The other four films I saw at the 21st annual Independent Film Festival Boston. Go here for the first four.
TUESDAY
Named after a terminally ill 16-year-old girl (played by Lola Petticrew), she is but one of three main characters in writer-director Daina O. Pusić’s feature debut. The other two are Tuesday’s mother, Zora (Julia Louis-Dreyfus) and a feral, multi-hued parrot who can change size at will and speaks in a sinister, garbled, near-stoned voice (by Nigerian born British actor Arinzé Kene.)
It’s really all one needs to know as it’s best to go into this cold. Before the film’s screening, a collective buzz between members of my film group and I speculated that it was to be an unusual one, possibly a slow, oblique art film along the lines of Jonathan Glazer’s Under The Skin; from the first scene, however, it was more readily apparent that this was simply batshit insane and fortunately, refreshing and unique. Even once one gets the gist of what’s really going on, the weirdness doesn’t cease; nor does an ability to surprise (one moment in particular is like nothing else I’ve seen outside of a Warner Bros cartoon.) Tuesday has the feel of a future cult classic and it’s certainly not for everyone but it is assured, intriguing and unpredictable. Iconic for multiple comedic performances, Louis-Dreyfus has rarely played such a dramatic, heartbreaking role, although as in the most effective dramas, there is so much humor laced throughout that it’s almost inseparable from the serious stuff. I’m not sure if this is as great of a film as it is an original one, but I look forward to revisiting it. Grade: A-
THELMA
June Squibb found success late in life, well into her 70s and beyond when she appeared in small but acclaimed scene-stealing roles Alexander Payne’s About Schmidt and Nebraska; in both of these and many other film and TV roles, her tart irascibleness emitted the presence of an esteemed character actress. Until now, no one has built an entire film around her; enter director Josh Margolin, whose feature debut is based on his own grandmother (played here by Squibb), a victim of a phone scam bilking her out of $10,000.
The thing about good character actors is that, given the opportunity to shine in a lead role, they usually knock it out of the park. 93 when it was filmed, Squibb’s timing and verve is undiminished, but with a naturalness and gravitas that transcends the “wacky old lady” trope. She also leads an above-average ensemble populated with other great character actors (Parker Posey, Clark Gregg) and in his final role, an affecting Richard Roundtree. The film itself is as light as air (almost verging-on-silly), but Margolin’s awareness of this and the script’s gentle satire of suspenseful Mission: Impossible like theatrics turn Thelma into the summer blockbuster alternative you probably never knew you wanted. B+
PURPLE HAZE: A CONSERVATION FILM
Alternate title: Everything You Ever Wanted to Know About Purple Martins (and Should Thought To Have Asked.) The largest species of swallows in North America, the Purple Martin resides exclusively in nesting structures in order to ensure their survival. Filmmaker Zach Steinhauser noticed how these birds tended to thrive in man-made bird houses constructed from holed-out gourds around his home in central South Carolina, sparking an interest in the species, following them as they migrated to warmer climates (most notably the Amazon rainforest) and back to their domestic homes which are increasingly threatened by environmental deterioration and lack of awareness. This is the type of documentary you’ll only see at a film festival: a little rough around the edges but impassioned and heartfelt in its agenda. Steinhauser is obviously working with a limited budget, but you rarely question his interest or dedication to the subject matter, which goes a long way in rendering this a better-than-average film about birds. B
HAPPY CAMPERS
Amy Nicholson’s documentary tries to be the low-rent trailer park equivalent of Errol Morris’ Gates of Heaven, offering a deadpan look at the last summer of one said establishment off the Virginia coast before it closes for redevelopment. Forgoing context and narration for a verite-like, interview-heavy approach, it’s a pleasant, gently rambling view into working class Americana, a community of tchotchke-filled mobile homes that might seem downtrodden if not for flashes of recognition all but the most elite vacationers will pick up on or the sincerity in how its inhabitants are portrayed. Unfortunately, it stretches out a nifty idea for a short film into something that’s a bit repetitive even at 78 minutes. B-
Haunted Jukebox 