All together now for the 20th anniversary edition of the Tribeca Festival


Part via “In the Heights” Tribeca FestivalOpening-night feature, a bunch of Washington Heights neighbors spread about a patio during a heat wave. They cry and grumble, until a woman steps in to start a barrio carnival of song and dance. Finding solidarity in the face of adversity is a theme that flows through this year’s 20th anniversary celebrations, which begin on Wednesday and run through June 20.

For more than a year of solitary film viewing, Tribeca will offer mostly live programming, making it one of the first major film festivals to be held in person since the pandemic began. (there will be many films available online After showing on the big screen, the films selected for last year’s event, which were postponed amid the pandemic, will get theatrical premiere With this year’s lineup.) Closing it all out is “In the Heights,” which will unspool like a citywide drumroll at United Palace in Washington Heights and at outdoor venues in all five boroughs.

This year’s lineup is filled with tales of group camaraderie, family get-togethers and bonds made in unlikely places. Such tales of connection are fitting as we set our sights on a New York summer that will be shunned by social distancing and social gathering. I watched most Tribeca movies at home, alone, save for my dog, but as I did,In height“And the others began to shout, “Hold on your friends! gather round! The movies are back!”

Director Morgan Neville (“Will You Be My Neighbor?”) comes up with one such crowd-pleaser. In “Roadrunner: A Film About Anthony Bourdain,” Neville aims to cut through the chef’s public persona by patchwork private scenes from home video and never-aired television footage with clear evidence from friends. The documentary reveals a man who is almost a temporary became famous, and then nurtured a sinister, off-and-on love affair with the spotlight for the rest of his life. Bourdain’s key feature, but one that only a small circle looked deeply into, He was a raw, jarring energy. He was an explorer, always on the run and never finding what he was looking for.

The mood features the sunnier French narrative”.roaring 20s,” which, in one monolithic shot, zigzags around Paris to present a series of independent story lines. The director, who uses the pseudonym Elisabeth Vogler – the film’s co-writers include Joris Evdo, Noemi Schmidt and With François Marc, who appears in the film – seeking to capture the reopening of Paris after spring lockdown. Filmed last summer with an agile crew, the film includes more than a dozen vignettes as It takes an evening exploring the city of love.

Like a restless ghost, Vogler’s camera glides along its route, haunting the characters for several minutes before musings move on to a new set. As a block, the actors we meet turn out to be a delight. But often, their chatter fades away as we are drawn to the golden cities around them. “Roaring 20” may sound like a cinematic stunt, but it’s actually a celestial travel experience, best enjoyed by spectators who stroll along a canal, speed on a Vespa, puff cigarettes on cobblestones, a park Read tarot cards on the bench and eavesdrop on light sex talk while traveling in the subway.

Not all movies present their world with this kind of romance. “poser,An entry in the US Narrative Competition, follows a hungry newcomer who makes his way into a scene. Lennon (Sylvie Mix) is a shy music fan in Columbus, Ohio, starting a podcast about local bands around the city. Indie rock associates itself with gentry. An assured debut from directors Noah Dixon and Ori Segev, the film turns dark as Lennon becomes infatuated with, and then becomes obsessed with, one of his interviewers: charming electronic musician Bobby Kitten. (Bobby Kitten).

but a punk-goth clone “the personality” It is not. Or, I should say, it just isn’t. “Poser” is also a humorous study of the scene, featuring actual band performances that Dixon and Segev discovered while making the music video. Some of these underground acts have genuine talent, but they are fickle in defining themselves – “queer death pop” and “like, if your really weird relative was a band” are among the genres they identify as. use.

In the attitude section, another film focuses on a new arrival and an established faction. Tart Puerto Rican Comedy”perfume de gardeniasDirected by Macha Colón, follows the aging Isabel (Luz Maria Rondon), who soon loses her husband. Sad and lonely in her fussy Art Deco-furnished home, Isabel senses the gravitational pull of a squad of neighborhood gossip queens. These mean girls are pious and community-focused, often volunteering to organize deluxe funeral ceremonies for the locals. Ladies love Isabel’s eyes—not to mention her lush garden with bouquet-ready flowers—and jump in to bring her into their party-planning pack. It’s all fun, flowers and funerals until Isabelle discovers the crazy method behind her designs.

Among a series of worthy documentary titles, two standouts explore aspects of black experiences in America. “All these sonsDirected by Bing Liu (“Minding the Gap”) and Joshua Altman, is a patient and in-depth profile of two Chicago community programs trying to stop the city’s gun violence by nurturing the most vulnerable men. A more personal story comes to life in Soul Guy Ki Jazzar”death of my two fathers.” Echoing James Baldwin’s “The Fire Next Time”, Ta-Nehi Coates’ “Between the World and Me” and others, the project is epistolary: Guy frames the film as an address to his young children. In it, he grapples with the loss of his father to cancer two decades ago and makes a pilgrimage to Kansas City to find the extended family he barely knew.

Of the many festival selections I sampled, my favorite was an Egyptian coming-of-age story “Deal.” Director Ayten Amin opens on Sauad (Basant Ahmed) riding a public bus, where she regales strangers around her about her rigorous medical studies and her fiancé Ahmed away in the military. If any of these were true. Sauad instead lives with her family in a middle-class home, where she struggles in school and is busy with household chores. Soumya Ahmed (Hussein Ghanam) is not Saud’s fiancé, but a Facebook friend from nearby Alexandria; Their social media courtship is a mirage that offers Saud an escape from his dry home life.

We reach a shocking moment halfway through, when a devastating tragedy devastates Saud’s family. Here, Amin points to Saud’s younger sister, Kishore Rabab (Basmala Elghaish, a revelation heartbreaker), who navigates after suffering. This structural ingenuity is in service of a gentle story about sisters who try (and usually fail) to reconcile what is expected of them with what they expect from life. Only in rare, magical moments do these hopes coincide, but sometimes the mere knowledge that one is not fighting demons alone is a consolation.

The Tribeca Festival runs from June 9-20 on sites around the city and online. For more information about in-person screening, visit tribecafilm.com/festival. For virtual demonstrations, visit watch.tribecafilm.com



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