn’t garbage, and I was suddenly interested in seeing it after thinking it looked it absolute garbage. I did get a chance to actually see the movie, and I was surprised, but how?

The year is 2007, and stripper Destiny (Constance Wu, Crazy Rich Asians, TV’s Fresh Off the Boat) is working to make money and support her grandmother when she meets Ramona (Jennifer Lopez, Gigli, Second Act), an experienced stripper who seemingly captivates everyone in the audience. The two women form a close friendship and things go well for awhile, until the financial crisis forces them to reevaluate their plans. Destiny is invited to join Ramona and two other women as they hunt down rich men, seduce and drug them, and take their money. This plan is quite successful, but like all stories of crime, this one is headed for an unfortunate ending.

Let me start out by saying that, overall, I think it’s a good movie. I’m not praising it as an Oscar-worthy film by any means, but it’s good. I think director Lorene Scafaria (Seeking a Friend for the End of the World, This is Heaven) does the real standout work here. Her film has a style that is quite engaging, taking a story that I feel is a little simple and turning it into something more fascinating. Her screenplay showcases a group of women that become selfish Robin Hoods, robbing the rich and keeping it for themselves until they become the very people who they target. It’s a fascinating story, even if it falls into cliche as it goes on.

The cast, particularly Wu and Lopez, do quite well in showing the radicals of women in their situation, desperation to greed to desperation again. Wu and Lopez have solid chemistry together and they’re both engaging onscreen. The less said about Lizzo (UglyDolls) and Cardi B’s performance, the better though.

Stripping is a talent and skill, and in order for the film to work, the stripping scenes had to be authentic, and it appears that the cast was trained well in translating this skill to the screen with precision. Lopez took this very seriously, even installing a pole at home and visiting strip clubs with her husband to research.

Hustlers is a fun little crime thriller with some front-and-center solid work from Constance Wu and Jennifer Lopez and solid direction from Lorene Scafaria. The script is a little lackluster but overall, this is a fun experience that surprised me by being good at all, and I’m fine with good.

 

3/5

-Kyle A. Goethe

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[#2020oscardeathrace] Walk Run Cha-Cha (2019)

Director: Laura Nix

Cast: Chipaul Cao, Millie Cao, Maksym Kapitanchuk

Screenplay: Laura Nix

20 mins. Not Rated.

  • Academy Award Nominee: Best Documentary Short Subject [PENDING]

 

Walk Run Cha-Cha is another Oscar-nominated short doc, this one a bit lighter fair than the others, focused on a couple, Paul and Millie Cao, who suffered in their younger years dealing with the fallout of the Vietnam War, who have now discovered, in their older years, an affinity for dancing.

This short documentary, written and directed by Laura Nix (The Politics of Fur, Inventing Tomorrow), chronicles both Paul and Millie’s background, the journey that brought them together, that brought them to America. It also looks at what brought them to dance, a mutual love they have both found. Initially, the doc, while entertaining and interesting, seems a little simplistic. Why this doc short for the Oscar?

It’s only upon seeing the climax that Nix builds the story to, a choreographed presentation made by this couple that accentuates their craft, their feelings for one another, and their feelings toward the dance. It’s a powerful, moving, and beautifully shot sequence that drives the whole film home in an elegant and memorable way.

Walk Run Cha-Cha does not reinvent the wheel, but it’s a moving and beautiful story that showcases a love that we should all hope to achieve in life. Aided by terrific pacing and an interesting set of subjects, this is a lovely story worth watching.

 

4/5

-Kyle A. Goethe

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[#2020oscardeathrace] Life Overtakes Me (2019)

Director: John Haptas, Kristine Samuelson

Cast: Henry Ascher, Nadja Hatem, Mikael Billing

39 mins. Not Rated.

  • Academy Award Nominee: Best Documentary Short Subject [PENDING]

 

Okay, I’ll be real. I didn’t know anything about Resignation Syndrome. This was all new to me, and in that way, Life Overtakes Me was a real learning experience.

Life Overtakes Me, from directors John Haptas and Kristine Samuelson (Tokyo Waka, Barn Dance), chronicles refugees searching for sanctuary and the children dealing with the trauma caused by uncertainty. The children in these families have internally shut down into a sleep-like state, almost comatose, and the documentary shows how the families are forced to deal with the situation and pray for the best.

As I said above, I’ve never heard of Resignation Syndrome until seeing this, and it’s both an interesting view at this condition and also perhaps a little too simplistic of a look. It doesn’t delve deep enough to really be effective, but I was quite interested in the subject material. I just wanted more.

Life Overtakes Me was effective in breaking my heart, and I think it’s a very timely piece. Especially now, in America, looking at the way our country treats newcomers and people looking for safety and security in a new land, this short absolutely sickened me. I keep thinking about our borders and all the children dealing with trauma and it haunts me.

This short film, while not as in-depth as I would have liked, was still a strong viewing experience. Hell, it’s on Netflix, you have no excuse to ignore this 40-minute lesson in something I doubt many people even know of. Check this one out when you can. It’s worth you time, and it may just get you thinking.

 

3/5

-Kyle A. Goethe

 

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[#2020oscardeathrace] For Sama (2019)

Director: Waad Al-Kateab, Edward Watts

Cast: Waad Al-Kateab, Hamza Al-Kateab, Sama Al-Kateab

96 mins. Rated TV-14.

  • Academy Award Nominee: Best Documentary Feature [PENDING]

 

There’s been a lot of cinema in recent years about the conflict in Syria, and many documentaries have presented unique filmmaker voices spread across the area. One of the more recent and unique voices comes from filmmaker Waad Al-Kateab, who documented her life in Syria from 2012 to 2017, from falling in love to getting married to having a child, Sama. The film is made as a video journal intended for Sama to understand exactly what Waad and husband Hamza had to get through in order to survive.

This is another hard-hitting documentary look at the situation in Syria. It was incredibly hard to watch, much as the other documentaries have been, but this one was all the more effective because it follows life, day-to-day, and families, or the potential fracturing of family. I cannot begin to understand the world that Waad and her family existed in, the kind of difficult choices that had to be made in order to survive and live. People need to be able to live their lives, or life just isn’t worth living, and the love letter that Waad tells to her child is so tense and frustrating.

For Sama is an excellent time capsule from Syria, a tale of family, that is jarring and painful to watch, but it contains small moments of beauty as well. The film runs on a little long, even for an 86-minute film, but it works quite well at examining Syria from a different viewpoint. Check it out when you can, the film can be discovered for free care of PBS.

 

3.5/5

-Kyle A. Goethe

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[#2020oscardeathrace] Honeyland (2019)

Director: Tamara Kotevska, Ljubomir Stefanov

Cast: Hatidze Muratova

86 mins. Not Rated.

  • Academy Award Nominee: Best International Feature Film [PENDING]
  • Academy Award Nominee: Best Documentary Feature [PENDING]

 

Fun little bit of Oscars trivia for you. No film has ever gotten nominations for both Best International Feature Film and Best Documentary Feature…until Honeyland. There, you learned something reading this review.

Honeyland was filmed over the course of three years, chronicling the story of Hatidze Muratova, a women living in the wild mountains of Macedonia and operating an ancient beekeeping lifestyle, one that seems to be based on a symbiotic relationship between humans and bees. By not taking more than is necessary, she is able to successfully maintain an almost endless supply of honey, but when a family moves into the area nearby and attempts to get in on the honey money, Hatidze finds her world forever changed.

Honeyland is a powerful view of a world I’ve never seen. Hatidze’s world at the beginning is nicely juxtaposed with her world after the moving in of the new family, who seem to not understand this symbiotic relationship with the bees that Hatidze gains from. It features some of the most incredible real footage of her world in Macedonia.

Directors Tamara Kotevska and Ljubomir Stefanov spent three years recording footage and molding it to fit this fairly-tight narrative, and that intimate closeness between the directors and their subjects creates a truly in-depth and emotion-laden story. It was heartbreaking to see Hatidze dealing with her ailing mother while simultaneously striving to survive her work and the competing work of the new family.

Honeyland is very worth watching. It’s one of the best documentaries of the year and also one of the best international films of the year. I highly suggest you take this spiritual journey of a woman and nature and check the film out as soon as possible.

 

4/5

-Kyle A. Goethe

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