Marking her feature directorial debut, Bridey Elliott makes a splash with Clara’s Ghost, a dysfunctional family comedy with a supernatural twist featuring her real-life family as the drunken cast of characters.
The serious, real-life cruelties occurring at America’s southern border, and the encroaching darkness of the last couple of years, make this an apt time for genre films to add to the discourse and perhaps provide some escape.
Chicago’s Cinepocalypse is coming to a close and today the award winners for this year’s festival have been announced. Robert Schwentke‘s The Captain won Best Film, Matt Leslie and Stephen Smith won Best Screenplay for Summer of ’84, and Joko
The Copy Baby is the type of movie that has the potential to lean heavily toward either a sardonic cult hit or a tepid waste of an opportunity, and unfortunately it falls into the latter category. No doubt some will have fun with its PG-13 take on what is typically designed as a family film, but with its eye-rolling conclusion.
The boxy aspect ratio with rounded corners, 16mm sheen that makes each frame look like a historic photograph, and believable issues with sound – like occasionally muffled dialogue – also act as pleasing counterbalances to the typical found-footage tricks.
The Domestics creates an interesting, totally whacked-out environment that recalls many doomsday movies (including Doomsday), but the realized universe and setting of agrarian Wisconsin are original enough, with the marriage drama and political subtext peppering in some flavor along the way.
The full lineup has been announced for Chicago’s Cinepocalypse Film Festival, boasting an impressive slate for its sophomore year. Mike P. Nelson‘s The Domestics will be the opening night film, with other highlights including the RKSS film Summer of ’84, and Sonny