Below is a full roundup of our IFF Boston coverage from 2015, which includes 28 reviews of 20 feature-length films and 8 short films from 5 writers. Two additional film reviews are upcoming.

Your Editor-in-Chief, Mary Tobin, covered IFFBoston as NUFEC press. Her parents so happened to be in town from Iowa during the IFFB weekend, so thankfully many of the NUFEC Blog writing staff stepped up. NUFEC writer and editor, Carter Sigl, contributed several articles, and one article was contributed each by NUFEC member Andy Robinson; Patrick Roos, former Treasurer of NUFEC; and incoming NUFEC Treasurer, Arzu Martinez.

Wednesday

Mary Tobin on The End of the Tour - "In exploring ascension to fame, it explores so much more about the relationship of the interviewer and the interviewee; how both are always assessing one another while potentially drowning in their own self-doubt."


Thursday

Patrick Roos on Being Evel - "If you’re a long-time fan of extreme sports, calculated showmanship, or Hot Rod, you shouldn’t need more than the title to sell you on this movie.  For others, you’ll still want to see a man who, when told by the federal government that he wasn’t allowed to jump the Grand Canyon, went out and bought a canyon of his own to jump."

Mary Tobin on Slow West - "There were a lot of deaths and there was some commentary on outlaws and children, but really nothing that I felt was phenomenal. I feel very indifferent towards the film, unfortunately. "

Mary Tobin on T(error) – “...it appears no one is watching the organizations that have systematically gained vast amounts of power and influence especially in the criminal justice system… which feels anything but just, especially in this context. While I’ve seen many fantastic films at this festival, this is the breakout; this is the film I want to watch again and again. "


Friday

Mary Tobin on Do I Sound Gay? - "... the film was a fascinating take on the impact of the voice, from scientific examinations of intonation to the use of the “gay” voice in film. The cultural impact and assessment was the most intriguing..."

Coming Soon: Mary Tobin on The Surrender 

Carter Sigl on The Overnight – “If you and a few friends want to see an awful American sex comedy, by all means see this movie. Otherwise, I would say this one is a pass… Unless of course you want to see Jason Schwartzman’s dick, in which case this movie will happily oblige.”

Carter Sigl on They Look Like People – “A chilling psychological horror, They Look Like People is a terrifying picture of what it feels like to struggle with schizophrenia.”


Saturday

Mary Tobin on Prom Night - "With a light, airy soundtrack, this comedy short about the sexual expectations accompanying prom night delves into the insecurities of an inexperienced young man with a fresh feel."

Mary Tobin on Hasta La Vista - "This quirky, hilarious short with a quick-witted premise could easily be too sad or too overdone, but manages to walk a comedic line throughout."

Mary Tobin on Help Point - "Two strangers looking for their cars in an airport parking lot cross paths and lament over their common woes."

Mary Tobin on Ticky Tacky - "I’m all for a film set exclusively in an office-library featuring a precocious child who shares a murderous streak with his enigmatic boss, so it was pretty exciting all around."

Mary Tobin on Desk Job - "The film managed to feel familiar without feeling overindulgent for the most part. It felt like the person who made this maybe had to convince their parents that they should be able to work in film rather than have a stable job at a large corporation..."

Mary Tobin Actor Seeks Role - "Alex Karpovsky’s portrayal of a man going off the rails for his craft feels natural, albeit disturbing. Dylan Baker may have stolen the show, though, as his medical instructor excitement flew off the screen."

Carter Sigl on H. - "...the thing about this movie is that it’s a tease.  All these strange things happen, and even if they are interesting or occasionally frightening in the moment, nothing is ever explained..."

Mary Tobin on Lost Conquest – “The most exciting part of this film is, thankfully, the meatiest part: interviews with puzzlingly genuine, thoughtful, and warm people that respectfully held differing beliefs."

Carter Sigl on Wildlike - "Combining a well-written plot with a cast of experienced actors, Wildlike is a touching drama film about two people who start as strangers and slowly come to care for one another...Wildlike is a beautiful film, on both a visual and emotional level..."

Coming Soon: Mary Tobin on Stray Dog

Mary Tobin on Crooked Candy - "It feels rare that a voiceover short film shot largely in the same room and with limited visual engagement of the single subject could so quickly and delightfully engage, but engage it did."

Carter Sigl on DEATHGASM - "DEATHGASM is ridiculous, hilarious, extremely gory, and downright awesome. It’s a horror movie and splatter comedy based entirely around Heavy Metal music which does not take itself seriously in the slightest and runs entirely on sheer mayhem and absurd comedy...All in all, DEATHGASM is one of the funniest and most fun movies I’ve seen in quite a long time."


Sunday

Carter Sigl on Made in Japan - "Directed by John Bishop, Made in Japan is probably one of the most unlikely stories of either Japan or country music I’ve ever seen. The documentary charts both Tomi’s history in the music industry and her contemporary quest: to play on the Grand Ole Opry one last time."

Mary Tobin on The Look of Silence - "This companion piece to The Act of Killing is just as difficult to watch as the original installment, if not more so. That’s not to say the film isn’t fantastic in it’s ability to confront human emotion and what we expect of humanity in a striking tone; it is."

Carter Sigl on The Keeping Room - "All in all, The Keeping Room is a beautiful and terrifying film about women and war, a topic that sorely needs more attention and examination in our culture."


Monday

Mary Tobin on Lost Colony - "I really wanted to like this film, but the combination of frustrating camera choices and a wandering plot with many touched on but underdeveloped subplots was too much for this 84-min film to handle."

Arzu Martinez on Posthumous - "In their conversations, there are brief mentions of questions that could have made the story deliver, like the definition of art and its value, the difference between a real artist and a sell-out, or whether an artist should strive for greatness or happiness."

Mary Tobin on The Hermit - "Unfortunately, The Hermit felt too disorganized to pack much of a punch. For such a ripe and unique story, the exploration felt conventional and surface-level."

Carter Sigl on Future Shock! The Story of 2000 AD - "Overall, Future Shock! is a fascinating and entertaining story about a realm of geek culture I knew next to nothing about."


Tuesday 

Andy Robinson on The Wolfpack - "Moselle positions herself as a fly on the wall in the claustrophobic apartment, but is shy about addressing her influence on the family dynamic. As the first and only guest in their apartment, it’s hard to believe that Moselle was merely an observer throughout several years of filming."


Wednesday

Mary Tobin on Me and Earl and the Dying Girl - "You can read this review in its entirety, but I’ll save you some time if you’re a busy person on a train or something and you’re reading this in a hurry: go see this movie."

This article is part of NUFEC's ongoing coverage of the Independent Film Festival Boston 2015.


Before I dive into these films, I just want to say: damn were they good. I only attended one short film session, which was Shorts B = Bravo, a narratives collection, but I wish I could've attended more short film series. These were truly fantastic films, and getting back into the practice of watching short films is quite easy. They're pithy, because they need to be, and they're often quite funny, which is impressive given the small amount of time we have to connect with the characters or the situation. Bravo, indeed, to these six films: Prom Night, Hasta La Vista, Help Point, Ticky Tacky, Desk Job, and Actor Seeks Role.

*image sadly not available*

A young, slightly awkward man living in New York City attends a party thrown by a friend. What could go wrong? This quirky, hilarious short with a quick-witted premise could easily be too sad or too overdone, but manages to walk a comedic line throughout. You’ll learn about relationships, the impact of subway singers, what true awkward behavior looks like, and maybe even a few fun facts about hippos.

Grade: A

Two strangers looking for their cars in an airport parking lot cross paths and lament over their common woes. The bus stand hosts a “Help Point” where they can speak to someone to help locate their cars, but in the meantime there’s plenty of time for a story or two. This short felt a little overdone at times but was largely enjoyable. Thank goodness I don’t have a car to lose in an airport parking lot.

Grade: B

Initially, this short caught my attention with Wes Anderson-esque symmetry and angles, as well as the inclusion of an all-knowing lawyer who appeared to be about eight years old. But the star of the show, Oscar Isaac, stole the moment with a tale of love, betrayal, and loss. I’m all for a film set exclusively in an office-library featuring a precocious child who shares a murderous streak with his enigmatic boss, so it was pretty exciting all around.

Grade: B+

In Desk Job, we accompany a man through his frustrating day as an insurance claim adjuster working from home. Largely, we only see the one man and the sound editing of the voices he speaks with on the phone is quite impressive. Having working for a large corporation, albeit without the clients breathing down my neck, I completely identify with the feelings of worthless time and meaningless emails. The film managed to feel familiar without feeling overindulgent for the most part. It felt like the person who made this maybe had to convince their parents that they should be able to work in film rather than have a stable job at a large corporation; I don’t know about their parents, but that person convinced me.

Grade: B+

Winner of the Grand Jury Prize for Narrative Short Films at IFFBoston this year.

An aspiring actor (Alex Karpovsky of GIRLS) in New York City pays his rent with a part-time medical acting gig, which involves performing the symptoms of various illnesses to help train student doctors. Although his acting coach doesn’t think he has what it takes, he truly subscribes to the Meisner technique through which the focus is for the actor to "get out of his head," such that he or she is behaving instinctively. His medical instructor (Dylan Baker) loves his flair for the theatrical and is especially excited to see him perform a series of complicated illnesses for the students’ final exam.

Alex Karpovsky’s portrayal of a man going off the rails for his craft feels natural, albeit disturbing. Dylan Baker may have stolen the show, though, as his medical instructor excitement flew off the screen. Both actors worked for the minimum amount they’re required to make accordingly to guild rules, yet their performances indicate they were paid much more. Hats off to the special effects or makeup crew for the film as well – I thought I was looking at real rashes.

Grade: B+

This article is part of NUFEC's ongoing coverage of the Independent Film Festival Boston 2015.

This follow up, companion piece to The Act of Killing is just as difficult to watch as the original installment, if not more so. That’s not to say the film isn’t fantastic in it’s ability to confront human emotion and what we expect of humanity in a striking tone; it is. But watching people discuss in detail how they murdered people, often involving reenactments of where they would stab them, and laugh about it… well, it hasn’t gotten easier since we saw The Act of Killing. 

Do I Sound Gay? follows writer David Thorpe after he and his boyfriend breakup, prompting David to pay more attention to what makes him a desirable partner at 40. One of his biggest concerns: sounding gay. This film begins as a personal journey of self-discovery but soon expands into a social and cultural examination of what it means to sound gay as well as the ensuing implications.

David’s exploration of confidence and self-knowledge was complimented by interviews with fascinating individuals including comedian Margaret Cho, sex advice columnist Dan Savage, writer David Sedaris, actor George Tekai, and fashion expert Tim Gunn on their assessments of both their own voices and the cultural biases surrounding the gay voice. It was also complimented by staged scenes, which felt a little off, and by street interviews.

I watched this film with my parents, who were in town from Iowa for the weekend. It prompted quite unexpected dinner conversation, especially regarding the three gay porn scenes featured in the film. To be clear, they each last probably 3-5 seconds, so they take up maybe 15 seconds total out of a 75-min film. I find the choice to include those scenes both bold and necessary; how can the filmmaker discuss his fear of not being desired and not address how this may tie to his own and cultural perceptions of desire through porn? Still, I admit it surprising and the lead-up was practically non-existent, giving me little time to mentally prepare to see (blurred, but still clear) gay porn. My mother and father saw the porn addition as a weakness that drew them out of the film, and I can understand their conundrum. The inclusion of the porn scenes ensured that the film, while anchored in universal questioning of confidence and desire for connection, remained incredibly tied to the film’s subject and unfortunately did detract from the connections I felt to the film. That being said, I would not advise him to remove the scenes; as this is still a personal exploration, it is necessary to discuss issues and stereotypes around pleasure.

Despite our arguments over those scenes, our conclusions were the same: the film was a fascinating take on the impact of the voice, from scientific examinations of intonation to the use of the “gay” voice in film. The cultural impact and assessment was the most intriguing; I immediately began paying more attention to the way I speak as well as my perceptions surrounding speech. If you can handle three quick porn scenes (you probably can), this is a worthwhile 75-min exploration that provides a whole new lens through which to view our culture of voices.

Grade: B

This article is part of NUFEC's ongoing coverage of IFFBoston 2015.
Film Awards: Winner of the Grand Jury Prize and the Audience Award at the 2015 Sundance Film Festival

You can read this review in its entirety, but I’ll save you some time if you’re a busy person on a train or something and you’re reading this in a hurry: go see this movie. In the review below, I’m going to tell you how emotional, hilarious, heartbreaking, surprising, and fantastic this film is. I’m going to tell you that writing this review brings up nearly too many emotions about this film to continue writing. I’m going to keep my descriptions as pithy as possible to avoid the rabbit hole of feels I felt throughout and after watching this film. Go see it; blame me if you regret it.

Me and Earl and the Dying Girl follows a high school senior, Greg (Thomas Mann), as he attempts to blend in to every self-identified group in his high school with enough anonymity to avoid deep relationships of any kind – friends, enemies, et cetera. It’s his survival strategy; he even describes his life-long companion, Earl (RJ Cyler), with whom he makes short film parodies of classic movies, as a 'co-worker’ rather than a best friend. Greg approaches applying to colleges as he does everything: if you don’t care much about it, nothing can go wrong. Greg’s mom (Connie Britton) soon insists he spend time with a girl in his class recently diagnosed with cancer, Rachel (Olivia Cooke). Despite his initial objections, Greg becomes friends with Rachel quickly and soon their friendship nearly engulfs his life entirely.

I’m having an incredibly difficult time writing about this film; it’s so full of heart and emotion that every time I sit down to write about it I start to feel to full of the feels to continue. But, alas, I will try to trip through this because it’s worth it. Please, just go easy on me.

First and foremost, Me and Earl and the Dying Girl is undeniably hilarious and quick-witted, yet feels genuine and poignant. The film captures the emotional dichotomies of teenage life while avoiding the trap of feeling trite or mocking. Director Alfonso Gomez-Rejon balances injection of the normalcies of everyday life with the serious trauma of cancer treatment, facing the subject of cancer head on without taking itself too seriously. I was consistently surprised at the expertise employed that made each character feel so tangible. 

For those turned off by the premise of a teenage girl contracting cancer, don’t worry so much; for the most part, the film doesn’t feel as serious as that suggests. Nick Offerman offers advice as Greg's father, though he's also a robe-clad philosophy professor whose afternoon snacks for Greg and Earl consist of squid or octopus or other oddities. The film is also interjected with scenes from the films Greg and Earl make that are parodies of classic films: we see one called Breathe Less, seemingly about a man with asthma, as a parody of the drama/romance Breathless, for example.

This film is beautiful, heartbreaking, heartwarming, funny, and genuine to a level I never expected. Go see it.

Grade: A+

This documentary short film caught my attention immediately, just as the original story captivated millions last year: Christopher Knight, dubbed the "North Pond Hermit", lived in the woods of Maine and had no human contact for over 27 years before he was caught by police. He stole all he possessed from nearby summerhouses, so those in the area were familiar, though uneasy and frustrated, with the strange burglaries that involved peanut butter going missing while jewels were left untouched. His eventual arrest and identity disclosure created a media frenzy, during which I read GQ's article titled "The Strange & Curious Tale of the Last True Hermit" - a title I dismiss, given the subjective definition of a "true hermit" and knowing Christopher Knight is likely not the "last" of those living somewhere in isolation.

Unfortunately, The Hermit felt too disorganized to pack much of a punch. For such a ripe and unique story, the exploration felt conventional and surface-level. Thoughtful discussion of the reasons why someone would choose to live a life of isolation felt too rare. Several times, the film seemed to be building up to a thoughtful assessment of even one part of the story, but time and time again it failed to produce a conclusion. Some interviews with townspeople focused on the way Christopher Knight looked in his mug shot, which was never shown. I respect the filmmaker's choice not to show the photo if the choice centered on Christopher Knight's request for some level of visual anonymity, but the focus on his appearance in a mug shot should accordingly be of less focus. It wasn't.

The only really intriguing parts of the film were the interviews with the townspeople; thankfully, those were a large focus, but unfortunately they were delivered in a piecemeal fashion that diminished their impact. The film often felt torn between conveying every single thought the townspeople had about the man and constructing a thoughtful discussion around his choices and their impact; sadly, the film leaned much more towards the latter than the former. It felt like it built up a few different thoughts to about 60%, leaving everything just under par.

I walked away knowing more about the divisive opinions within the community, but I knew those likely existed prior to seeing the film. Director Lena Friendrich definitely picked a fantastic story to cover, but I'm not sure this version is the best one. Maybe wait for a second cut.

Grade: C

This article is part of NUFEC's ongoing coverage of the Independent Film Festival Boston 2015.

David Foster Wallace was a brilliant writer teaching at a small college in the Midwest whose novel, Infinite Jest, had just been released to phenomenal reviews in many national publications. The unique time period between the release of the book and the time it took people to finish the 1,000-page novel occurred during Wallace’s book tour, and it was during this time that Rolling Stone writer David Lipsky.

I've traveled to various places in Europe seven times, yet I've never purchased a Kinder Surprise egg before. I wasn't even aware that such a treat existed: a small, chocolate egg that is hollow and reveals a yellow case inside (the "yolk") housing a small toy. For many growing up in Europe, these were apparently nostalgic items reflecting childhood; indeed, the subject of this film finds the eggs to remind him of his childhood in Bulgeria, where he couldn't access the eggs easily both due to a short supply and a lack of disposable income. The evident parallel restricting his access to the eggs now is that they're illegal in the United States; they're considered a choking hazard (only American children would choke on these; the rest of the world is apparently fine). The subject of the film regularly transported the eggs into the United States, but he was more recently stopped at the Canadian border with the illegal eggs and risks losing his work permit in the United States if he is caught transporting them again. Accordingly, we never see his face.

Crooked Candy is simple, elegant, and surprisingly tender. We watch the man interact with his collection of hundreds of Kinder toys as he speaks in a very measured, unassuming, almost calming tone about what the eggs mean to him. When the 6-minute film ended, I was left with so many questions; chiefly, why did it have to end so quickly? It feels rare that a voiceover short film shot largely in the same room and with limited visual engagement of the single subject could so quickly and delightfully engage, but engage it did. I will undoubtedly seek out those Kinder eggs the next time I leave the States, and I look forward to the next unique surprise from director Andrew Rodgers.

Grade: A-