Film Reviews

In his first film, Neil Barsky chronicles the life of New York City’s 105th Mayor Ed Koch, known for asking his constituents “How am I doing?”  The documentary explores just how he was doing back then and gives a peak into his roller coaster like relationship with the city. Koch served three terms from 1978 to 1989, when the city was near bankruptcy and crime was on the rise. 

Opening with a look into his 1977 election, the film highlights the issues Koch faced after taking office such as; the 1980 transit strike, push-back from the gay community regarding the AIDS epidemic, his housing initiative, a corruption scandal and conflict with African Americans admist the Yusef Hawkins murder in 1989. 

Koch also shows moments of his life after office; serving as an outspoken voice in politics, frequent commentator for NY1 and having the Queensboro Bridge renamed after him last year.

You can’t help but to like him. During the 95 minute film, one is able to see a personal and sensitive side to Koch.  He comes across as witty, charismatic, sharp tongued and funny but also reveals that he like so many of us, care about our reputation.  It’s easy to imagine him as that one family member that we all have-you may not agree with them all the time but you do like that they are always honest about how they feel.   I rate the film 3.5 stars out of 5. 

The documentary opens at the Lincoln Plaza Cinemas and Angelika Film Center in New York on February 1. 

http://youtu.be/z-rgezvFzhA

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by Cecily Witcher

Django Unchained is a shootem-up-bang-bang western-style movie that strives hard to convey the feeling of being in the 1800’s during the period when slavery was the law of the land in some parts of the USA. The film is set in the South where a slave, Django, (played by Jamie Foxx) ends up partnering with Dr.King Schultz, a white German bounty hunter (played by Christoph Waltz.) Shultz is looking for the Brittle Brothers as they have a huge bounty on their head and are wanted “Dead or Alive.” Django promises Schultz that he will lead him to the brothers if he will help him find his wife, a German-speaking slave named Broomhilda (played by Kerry Washington) from whom he was separated during a slave trade.

Schultz teaches Django how to be a precise marksman and they start their journey to find the Brittle Brothers and Broomhilda. Their hunt for the brothers was successful. The search for Broomhilda leads them to a plantation known as “Candy Land.” The master of Candy Land, Calvin Candie is played by Leonardo DiCaprio. Schultz and Django are welcomed to the plantation with the understanding that they are offering to buy a nigger to fight “kind of like dog fighting” but they used the slaves instead as a form of “entertainment”. Calvin Candie couldn’t resist that type of offer and the scheme to buy a nigger to fight and then include Broomhilda in the package would’ve went off without a hitch until a loyal house slave, Stephen (Samuel Jackson) who had been with the plantation for years told Calvin Candie that he was getting conned by a nigger. He told him that they were not interested in buying a fighting nigger; they came for the gal Broomhilda. This infuriated Calvin Candie and he forced Django and Schultz to pay $12,000 for Broomhilda or he was going to kill her right there, so they paid up and Broomhilda freedom papers were drawn up and signed. As a final condition, Calvin insisted that Schultz shake his hand to seal the deal before he would give him her emancipation papers. Schultz declined, but Calvin insisted and finally, Schultz acted as if he was going to shake Calvin’s hand and shot him directly in the chest. This started a chain of more bloody events with tons of shooting, nigger calling, explosions and more blood.

If you want to know if Django was able to rescue Broomhilda since Schultz didn’t shake Calvin Candi’s hand and Calvin still held her freedom papers, or even if Django, Schultz and Broomhilda survived the shootout following the killing of Calvin Candi, you will have to go check out the film.

This film is rated R and for very good reason. There is so much violence, bloodshed and every other word is nigger. I literally had a nightmare when I went to bed that night. So I will say this film is not for the squeamish. Over all I give it 2 stars out of 5 

Rated: R, 2 hr. 46 min.

Western, Drama

Directed By: Quentin Tarantino

Written By: Quentin Tarantino

In Theaters: Dec 25, 2012 Wide

The Weinstein Co.

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by Francesca McCaffery

There are some really nice doc films at IDA’s continuing DocuWeeks Festival (in New York and Los Angeles) this week…Here were a few genuine stand-outs:

In Ricky on Leacock, director Jane Weiner shares with us nearly forty years of friendship and footage on the creator of cinéma vérité, the legendary filmmaker Richard Leacock. Ricky is one of those great artist depictions which allow the viewer to feel and create their own assumptions and thoughts about both the upbringing and family background of the subject, but this absence works wonderfully here: We witness what an elegant, generous spirit really was, and through wonderful interviews and clips from the likes of D.A. Pennebaker, Robert Drew, Ed Pincus, Jonas Mekas, Dušan Makavejev, and others, we see what an astounding influence Leacock had on certainly not only cinema and how it was conceived for the new generation, but television, TV journalism and live news.

Always searching to make the camera and sound equipment as unobtrusive and invisible as possible, one only wonders how much work the man could have created in the wholly digital age. “My life has been about cooking and making film, and it’s been wonderful,” Leacock joyfully intones at the end of the film. Who could ask for anything more, from an artist or the truly great and inspiring film about his still important legacy? A must-see doc this season- one that will really lift both your heart and soul.

Holy Man-The USA Vs. Douglas White, directed by Jennifer Jessum and narrated by Martin Sheen, tell s the story of Douglas White, one of the last living medicine men of the Lakota Sioux from Pine Ridge Indian Reservation in South Dakota. White, who has since passed away. White spent 17 years in the federal pen for a crime, the film very persuasively posits, he did not commit. Coupled with amazing interviews of former leaders of AIM (American Indian Movement) and other prominent lawyers and Sixties figureheads, the film truly breaks your heart as it tells the story of how the US has coupled the American Indian population oppressed and disenfranchised. (The Pine Ridge Reservation is located in one of the desperately poor counties of the United States.) Activist Russell Means ends with this very scary, sentient premonition: “It’s happening to the Americans,” he says “but they just don’t see it yet. But it’s happening. Welcome to the reservation.”

We Women Warriors is director Nicole Karsin’s seven year-in-the-making doc that tells the story of three women, leaders of their different indigenous tribes in Colombia. Colombia has 102 aboriginal groups, one-third of which face extinction because of the conflict between the government and the rebel FARC groups over land, cocoa plantations and rampant drug smuggling. These women show astonishing courage and grace, choosing the path of non-violence to resist and deal with both the army and the guerillas that have killed many of their friends, husbands and brothers. Karsin also shows us that these women are taking up their time-honored tradition of weaving to galvanize their voices as well as make a living for themselves and their respective tribes. (She now sells the beautiful bags with her staff outside all of the screenings, and has links to websites to help.)

Other stand-outs at the Docuweeks Festival are Patrick Shen’s searing La Source, narrated by Don Cheadle, which tells the tale of Josue Lajuenesse, a Haitian Princeton janitor who returns to his country after the devastating 2010 earthquake to revive his lifelong dream to bring what is most fundamental to his village’s survival-clean water; Nelson Cheng’s The Magic Life, about three struggling magicians trying to go “legit” as working artists, Macky Alston’s Love Free or Die, about the first openly gay bishop in “Christendom.” Don’t miss Docuweeks-which just began in LA last week (at the Laemmle NoHo 7) and two more weeks in NYC (at the wonderful IFC Center.)

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[caption id="attachment_2806" align="alignnone" width="853"]Falling Overnight[/caption]

Falling Overnight- opening today in NYC at Cinema Village West

Review written by Francesca McCaffery

Directed by Conrad Jackson, Falling Overnight is those rarest of indie gems- genuinely heart-felt and a pleasure to watch. Young photographer Chloe (Emilia Zoryan) and skinny, appealing Elliot (Parker Croft) meet uber- cute in a café in LA, the audience having learned only moments before that he is scheduling a rather profound surgery for the very next day, without the help or support of any noticeable friends, or family, around him. We are immediately drawn in…

Elliot is young, but one of those rare early 20-somethings- he appears to be completely financially independent, somewhat of an internet start-up wunderkind who wisely cashed out early. Not one to dwell, or feel sorry for himself,  Elliot spontaneously decides to go to Chloe’s art show, where she has casually invited him along. After an awkward start, with Chloe having to actively let him know, more than once, that she is in fact interested in hanging out with him, their big evening begins…

 

Like another pretty, self-aware couple I remember from another sweet micro-budget gem filmed in Los Angeles, Chad Hartigan’s Luke and Brie Are On a First Date, their chemistry and attraction is almost unbearably awkward, cloying, reticent, adorable, all at once, and finally, truly undeniable.

I simply cannot think of a more instantly reflective little film that makes one really wonder not what they should be doing with their lives, but what they really want to be doing, at this very moment in time. “I always wanted to go Spain…” Elliot gently weeps, near the end of the film. We wish the both of them the happiest of futures together, if possible- while- at the same time, longing for the very same promise ourselves.

The two leads are, quite simply terrific, in performances that are highly naturalistic yet minimal in the nicest of ways. VIMOOZ had the pleasure of catching up with one of Falling Overnight’s lovely stars, Emilia Zoryan, who has a preternatural self-possession on screen that manages to be innocent, knowing and sultry at the same time. She isabsolutely someone to watch. Here, she tells us here about filmingFalling Overnight, the director’s process, and how she came to be cast:

Vimooz: You were so wonderful in Falling Overnight! How did you first get involved with the film?

Emilia Zoryan: Thank you very much! The audition process was very competitive, actually. Everything was riding on my performances in those rooms. Funny thing was, there was an error, and I didn’t get my sides until 10 minutes before I went in that first time! Thankfully, I memorize lines very quickly. Each time going in, I became aware of the fact that the stakes got higher and higher. Luckily, my final audition stole the role. I am told now that I was the “dark horse.” I like that. But honestly, I feel fate got me involved in this film.

Vimooz: Your performance is incredibly natural. How long have you been acting?

Emilia: I have been acting ever since Falling Overnight, so, a bit over two years now. I was studying Economics at UCLA while filmingFalling Overnight. I realized how miserable I was at University. Now that I have graduated, I will seriously pursue a career in acting. I have modeled, acted in commercials, and danced most of my life, but acting in film is a totally different animal.

Vimooz: Did Conrad let you and Parker improvise a lot? Parker Croft, your co-star, co-wrote the script, is that right?

Emilia: Parker, Aaron, and Conrad wrote the script and laid a very firm foundation for the film as a whole. I was given the freedom to change things or add to their work. Sometimes, Parker would play with his lines and I would follow his lead. The only improvised scene is probably the dialogue for the biking scene.

Vimooz: How did the director (Conrad Jackson) rehearse with both of you?

Emilia: We took the rehearsals scene by scene, tackling the heavy stuff early on. Conrad would tape rehearsals to see what worked, and what didn’t. I loved that he would whisper directions in our ears so the other wouldn’t see what change was coming. Filming out of chronological order is very difficult, but rehearsals allowed me to learn the arc of my character to the point where I understood where Chloe was, emotionally, every time in every separate moment. Rehearsals were also where I got to know the gang, and we messed around a lot and bonded. It was hard work, but also, a very exciting time in my life.

Vimooz: The subject matter is extremely heavy, yet is handled with such a wonderful lightness and truth. The ending of the film is particularly poignant. Can you can encapsulate what the entire experience felt like, briefly, for us?

Emilia: I knew I had to “approach with caution” from the very beginning, because it was immediately evident that this story, this subject matter in general, was very sensitive for the filmmakers. I have seen loss all around me, but thankfully have never experienced losing a close one. So I really had to figure out how to put myself in the mind of a girl who is a free spirit, but, simultaneously, wants to protect her heart from loss. At the time, I had never been in an acting class, so I invented my own method of acting. Later, I studied film theory at UCLA, and discovered that the method I thought I came up with on my own had already existed and that “The Magic If,” and “Substitution” were tools that were very popular. Imagine how hard I laughed at myself!

Vimooz: Tell us about some of your favorite films, and who you would like to work with next….?

Emilia: My favorite performance in film is, without a doubt, Sean Penn’s in She’s So Lovely. Robin Wright was phenomenal in that film, as well. I am a big fan Darren Aronofsky’s work: Black Swan,Requiem for a Dream, and The Fountain. It would be an honor to work with him. The Fountain is one of my favorite films showing death in a new light- “Death frees every soul.”

I think that is a beautiful idea.

Pllease check out Falling Overnight, opening today, July 27^th, in NYC at Cinema Village West. Vimooz recommends you grab a friend and GO. This film will seriously lift your heart…

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[caption id="attachment_2655" align="alignnone"]Bully[/caption]

By Francesca McCaffery

Two new wonderful documentaries are opening this weekend- Lee Hirsch’s Bully– which is a heart-breaking, take-no-prisoners hard look at the insidious problem of bullying in American middle and high school classrooms, and The Island President, which is an extraordinary portrait of recently ousted Maldivian President Nasheed, and his great fight to combat global warming (Which is literally sinking his splendid Maldive Islands.) Both are two of the most thought-provoking documentaries you will see this year. (The Island President won the People’s Choice Award at the Toronto film Festival, and Bully has been a complete festival sensation, as well.) Please don’t miss them. Bully plays at the Angelika and the AMC Loews Lincoln Square 13, and The Island President plays at Film Forum through April 10^th.

[caption id="attachment_2676" align="alignnone" width="549"]Generation P[/caption]

Viktor Ginzburg’s new Russian film Generation P, based on the Russian novel by Viktor Pelevin, pretty much defies all general description. Staring out in a newly dissolved Soviet Union in he mid-90s, it looks to this American like the film could have been 1974. The film is a hilarious, deft, mind-bending portrayal of a young advertising executive and his adventures with magic mushrooms, mad Russian ad moguls, Chechnyan rebels,  and milking the public in its thirst for everything Western. I couldn’t imagine anything worse than an American PR sensibility, but apparently a free Russia also meant a free-for-all sort of carte blanche for the burgeoning advertising industry. I honestly can’t say how much of the film is fictional- did they REALLY make commercials in Russia like this in the last ten years? But it’s one of the very few films I’ve ever seen that actually makes you want to run out and buy the book. Perfect for Hunter S. Thompson fans, too. A very wild ride. Playing at The New Directors/New Films Series in NYC.

[caption id="attachment_2677" align="alignnone" width="550"]Turn Me On, Dammit[/caption]

Jannicke Systad Jacobsen’s first feature Turn Me On, Dammit! is a charming Norwegian film about a very sexually charged young teenager, Alma, (luminous Helene Bergsholm) who, despite her lithe, blonde, waifish self, cannot seem to get any real action. She becomes ostracized when her lust backfires at a party- and she is given the accidental moniker “Dick Alma” (…when another young man insists that his penis brushed against her thigh whilst they were making out.), and we are witness to the classic, cringe-worthy episodes of adolescent shifting friendships and alliances. With a cast of largely non-actors, the film is strange, desolate, lovely and sexy all at once- an actual light, funny, and frustrating portrayal of female sexuality- a topic rarely handled so well in today’s cinema. (The film captured Best Screenplay at Tribeca last year.) Alma doesn’t feel really sorry feel sorry for herself, she just seems to know who she is somehow, and exactly what she wants. As she is betrayed by her entire student body, she still stands strong, and it is heartening to see a young character who has found what truly makes her tick. By focusing on Alma’s needs as a simple horny teenager, rather than portraying her as a cartoon of some fantasized, over-sexualized teenage image, the filmmaker takes a few brave, tentative, greatly needed steps forward. Turn Me On is also wildly funny and greatly entertaining, at parts, as well. Go see this at night this weekend. Playing at Lincoln Center and at the Angelika.

Remember guys, support Independent Cinema, whenever you have the chance. They’re a lot of really good choices this weekend. Now, go and out and see some!

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By Francesca McCaffery

The Kid with a Bike (Le Gamin au vélo) is the latest film from Belgian filmmaking brothers Jean-Pierre and Luc Dardenne, who both wrote and directed. It stars Cécile de France, and the astonishing young newcomer- Thomas Doret.

Thomas plays Cyril, a young boy who has been abandoned to a children’s home by his father, and can’t quite seem to accept this fact. He also keeps insisting that he needs to find his bike, that his father never would have left it at their old place, or sold it. If his bike is still there, his father must surely be around, too…

Desperate for some real answers, and certainly some closure, he momentarily escapes the children’s home with his caretakers in hot pursuit. As Cyril rushes back to his old apartment building, he spots a neighbor boy riding around on his bike. As the caretakers chase him through his former stomping grounds, he rushes into a nearby medical center, literally slamming into the arms of Samantha (a parfait Cécile de France)  As his caretakers drag him away, he clasps onto her, begging her for her help. They bring him to his old apartment to show him his father was, indeed, gone. The next day, Samantha brings his bike back to Cyril, (after buying it back from the neighbors) and he requests to go to her place on the weekends. They even track down his father together, to some uneasy results.  Cyril is then, very soon, looking for anyone to replace his father.

The film plays out as kindly hairdresser Samantha, for reasons completely unknown to us, sticks with Cyril through thick and thin. This unconditional love is a theme of the Roman Catholic Dardennes, and the deeper religious themes of forgiveness and repenting are also so present in their other films, such as “The Son” and “Rosetta.” Here, we don’t quite know why Samantha has chosen to look after Cyril as she does, to love him, essentially, as her own. And we simply don’t care! It is just amazing to feel that there are others like Samantha out there…

As Cyril pedals furiously away on his bike, desperately searching, searching, searching-he must learn to live with the horrifying fact that his father is truly absent from his life, and most likely, always will be.
This film shows how beautiful life can be when the truth is not only become an accepted fact, but looked upon as a supreme blessing.

Doret and de France are absolutely  incredible together, and the film could seem at once fifty years or five minutes old- suspending place and time and style in a manner that is breath-taking and spirited. It is simply a lovely, lovely little film, and so deeply felt. It will make you wonder why more people don’t have it in their hearts to be more like Samantha- letting their hearts do all the leading in the dance of life.

Opens in NY and LA today. Go and see this heart-warming and heart-breaking little film. We promise, you will adore it as much as we did….

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By Francesca McCaffery

“The Salt of Life” is a charming film by Italian actor and filmmaker Gianni Di Gregorio, who plays an aging man trying to come to grips with the fact that he feels like a “discarded engine on the side of the road.” Treated like with condescension by his wife, dealing with a petulant and spoiled daughter, and with an aging mother who treats him like a servant. Gianni (also the character Di Gregorio plays in the film), recently retired, soon begins to watch his older compatriots embark on affairs with younger women, and conspires to do the very same.

This is a sweet, adorable little movie, and a perfect anecdote for those mid-Winter blues. Di Gregorio (most recently of the 2010 hit “Mid-August Lunch”) is a terrific performer, and everyone in the film plays this light comedy to perfect and enlivening pitch. Watching Gianni tear his hair out, as well as soon his old black book (bearing up very few phone numbers) looking for the woman who will save him, one feels the poignancy that certain longings can never quite be satisfied.

Especially the great and endless desire to once be young once again.

Please go and see this delightful film at the IFC Center in NYC this weekend and next week, and soon at the Laemmle’s Theaters in Los Angeles.

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by Francesca McCaffery

The new documentary “Last Days Here” (opening today March 2^nd at the IFC Center in NYC) directed by Don Argott and Demian Fenton, had so much crazy subtext going on, it could be a few tiny little films in itself: The film focuses on “underground heavy metal legend” Bobby Liebling, the singer- songwriter-guitarist for the ‘70s metal band Pentagram. According to some rabid fans, Pentagram was the best metal band from that era, actually helping to form and create what soon became known as “heavy metal” music.

We are first introduced to adorable, bespectacled fan-boy and record collector extraordinaire Sean “Pellet” Pelletier, who enthusiastically tells us that a discovery of an old, vinyl Pentagram album wildly and permanently changed his life. From that point on, it would seem, Pellet has made it his mission to befriend, help, cajole and coax the nearly impossible Bobby, a very active user of crack-cocaine, to mend his ways and get the damn band back together. (As apparently do a great many thousands of other fans across the country.) Pellet’s genuine love for Bobby, as well as his almost obsessive dedication to Bobby’s music as his mission, is the true heart and soul of the film.

The different strains and levels of the story are what I found to be truly fascinating, apart from the much talked-about train wreck which is seeing Bobby (at times) disintegrate in front of the camera: Here we have a heroine and crack user living in the basement of his parent’s house, a place from which the far-older-than-he looks -fifty-four year old Bobby rarely ventures. His parents astoundingly know and enable his drug problem, sweet souls that they are, apparently terrified of what would happen if he was left on his own, and deal with is bouts of appealingly schizophrenic ravings.

Which, for me, got a bit strange. For a few moments, I found the film faltering, exploitative, and very, very hard-to-watch…(Although the editing in clever and the overall production value is quite good for the obvious low-budget, watching someone rant while on crack makes one feel confused about how to feel, to say the very least.) But then, things started to emerge and simmer.

The incredible part of the Liebling family history I found to be this: We are soon shown that Bobby’s father was an security advisor under both the Johnson and Nixon administrations. Flashback photos from the mid-sixties make Liebling, Sr. out to look like an earnest, uber-serious CIA agent. Bobby’s father was once the very picture of Sixties conservatism. Then to top off having a whacked-out metalhead for a son living in the “sub-basement,” his wife, (Bobby’s natural mother) blames their father-son “rivalry” as the very cause of Bobby’s drug problem. What is even more disturbing is how readily the lovely and elderly Liebling Sr. agrees with her. There is then inherent in the film the incredible commentary about one generation producing what is probably its worst nightmare; the story is only unique in the way both parents seem to really adore and genuinely respect their itinerant son.

There are the poignant reminiscences of former Pentagram bandmates, who tell of not once but two times Bobby blew the biggest chance they had to make it big. (Once members of KISS came to their home to see them perform in the 70s, only to be shooed away by an irate landlord; the second time a famous rock-n-roll producer actually working with them stormed out on their demo recording because of Bobby’s unbearable histrionics, never to return again.)

And in the midst of all of this the super-positive and patient Pellet, trying desperately to conjure together a compilation record deal and national tour. Bobby also inexplicably manages to fall in love with an uncommonly beautiful and bright young woman named Halley, who seems just as inexplicably to be in love with him…Whoa. A story of a group of enablers? Rock-n-roll lifestyle commentary? How sixties conservatism nearly ruined the world? Or just a sweet and sharp little film about what happens when your favorite unknown band is so damn great, you want the whole world to know it?

The rest of the film is an ardent, enjoyable rollercoaster ride, making us question the cost of not simply seeking out fame and fortune, but what happens when you are arguable once just this close to it, and it breezily passes you by?

There is a fine line between sanity and greatness in rock-n-roll, and I suppose that Bobby Liebling is living proof. I could have used more of the band’s music throughout, but the two filmmakers have some very obvious talent and chops. If nothing else, in the case of both Bobby and his true-blue buddy Pellet, the film is a gigantic testament to how music you truly love can really change your damn life.

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by Francesca McCaffery

There has rarely been such a non-formulaic and genuinely touching portrayal of a soldier returning home as Liza Johnson’s “Return,” starring the phenomenal Linda Cardelinni (“E.R.”) and always terrific Michael Shannon, opening today in limited release.

To say a movie is independent film at is finest doesn’t even translate any longer, of course, but if it still does in any vernacular, this tiny, perfectly on-point little film is exactly it.

Cardelinni plays Kelli, home from a year’s tour of duty (Iraq? Afghanistan? We are never quite certain.) Shannon plays Mike, her plumber husband who is so game to comfort his returning soldier wife he initially rebuffs her playful advances, advising her primly that “They warned us about rushing this at the Spouse Support Group!”This is a new era, Johnson explains right away, one which we all know, or are supposed to understand, full well the devastating effects of PTSD and trauma war has on the average American soul.

Kelli is thrilled to be back home with her two young daughters, in her sweet little home, and even at her dull factory job. But when out partying with the girls one night, doing shots and cracking up, the conversation slowly delves into “what she saw over there.”

Everyone there, Kelli keeps insisting, had it worse than me. Lots of people. She was only working at a supply base, hauling boxes. Yes, she saw dead bodies, dead animals, “some crazy, fucked-up shit.” But still…Kelli refuses to acknowledge their power over her. Never letting anyone in, and never allowing herself to truly feel her dangerously deep feelings about her time in the National Guard, Kelli soon becomes a slow-burning fuse.

I cannot speak enough about Cardelinni’s performance. Back when actresses still cared about what they were doing for a living, rather than simply shopping and talking about that process, this was the kind of performance they gave: One full of true heart, completely free of stereotypes, and one that free falls into delivering exactly what you need from this character: A person casting about for answers without realizing or knowing what the exact problem is, in the first place. The human condition? Absolutely.

Johnson and the performers show us that regardless of having suffered through a terrible experience or trauma or not, there are just no pert answers, no all-encompassing cure for what ails us, and no trite way out of feeling what you need to really experience in order to heal. This film seems to be saying, that, sometimes, you simply cannot go home again.

At the end of the film, Kelli not only makes the only logical choice left, but it is, quite thankfully almost, made for her.

Please check out “Return” this weekend. Let’s help slam this wonderful little film  out of the park. Playing in NYC at Cinema Village East, and in Brooklyn at Indie Screen Cinema.

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