Mental Filmness, CIFF & More!

In lieu of a new 5 Years feature this week, here is a slew of reviews of various titles I'm catching up on including titles that have played two great Chicago-area film festivals!

Mental Filmness Film Festival 2023

Before I begin, Substack informed this post is too long for email delivery, so I apologize in advance :) Been watching a lot and trying to keep up with writing about most of it. Let’s start with the wonderful, talented and dedicated Sharon Gissy who puts together one of my favorite film festivals called Mental Filmness. (We all know how much I like word play). I’ve been covering it from the beginning for a number of reasons but the main one being that I suffer from mental illness to where it impacts my energy, my work and my ability to socialize and function. I will continue to support this endeavor since I know it can help others who struggle and suffer. A movie, after all, prevented me from a second suicide attempt so this comes from a very personal place.

All that being said, last year I covered nearly everything. But I also had a bit more free time than I do currently. For my coverage this year, it will be a bit more limited in scope. I was just about to sit down and say, “hey I’ve seen every short film so I’m ready to compile a list of favorites,” until I realized there are more than four shorts’ blocks, there are a total of six if you include the student films. So, I’m not completely caught up.

Thankfully they stream until November 5th so there’s still time. It’s so complicated to keep up this month - there’s Chicago International and of course, October is the month of horror binging. Plus, I’m preparing my own podcast on top of it all (the latest October episode is linked at the end). But let me tell you about five short films I highly recommend and then I will follow up next month with more highlights from Mental Filmness. Following coverage here, there are also some capsule reviews from two other recent new releases I’ve seen out of CIFF. You should really watch these picks from Mental Filmness because they are short stories done well that moved me greatly. 

For those of us who have been dealing with mental health issues or are currently struggling with them, stories like the ones playing at the Mental Filmness Film Festival let us know that we are not alone. We feel that there are other people out there like us, that we are understood and heard – and maybe these stories even provide hope or hint at possible solutions that deserve to be considered. Always remember: “It’s okay to not be okay. It’s okay to talk.” Movies (whether short films or feature-length) are important to shine a light on all walks of life and the unfiltered human experience, to create a stronger connection between all of us since either we know someone, or we struggle with mental health ourselves. Therefore, you should make time for this festival because I believe in its mission, and I am grateful for the many filmmakers who submitted their stories this year.

Favorites So Far:

Fran Is Depressed (dir. Duane Adamoli) - A depressed isolated woman (Sara Pitto) receives help from an unexpected source: an AI mental health companion dog, perhaps provided by a friend. This film to me epitomizes what I love about this festival. Stories like these are based in genre or something fantastical, but they tap into something grounded and beautifully human. We can all relate to feeling a lot of comfort from a pet but what about a robot that not only can talk (Johnny 5 from Short Circuit - you should’ve been a therapist) but can also guide you through a difficult time.

Fran Is Depressed manages to be cute and compassionate without ever getting maudlin. When Fran has trouble getting out of bed, it’s hard not to feel a lot of emotion since many of us know what she’s going through. Not to mention the fact that I think once this film ends, you too would love an AI mental health companion pet too. Though I imagine your real pet may end up being jealous or possibly destroying it. I’ve loved a lot from this fest, but this one is my favorite so far and kicks things off with the very first shorts block. Don’t miss this especially if you find comfort with pets or have ever struggled to function due to depression. 

I Was Not Who I Was (dir. Tim Kail) - A close runner-up is something akin to another favorite from last year courtesy of Philip Brubaker’s film How To Explain Your Mental Illness To Stanley Kubrick. An unidentified man (well it’s the director) slowly loses his grip on reality following the onset of a single psychotic thought - he begins to hear a narrator-like voice. We witness his descent into mania, as ordinary objects in his apartment take on divine significance. He races against time to learn as much as he can from the voice before his wife returns from a weekend away. To me this felt not unlike Under The Silver Lake (especially once he starts finding connections within his collection). This is more of an intimate, raw documentary-style approach shot in B&W.

It’s accomplished in how much it achieves with very little. It’s pretty much just one man, one setting and we are privy to his internal thoughts that feel intrusive and startingly intimate. Maybe I’m biased since I can relate to what he experiences here to a degree though I’ve never heard one voice in particular personally. Of course, the fact that he brings out the same books and Blu-Rays I own made me chuckle a bit too. This captures what happens to the mind during isolation; bouts of intrusive thoughts and attempting to find a sense of calm during a possible mental collapse better than feature length films that tackle similar subject matter. Where something like the Ryan Reynolds movie The Voices fails, this one succeeds by aiming for simplicity and directness - DIY-style. The way it ends too, made me curious as to how things would proceed from there which shows that I was truly invested in this experience overall.

Hangman (dir. Megan Brotherton) - The synopsis for another must-see film of the festival is this: A recently widowed woman (Sarah Rodenbaugh) works through the complexities of grief with the help of friends, strangers and Tupperware. Simple, succinct, to the point. But underneath this premise contains a lot of layers about what we experience after losing someone unexpectedly. A friend of mine went through this unfortunate circumstance that left her grief-stricken and traumatized. So, it was easy for me to feel a lot of empathy for what goes on in this, which mainly revolves around a woman coming to terms with the fact that her partner took his own life. Navigating through the complicated feelings surrounding that is such a difficult obstacle that it’s hard to put into words. But this film captures it visually, finding the right tonal balance between pitch-black comedy and sincere, heartfelt drama. Even if you haven’t experienced grief this severe, you’ll know exactly what the woman is going through and end up incredibly moved by one of the best final images I’ve seen all year, which includes full-length narratives released by major studios. Truly heartbreaking, beautiful and something I won’t soon forget. Kudos to all involved with Hangman. I am looking forward to seeing what both director and star do next.

Something’s Not Quite Right (dir. Tom Cornwall) - A surprisingly lovely little dark comedy that made me laugh hysterically at times. Some of the imagery here is impossible to forget due to how unique the choices are to include such strange characters throughout. One morning David Sleet wakes up and feels out of sorts. Desperate for answers, he sets out on a quest to find out what's not quite right about today. Along the way David encounters a series of strange absurdities and has his mobile phone stolen. Thinking "The Internet" has all the answers, he frantically searches for his phone, and upon finding it discovers that he has slipped from reality. He’s basically not dealing with something and now it has manifested into hallucination and a form of disassociation. Instead of coming to terms, he’s experiencing unusually random encounters at nearly every turn that serve as diversions from the truth he’s afraid to face. I think we can even relate to that need to escape (which might explain why we love the arts). Whether you’ve been through what David’s been through or not, you’ll likely find so much to enjoy here including the absurd humor and the incredibly sweet, touching finale.

Shattered (dir. Kate Hanson) - For those suffering from mental health issues, suicidal ideation is very precise and sometimes unbearably intense. But the moment you want to convey the sensation, it feels abstract and hard to pin down. Kelsey (20s) alone in her apartment plans a final date with herself before committing suicide. But when the time comes for her to swallow a bottle of pills and take her life, the task proves to be more difficult than expected. Kelsey finds herself in the bathroom staring at a handful of pills that stares back. Suffice to say, I’ve been where Kelsey has been. Before she wrestles with her decision, a friend suggests she goes out tonight but then suddenly Kelsey’s mind shifts to a darker place once she’s alone. I vividly remember when my parents left, I too made a random decision to look for a bottle of pills in the medicine cabinet. Luckily things turned out well for me. Kelsey’s predicament is compelling and relatable despite the short running time. Director Kate Hanson captures a moment of time and provides a lot of trepidation as to how things may end up. Hopefully those who are lucky enough to see this will find a lot to appreciate here since it’s very possible that someone with suicidal ideation will recognize the behavior on display. It could even save a life. Much like other titles playing MFF.

Any Given Day (2021) (dir. Margaret Bryne) - One of the better documentaries about what it's like to live with constant struggle in a bold, vulnerable presentation that is never exploitative of its subjects. We follow Angela, Dimitar, and Daniel - participants of the new Mental Health Court in Cook County, Illinois, the Chicago-based system that looks to divert people from jail if they have been charged with crimes that can be attributed to their mental illnesses. In exchange for a guilty plea, men and women agree to attend classes, see a medical provider and take prescribed medication, check in with probation officers, come to court often to meet with the judge, participate in job training, and have their families report back with updates. 

Whether it is Angela’s youngest child Anthony who motivates her to better herself so that she can be with him, Dimitar’s mother who refuses to give up on him despite an incident where he physically attacked her, Daniel’s supportive sister who looks after him in the place of their parents, and Byrnes’ own daughter who is the light of her life, all four would be even more lost without such anchors in their lives. Because at the end of the day, if not for these people, the future of funding for mental health care programs is unclear and they are often riddled with red tape and specific qualifications that can leave many abandoned and afraid. It's a long process with many chances to fail but provide support structures to help keep them on the right track. 

However, for years this was not the case, and in most of the country simply houses their mentally ill in prison, in lieu of real treatment. As these four Chicagoans face a new and better path, it's still clear that their trials are far from over and this documentary doesn’t paint an entirely positive image of hope for all involved. It’s realistic in its portrayal of recidivism and relapse to the point where you even feel conflicted about their self-destructive tendencies - watching them go through a manic episode, for example, is incredibly challenging for the viewer but vital to witness in order to see how mental illness can cause irreparable damage. The system is still stacked against them despite the help they received, as they face housing issues, job losses, child custody battles, and compounding discrimination because of their diagnoses. 

Any Given Day showcases what it’s like to struggle with internal, mental issues and then the inevitable external ones involving the systems in place. There are a lot of gray areas when it comes to mental health treatment and I truly feel that both clients, therapists and social workers would find this a refreshing documentary since it doesn’t sugar-coat what everyone involved goes through. It’s a truly powerful film that I won’t soon forget, and the subjects captured here deserve to be commended for allowing their stories to be shared with the world. To stream this film in its entirety now, go here: https://anygivendayfilm.com

Chicago International Film Festival Capsule Reviews

Dream Scenario (2023) (dir. Kristoffer Borgli)

This one I cannot write a full, formal review yet until the recent date gets closer but suffice to say, if you know me and my taste, even if you just watch the trailer, you’ll see that this is a film that I was bound to enjoy immensely. Count me in as Borgli devotee officially since I not only love his latest film starring the great Nicholas Cage, but he put another film I responded strongly to earlier this year, the pitch-black comedy Sick of Myself. If both Ari Aster and Charlie Kaufman were executive producers, that would’ve made perfect sense. Aster’s name was present in the closing credits in which I nodded - yep, that checks. Honestly, I liked Borgli’s latest even more than Aster’s latest, the inconsistent Beau is Afraid.

Paul Matthews (Nicolas Cage), an unremarkable professor, becomes an overnight celebrity after appearing in strangers' dreams randomly. He is a passive figure, not doing much outside of just showing up for no reason. But he becomes overwhelmed by the sudden fame and notoriety. Not only that, but he also has to navigate through a potential marriage that’s falling apart as well as his students’ reactions to what’s taken place. Things take a dark turn, and I won’t go any further to avoid spoilers. Suffice to say, I cannot wait to watch this again and analyze it further. This might be my favorite Cage performance since Adaptation and the dream sequences are simple without always veering into the surreal. The final moment of Dream Scenario is so wonderfully done, I teared up at its audacity and beauty. I need to write more about what this film means to me but for now, if you’ve been looking for a rather melancholic dark comedy version of A Nightmare on Elm Street (I know I have), look no further than my favorite film of 2023 so far.

Departing Seniors (2023) (dir. Clare Cooney)

“At least in Carrie all the high school assholes get what they deserve, right?”

Chicago’s own Clare Cooney has consistently made great short films over the past several years that I’ve been able to catch at the Chicago Critics Film Festival. Her first full-length feature is a serviceable genre exercise that mostly succeeds due in part to her enthusiasm to tell a story that uses horror tropes to an effective level. Thirty-five cast members shot the film in 16 days in August during Covid and it’s clear this was a fun shoot. In the tradition of another recent Kevin Williamson-inspired slasher comedy, Tragedy Girls, comes the latest from Cooney, an immense talent in many ways.

Comparisons to Williamson are inevitable from the get-go, right from the opening kill. But this is a mostly enjoyable film written by Jose Nateras, a queer man, and at a certain point, I couldn’t help but think that perhaps this is the revisionist take on Scream we’ve been needing for a while. This LGBTQ+ and female gaze on late 90s/early 2000s slashers is not only well-executed throughout but never succumbs to eye-rolling self-awareness. The characters here are fully realized and therefore, we care. But the unmasking of the killer leaves a lot to be desired; it’s a shame since nearly everything before it is well worth your time.

Seven days are left until graduation as we join the confident and witty Javier (Ignacio Diaz-Silverio) and his best friend, the fiery, loving and brutally honest Bianca (a hilarious Ireon Roach). Both are outsiders in the High School jungle; Javier is Mexican and gay, while Bianca is a black, proud, confident woman who doesn’t suffer fools gladly. Neither Javier nor Bianca are victims of the bullshit around them, but that does not stop Javier from suffering homophobic taunts of closeted, confused and angry Brad (Sasha Kuznetsov), Trevor (Cameron Scott Roberts) and his girlfriend Ginny (Maisie Merlock). He does his best to navigate through some nasty terrain. After all it is high school. The three aggressive bullies could give the mean girls in Heathers a run for their money.

Javier’s English teacher, Mr. Arda (Yani Gellman), appears to be the only person who understands the Wild West of high school life, offering support, advice and care when things get complicated. At the same time, William (Ryan Foreman), a quiet student who transferred to the school the semester before, would like to get to know Javier as more than just a friend it seems. But when Brad, Trevor and Ginny set up Javier by pretending to be William, Javier’s final days of High School are about to get really weird especially after he takes a tumble down the stairs.

I enjoyed spending my time with these characters but once we get to the Scooby-Doo reveal in the last act, I couldn’t help but feel a little let down by deciding to end on that note. There’s an effective mystery for the most part and Cooney is a confident filmmaker that finds the right balance between slasher and laughter, but I think the script could’ve used a second look in deciding how to wrap things up. Departing Seniors does successfully pay homage to the horror of the past (including The Dead Zone) while embracing something fresh and creative particularly with our main protagonist which warrants a recommendation. Just be prepared to leave the theater a little disappointed at how it all comes together in the end. Regardless, I look forward to all things Clare Cooney whether as a director or an actor. Inside joke / footnote: you got to love the guy as the EMT at the very end of the movie.

Footnotes: Though I did get to see Todd Haynes’ latest film May/December - However, I really feel another viewing is in order since I was distracted by consistent audience laughter. It’s a fascinating film but one that I couldn’t quite get a grasp on its themes on one viewing alone. I’m sure I’ll be able to be more articulate again in the future once I watch it again or on Netflix. Also, I will review (and include an interview with) a film called The Teacher’s Lounge as we get closer to the Chicago release date.

A Couple of Quick Reviews

The Man in the White Van (2023) (dir. Warren Skeels)

Warren Skeels makes his directorial feature film debut with The Man in the White Van here and it’s clear that he wants us to feel prevailing dread and a suggestion that a confrontation is imminent. We know who the villain is, we know who he wants to victimize so we’re sitting here waiting for the inevitable. Inspired by a true story, The Man in the White Van delves into the dark underworld of a seemingly quaint, comfortable 1974 Florida town, and follows the traumatizing experience of young Annie Williams (played by Madison Wolfe), a spirited girl whose carefree existence is turned upside down as she becomes stalked by an ominous man in the titular vehicle.

There really isn’t much of a narrative “drive” outside of that, which is a bit of a flaw despite wanting us to get to know Annie and her family. We do have the skeptical parents questioning her (Sean Astin & Ali Larter) and the fact that they aren’t taking her seriously is upsetting to witness. But there’s mainly just scenes of characters interacting accompanied by cutaways to the killer successfully murdering others. The film runs close to two hours and there was a repetitive sense of “let’s get to it.” Despite adopting a slower approach, this could’ve used a tighter running time since we’re mainly subjected to flashbacks of previous encounters the murderer has had with other victims.

Unfortunately, Skeels’ narrative choices get the better of him to where the tension is diffused until the very intense final act which ultimately grips the audience and doesn’t let go. How it all plays out - that’s what makes this worth seeking out. Before that, we constantly jump between years, starting in 1980 and moving backwards from there. There is barely any focus on the stalker (based on the real-life serial killer Billy Mansfield Jr.) which does make him feel like a creepy entity rather than anything human. Perhaps that’s the intent - a boogeyman/Michael Myers approach.

While never particularly terrifying or haunting, the film moderately succeeds in ramping up the tension once the inevitable home invasion occurs. Dealing with an unwanted evil presence in a place you consider to be a safe sanctuary is bound to affect just about anyone. And since we’ve spent a lot of time getting to know Annie, we genuinely fear for her safety since we’ve seen what’s happened to others once the man in the van gets a hold of them. 

In the end, this is a mediocre film that really could’ve used another pass at the script, some better pacing and less wonky jumping back and forth through time - a technique that’s been done to death. The Man in the White Van succeeds in mainly playing with our expectations about when our protagonist comes face to face with her captor. Once they finally meet, that’s when the film takes off and becomes worthwhile. Sadly, there’s a bit too much filler before we get there.

Totally Killer (2023) (dir. Nahnatchka Khan)

File this one under guilty pleasure (even if I don’t entirely agree with that terminology necessarily) but this other slasher mashup put me in a good mood even if it’s been done before as recently as something like Happy Death Day 2 U.

Totally Killer follows Jamie Hughes (Kiernan Shipka), a teenage girl whose mother was the only survivor of a masked killer decades before. When the killer returns, Jamie ends up accidentally going back in time to just before the murders began. Her physicist friend has been working on a time machine for quite a while. You might say it’s “good timing” that Jamie found one when she needed it most.

While there, she has two key tasks: stopping the killer and finding a way back home. When it comes down to it, a movie like Totally Killer has to be discussed on three levels: as a slasher movie, as a time travel movie, and as an overall escapist experience. To be completely honest, Totally Killer isn’t the best slasher movie out there, and it isn’t even the best to come out this year especially once again, like Departing Seniors, the killer’s identity is a bit unsurprising. But that blemish aside, I really thought Shipka was charming and with great comedic timing throughout.

Sadly, the body count is low, and the kills are relatively lackluster, with little more creativity than a high number of stabs. However, that’s kind of the whole point of the movie. The movie is quick to call out the absurdity of wanting more kills and more brutality when considering the victims as actual people, and it does a decent job with that premise. It’s incredibly self-aware in ways that might drive people batty, but I went with it since I’m a sucker for just about any scenario involving time travel. The side characters don’t have enough character development to make audiences overly sympathetic to them, but the trauma of Jamie and Pam (Olivia Holt) is fairly compelling. Not to mention, the final act involving a notebook of changes really is fresh and interesting to bring to the table.

With Totally Killer being mostly set in the '80s, the movie made way for some fun time travel related anecdotes which is what kept me engaged even if some are obvious. For one, a teenage Lauren (Troy Leigh-Anne Johnson), who is Amelia's mother in the future, thinks that Jamie's smartphone was the time machine. On top of that, the film deals with a ton of the problematic issues that plagued the '80s, such as the misogyny and racism of the time that are the butt of many jokes. For example, in 2022, the school's mascot is a devil, due to the school's name, Vernon Red Devils. However, in 1987, their mascot is just an Indigenous person. I actually really like the fact that Jamie calls people out. Most of this ends up being wild, campy fun that isn’t particularly profound or original, but the cast and the random references kept me plenty entertained despite the familiarity of it all.

In the end, the majority of the new films I’ve seen aside from Mental Filmness and Dream Scenario, haven’t been remarkable or strong but a lot of them are still well worth a look even if they underwhelm in certain respects. I also am very happy with this month’s Director’s Club podcast featuring Chloe Waryan where we talk about the current state of the horror genre and the works of James Wan: https://www.directorsclubpodcast.com/episodes/jameswan

Next week, we’ll get back to our regularly scheduled program with both a music essay and another film essay - thank you so much for reading!