Fall brings brick–red foliage, an influx of new University City residents, and a lot of good movies to Philadelphia. The Philly Film Festival, running from Oct. 17 to Oct. 27, is an inexpensive and easily accessible way to watch some new and emerging films before their wide release. Overwhelmed by all that PFF has to offer? Never fear—those of us who got a chance to see some of these films over the summer at Cannes and in the early fall at New York Film Festival are here to help you decide what to skip class and spend $12 on seeing.
What to see: Sister Midnight is my second–favorite non–English feminist vampire pseudo–Western that I’ve ever seen, and you’d be remiss not to take time out of your day to watch it. It has a great score, beautiful shot composition, fantastic acting from its reluctantly–married leads, and a lot of compelling stuff to say. It’s slightly odd, immensely watchable, and will leave a toothy smile on your face.
What to avoid: The Room Next Door is really precious, and not always in a good way. The premise—a dying Tilda Swinton asks her friend Julianne Moore to homoerotically assist in her euthanasia—is remarkably compelling, but the execution falls flat, with the movie ultimately talking quite a bit about death but saying very little. It feels disjointed, like director Almodóvar had one point to make but didn’t know what avenue to make it across (war? The voyeurism of journalism? Gay people? Kinda gay people? Mothers and daughters? Being friends with your ex? Climate change and fascism being driven by the same forces? PTSD? New York?), ultimately failing at making much of a point at all.
—Isaac Pollock, Film & TV section editor
What to see: On Becoming a Guinea Fowl has become one of my favorite movies of all time. It is a dramedy by Rungano Nyoni that follows protagonist Shula after she discovers her uncle’s body on the side of the road. Family secrets are uncovered as the film explores grief, shame, and female empowerment. It will be a film to watch out for come awards season.
What to avoid: Hard Truths. I fell asleep watching it. It’s supposed to be a slice–of–life humanist film of a British family, but it was repetitive and dragged on. It's worth mentioning it has a 97% on Rotten Tomatoes, but there are only so many times I can watch Marianne Jean–Baptiste be a Karen without the plot advancing.
—Bea Hammam, Film & TV beat writer
What to see: The Seed of the Sacred Fig was one of the biggest stories to come out of the Cannes film festival this year, with Iranian writer–director Mohammad Rasoulof forced to choose between imprisonment for his anti–authorian filmmaking or fleeing Iran, announcing his successful escape via an Instagram video of snow–capped mountains just days before the premiere. However, the film itself, a searing statement that maps Iran’s political tensions through domestic drama, is amazing and far from overshadowed by this larger story.
What to avoid: The Second Act’s meta–humor definitely overstayed its welcome past about the 30 minute mark.
—Jake Falconer, Film & TV beat writer
What to see: Is The Girl with the Needle a fun watch, or even an easy one? Definitely not, but strap yourself in for an experience you’ll be thinking about long after the final credits. The film brings us into early 20th–century Denmark, establishing itself with a cramped aspect ratio and shot grimly in black and white. Director Magnus von Horn tells a visceral and captivating story, loosely based on true events, about motherhood, class divides, crime and survival, and conversations about reproductive freedom that still hit home today.
What to avoid: I’m doubling down on the dislike for The Second Act. There were good concepts in here for sure, and I would have loved to see a more thought–out exploration of how AI emergence in entertainment affects both writers and creatives. However, this film had the emotional depth of a self–important student film, which is not quite the level of craftsmanship I’m expecting from pieces in acclaimed film festivals.
—Jackson Zuercher, Film & TV beat writer
What to see: If you’ve ever played a sport, been to a small town, or pondered how we find simple joy and community in our lives, Eephus is the film for you. Set in the final game of a recreational baseball league after an announcement that its field will be destroyed, Carson Lund’s debut feature is a love letter to America’s pastime, sitting and staying and meandering forward, the way nine innings often do. But beneath the pitches, hits, and snippets of conversation in between, Eephus finds time to cut incisively to the core of why these men are here at all—and why we all feel such deep kinship for our own individual versions of the ballpark. In a world ruled by obligation and acquisition, by the isolating pursuit of wins and losses, there is an unabated joy to be found in the communal crack of the bat.
What ELSE to see: Though I tried to find a selection from PFF’s screenings that I had seen and had negative feelings about, I was left with positive or neutral feelings about each option, including the quirky comedy of the much–maligned The Second Act. Instead, I implore you to see another one of my festival favorites, Anora. Though it certainly strikes a different chord in comparison to recent Palm winners like Anatomy of a Fall, Sean Baker’s profane, unapologetic adventure has every ounce of heart and entertainment value you could ask for. Buoyed by a stellar performance from Mikey Madison, Anora moves from point to chaotic point with propelling pace and fun, all while maintaining a sense of dramatic stakes thanks to the audience’s investment in its central character. Legendary NCAA basketball Jim Valvano once said that if you laugh, think, and cry all in one day, then it was a full day, and Anora is likely to cause all three.
—Walker Carnathan, DP Sports editor
