Welcome back to The Art Idiot!
I’ve done it again; I’ve reverted back to selfishly consuming and not sharing. “Don’t forget to give yourself grace,” I tell myself as I miss yet another deadline, flaked yet again on a visit to your inbox. Thank you for the grace you continue to grant me.
The goals and mission of The Art Idiot, however, are continuously being carried out through the work I’ve been doing with GERTIE, where we “convene Chicago’s culturally curious.” Luckily and evidently, the alliteration is simply another detail and practice where both platforms align. Since I last wrote to you, we’ve been busy bees with organizing Chicago Exhibition Weekend, our biggest Gertie Gathering yet. Similar to The Art Idiot, Gertie focuses on creating accessibility within the arts world, with an emphasis on doing so through real-world programming. With over 60 participating spaces across the entire city of Chicago, this “arts festival,” that we’ve curated is packed with creative, free events that anyone, and everyone, is welcome to participate in. Spanning both Saturday and Sunday, I hope to see my fellow Chicagoans there.
As I immerse myself more into the art world, and the film world, a number of my opportunities thrive off of exclusivity. It is more important than ever for me to (actually) share these experiences to ensure that these barriers are (somewhat) broken.
Last year’s special issue I detailed my first-ever, non-Chicago film festival. This year, I returned to Telluride for its 50th anniversary film festival, and yet again, I was energized and enamored by the genuine, shared love for motion pictures. My sentiments and feelings are unchanged: what a weekend, what a place. And I surely did see some of my friends from the year before.
This issue is spoiler-free friendly (aside from general accounts of the plot), and there are many must-sees that will continue to make noise through the rest of the year and into awards season.
Featured Films (all from the festival)...
Due to space issues because of my excessive blabbing, movie posters have been omitted from this issue. Some trailers are not provided, as they have not yet been released to the public. Movies reviewed are listed in the order of viewing.
TUESDAY – 1.5 stars
Bad CGI (computer-generated imaging/imagery) will always ruin a movie for me, and it was more disheartening to hear how much time (and money) they spent on it for this film. I was quite scared that this would set the tone for the festival, but luckily, my first was the worst.
Julia Louis-Dreyfus steps out of her comedic comfort zone, and while I hear she was fabulous in You Hurt My Feelings, which was released earlier this year, the dramatic-comedic tone didn’t quite land for me in Tuesday. Neither a movie poster nor a trailer, for this film exists yet; hopefully, this was just a rough draft.
ALL OF US STRANGERS – 4 stars
How do you politely say something is seriously not right in the head? Someone let me know, so I can insert it into this review.
Performances from both Andrew Scott and Paul Mescal absolutely crushed me. I’ll be thinking about this one for a while, even though I may not want to.
SALTBURN – 3.5 stars
I will impolitely (directly) say that this movie was seriously not right in the head, and I think sophomore director, Emerald Fennel, would be happy to hear this. Her follow-up to her phenomenal Promising Young Woman is in no way a flop; perhaps the “sophomore slump” logic is reserved for musicians and albums, and maybe athletes too, but let’s use it in the film world too.
Barry Keoghan is a boundless son of a bitch, absolutely perfect casting across the board, and you can feel the fun they had while filming this while also remaining dutifully dedicated to their performances. Reflecting, and elaborating, on this review a few weeks later, I am not certain that it’s as stunning as I thought it was, but I am certain that it kept me captivated.
RUSTIN – 3.5 stars
I was fine, until they were singing, and I remain unsure if my tears were happy or sad. I am so glad that Bayard Rustin’s life’s work and story are receiving this type of recognition, with such warmth and appreciation.
Rustin is composed of exceptional performances from each and every actor; there must be something so special about having the opportunity to contribute to the continuation of historical stories like this one.
ALL THAT JAZZ – 5 stars
As soon as I saw this on the festival bill, I had to go. Not only because it was being presented and introduced by Ethan Hawke, but because it is one of my favorite film friend’s favorite films (try saying that five times fast). I can no longer deny the satisfaction movie musicals provide me.
While Hawke introduced All That Jazz with remarks about films and artists that influenced its creation, my viewing consisted of me being absolutely dazzled by recognizing the immense influence All That Jazz has had on movies and music videos. Even part of Rihanna’s half-time show is reminiscent of Bob Fosse’s genius. You can bet your bottom dollar I sourced a DVD as soon as I could!
THE ROYAL HOTEL – 2.5 stars
I’m still racking in my brain as to why Kitty Green introduced the film by saying this “isn’t the usual 2-girls-on-the-side-of-a-road movie” when it is exactly “the usual 2-girls-on-the-side-of-a-road” type of movie. For this reason, The Royal Hotel is nothing special; it is the exact plot development, conflict, and resolution as all of the 2-girls-on-the-side-of-a-road movies. These two definitely did not stay friends after that vacation, and we’ve all been there!
NYAD – 3 stars
People with a burning passion for their profession will always have my respect; to have tunnel visions for accomplishing an achievement, particularly as an athlete, is a drive that few people experience, let alone understand.
Award-winning documentary filmmakers and power couple, Elizabeth Chai Vasarhelyi and Jimmy Chin (Free Solo), have successfully implemented their story-telling skills with a fictional approach, but they were mindful of their experience and expertise, didn’t push the boundaries too much, and stuck to telling the tale of an unconventional athletic feat. It was so beautiful to view this on the 10-year anniversary of her legendary, long-distance swim, with some of the original crew also in attendance.
DADDIO – 3 stars
If an Uber ever tried to pull this type of behavior on me, I’d report them immediately and expeditiously, but since it’s a New York cabbie, I suppose we can let it slide!
I’ll always have an affinity for stage plays that evolve into a screenplay, particularly when it’s such an intimate story like this. Although the dialogue teetered a bit into taking itself too seriously, I enjoyed this and am really impressed by Sean Penn.
In regards to the viewing experience, I can’t believe Dakota Johnson was accidentally introduced as Dakota Fanning; not only was she the star but also the producer. Regardless of how sorry that man was for his mistake, it felt like peak Hollywood, having a man ruin her big moment even in the smallest, unintentional way. Amidst the ongoing and soon-ending strikes, it feels refreshing to see so many actors segway into producing more indie films.
ANATOMY OF A FALL – 4 stars
How do child actors always manage to steal the show!?? Where do they reach into their little developing minds to convey such strong emotional performances?!
I hope to see this Oscar-nominated for Best International Picture – weeks later, tweaking these capsule reviews, and my hopes are squashed – The Taste of Things will be submitted in its place. Nonetheless, Anatomy of a Fall is excellent; the use of multiple languages sticks with me because of the way it highlights the differences in each person’s perception of the same situation.
WILDCAT – 2.5 stars
Heading to my seat for this screening, I told this person I liked their tote bag. They turned around to thank me, and it was Maya Hawke, the star herself.
The daddy-daughter, director-actor duo, Ethan and Maya Hawke, have created a really interesting story, about someone who admittedly I had not heard of, but someone who evidently changed the literary landscape for women writers.
The approach to this story, albeit unique, helped the audience learn more about M. Flannery O’Connor’s life and her work simultaneously, but at times it was so hard to discern when we were being launched from reality into one of her worlds of fiction. Perhaps that was the point, to be fully immersed into how an artist/writer continuously pulls from their own life experiences.
Also, what a fun ensemble-esque cast that kept me on my toes.
THE BIKERIDERS – 3 stars
“That movie is so Chicago” I was told, but after viewing, it’s “so Chicago” in the way that someone from Elmwood Park says they’re from Chicago.
I am so happy that Austin Butler stuck to his sexy Elvis voice rather than implementing those god-awful Midwestern accents — who was the voice coach for this? Have they ever been to Chicago?? Accents and suburban vibes aside, I really enjoyed this. I’d love to read the book it’s based on. Anyone want to start a biker gang? I’ll source the leather and cigarettes.
POOR THINGS – 4.5 stars
My favorite of the festival. I pray and pray and pray this will be the one to receive a best picture nomination, and I can confidently call for the nominations of Emma Stone and Mark Ruffalo for their respective performances.
I’ve heard some express how this is another portrayal of what a man thinks a woman’s “coming of age” is like, and I can see what they mean, but that’s not my initial critique of the film at all. I think the lead character, Bella Baxter, is the epitome of acting of her own free will, uninhibited by men (the ones in her life and the ones who wrote her into existence), and I think that is furthermore supported by who she was before she became Bella Baxter.
It’s a little bit of Frankenstein mixed with Odysseus — a long adventure of becoming and finding one’s self, fighting off the odd obstacles along the way, and stepping into their power. How are we shaped by our life experiences and those we cross paths with? We are nothing except excerpts and anecdotes of the things we encounter.
I think there is absolutely room for this to have a sequel or prequel, even though it doesn’t need one at all.
THEY SHOT THE PIANO PLAYER – 2 stars
Proceeded by a Telluride tribute, Three Songs About Tom Luddy, a monumental community builder and founding establisher of the greatness that is Telluride Film Festival.
While the visual narrative was so beautiful, the narrative and narrator were so……. dry. The density of it absolutely crushed the beautiful samba jazz that floated throughout. Despite the story falling flat, I greatly appreciate the combination of investigative-documentary style films with animation.
THE HOLDOVERS – 3 stars
Typically, the enemies-to-friends teacher-student trope plays out well, but when the pillars of that narrative consist of films like Dead Poets Society and Mona Lisa Smile, The Holdovers is unfortunately not nearly as memorable nor moving. However, there is a notable performance from Da’Vine Joy Randolph, and if you don’t already know her name, I’m sure you’ll be sick of it by the time awards season rolls around.
The attempts for that gut-wrenching depth were absolutely there, and at moments, those attempts met their aims. The issue, for me, is that these emotional cutting moments felt disconnected due to the characters never quite convincing me that they cared for one another. This caring component is crucial when it comes to teacher-student relationships, and while teachers must always care about their students, it was never quite reciprocated by the holdovers.
THE ZONE OF INTEREST – 2 stars
If I had to guess, many of the one-liner reviews that will flash during the trailer for The Zone of Interest will read: “A bone-chilling thriller about the abilities of evil” or “horrifying depiction of the sacrifices that we’ve previously overlooked.” However, aside from precise sound design and an unconventional filming method, The Zone of Interest fails to offer anything new. Nazis are bad, heartless even; did we need a movie recounting their perspective, their actions through everyday life to understand this?
CASSANDRO – 3 stars
“Representation matters,” many minority identities exclaim as they achieve new heights. They’re absolutely right, and Cassandro embodies such an acute awareness of the representation that it is giving to the queer, lucha-libre-loving community. For this reason alone, the film thrives, and it knows that.
LA CHIMERA – 4.5 stars
Art historical and archaeological ethics being explored in the Italian countryside with a bit of romance, mystery, and magical realism? Yes, La Chimera tickles every fancy I have.
“La Chimera” has multiple meanings, all of which are explored throughout this film:
a fire-breathing female monster in Greek mythology with a lion's head, a goat's body, and a serpent's tail
something made up by or existing only in the mind
an individual, organ, or part consisting of tissues of diverse genetic constitution
I could nerd out about this film for a while, and I really hope to see it again in a few weeks at the Chicago International Film Festival, and, one day, I really hope to be able to show this to my students.
FINGERNAILS – 3 stars
If you could test your love, would you?
Fingernails is Apple Original’s newest sci-fi romance, featuring familiar, favorite stars like Jessie Buckley, Riz Ahmed, and Jeremy Allen White. The premise itself had me quite intrigued, and trying to figure out the time period of the story kept me on the edge of my seat. As a cinephile who is exceptionally critical of set and costume details, specifically regarding accuracy to time periods, the ambiguity of this film’s setting is essential to its success. Unfortunately, the ending felt quite rushed and unclear, but love can be like that sometimes.
UNCLE YANCO, BLACK PANTHERS, & THE GLEANERS AND I
Agnes Varda, the film-making sweetheart that you are.
These three films, 2 shorts and one full-length feature, concluded my 2023 Telluride screenings. Despite the thrill that is associated with seeing movies well before everyone else, it is the films that you’ll never have the chance to see elsewhere that really constitute the specialness of any festival. In particular, her short film, Black Panthers, is one of the few documentary-style films that exists about the organizations, and it is pertinent that this continues to be accessible to new audiences. Furthermore, it is from watching films like these that I learn the most.
FREMONT – 4 stars
Prior to the screening, each audience member was given a fortune cookie. I go into most movies I see in cinema “blind,” meaning that besides the knowledge of the title, I do not know much else, but this gift, this fortune, was a precursor for how much I was going to enjoy this picture. As someone who has kept the same fortune in the back of my phone case since pre-iPhone days, I’m such a sucker for anything with anything that alludes to “the universe wanted me to know this.” Going in blind also permits for sweet surprises, like Jeremy Allen White, who graced the screen for a short time.
This was not a film I watched in Telluride, but it was the first thing I watched the day I returned to Chicago, at my absolute favorite, Music Box Theater. “If you enjoyed this film, please tell others.” While film criticism has reached a new level of accessibility, due to free-lance structures and social-media platforms like Letterboxd, word-of-mouth, peer-to-peer, and small-publication recommendations will continue to fuel the growth of any artwork and artform. This is me telling you that I enjoyed this film.
I’ve done it again; I’m overstaying my welcome. “Some Sound to Go” and “Book Blurbs” will make their return in the next issue. Until then, I’ve created an Instagram account, @the.art.idiot, to more feasibly, and frequently, share about my professional and professor endeavors.
My anticipation for Cassandro is safe! Another Barry Keoghan role he perfectly embodies: Yorgos’ The Killing of a Sacred Deer. Which is also not right in the head :)