Starring: Vahid Mobasseri, Mariam Afshari, Ebrahim Azizi, Hadis Pakbaten, Majid Panahi, Mohamad Ali Elyasmehr
Grade: A-
Getting any film made, even under the best of circumstances, is a small kind of miracle. For auteur Jafar Panahi, getting a film made under the Iranian regime is another kind of miracle entirely – not to mention an active act of resistance. Panahi has faced difficulties making films before (his last film, No Bears, was made while he was under house arrest). But It Was Just an Accident is as openly critical towards his government as possible, and presents a moral and existential quandary that anyone can relate to when living under fear.
Below is my conversation with Lauren Z. Ray, the director of Winter Fantasy, a documentary about the small town of Logansport, Indiana, and the theater program that forms a kind of backbone throughout the community for its young artists. The film is making its World Premiere at the Heartland Film Festival. We discuss her thought process behind inserting herself in the film, the universality of small-town theater programs, and life in the arts post-high school. Our conversation has been edited and condensed for clarity.
Ben Sears: Logansport is such a unique place, and the film really captures that nicely.
Lauren Z. Ray: That was part of the goal. I always wanted to showcase Winter Fantasy, but I wanted to make this film very Logansport and very Hoosier as well. I kind of had this bucket list of items that I wanted to include, whether it’s a quick B-roll shot or a scene, just to give that texture and vibe to everything. In Indiana, I always think they have fantastic sunsets, so I wanted to include that, or a bonfire, which were very special to me when I was growing up.
BS: Did you have a goal in mind when you first conceived of the film, besides featuring the program? Did the story change at all throughout production?
LR: Totally, the initial idea was a micro-doc, under 20 minutes. I just wanted to showcase what Winter Fantasy is, and that’s it. But I hadn’t really been back to my high school, or talked to anybody in 10 years. But upon arriving, as I started setting up interviews and going through all my old things, I didn’t even really think of myself at first, but I started getting nostalgic.
My first interview is with the manager of McHale, and after that interview, I wanted to just explore everything with high school and Winter Fantasy, so I went through everything in my bedroom. That’s when I realized how much of my story needed to be included in this story in order for it to make sense. From there, I also wanted to include the stories of people who went on to become professionals after going through Winter Fantasy. Every documentary I’ve done is like detective work, it’s journalism. You learn more about the story through the interviews you do; it became a lot longer in the process of all the interviews and learning everyone’s stories. I initially wanted it to be just about Winter Fantasy, but it ended up being about my acting career, Winter Fantasy, and all the decades of people who have done the show.
BS: It’s interesting that you never even considered inserting yourself into the story because it helps to ground the story through your eyes.
LR: That’s how it felt at the time. It became more of a first-person documentary, which I had never done before. That really challenged me because I didn’t know how I could make it happen. Normally I’m the one behind the camera, so I knew I’d have to allow someone else behind the camera and help them to understand my vision. I hadn’t seen too many first-person documentaries, so I watched a lot, and I had to learn how this style is done. It was definitely a big process.
BS: You stay focused on Logansport and this specific program, but do you see this program as a microcosm of similar small town arts programs? Do you think there are similar stories like this across the country?
LR: I think so, I think it’s totally relatable. I remember when I did my first documentary, which was about a small town in Indiana, and I thought ‘this town’s really quirky and unique.’ And then everyone who saw it had a relationship to a small town across America somewhere, and it was relatable to a lot of people, even if they weren’t from this particular town. I think with this one, it was the same thing. People had either gone through their own musical theater program, or someone they knew went on to become someone from their theater program. Any time I’ve explained to someone what I was working on, people say they relate to it and they tell me stories about their programs, or their experiences with it. People totally understand that theater kids and staff tend to be very quirky by design, so I definitely think it’s a relatable topic, even though it’s just about Logansport, Indiana.
BS: You also have, later in the film, the experiences from you and your friend in Chicago, and the struggles with finding work in the arts after high school. Was that another avenue that was unplanned as well?
LR: Yes, actually, I was hoping I could get a hold of Dannie Smith. She didn’t know who I was, but I knew who she was because I went to all of her Winter Fantasy shows. I was absolutely obsessed! [laughs] I had never met her before, and the conversation we had on her couch was so crazy because of how similarly our stories had aligned. I had no idea, when I had called her initially, that she had retired from acting; I thought she was still acting. To learn that it was for similar reasons to me was really interesting.
BS: A development like that could be seen as a kind of mood killer, but in Winter Fantasy, it’s kind of hopeful, and a celebration of theater, and what people can do when they work together.
LR: I think a lot of people can relate to that as well. I know a lot of people that pursued theater after high school but couldn’t find any success, so I hope they can find something relatable in that. I think, accidentally, I always try to make my stories a feel-good story of some type. Those are the types of stories that I prefer to see, myself.
BS: Have you shown the film to the Logansport community at large yet?
LR: I haven’t. I’m very excited to do that, though. In January of this year, literally a week after I had finished, I had the cast come and see the film. Heartland is taking place during the school’s fall break, so that didn’t work out for them to screen it. But on November 8th, I’m going back to Logansport again, and I’ll do a public screening at McHale auditorium. I’m very excited, and this year’s Winter Fantasy is the following weekend, so I’m hoping it’ll hype up the town to show up and support that show this year.
Winter Fantasy will have in-person screenings at the Heartland Film Festival in Indianapolis, and will be available to stream online throughout the festival.Buy tickets here.
There are over 300 companies today throughout Japan employing actors, not for film or television roles, but as ordinary people helping other ordinary people to get through the day. Rental Family explores the almost too bizarre to be true phenomenon and the emotional toll it takes from both sides. It’s a slam-dunk premise for a weepy dramedy, but director Hikari’s film is too unfocused to be as resonant as intended.
Starring: Frank Dillane, Megan Northam, Shonagh Marie, Harris Dickinson, Joel Lockhart, Diane Axford, Angela Bain
Grade: B+
It’s always a risky gamble when a prominent actor tries their hand behind the camera for the first time; for every Good Night, and Good Luck, there’s a hundred other Leatherheads. There’s no clear recipe for success, but first-time writer-director Harris Dickinson’s clearly defined vision is what makes Urchin an impressive statement. In fact, Dickinson avoids many of the fatal pratfalls which often lead to actor-directed projects.
Starring: Matthew McConaughey, America Ferrera, Yul Vazquez, Ashlie Atkinson
Grade: B
Paul Greengrass, Hollywood’s most efficient auteur of ripped-from-the-headlines dramatizations, returns with one of the most harrowing and stressful films of the year in The Lost Bus. Aside from his work on the Bourne franchise, Greengrass’s greatest successes have come from films about real people overcoming the odds to survive, like Captain Phillips and United 93. His latest covers a recent, well-publicized event, and though the life-or-death stakes are often enough to sustain the film for long stretches, it’s not enough to overcome its limitations.
Boxing is an inherently cinematic format, a sport where one man or woman puts their mind and body on the line in a quest for glory. Mixed martial arts cranks the sport and its stakes up exponentially, and writer-director Benny Safdie’s The Smashing Machine spares nothing to show the inherent brutality and all its costs. Here is a sport where blood, sweat, tears, and a broken bone or two literally comes with the territory. But it takes more than raw physicality to make an enduring MMA film, and it requires a deeper story worth telling to break the mold of the typical sports drama.
Writer: Rachel Lee Goldenberg, Bill Parker, Kim Caramele
Starring: Lily James, Ben Schnetzer, Myha’la, Jackson White, Dan Stevens
Grade: D+
For the past 15 years, Hollywood has been chasing what crystalized so perfectly in The Social Network, and Hulu’s Swiped represents yet another misguided attempt to capture lightning in a bottle. There have been some wins here and there: films and mini-series like Blackberry or The Dropout that have successfully mythologized the almost Shakespearean struggles between the geniuses who created the companies or tech we’re all familiar with and those who sought to bring them down. But for every one that breaks through, there are a thousand more imitators that are instantly forgotten – and that’s not including the countless documentaries made on the same subjects. Though, if you went into a straight-to-Hulu release written by Rachel Lee Goldenberg (who also directs), Bill Parker, and Kim Caramele, expecting quality comparable to David Fincher and Aaron Sorkin’s film, somebody lied to you along the way.
Starring: Dylan O’Brien, James Sweeney, Lauren Graham, Aisling Franciosi, Tasha Smith, Chris Perfetti, Susan Park
Grade: A-
With so many films in recent years centered around grief and grieving, it seems impossible to believe that a film could find a new angle in approaching the subject. But Twinless feels fresh and original, thanks to the voice of writer-director-star James Sweeney by centering less on the death of a person and more on how a lack of closure can be just as difficult as the death itself. And beyond the film’s thematic weight, it provides excellent acting showcases for both Sweeney and Dylan O’Brien.
Starring: Liam Neeson, Pamela Anderson, Paul Walter Hauser, Danny Huston, CCH Pounder
Grade: A-
So many comedies have tried to replicate what David and Jerry Zucker, and Jim Abrahams perfected with films like Airplane! and The Naked Gun: From the Files of Police Squad!, but it takes a keen comedic mind to do it right. On paper, a reboot to The Naked Gun starring Liam Neeson and Pamela Anderson sounds like one of the many legacy projects that comes and goes without any fanfare, but director Akiva Schaffer (who co-writes the screenplay with Dan Gregor and Doug Mand) has a clear affinity for what works so well with the franchise, and the result is one of the best comedies in years.
Perhaps it’s just a coincidence that I watched Kiyoshi Kurosawa’s Cloud as the internet pivoted once again to the worst, when X (formerly Twitter) essentially became a safe-haven for Nazism, and Elmo’s account was hacked to spew anti-Semitic hate. The long-time Japanese auteur has made a career out of psychological horrors that explore our modern anxieties around technology and manipulation, and his latest film touches on how the internet warps our reality. It’s a subject that Kurosawa used almost 25 years ago, but Cloud feels like a modern update to those sentiments.
The Movie State 