#NOFF2019 Ranked & Reviewed

Here we are almost two full months since the 30th annual New Orleans Film Festival concluded and I’m finally gathering all of titles I caught at the fest in one spot. CC & I already recorded a more fleshed-out recap of our festival experience on Episode #95 of the podcast, in case you’re interested in hearing about the goings-on at the handful of downtown theaters where the festival was held and the various short films that preceded some of those screenings. This list is a more bare-bones kind of recap: a ranking from the best to the . . . least best of the features we managed to catch at this year’s festival.

This year we focused entirely on boosting the profile of micro-budget indies that are unlikely to get wide theatrical distribution, skipping the New Orleans premieres for bigger titles like Jojo Rabbit, Knives Out, and Harriet. Each title includes a link to a corresponding review. Enjoy!

1. Swallow Appearing like a scared child in June Cleaver housewife drag, Bennett conveys a horrific lack of confidence & self-determination in every gesture. Her fragility & despondence under the control of her wealthy, emotionally abusive family make you want to celebrate her newfound, deeply personal path to fulfillment, even though it very well might kill her. As she snacks on fistfuls of garden soil while watching trash TV instead of obeying her family’s orders all I could think was “Good for her!”‘

2. Recorder: The Marion Stokes Project As Stokes’s D.I.Y. archive is an extensive cultural record of American society over the past thirty years, the list of trends & topics that could be explored in their own full-length documentaries are only as limited as an editor’s imagination. This film is an excellent primer on the cultural wealth archived in those VHS tapes, as it both explores larger ideas of how media reflects society back to itself and does full justice to the rogue political activist who did dozens & dozens of people’s work by assembling it.”

3. Gracefully “Smart to never allow the flashiness of its craft to overpower the inherent fasciation of its subject. When it does get noticeably artful in its framing & imagery, it’s only ever in service of its subject’s dancing—often showing him performing in pitch-black voids as if his D.I.Y. glamor was the only thing in the world that matters.”

4. Jezebel “Perrier doesn’t shy away from the exploitation or desperation that fueled her online sex work as a cash-strapped, near-homeless teen, but she’s equally honest about the joy, power, and self-discovery that line of work opened up to her at the time, making for a strikingly complex picture of an authentic, lived experience.”

5. A Great Lamp “Feels akin to the aimless slacker comedies of yesteryear – the kind of deliberately apathetic, glibly existential art that put names like Jarmusch & Linklater on the map back when Independent Filmmaking was first becoming a viable industry. It’s got the handheld, high-contrast black & white look of a zine in motion (and I’m sure many a Clerks knockoff from festivals past), evoking a bountiful history of D.I.Y. no-budget art. However, in both tone & sentiment there’s no way the film could have bene made by previous generations of artful slackers, as its heart is clearly rooted in a 2010s sensibility.”

6. Hunting for Hedonia “Most valuable for its ability to explain the full scope of Deep Brain Stimulation’s history in concise layman’s terms. It covers the horrific past of its abuse, the promising present of its success in the therapy field, and the terrifying future of its rapid, unavoidable escalation in a modern capitalist paradigm.”

7. The World is Full of Secrets “Plays like Are You Afraid of the Dark? reimagined as a traumatizing stage play or audio book – with long takes of sub-professional teen actors struggling to conquer unnecessarily complex monologues. What’s amazing about this set-up is that the film not only finds room to establish a genuinely creepy mood, but it’s often prankishly hilarious and light on its feet despite its potential for academic pretention.”

8. Pier Kids “Its personal, intimate documentation of a new, specific crop of homeless queer kids is just as essential as any past works – if not only as confirmation that the epidemic is still ongoing. These children are still out there taking care of themselves & each other with no end or solution to this cycle in sight. I do hope there will be a day when these documentaries are no longer such a regular routine, but only in the sense that I hope for a future where they’re no longer necessary. We’re not there yet.”

9. Reži “Even if the film is overall too frustrating to merit a hearty recommendation, the combatively prankish attitude it performs in every frame is too infectious to fully ignore – like so many festering stab wounds.”

10. Singular Whatever faults this might have as an overly reserved document of a wild, punches-throwing artist, it does have plenty of net benefits in pushing Cecile McLorin Salvant in front of an even wider audience. I imagine if you’ve never heard of her before this doc could play as a revelation that a Nina Simone-level genius is alive & working in plain sight, waiting for your eyes & ears. The contrast between her work & the doc’s reserved nature might even unintentionally emphasize her art’s subversive playfulness, which seeps through the concert footage despite the buttoned-up style of the interviews.”

-Brandon Ledet

Reži (2019)

The basic premise of the low-budget Serbian indie Reži (also distributed as Love Cuts and Cutting Close) is an incredible hook: a teenage brat attempts to reconcile with her ex-boyfriend while also suffering a stab wound from a local gang. I was so sold on that logline that I dragged my decrepit body out to the very last programing slot at this year’s New Orleans Film Festival, a brutally unforgiving condition to see any feature film. It’s unclear how much of my exhaustion during that screening was due to the film itself vs. its late-night position at the tail end of a full week of low-budget wonders (or, most likely, a combination of both). I did feel frustrated that it didn’t fully live up to the darkly comic mayhem promised by its central hook, though, as it’s ultimately a pretty good film that’s constantly on the verge of being great.

Kristina Jovanovic stars as Aja, a tiny blonde teen with the attitude of a knuckle-dragging biker. Her brattiness borders on abuse as she stalks her long-suffering boyfriend, shouts “What the fuck is wrong with you?” at her doting mother, and just generally fills the world with nothing but combative violence & homophobic slurs. When Aja’s shit-talking bestie, Maja, starts a fight with a local gang, our loudmouth antihero is unexpectedly stabbed in the gut with a switchblade while defending her honor. Pervesely, it’s almost a relief when she’s stabbed, as the first moments of quiet & calm don’t arrive until after that act of violence. Before the stabbing, Aja moves through the world as an abusive whirlwind, unable to even eat a sandwich without appearing to be in a rage. Afterwards, there’s a sweetness & vulnerability to her character that reluctantly bubbles to the surface as she asks herself “What is it about me that makes people want to stab me?” and “How can I work on that so I don’t get stabbed again?” The tragedy of the film is that this wounded self-reflection arrives a little too late, as she’s already kickstarted a chain reaction of escalating violence with its own self-propelling momentum.

Reži feels like it’s reaching for the kind of tenderness & humor against a backdrop of constant cruelty that’s achieved to much greater effect in films like Wetlands & Tangerine, only further proving how difficult of a tone that is to balance. The chaotic, handheld camerawork & absurd dismissal of how serious stab wounds are can be enrapturing in stops & starts, but I do feel like the film overplays its acidity to the point where it can’t ever be fully endearing. Jokes about how girlfriends be crazy, threats of sexual assault, and constant barrages of ableist & homophobic slurs sour the mood too much for the bittersweet counterbalance of its repentance & romance to fully break through. Still, even if the film is overall too frustrating to merit a hearty recommendation, the combatively prankish attitude it performs in every frame is too infectious to fully ignore – like so many festering stab wounds. I may have never fully lost myself in its romantic or self-improvement drama, but I was certainly impressed by its sneering attitude & wickedly dark sense of humor.

-Brandon Ledet

Episode #95 of The Swampflix Podcast: #NOFF2019

Welcome to Episode #95 of The Swampflix Podcast! For our ninety-fifth episode, Brandon and CC review the full list of low-budget, high-ambition films they caught at the 30th annual New Orleans Film Festival: shorts, documentaries, and narrative features. Enjoy!

You can stay up to date with our podcast through SoundCloudSpotifyiTunesStitcherTuneIn, or by following the links on this page.

– CC Chapman & Brandon Ledet