Vampiru’ Zombi (2024): Sebastian Mihăilescu follows up his controversial Mammalia with a truly independent film, shot in a few days, in an apartment, with a handful of people, about the year’s hot topic: Romanian vampires. Just don’t take it too literal, because this isn’t a wholly literal film. It follows Cătălina, a young artist who wants to shoot a film about her childhood stories/dreams. These feature a revived vampire who kind of resembles a real-life rocker from the early 90s, Mircea Bujoreanu, aka Marchizu’. So together with Roberta, who is to play the young girl of Cătălina’s stories, the three get together to make something happen. What, is not very clear, because the movie they were striving for quickly becomes a backdrop to exploring the character of Marchizu’ and Cătălina’s relationship with her estranged father. It’s a fun, irreverent take on vampirism with a distinctive style that elevates what could easily have been a throwaway project to something relatable and unique. The fact that it’s not perfectly polished and doesn’t just gel together smoothly adds to the charm of Vampiru’ Zombi, a reality bending experience of guerrilla film-making. You could always check out the long read review too. 8
Flow (2024): While Hollywood is spending 200 million to produce an animated sequel nobody wanted to The Lion King, this Latvian animation, done on just 3.5 million finds heart and beauty in its simplicity. We follow a series of voiceless animals, led by a black cat, that band together when a flood hits their world. Their world is seemingly one that was once inhabited by humans, but they have vanished, with remnants of their existence left behind. It’s a beautiful movie to look at, but with its limited narrative, I never felt it found a way to bestow itself with the kind of emotional depth that leaves ripples in the viewer. Though its lush visuals alone could imaginably do that. 7
Begin Again (2013): As is well documented here, I am a bit of a John Carney fan. Perhaps that’s why, when I first saw Begin Again, I was all over it, easily enamoured with its characters and songs. Upon rewatching it, I have to do the thing I almost never do, which is revise a rating, albeit by just one point. Begin Again tells of an alcoholic, depressed music rep/producer who stumbles across a talented songwriter that only existed in the shadow of her partner, a now veritable pop star. It’s primarily the story of Marc Ruffalo’s character building his life up again, which leaves little to the imagination. The movie’s conceit, of recording an album outside a studio, with the “live” sounds of New York as a backdrop, is cool, but appears discordant to the very structured nature of the film itself. Still, I love the songs and some of the film’s good nature, but even moreso I love the “this relationship is not going to work” scene one of its characters has just as the story is about to end. But in spite of (or because of) being the most star-heavy cast Carney movie, this is not among his best. 7
Saturday Night (2024): I was never a huge fan of SNL and fail to understand it as a phenomenon. Then again, it must be, because it wouldn’t be here otherwise, almost fifty years later. The movie goes through the ridiculously hectic few hours before the first show, following producer Lorne Michaels. I’m sure it embellishes plenty, yet still finds time for the occasional expository scene. Ultimately, though, it’s entertaining and fun, with some great reinterpretations of familiar faces of comedy, even if the movie doesn’t really build up to anything unexpected or terribly exciting. 7
Cyber-Seniors (2014): I imagined I would watch this movie with my grandmother, ten+ years ago when I first heard about it, because it featured her generation of digital foreigners. My grandma is still around, so there’s hope yet, but I wanted to tick it off regardless. Saffron Cassaday’s film feels pretty much like a school project, featuring a handful of youngsters teaching people in their 70s, 80s and even 90s how to use the internet in general and Facebook/Skype in particular. There is inestimable value in staying connected for people in that age bracket, so cyber-seniors’ effort is definitely commendable. I don’t think though that the movie really digs deep into anything, which is a shame, because, as highlighted, the digital chasm for people born in the 20s and 30s was/is shocking. But its good nature and the effervescence of some of its protagonists make for an endearing watch. 6
tributary stu 