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TENDABERRY

Some say that Sundance has gotten too big over the years and the smaller voices get drowned out in a wave of A-list names. This is hard to argue against but every once in awhile you are reminded what makes this festival so important and exciting. TENDABERRY introduces us to the unique and singular voice of Haley Elizabeth Anderson. With her feature debut Anderson brings us a story of the real world of Brooklyn and its true residents, while also painting an intimate depiction of past and present while maintaining an aura of female pain and self-love. In her feature debut newcomer Kota Johan plays Dakota a New Yorker who must now navigate the city after her boyfriend returns home to the Ukraine. The city she once knew so well feels like a maze where the walls collapse at every turn. Using super 8 and handheld camera work to bring up memories of the past, many not just her own, Anderson follows Dakota as she tries to reconcile with the fact that much of herself belonged to her relationship and as an individual she barely knows herself.

As the film goes along it is impossible not to be lost in the mesmerizing cinematography that is reminiscent of early Eliza Hittman films. But to the tune of her own voice Anderson creates a wonderland where a Black woman struggling day to day can create a sense of realism through her pain. Dakota spends most of her time along avoiding friends’ invitations to hang out, and even when she finds some comfort on her own she ends most her days trying to reach her boyfriend overseas. Anderson and Johan are delicate and empathetic to Dakota’s feelings and never make her needy to her boyfriend but rather create situations that require not just his love but attention. This is a film that often feels like an art installation and not always a cohesive narrative and with some extremely shaky camera it can get overwhelming. Perhaps that is why its stunning finale takes time to slow down and allow Dakota to live for herself in a way that is rarely expresses. This is a film that takes advantage of its independent roots and the film is all the better for it. TENDABERRY may be about Dakota trying to find her voice but it is clear that Anderson knows hers and this is such a welcomed introduction to a filmmaker that you cannot wait to see what comes next.  

B+

TENDABERRY PREMIERED AT THE 2024 SUNDANCE FILM FESTIVAL. IT IS CURRENTLY SEEKING U.S. DISTRIBUTION

LITTLE DEATH

Sometimes a film can be as confused as its misguided subjects. Not every answer needs to be laid out, and even if the filmmaker does not have all the answers themselves there is still a welcome invite to anyone who would rather try their best at tackling the questions versus dropping a bomb and running away. LITTLE DEATH the feature debut from Jack Begert is another film that will make you want to keep an eye out for what film this talent does next. A music video director for over ten years Begert has worked with the likes of Jay Rock, Doja Cat, Dominic Fike and gen z megastar Olivia Rodrigo, but this time around he takes on an issue miles beyond pop stars and hip hop artists. Pain and addiction is at the forefront of LITTLE DEATH with two halves blended into a decently complete film that actually works better when you get past some of the more egregious moments used merely as props. It is also a chance to see David Schwimmer in his most desperate (and sweaty role) yet. An anxiety filled screenwriter who is trying to escape his days of sitcom writing and get his semi-autobiographical film be made in a time where in his words “gen z idiots don’t have the attention span to watch a single fucking movie.” Schwimmer as Morton Solomon feels like he is in between every pill, a constant state of drug induced rage, fear and horniness. His wife (Jenna Malone) have no time for each other something they seem to almost make sure of, and his days are filled with day dreaming of a mysterious woman (Angela Sarafyan) who Solomon desires, but according to his therapist is just an embodiment of his mother. This opening section would be more fulfilling if they weren’t obnoxiously guided by some truly horrific A.I. Martin fears the next generation so it is not surprising that his daydreams and nightmares come in the form of a technology many today fear will destroy their industry. However it still comes off in poor taste for Begert to use A.I. animation to basically tell half of Martin’s story sidelining Schwimmer to voiceover work. There are better ways to get the point across of the A.I. trepidation without actually using the technology.

LITTLE DEATH thankfully doesn’t commit to its A.I. usage for its entirety and as quick as its gone the story shifts to its most engaging piece, a story of frustration through addiction in two young adults. Karla and AJ (Talia Ryder and Dominic Fike respectively) are thrust into a nightmare that coincides with their need to score. A stolen truck, a lost backpack and an abandoned dog now become the shape of their night all while trying to find that line between mental sobriety and constant using. Fike who ahs made a name for himself in the music world (Begert directs many of his videos) and of Euphoria fame shows off a talent that far beyond exceeds his days on Sam Levinson’s insufferable show that seems to get a rise out of teenage suffering. Instead here Fike who has been open about his own battle with addiction gets to dig deep into his core and find  vulnerability that comes from someone who battles the very thing they are portraying. Ryder another exciting young talent (please go see the underseen The Sweet East) shows off her abilities to make young lost female souls come so natural. As Karla she may play it off like she is the one sane person of the group (they stumble across many strange and dangerous “friends” along the way) but all this masks the fragile one step away from dying energy she holds. Begert’s directing works best in this section because it seems to be a generation (having worked with it so frequently) that he both understands bets or is at least trying to learn with every step. Even when the film brings back ideas from its first half it is now down with a better viewpoint of what maybe Martin was so afraid of, a generation who appears to not give a fuck, but in fact cares do deeply that the only way to respond is to open their heart and let all their pain pour out. There is a nihilistic look at how all these characters have or will find their little death’s but in doing so maybe there will be true meaningful connections made that no A.I. generated script can formulate. So next time (and this critic is excited for the next one) leave the A.I. at home and let the pain come from the real humans.

B

LITTLE DEATH PREMIERED AT THE 2024 SUNDANCE FILM FESTIVAL. IT WENT ON TO WIN THE INNOVATOR AWARD IN THE “NEXT” CATEGORY. IT IS CURRENTLY SEEKING U.S. DISTRIBUTION