With each passing year, we underestimate just how many magical titles we will discover at the Santa Barbara International Film Festival. 2024’s iteration hosts a handful of our favorite titles so far this year! Don’t miss our full coverage after the jump.
Films
THE CONTESTANT
(Written by Intern, Logan Humphrey) From director Clair Titley, The Contestant follows aspiring comedian turned Japanese reality television star, Tomoaki Hamatsu, nicknamed Nasubi. He becomes the center of the show, Denpa Shonen: My Life in Prizes. The concept revolves around Nasubi surviving in confinement, as well as the inevitable toll it takes on his mental and physical health. With a resemblance to The Truman Show, The Contestant feels more horrifying in its actuality. Consistent laughter and excitement over Nasubi’s desperation grows discomforting to hear. It appears Titley aims to make the audience feel their own distorted sense of reality comparable to Nasubi’s experience. As the dehumanizing torture goes on longer than it should, it becomes more and more aggravating how nothing is being done to end his neverending nightmare. For the most part, the overall tone reflects the fast, flamboyant expression of Japanese television impeccably. Titley designates Fred Armisen as a translator for the Japanese hosts, to which he bears a similar, enthusiastic intonation. Armisen’s identical inflection contributes to the terror aspect, as it adds to the disconnect between Nasubi and those observing him. Captivation is easily maintained up until the final fifteen minutes, where the pace decelerates elsewhere. We are oddly shifted forward several years after Nasubi’s time on the show, detailing ambitious philanthropic work undertaken for his hometown. This finale is too open-ended and nonchalant, given the heaviness of earlier material. Titley misses the opportunity to make a stronger statement had she set up a moving confrontation between Nasubi and producer Toshio Tsuchiya. With the disturbing nature of much of the selected content, Titley’s attempt of a feel-good close lacks enough potency for the shock to wear off. Through all its absurdity, The Contestant exposes the unbelievable, while provoking a balance of intrigue and dread.
COUP!
(Written by Intern, Logan Oplinger) Coup! presents itself as a cunning period dramedy, delving into the hypocrisy of the rich and powerful. Jay C. Horton (Billy Magnussen) is an esteemed early-twentieth century writer, who has heavily criticized the president’s administration for its handling of the Spanish Flu pandemic. By pointing out Jay’s many hypocrisies, new cook Floyd (Peter Sarsgaard) starts to shake up the power dynamics at his estate, and Jay’s paternal authority, career prospects, and emotional well-being take a hit. Once Jay discovers what Floyd’s true motive is, he takes drastic measures in hopes to regain the vestiges of his lost agency. On the surface, it is hard to say what directors Austin Stark and Joseph Schuman were trying to accomplish here. Visually, there is little to write home about. There are a handful of shots which do hint at some kind of artistic intent, but whatever vision they had for it fails to materialize. The acting department seems promising, but has its fair share of weak points. Sara Gadon, playing Jay’s wife, Julie, and Billy Magnussen both fit their characters well, but leave few memorable moments. On the other hand, Peter Sarsgaard’s performance as Floyd falters. His ambiguous southern accent is unconvincing at times, and occasional mumbling attempts are plain awkward. Despite these hiccups, it is evident that all three have excellent interplay. The basic “imposter-forces-out–the-original” story has been absolutely beaten to death, and this iteration of it lacks any meaningful adjustment. As a result, the main attraction here must be the central message. Obviously, the Spanish Flu was used as a way to represent the recent COVID-19 pandemic, without exactly hitting the nail on the head. With Floyd portrayed as a working-class champion, and Jay as the embittered establishment urging for shutdowns, it seems to mark our modern-day politicians, who called for such closures, as the enemy of the people. Through a broader lens, perhaps one could say that it is really an issue of class struggle. When pressed on what the directors may want to convey on this front, it turns up empty handed. In the end, Coup! masquerades as a witty historical drama, without charm, character, or an inherent message.
JOIKA
(Written by Intern, Shaun E) While Joika certainly draws influence from the psychological thriller, Black Swan, this biopic of ballet dancer Joy Womack carries a uniquely powerful impact from its foundation as a true story. At fifteen, Joy (Talia Ryder) moves to Moscow after becoming the first American accepted to the prestigious Bolshoi Ballet Academy. Facing rigorous coaching by director Tatiyana Volkova (Diane Kruger) and cutthroat competition among her peers, Joy perseveres through intense hardships to prove her place among the highest caliber. Writer/director James Napier Robertson works with the real Womack to create choreographed scenes elevated by beautiful, artistic lighting and a unique balance of orchestral scoring with surreal silence. Robertson’s camera ranges from dizzyingly shaky to attentive and masterfully framed, which lends an element of roughness that compliments the narrative. Ryder and Kruger’s interactions stand out among a bevy of strong acting, especially as their relationship dynamic highlight how far people may push themselves for success. It may be argued that some characters lean into antagonistic Russian stereotypes, such as hostile to downright abusive teachers and corruption among influential leaders. Conversely, suitable focus on Tatiyana, Nikolay (Oleg Ivenko), a male dancer and Joy’s romantic interest, and even Joy’s top rival, Natasha (Erica Horwood), provide more depth and lessen monolithic generalization. Kruger’s exaggerated accented English as Tatiyana at times sounds more Inglourious Basterds than a Slavic lilt, though her excellent performance makes up for slightly confused consonants. Joika encapsulates the formative years of Womack’s incredible career, through stress-inducing suspense and gut-wrenching turns. Immersive cinematography and Talia Ryder’s stirring portrayal of the ballet prodigy makes this film a highly recommended watch, with or without experience en pointe.
THE MOVIE TELLER
(Written by Intern, Logan Oplinger) The Movie Teller is a sentimental tale of struggle, set on the backdrop of 1960s Chile. Maria Margarita (Alondra Valenzuela) is the only daughter in a family of cinephiles living in a rural mining village. The family’s one cherished ritual is going to the movies, but when their father is injured, they begin to struggle financially. As they can only afford to send one child to the theater at a time, they have them reenact the film afterwards. Maria (Sara Becker) emerges as a talented “movie-teller,” and her shows become fairly popular around the village. However, fame is not enough to prevent trauma and abandonment from taking over her life. As a period drama, it draws inspiration from classic telenovelas, albeit refined for moviegoing audiences. Director Lone Scherfig clearly has a talent for depicting the emotional, making her an excellent choice to channel this influence into such a personal story. The actors rise to the occasion too, as nearly every interaction is convincing, even with the occasional over-the-top quality of a theater performance. Visually, it is a marvel to look at. Beautiful warm tones contrasted with pastel blues and greens portray the era as an almost dream-like memory. Additionally, close handheld shots with wide depth of field and stark attention to contrast amplify the tension even more. While this style of cinematography is by no means unique, it complements the genre quite well. The narrative comfortably develops into an intriguing one of hardship, with some genuine surprises here and there. Though, as it builds in its first two acts, it loses steam in the last. Instead of reaching a critical point of conflict, the plot sort of meanders its way through a drawn-out resolution. Whether this is due to the soap opera-inspired writing, or being too-faithful an adaptation of the novel on which it is based is hard to say. Furthermore, the ending does little to tie together the themes of life’s mimicry of movies and being in control of one’s life, which were emphasized throughout. Consequently, the lack of a definitive climax, and rather ambiguous ending may leave some viewers disillusioned. In the end, The Movie Teller is a grandiose piece that attempts to address a variety of hard-hitting issues, but through muddled writing and an overlooked message, ends up falling somewhat short.
MR. FREEMAN
(Written by Intern, Brockton Trice) Every layer of Mr. Freeman unfurls with a rare and captivating blend of relatability, raw authenticity, and profound depth, showcasing the distinctive storytelling prowess of writer/director Mads Matthiessen. Despite its deceptively short duration, it proves to be profoundly fulfilling, traversing familiar ground in the realm of coming-of-age dramas while commendably striving to carve out its uniqueness. A standout element lies in its ability to encapsulate a myriad of tense moments within Simone’s (Linda Lund Jørgensen) family dynamics, radiating an uncomfortable ambiance reminiscent of films like The Worst Person in the World or The Florida Project. Matthiessen’s skillful direction allows the actors’ intricate performances to paint the screen, immersing audiences in the deep emotional complexity. Linda Lund Jørgensen delivers an exceptional performance and proficiently portrays the dynamic protagonist’s feelings with nuance and power, avoiding overly dramatic pitfalls. However, Mr. Freeman stumbles in its concluding moments, as it feels underwhelming, rushed, and ultimately disappointing. The final act sadly falls flat, providing some closure but lacking the believable resolution needed to cap off this dramatic tale. Clocking in at a concise ninety minutes, the youthful drama excels in presenting the raw realities of navigating the pursuit of happiness and contentment in the modern age, meticulously exploring the naive intricacies of online relationships. Revealing the delicate balance between success and missed opportunities would be preferable in this otherwise commendable cinematic endeavor. Despite its flaws, Mr. Freeman succeeds in capturing the complexities of human relationships, offering a poignant exploration of the rollercoaster that is adolescent adulthood, and establishing itself as a notable addition to the genre.
OKIE
Full review at the link.
QUEEN OF BONES
Full review at the link.
SHARI & LAMP CHOP
Full review at the link.
SUZE
Full review at the link.
UPROAR
(Written by Intern, Shaun E) Coming from down under, New Zealand’s Uproar is a perfect blend of coming of age comedy and powerful political commentary. It is 1984, and 17-year-old Josh Waaka (Julian Dennison) feels like he will never fit in. He is bullied at school, where the student body is primarily white. He lacks connection to his Maori roots, as he and his injured older brother, Jaimie (James Rolleston), are raised by their widowed English mother, Shirley (Minnie Driver). Against the backdrop of unrest from South African apartheid, Josh’s friend, Grace (Jada Fa’atui), meets a young protestor, Samantha (Erana James), and joins their cause against racial injustice. Josh has little desire to put himself out there, until one of his teachers, Brother Madigan (Rhys Darby), invites him to join his new acting club. A whirlwind of drama (including the Shakespearean kind), rugby, family tension, activism, and a cultural identity crisis ensues, as Josh begins a journey to self-discovery. With a cast full of Kiwi charisma, sincere chemistry, and occasional improv vibes, the character dynamics are a definite standout among charming cinematography and a funky score. Despite a mostly lighthearted tone, writer/director duo, Paul Middleditch and Hamish Bennett, do not shy away from directly calling out performative anti-bigotry and showing visceral scenes of revolutionary movement. No spoilers here, but an on-screen demonstration of the traditional Haka is chilling in its raw strength, and cements this narrative as an unapologetic love letter to one’s lineage. Josh’s internal conflict with his ethnicity is poignantly revealed as Samantha’s grandmother, Tui (Mabelle Dennison), speaks—practically to the audience—of the government’s mistreatment of indigenous communities. When Josh confesses his ignorance about what happened to her people, Tui responds, “Darling, they’re your people too.” In the current age, where First Nation and other marginalized groups’ rights are continuously encroached upon and denied, Uproar’s, at times, on the nose statements remain depressingly relevant. To underline the importance of watching and making films of this kind, a word of wisdom from Tui reigns true: “We all have our stories. Wear yours with pride.” This story proudly represents a Maori boy’s idiosyncratic experience, while also remaining relatable. No matter what background, anyone may see themselves in Josh’s earnest tale as a lost teenager finding strength in community and himself.
VESELKA
(Written by Intern Logan Humphrey) From director Michael Fiore, Veselka: The Rainbow on the Corner at the Center of the World follows a Ukrainian restaurant in Manhattan facing business pressures, and the ongoing Russia-Ukraine war. Actor David Duchovny narrates over fast-paced editing and a jazzy saxophone score from Ryan Shore. Duchovny effectively recounts the past, present and future of the restaurant. Personal anecdotes from the founding family, workers and longtime customers suffering from its aftershock, reveal the harrowing realities. Now celebrating seventy years in business, Veselka’s emphasis on community is evident in their commitment to charity, such as when hospitality and food gets provided to a visiting Ukrainian baseball team throughout their stay. Veselka’s camaraderie extends through the doors of the restaurant. Devoted, third-generation owner Jason Birchard, goes above and beyond the average manager to sponsor and hire the internationally-trapped families of his employees. Fiore effectively shines a light on many immigrant Americans who are just as affected by the conflict as those on the front lines. Extensively utilized time jumps help depict the establishment’s long, complex history and maintain momentum. Aesthetic camera shots are sparse and sporadic, often drawing attention to aspects like the eatery’s murals. Informative and captivating, Veselka embraces nationality, while striving to make a difference in an evolving time of distress.
THE VOURDALAK
French import The Vourdalak, in theory, could be a great take on the vampire mythology. Instead, the feature becomes bogged down by dreadful special effects work, and a languid slow-paced 70s style that only serves to aggravate. After becoming hopelessly lost deep in the woods, the Marquis d’Urfé (Kacey Motten Klein) comes upon a hypnotic woman singing. He ends up in a twisted family home, wherein the patriarch Gorcha has been absent for some days. When Gorcha finally does return, the otherworldly vampire-creature is portrayed as an odd puppet. The Vourdalak‘s low budget trappings, weird lighting, and exaggerated makeup do it no favors, but the portrayal of Gorcha has to be the most glaring misstep. His handling is akin to what could be found in a poor student film, and does nothing whatsoever to either atmosphere or engagement. Apparently, The Vourdalak predates Dracula in novella form. It is too bad that the only emotion one gains from this genre flick’s existence involves feeling drained of a need to ever watch it again.
Until next year, farewell to Santa Barbara International Film Festival, and all the beautiful sights you showed to us!