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Sundance Film Festival has reached us once again which means it is time to hit the snowy mountains of Park City for some great films that can remind you what independent cinema and new voice can be. While the festival has grown significantly since its first year back in 1981, it still boasts exciting cinema that bolster unique talents no matter how mainstream its sponsors get. I was fortunate enough to attend for my second year in person and will give you breakdown coverage as the festival goes along for both in person and online screenings.

FREAKY TALES

Even though it was featured in the premiere section it quickly becomes apparent that FREAKY TALES works wonders as a midnight movie. Directed by duo team of Anna Boden and Ryan Fleck (Half Nelson, Mississippi Grind, Captain Marvel) this is not just a love letter to Oakland and the Bay area, but a finite portrayal of how pop culture influenced the city while the people formulated their own mindset on every movie, song and sports player that passed through their lives. An anthology that feels like something you’d find in a now long forgotten video rental store where the store clerk quizzed you on what makes a truly great underdog film. (For Boden and Fleck Paul Newman’s “The Verdict” is amongst them.) Each chapter, titled with humorous street art design, takes us through a short period of time in Oakland outcast residents lives where they are constantly fighting off those doing everything in their power to keep the city to their approval. This means fighting Nazis and corrupt cops which in their eyes are one in the same (hard to argue against). What makes FREAKY TALES feel both fresh and indebted to its roots, is the film’s carefree attitude about feeling familiar in some areas. While for big money you won’t guess where most of the film goes there is an enjoyable comfortability for those that grew up renting “Big Trouble in Little China” every week. Its first chapter featuring punk rock friends played by Jack Champion and Ji-young Yoo trying to ward off skinheads from their club where they mosh and thrash every night. But even amongst the chaos Fleck and Boden’s script knows that is true essence lies in the possible romance between these two friends, many can relate to young love, but the film always brings it back to being a story of Oakland residents falling in love specifically. For those who grew up there they know there is a special aura amongst its people, the film even goes as far as showing a physical representation of this through a magical green light that shines amongst its most interesting residents.

Punk music isn’t the only genre defining the movements of the film’s cast. Chapter 2 (the films strongest) is a smooth cruise to your favorite hip hop mix tape. Here we have Entice (Dominque Thorne) and Barbie (Normani being an absolute delight in her first film role) as two aspiring rappers doing their best to prove themselves in a sea of men doubting them and constantly reducing them to nothing more than objects to sexualize in their songs. This chapter may have a battle not of violence but one in the form of a rap battle to prove themselves forever, but it still holds a strong weight in showing in stakes at hand. Its their one shot and they are confident that shin green light will pass through them. Thorne and Normani playing these roles as confident powerful women makes it more interesting than the all too down on their luck people lesser films love to display and again showing off the resilience Boden and Fleck know all Oakland people have.

FREAKY TALES is without question a batshit ride, and to delve into some of the films crazy tricks it has in store must be done with caution. It’s a film that earns its surprises and even got a few audible gasps from this critic. It also, and thankfully, never tries to settle for any of its audience. Even when familiar beats happen they are quickly torn away from you for more hard hitting and often shocking results, especially in the form of its latter chapters starring a beaten down Pedro Pascal and a terrific turn from Jay Ellis as an alternative version of famous Warriors player Sleepy Floyd. And even with every chapter there is an overarching evil in the form of Ben Mendelsohn’s corrupt and psychopath cop known only as “the man.” His perverse wrongdoings may be some of the glue to connect these stories on paper, but it is the motley crew of those trying to get by day by day that are the foundation .

As exciting as the cast is, the weight of the film is on Anna Boden and Ryan Fleck who are some of the few filmmakers who can handle drastic tone shifts. Half Nelson, Mississippi Grind and even It’s Kind of a Funny Story all know how to balance pain with humorous moments of levity without sacrifice. This without question is their wildest film yet and quite possible their most personal. On surface level it could seem anything but, however it is impossible to watch this and not see the love that comes straight from their childhood growing up buying zines, geeking out over the fact that Tom Hanks grew up in the bay area (the film mentions it several times) and especially the love of how underground music clubs shaped so much of their decisions. Its good to see Boden and Fleck out of the Marvel studios grip (even though I will always stand by how Captain Marvel works when they actually allowed them to direct scenes) and going back to playing with pure madness. Video rental stores may be all but gone, but FREAKY TALES is just another reminder of how much we need them back.

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FREAKY TALES PREMIERED AT THE 2024 SUNDANCE FILM FESTIVAL AND IS CURRENTLY SEEKING U.S. DISTRIBUTION