red rocket

Brandon’s Top 20 Films of 2021

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1. Titane – A surreally macho, thematically elusive nightmare from Julia Ducournau, the director of Raw.  As with the perpetually underseen & underappreciated The Wild Boys (the very best movie of the 2010s), it’s a nuclear gender meltdown with no clear sense to be made in its burnt-to-the-ground wreckage.  A thrilling experience in both cases, both of which find unlikely refuge in the violence of pure-masc camaraderie & social ritual.

2. I Blame Society – An incredibly dark comedy about a struggling filmmaker who realizes her skills behind the camera resemble the skills needed to pull off The Perfect Murder, then quickly turns into a serial killer.  Feels like it was aimed directly at my tastes, from the no-budget D.I.Y. aesthetic to the transgressive joy of Difficult Women to the flippant meta commentary on movies as an artform.  Love to be pandered to bb.

3. French Exit – Leaving Las Vegas for pompous, affluent drag queens.  I loved Michelle Pfeiffer’s scenery chewing in mother! and I feel like I’ve been waiting for this exact career resurgence vehicle for her ever since.  Just deliciously vicious camp from start to end; easily one of her career best.

4. The French Dispatch – Maybe my favorite Wes Anderson since The Royal Tenenbaums, or at least a perfect encapsulation of everything he’s been playing with since then.  People often complain about how visually lazy studio comedies are, so here’s a film packed with Hollywood Celebrities where every scene is overloaded with gorgeous visuals and hilarious jokes.  

5. Pig – “A John Wick knockoff about Nic Cage fighting to recover his stolen truffle pig?  Sounds like a hoot and a half.” Cut to me struggling to see the screen because crying into my mask is fogging up glasses.  An understated execution of a preposterous premise, refusing to behave either as a sober return-to-form showcase for the often-mocked actor or as fodder for his infinite supply of so-bad-its-good YouTube highlight reels.  It’s its own uniquely beautiful, tenderly macho thing, with more to say about culinary arts than the peculiar flavors of Cage’s screen presence.

6. Lapsis – A high-concept, low-budget satire about our near-future gig economy dystopia.  It doesn’t aim for the laugh-a-minute absurdism of Sorry to Bother You, but it’s maybe even more successful in pinpointing exactly how empty and draining it feels to live & work right now.

7. Beast Beast – Tubi’s bold foray into prestigious festival acquisitions: a very Sundancey teen drama about gun violence, one that’s both horrified by and in reverent awe of the Internet as a creative or destructive tool, depending on who’s wielding it. The ultimate example of the dictum “It’s not what happens but how it happens,” as its hyperkinetic, youthful style entirely overpowers its afternoon-special PSA plotting. Think of it as the Gen-Z version of Elephant.

8. Pvt Chat – A grim internet-age romance starring Uncut Gems‘s Julia Fox as a camgirl dominatrix with the world’s wormiest fuckboy client.  Late-night NYC mania & grime de-fanged by the cold isolation of life online.  No Wave filmmaking echoed in 1’s & 0’s. Small & intimate, but explicitly about how all modern relationships have been completely drained of their intimacy.

9. Zola – Genius in its costuming & dark humor, but what really struck me is how unbearably tense it is as soon as it embarks on its road trip to Floridian Hell. I hadn’t read its infamous online source material, so I had no idea where it was going (except that @zolamoon lived to tweet about it).  Scarier than any horror movie I watched this year.

10. Barb and Star Go to Vista Del Mar – A delightful throwback to a very specific type of absurdist buddy comedy that rarely gets made anymore (Romy & Michelle, Zoolander, Dude Where’s My Car?, etc). Also an underdog contender for the year’s most crowd-pleasing musical.

11. Annette – Leos Carax’s entertainment-industry rock opera, originally composed as a concept album by the avant-garde pop group Sparks.  The nagging question of whether it’s Good Weird or just Weird Weird never fades at any point during its unwieldy runtime, but I’m cool with it either way.  It has a sense of humor about itself, and there’s nothing else like it: two qualities that can’t be undervalued.

12. The Matrix Resurrections – Lana Wachowski’s New Nightmare: a platform for her to reflect on the core philosophy & romance of her most iconic work while lashing out at a movie industry that seeks to dilute & pervert it for an easy cash-in. I most loved being trolled by the opening fifteen minutes; just the absolute worst-nightmare version of what it could be before it reveals what it’s actually doing. It’s an A+ prank, both on the audience and on the higher-ups at Warner Brothers.

13. Bo Burnham: Inside – When it pretends to be a sketch comedy revue, it’s very hit or miss joke-by-joke, song-by-song.  By the time it mutates into full-on video art about Internet Age despair it feels like something substantial, though, meaning it works better as a movie than it does as a comedy special.

14. In the Earth – The exact psychedelic folk horror it’s advertised to be, except with an entire slasher about an axe-wielding maniac piled on top just to push it into full-on excess.  As a nightmare reflection of our collective, COVID-era mindset, it’s difficult to pin down exactly what it’s doing except to say that it’s impressively strange, upsetting stuff considering its limited scope & budget.  A rare example of COVID Cinema that aims for something intangible and indescribable, something that captures the existential horrors of current life rather than the logistical ones.

15. Benedetta – Part erotic thriller, part body possession horror, part courtroom & political drama, pure Paul Verhoeven.  I was fully prepared for its sexual theatrics & religious torments, but completely blindsided by its visions of Jesus as a sword-wielding warrior from a romance novel.  My only disappointment is that it backs off from illustrating Benedetta’s visions in the second half in a ludicrous nod to “playing both sides”; would’ve loved to see more fantasies of Jesus as a hunky heavy-metal badass.

16. Saint Maud – Speaks both to my unquenchable thirst for the grotesque as a horror nerd and my unending guilt-horniness-guilt cycle as a lapsed Catholic.  I appreciate it more each rewatch for what it actually is (an intensely weird character study) instead of what I wanted it to be (a menacingly erotic sparring match between a religious-zealot nurse and her atheist patient).

17. Lucky – A high-concept home invasion horror about a woman who’s cyclically attacked by the same masked killer night after night after night.  Works best as a darkly funny act of audience gaslighting and a surprisingly flexible metaphor about gender politics.  Recalls the matter-of-fact absurdism of time-loop thrillers like Timecrimes & Triangle, with a lot of potential to build the same gradual cult following if it finds the right audience.  

18. Red Rocket – Another bleak poverty-line comedy from Sean Baker, except this time it’s more of a feel-bad hangout vibe than a nonstop plummet into chaos, and the protagonist is deeply unlikeable instead of charmingly vulgar.  It’s like a goofier, laidback version of Good Time, where you feel terrible laughing while a desperate scumbag exploits every poor soul in their path just to keep their own head slightly above water.  Really slows down to make you squirm between the punchlines.

19. Mandibles – Quentin Dupieux’s absurdist comedy about bumbling criminals who adopt & corrupt a gigantic housefly so it can join them in acts of petty theft.  Last year’s Deerskin felt like a career high for Dupieux, especially in its sharp self-satirical humor about the macho narcissism of filmmaking as an artform.  This finds him backsliding into his more typical comedies about Nothing, just two dumb buds being dumb buds who now have a weird pet.  He totally gets away with it, though, solely on the virtue of the jokes being very funny. 

20. Cryptozoo – Dash Shaw’s mildly psychedelic fantasy comedy about a futuristic zoo for cryptids.  Like My Entire High School Sinking into the Sea, it’s a bizarre clash of far-out visual play & laidback aloofness, calling into question how much its internal ethical conflicts are intended to be taken seriously vs how much they’re an ironic joke about the film’s own sprawling, convoluted mythology.  Shaw’s work is never boring to look at, though, even if his characters appear to be bored within them.  His visual playfulness is a quality that’s increasingly difficult to find in modern animation, questions of sincerity be damned.

-Brandon Ledet

Quick Takes: Spotlight Films at #NOFF2021

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As you would likely assume, the COVID-19 pandemic has sabotaged my usual filmgoing routine during the New Orleans Film Society’s annual New Orleans Film Festival.  In a typical year, I fill my NOFF schedule with a dozen or more low-profile independent films that I likely wouldn’t be able to see on the big screen (or see at all) outside a festival environment.  I’ll zip around the city for a week solid, cramming in 3-4 no-budget titles a day, the more esoteric the better.  I tend to avoid most of the big-name movie premieres at NOFF every year – both because those films are likely to be widely distributed to local theater chains in a few months anyway, and because the events are time-sucks that keep me from catching the smaller, weirder titles that will not screen in any other local venue.  The pandemic shifted those priorities greatly for me, though.  As I’ve been going to the movies a lot less frequently this year, the appeal of seeing a film festival screening of a major release with a masked, vaccinated crowd instead of gambling that I might be comfortable seeing it at the multiplex in a couple months is much less resistible.  And so, my participation in the 2021 edition of the New Orleans Film Festival was most boldly defined by attending the city’s premieres of three Awards Season prestige pictures, the exact thing I usually avoid during this ritual.

I will still do my best to individually review the few smaller NOFF selections that I watched at home on the festival’s virtual platform, since those no-distro titles are the ones that can most use the attention.  Since the three Spotlight Films I attended in person will most likely be discussed to death in the coming months by professional publications, I’m okay just grouping them here in bite size quick-take reviews.  As always, we’ll also provide an audio round-up of all the films we caught at this year’s festival on an upcoming episode of The Swampflix Podcast in the coming days.  Some traditions are worth maintaining, pandemic or no.  For now, here’s a brief round-up of all the major spotlight releases I caught at this year’s NOFF.

C’mon C’mon

The most thematically on-point selection for this year’s New Orleans Film Festival was definitely C’mon C’mon, which was highlighted with a lavish red-carpet premiere at The Orpheum.  The film was an obvious programming choice for that festival-opener treatment because the city of New Orleans features prominently in its cross-generational road trip narrative, which visits—in order—Detroit, Los Angeles, New York and, finally, N.O.  Director Mike Mills was in attendance to gush about the locals who collaborated on the picture, especially the New Orleanians who trusted him to interview their children on-camera about their visions of what they expect the future will be like. 

While that choice to highlight a (partially) local production in one of the city’s most gorgeous venues makes total sense thematically, I do think the presentation clashed with the film’s low-key nature.  I walked out Mills’s previous film wowed by his concise encapsulation of subjects as wide-spanning as punk culture solidarity, what it means to be “a good man” in modern times, the shifts in the status of the American woman in the decades since the Great Depression, the 1980s as a tipping point for consumer culture, the history of life on planet Earth, and our insignificance as a species in the face of the immensity of the Universe.  For all of C’mon C’mon‘s interviews with real-life kids about the daunting subject of The Future, it’s mostly just a road trip movie where a socially awkward uncle (Joaquin Phoenix at his most subdued) bonds with his socially awkward son.  It’s about the same thing a lot of low-key indie dramas are about: how difficult it is to meaningfully connect with the fellow human beings in your life, which is a much smaller scope than what I’m used to from this director.

Since C’mon C’mon is a lot more contained & intimate than either Beginners or 20th Century Women, it never approaches the heights of what Mills can do at his best.   Still, it’s pretty darn charming as one of those heartfelt friendship stories where a precocious child drags a lonely grump out of their shell.  And I love that you can feel Mills falling in love with New Orleans in real time in the third act, especially in a brief sequence set during a walking parade.  He looked genuinely inspired by the city on that stage.

Red Rocket

The other two Spotlight screenings I caught at this year’s fest were staged at AMC Elmwood – a very clear vision of what it would’ve been like to see them presented outside of the fest.  Of the Elmwood screenings, the title I was most stoked to see was Sean Baker’s latest black comedy Red Rocket, since his previous film The Florida Project ranked among my personal favorite films of the 2010s (several spots below Mills’s 20th Century Women).  Red Rocket did not disappoint, but it did leave me in a worse mood than Baker’s previous two features, which are much sweeter despite dwelling in the same bottomless pits of economic desperation.

Former MTV VJ Simon Rex stars as a down-on-his-luck pornstar who returns to his hometown in rural Texas to recover from his rock-bottom fallout in Los Angeles.  From the opening seconds of the film, Rex chatters & schemes at a brutally unrelenting pace, weaponizing his conman charm (and gigantic dick) to climb the local drug-ring ladder at the expense of everyone he encounters – including his closest family members and innocent neighborhood teens.  The only moment of relief from his sociopathic motormouth is when the community joins forces to shout “Shut the fuck up” into his face in unison.  The film boasts all the D.I.Y. visual splendor & infectiously rambunctious energy that typify a Sean Baker film, but they’re re-routed into a stomach-turning, pitch-black character study of Beach Bum-level proportions.

In its broadest terms, Red Rocket is just another bleak poverty-line comedy from Baker, exactly what you’d expect from him.  It’s just that this time it’s more of a feel-bad hangout than a nonstop plummet into chaos, and the protagonist is deeply unlikeable instead of charmingly vulgar.  It’s like a goofier, laidback version of Good Time, where you feel terrible for laughing while a desperate scumbag exploits every poor soul in their path just to keep their own head slightly above water.  It really slows down to make you squirm between the punchlines.  I didn’t appreciate it as much as The Florida Project or Tangerine, where you are invited to love Baker’s protagonists for their misbehavior, but at least he’s not repeating himself, nor shrinking away from what makes his work divisive.

Memoria

While the appeal of the other two NOFF Spotlight selections I caught this year was the previous work of the creatives behind them, I’m embarrassed to admit that I was drawn to the third & final film on my schedule mainly because of its exclusivity.  I’m generally a fan of Sean Baker & Mike Mills, but the only other film I’ve seen from Apichatpong Weerasethakul left me dead cold.  What drew me to his latest slow-cinema arthouse drama, Memoria, was less the artist behind it and more the William Castle-style gimmickry of its distribution.  A large part of the appeal of film festivals is having access to movies I wouldn’t be able to see otherwise.  Memoria fits that bill perfectly: a challenging head-scratcher indie film that may never play in New Orleans again.

In a publicity-generating power move, Memoria‘s distributor Neon has announced that the film will “never” be presented on a streaming service or physical media.  It will instead perpetually “travel” in a “never-ending” theatrical release that will only play on one screen in one city at a time.  Personally, I very much value the novelty of attending an Event Movie right now.  It’s been a lackluster year for me, so I appreciate a little carnival barker razzle dazzle on the arthouse calendar, luring marks like myself who don’t even enjoy the director’s previous work into the circus tent just to feel like I’m witnessing something special.  I also recognize the pretension & elitism of that release strategy, so I was proud of the NOFF audience for outright laughing at the explanation of it during the festival’s pre-recorded intro.  That moment of communal mockery turned out to be one of the precious few highlights of the experience, unfortunately.

Memoria stars Tilda Swinton as a Scottish academic who’s spiritually adrift in Colombia, haunted by her sister’s mysterious illness and an even more mysterious sound that only she can hear.  Much of the film consists of non-sequitur tangents & intentionally overlong shots of its star sitting in still silence, as seems to be Apichatpong’s M.O.  I had about the same level of engagement with this film as I had with Uncle Boonmee Who Can Recall His Past Lives: short bursts of baffled awe drowning in a bottomless sea of boredom.  Both films have exactly one scene that I flat-out love (a tense family dinner at a restaurant here & the catfish encounter in Boonmee) but for the most part were decidedly Not For Me.  I was practically begging for Memoria to end by its final half-hour, cursing myself for being suckered into the theater by its “never-ending” exhibition gimmickry.  Taking chances on difficult-to-access art films that make you feel intellectually bankrupt for not “getting” them is a quintessential film festival experience, though, and it oddly felt nice to be let down in that distinctly familiar way.  Made me miss the before times, may they soon return.

-Brandon Ledet