33rd Annual Philadelphia Film Festival Coverage

Philadelphia Film Society
Producers of the
Philadelphia Film Festival
Oct 17- 27, 2024

My oldest friend’s (we’ve know each other since 1st grade) husband passed away in October.  It was unexpected and I am truly sorry for her loss.  I was very glad to be able to take some time off before and after the funeral to be with her, in Florida (2 days after Milton) but thankfully, her area was not affected. I was definitely focused on her grief and if need be would have stayed longer, but secretly, selfishly, I was so relieved I could, without guilt, be back in time for the start of The Philadelphia Film Festival.  It’s become such a natural part of my fall happenings for so many years running, it would feel weird not to attend.

#PFF33 did not have as large a number of directors and guests as #PFF32  (see last year’s coverage) but sometimes that’s just fine. I captured 3 Q&A’s (see below) and really that’s plenty. As always, Philadelphia Film Society ran a great festival, with plenty to choose from and once again Federal Donuts in the Lounge!

I saw 23 films in the 11 days.  Not all received a #MiniMovieReview below,
but they are all listed on my Letterboxd.

BLACK DOG |Director Hu Guan | China | 2024

Synopsis: Like the conflicted, solitary antiheroes of classic Westerns, the stoic Lang (Eddie Peng) returns home after a prison stint to discover his rural Chinese town in decay. The abandoned buildings on the fringes of the Gobi Desert have been commandeered by gangsters and wild dogs. In advance of the upcoming 2008 Olympics, a local dog-capturing team has been tasked with clearing out the animals, including a vicious black dog with a bounty on its head. The only remaining authorities are a vengeful criminal, Butcher Hu, and the slightly more upstanding Uncle Yao (played by famed director Jia Zhangke). 

What Did I (LeAnne) Think?: It’s obvious that prison has very much changed this character Lang who once was a beloved rock entertainer, now stoic and silent by choice. However, prison might be a better alternative to the barren wasteland in the Gobi Desert he returns to.  He’s not close to his father, a dying man trying desperately to take care of the few remaining animals, including a tiger, in what used to be the town’s zoo. And the Snake meat and venom producing family of the man he killed wants to kill him.  In the midst of it all, he manages to tame the black dog that’s been terrorizing the remaining inhabitants in town. The dog giving him a sense of purpose and cracking his icy reserve.  Despite the bleakness and often aimlessness of the film, the absurdist, almost comedic aspects kept me intrigued.

Cast: Eddie Peng, Liya Tong, Jia Zhangke, Yi Zhang

SEPTEMBER 5 |Director Tim Fehlbaum | Germany | 2024

Synopsis: This taut, thought-provoking historical thriller takes viewers behind the scenes as a TV news team scrambles to cover the unfolding hostage situation at the 1972 Summer Olympics. Thinking that they’re only in Munich to cover athletics, the ABC Sports team must pivot rapidly once shots ring out at the Olympic Village, just a few blocks from their headquarters. Soon unseasoned young producer Geoff (John Magaro) is tasked with a job that’s far beyond his expertise: figuring out how to broadcast the events in real time to the American people.

What Did I (LeAnne) Think?: Admission, I’ve never seen Spielberg’s MUNICH (2005). It was prior to starting Tinsel & Tine and I tended not to watch movies that were about terrorism or war; so I never really paid it much mind, despite all the attention it got that awards season.  I was barely born when it happened, so the story of the 1972 Summer Olympics and the militant Palestinian faction calling itself Black September infiltrating the Olympic Village in Munich, taking the Israeli team hostage, is not a clearly known event in my memory. And if you want to know more about those events, then I would imagine it’s best to watch “Munich” because “September 5” is not political. We do not meet the hostages or the terrorist. We meet this ABC Sports, not News, Team reshaping the way TV news covered live events forever.  We witness all the practical and impractical minutiae of getting this story out of Munich and across the globe, in a newsroom where no one spoke the language.  This created a heightened role for their translator, Marianne (Leonie Benesch, PFF32’s The Teachers’ Lounge) who jumps in with two feet, providing more than just German interpreting.  I do love an early moment of sexism highlighted where one of the techs sends Marianne to go get coffee. No sooner does she leave the room a bulletin comes over the radio, in German, only Marianne is away dealing with Folgers or Sanka. Something that would not have happened if the translator had been a man.  This tension filled, taunt and focused film has Oscar Awards written all over it!

ARMAND |Director Halfdan Ullmann TØndel| Norwegian | 2024

Synopsis: In this potent, shape-shifting chamber drama, Renate Reinsve (a recent Cannes Best Actress winner for PFF30’s The Worst Person in the World) delivers a stunning performance as Elisabeth, an actress and single mother whose 6-year-old son Armand has been accused of an unspeakable crime by a fellow student. Over the course of a tense, school-mediated meeting between Elisabeth and the other boy’s mother Sarah (Ellen Dorrit Petersen) and father Anders (Endre Hellestveit), the tortured, intertwining histories of the parents come to light as it becomes increasingly clear that the origins of their animosity predate their sons’ alleged encounter. 

What Did I (LeAnne) Think?: There was something here that could have been juicy and salacious. Or tense and thought-provoking.  Instead, with all the imagined moments and surreal foolishness, it just provoked irksomeness in me.

TWO STRANGERS TRYING NOT TO KILL EACH OTHER |
Director Manon Ouimet, Jacob Perlmutter| UK, Denmark, USA | 2024

Synopsis: Joel Meyerowitz and Maggie Barrett met later in life. A slew of marriages, children, and creative endeavors preceded their relationship. Now Joel is 84 and Maggie is 75, and the two are still steering through the often rough waters of marriage while trying to maintain their own artistic identities. Joel, a world-renowned photographer, and Maggie, a self-published author and artist, often find themselves in a place of creative and marital friction. When a sudden incident drastically disrupts both of their lives, Maggie and Joel’s partnership is truly put to the test.

What Did I (LeAnne) Think?: This I liked very much!  I felt pulled into this marriage. I totally can relate to her feelings of never having reached her full potential in life. But I’d leave all the bitterness behind me if I had a good man who would furnish me with homes in both Tuscany and NYC.  She said she appreciated these things too, but was still such a bitch to him over her disappointments. Meanwhile, he is the epitome of a mensch.

ANORA |Director Sean Baker | USA | 2024

Synopsis: In films like Tangerine, The Florida Project (PFF26), and Red Rocket (PFF30), director Sean Baker has honed a one-of-a-kind filmmaking style, often depicting those on the margins of American society through a dynamic, deeply humane lens. Baker’s latest is perhaps the greatest distillation of his talents yet, a hilarious yet emotionally resonant screwball romance that rightfully took home the coveted Palme d’Or at this year’s Cannes Film Festival. Mikey Madison is a revelation as Anora (aka Ani), a Russian-American erotic dancer who spends her nights hustling at a Manhattan gentlemen’s nightclub. There she catches the eye of Ivan (Mark Eydelshteyn), an oligarch’s son whose privileged, carefree attitude provides a breath of fresh air, as well as a chance for escape. Ani and Ivan’s whirlwind romance eventually carries them to a Las Vegas wedding chapel, but this Cinderella story is just getting started.

What Did I (LeAnne) Think?: What I liked most about “Anora” is the large number of attendees in their early 20’s both with tickets and waiting in the rush line! Everyone keeps saying the younger generation doesn’t care about going to the movies anymore, that they’d rather just be home on Tik Tok, but this showed there’s still some young movie lovers out there if you present them with something as wonderfully real and audacious as Mickey Madison in ANORA.  I also loved the whole nod to “Pretty Woman” as Vanya basically does an Edward (Richard Gere) type ask of “be my beck and call girl” for a week, for a tidy sum, thing. But the movie really finds its rhythm after the week is up and Vanya’s parents send their goons and a fixer to separate their son from his Vegas bride. Baker captures the action with equal parts tension and humor. He shot the film in a real-life strip club, mansion, airport, etc. Some of the venues were even open for business while the movie was being shot. As he’s done in (click for T&T reviews) “The Florida Project” and “Red Rocket“, he cast experienced actors alongside nonprofessionals, leaving plenty of room for improvisation. Also as with these two previous films, Baker has created a highly entertaining, yet unlikely protagonist, who takes you by surprise when you realize how invested you’ve become in them winning.

MARIA |Director Pablo Larraín | English Language| 2024

Synopsis: Oscar-winner Angelina Jolie lends her tremendous star power and otherworldly talent to this moving look at another iconic performer: legendary opera singer Maria Callas. Directed by Chilean auteur Pablo Larraín, Maria follows the American-Greek soprano in the final week of her life, as she holes up in a lavish Paris apartment several years after retiring from the stage. Addled by addiction and consumed by memories of her past glories, she still plays the diva in her domestic sphere, lording over her staff and holding forth for an interviewer (Kodi Smit-McPhee) about her past triumphs and heartaches.

What Did I (LeAnne) Think?: I hear a lot of comparisons to Larraín’s SPENCER and JACKIE (click for T&T MiniMovieReviews) it’s impossible not to, after all, it definitely feels like a trio. Wonder if he’ll do more studies of significant women of the 20th Century?  As much as I admired these other two films, I had clear criticisms on both, not so with “Maria”.  I settled into it immediately. Loving the elegance, autumn coloring, the decor of her spacious Parisian Apartment (Guy Hendrix Dyas ) and more than anything, the costumes! (Massimo Cantini Parrini).  I understand many pieces actually belonged to Callas. 

The film CONCLAVE is intriguing and a definite contender for this year’s Awards Season, and yet the presence of such well-known actors – Ralph Fiennes, Stanley Tucci, John Lithgow keep it from being a great movie – they took me out of Vatican City. Not so somehow with Angelina Jolie as this quintessential Opera Diva. Her performance feels honest. She plays her as a woman still in control, fully aware of her madness, knowing everything she’s doing or not doing will shorten her life, yet she forges on with icy determination.

I was good with every decision of when to go back in time and the significance of those memories. I never cared enough to Google it, but was always unclear as to how Aristotle Onassis (Haluk Bilginercould) could be linked to both Jackie Kennedy and Maria Callas, as it appeared to be the same time period. Now I know, he was seeing both. I would believe he loved Callas more; but a woman like that, no matter how deeply they love, would never be able to fully give in to the love of something as mortal as man. Not when the magic of music stirs them to celestial heights.

NO OTHER LAND |Filmmakers Basel Adra, Hamdan Ballal, Yuval Abraham, Rachel Szor | Palestine, Norway | 2024 |95 Min| Arabic, Hebrew, English

Synopsis: For decades, Israeli forces have attempted to drive Palestinians from the area, frequently bulldozing family homes and arresting residents. In his effort to bring greater attention to the injustices taking place, Palestinian activist Basel Adra teams with Yuval Abraham, a young Israeli journalist dedicated to upholding the rights of Palestinians. The two develop an unlikely bond, yet are often made painfully aware of the insurmountable gap between them.

What Did I (LeAnne) Think?: The cruelty & injustice endured by the Palestinians presently & prior is egregious. The intense subjugation and humiliation these people are made to suffer was of course known to me, but watching it before my eyes, truly makes me wonder how politics is forever placed above the cost of human lives. It just comes down to “Man’s inhumanity to Man” – why must dominance of one over another be the constant throughout time?

This “No Other Land” Q&A is not from #PFF33, it’s from #NYFF62 Film at Lincoln Center, but I felt it important to share more of this most important film, which deserves increased exposure. This kind of systemic discrimination can happen under certain governments, at any time, anywhere, when power is unchecked.

CLICK PLAY FOR POST-SCREENING Q&A

CITIZEN GEORGE |Director Glenn A. Holsten | USA| 2024

Synopsis: This fascinating and inspirational documentary tracks the life and work of Philly-based Quaker activist George Lakey, whose message of nonviolent social change remains more vital and resonant than ever. Since his youth, Lakey has possessed a deep concern for the well-being of others and a commitment to bettering the world, and this dedication has remained steadfast throughout the decades. From protesting the Vietnam War to fighting against corporations that are polluting the environment, Lakey has lent his rebellious spirit to some of the most consequential causes of the last half century. Moving back and forth in time to highlight key events in Lakey’s life, the film employs interviews with the activist and his loved ones to create an engaging look at the ways his activism and personal life intersected. In an era of widespread cynicism and polarization, it’s a courageously intimate examination of what it means to lead a life with purpose.

What Did I (LeAnne) Think?: He doesn’t remember me as this is going back some years.  But I used to know this couple from church, John & Robert, who twice a year would throw a Pot-luck-Sing-a-Long at their home in Narberth. I attended probably 7 or 8 times and each time the piano player was George Lakey!  I knew he had undeniable charisma and musical talent; but John & Robert never told me anything about George’s incredible background.  And at these parties, we didn’t talk of politics or activism, we just enjoyed each other’s company as we ate each other’s food and launched into another chorus of “Shall We Dance”.    

Turns out that piano player has lived a very active 87 years of service to others.  Starting at the age of 12 when he was asked to be a child preacher at his church.  He searched his heart and decided his sermon would be that God wanted racial equality. A message that was not well received by the all-white community of his rural Pennsylvania church.  He was never asked to preach again, but that didn’t stop him from becoming the minority at the oldest Black college in the country, Cheyney University, in the 1950s. He also left his family’s evangelical denomination and became a Quaker.  This rebel part of him gave him strength to risk his life again and again throughout the decades for many causes. And yet always with a lifelong dedication to peace and justice, and a testimony to the power of nonviolent action.  All while raising 2 adopted children, one biological daughter, coming out as gay/bi-sexual during a Quaker Meeting and maintaining a wonderful relationship with his wife even after they could no longer maintain the marriage.  

The filmmaker Glenn Holsten does an fantastic job of keeping the audience inspired and captivated throughout the doc.  I saw it twice! George is kind of a Forrest Gump in that he managed to be in the center of whatever injustice was going on in the world. Not only standing up, but teaching others to find their own non-violent power. 

DIANE WARREN: RELENTLESS Director Bess Kargman | USA

Synopsis: Consider the emotional depth of “Because You Loved Me,” the fiery energy of “I Don’t Want to Miss a Thing,” and the rebellious spirit of “If I Could Turn Back Time.” All distinct, unforgettable anthems, yet crafted by the same mastermind: Diane Warren. In Diane Warren: Relentless, we uncover the genius behind these hits and countless more as Warren’s unparalleled career takes center stage. (92 Min)

THE BRUTALIST| Director Brady Corbet | USA, UK | 215 MIN | 2024

Synopsis: an American saga set in 1947, Hungarian Jewish Holocaust survivor László Tóth (Adrien Brody) immigrates to America, settling in Pennsylvania. At first struggling to scrape by, skilled architect László gets a lucky break when he catches the attention of industrialist Harrison Lee Van Buren (Guy Pearce). With the wealthy benefactor promising to help bring László’s wife Erzsébet (Felicity Jones) to the states as well, the architect throws himself into the realization of Van Buren’s vanity project: a gargantuan Doylestown community center. Dogged by the psychological traumas of his past and constrained by the capitalist pressures of his adopted country, László labors at an all-consuming undertaking that will take up decades of his life.

What Did I (LeAnne) Think?: The term “brutalism” is, of course, a reference to a specific architectural style that emerged in the mid-20th century, known for its use of raw concrete to create an austere beauty which I find downright ugly. The brutalism of the film is not just in its aesthetic but in its emotional architecture. It seems to be an exploration of the existential war between creation and destruction. Adrien Brody plays a fictional Hungarian-Jewish architect László Tóth, an immigrant landing outside Philadelphia in Doyelstown to work at his cousin’s furniture store (the film was not actually shot here in Philly or suburbs). Only this cousin has been in the States long enough to be obsessed with capitalism and has married a white Christian racist who does not wish to tolerate László presence. After the cousins first architecture job goes wrong, she piles on pretending László has made a pass at her, which compels the cousin to kick Tóth to the curb to make his own way in life. Brody is always a magnetic performer and he doesn’t disappoint. But even Brody’s considerable skill can’t mask the fact that the script, while thoughtful, does not warrant the nearly four-hour runtime that Brady Corbet has chosen to saddle it with. The Brutalist has a cinematic foundation without the blueprint of a true saga.

PFS Brunch offer at Cuba Libre 3 Courses for $45

Day 4 #PFF33 started with #Brunch @CubaLibreBrand #Philly. During Philadelphia Film Festival they are offering badge & tix holders 3 Courses for $45. Took my flan to go to get to next screening. Everything delish & filling 😋 pic.twitter.com/hP1MGW3w6g

— Tinsel & Tine – Marvelous Movie Maven (@tinseltine) October 22, 2024

CLICK PLAY FOR POST-SCREENING Q&A

THE PHILLY SOUND… HEARD ‘ROUND THE WORLD| Director Bill Nicoletti | USA, UK | 82 Mins | 2024

Synopsis: This engrossing, toe-tapping documentary tracks the story of the legendary Sigma Sound Studios, cornerstone of the lush “Philadelphia Sound” that defined decades of American R&B and soul music. Founded in 1968 by engineer Joe Tarsia, the Center City studio became a crucial hub for Philly’s burgeoning music scene, where homegrown artists like Patti LaBelle, Teddy Pendergrass, and Gamble and Huff perfected a signature blend of soul, funk, and sensuous orchestral elements. As its renown grew, the studio also became a crucial stopping point for artists like David Bowie and Todd Rundgren, who were eager to get a piece of the Philly magic. More than just a hit factory, Sigma Sound came to represent the tremendous energy and social upheaval surging through the City of Brotherly Love at a tumultuous time in the city’s (and America’s) history.

What Did I (LeAnne) Think?: An immersive sonic time capsule that reverberates with soul, groove, and the heartfelt stories of a movement that made music an essential part of our city of Philadelphia’s DNA. Kenny Gamble, Leon Huff, Thom Bell, Philadelphia International Records label, all truly the sound of Philly! Nicoletti presents a rich tapestry that captures the essence of an era that set the blueprint for R&B and soul music globally. You can almost feel the energy of Sigma Sound Studios in its heyday, where music wasn’t just recorded but was crafted with the precision of art and the soul of community. Nicoletti’s directorial style is nothing if not poignant. He balances the vibrancy of the music with moments that remind us of the bittersweet journey of the artists and song makers. The highs of chart-topping hits are met with reflections on the struggles of navigating a turbulent industry and the impact of societal changes that influenced the music.

The use of vintage photos and footage inter-cut with contemporary shots of Philadelphia’s neighborhoods breathes life into the concept of legacy, creating a love letter to a sound that did more than entertain—it uplifted.

THE END |Director Joshua Oppenheimer | 148 Mins | 2024

Synopsis: Tilda Swinton and Michael Shannon star in this audaciously strange post-apocalyptic musical, which follows a wealthy family sequestered in a lavish bunker 25 years after an environmental catastrophe has seemingly wiped out the rest of humankind. Mother (Swinton), Father (Shannon), and twenty-something Son (George MacKay) attempt to lead a normal existence within their sealed-off environment, living in blissful denial about the state of the world outside and the roles they played in bringing it about. Son has never known the real world, but when a mysterious woman from the outside (Moses Ingram) enters the picture, her arrival fractures the carefully calibrated fantasy created by Mother and Father.

THE ROOM NEXT DOOR |Director PEDRO ALMODÓVAR |
Spain| English | 106 Mins | 2024

Synopsis: With his first English-language feature, Pedro Almodóvar combines the captivating star power of Julianne Moore and Tilda Swinton for an exquisite exploration of devotion, regret, and mortality. Based on a novel by Sigrid Nunez, The Room Next Door finds well-known author Ingrid (Moore) back in her former stomping grounds of New York City. When she learns that her old friend Martha (Swinton) is seriously ill, Ingrid decides to pay her a visit. Despite the years apart, Ingrid and Martha quickly regain their closeness, swapping stories about a shared former flame (John Turturro) and reminiscing about their colorful pasts. 

CLICK PLAY FOR POST-SCREENING Q&A

SEW TORN| Director Freddy Macdonald | USA, Switz. | 95 Mins | 2024

Synopsis: Mild-mannered seamstress Barbara (Eve Connolly), teetering on the edge of financial ruin, makes a desperate, life-altering choice. After stumbling upon the aftermath of a botched drug deal, she seizes a briefcase filled with cash, triggering a dangerous chain of events. What begins as a last-ditch effort to save her shop quickly spirals into a tense and often humorous game of survival, where every decision sends her down unpredictable and perilous paths. With quick thinking as her only lifeline, she must outrun the escalating consequences of her choices.

What Did I (LeAnne) Think?: In his directorial debut, Freddy Macdonald (Co-written by his father, Fred Macdonald) stitches together an indie thriller consisting of 3 vignettes of potential outcomes, each hauntingly vivid and bristling with suspense. Barbara (Eve Connolly) a mobile seamstress, is amazingly quick witted and super handy with thread.  I asked the director during the Q&A if he and his father were inspired by the 80’s TV series “Macgyver”?  He said no, that others have asked the same, but he was not familiar with the show prior to writing “Sew Torn” and that if his father was familiar, it was not a part of his thinking during development.  I’ve only seen a few episodes in my lifetime, but Macgyver-ing is just such a universal term for taking random objects like hairspray, a stick and a shoe buckle to contrive an escape, defuse a bomb or pull off an amazing sequence of events, the kinds of things this movie has in spades! Barbara despite taking a reckless chance, is imbued with the kind of grit that makes you root for her survival even as the stakes mount. The screenplay is sharp, often relying on visual storytelling to show how a single choice can pivot a life toward redemption or ruin.

THE SECOND ACT |Director Quentin Dupieux FRANCE | 2024 |80 MIN | FRENCH 

Synopsis: After creating unforgettable films about the likes of a murderous jacket (Deerskin) and a sentient, blood-thirsty tire (Rubber), absurdist French director Quentin Dupieux returns with The Second Act, an unexpected and welcome foray into sweet, romantic-comedy territory.

BLITZ| Director Steve McQueen | UK| 120 Mins | 2024

Synopsis: Acclaimed director Steve McQueen has established an unparalleled reputation for powerful, unflinching films that embed themes of identity, social justice, and human endurance in meticulously crafted cinematic packages. McQueen once again revisits WWII, this time in a sweeping odyssey that tracks a boy’s (Elliott Heffernan) perilous journey to reunite with his mother (Saoirse Ronan) amid the most dangerous days of the London Blitz. 

What Did I (LeAnne) Think?: Known for the searing (click for T&T reviews) 12 Years a Slave and the unflinching Shame, McQueen once again challenges the audience to witness history not from a safe distance, but up close, as if breathing in the very smoke that shrouds the night skies. BLITZ captures the devastating air raids that pummeled London during World War II.  The decision to center much of the story through the eyes of 9-year-old George, played by Elliott Heffernan, brings a fresh, poignant angle to McQueen’s war narrative. Heffernan’s portrayal of George is tender and smart, showcasing the young actor’s ability to convey a spectrum of emotions with childlike honesty.  George’s journey, marked by the painful separation from his single mother, Rita (played with steel and warmth by Saoirse Ronan), gives BLITZ its emotional core. Heffernan excels in portraying the quiet moments—the tentative friendships formed in the box car, the trust he shows in a nightwatchman.

 The young actor’s chemistry with Ronan adds an additional layer of heartbreak, as their brief scenes together encapsulate the love and desperation of a mother trying to protect her child at any cost. Thank goodness for that St. Christopher’s medal, which was working overtime throughout the film.

From the Vault: ALL THE PRESIDENT’S MEN| Director Alan J. Pakula | 1976 | 138 Mins | 2024

Synopsis: When a burglary is discovered at the Watergate office complex in the middle of the night on June 17, 1972, five men are arrested. At the courthouse the next morning, their arraignment catches the attention of up-and-coming Washington Post reporter Bob Woodward (Robert Redford) and soon after Carl Bernstein (Dustin Hoffman). What seems like a routine assignment begins to blossom into a full-blown cover-up, the likes of which they’ve never seen. Peeling back the layers, the two will stop at nothing to get the true story, even if it puts them in danger.

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