Tribeca Film Festival 2022: Travis Stevens’ ‘A Wounded Fawn’ Brings the Vengeance of the Furies
Travis Stevens’ A Wounded Fawn plays a bit like Fresh by way of Peter Strickland at first, but it quickly becomes it’s own deliciously deranged thing.
Travis Stevens’ A Wounded Fawn plays a bit like Fresh by way of Peter Strickland at first, but it quickly becomes it’s own deliciously deranged thing.
Veronique Jadin’s Employee of the Month is a sharp-witted dark comedy about the systemic sexism in corporate life, and the world in general.
Jean Luc Herbulot’s ‘Saloum’ is a story that feels both big (as in continent-spanning) and small (as in deeply personal) that can be compared to ‘From Dusk Till Dawn’ or ‘Predator’, but feels entirely unique.
Yeon Sang-Ho’s Hellbound presents a world where the line between Hell and Earth is paper thin, and the threat of being damned is real.
In Antoine Fuqua’s The Guilty, Jake Gyllenhaal presents a layered character whose inner turmoil bleeds into his duty and desire to help a desperate family, and in doing so, perhaps redeem himself.
Hannah Marks’ ‘Mark and Mary and Some Other People’ Gets It All Wrong
In Samantha Aldana’s ‘Shapeless’, Ivy knows her secret is destroying her, but she’s so good at keeping it. There’s always another snack to eat, and always another man to screw, as she and her body continue to betray each other.
Violent, grotesque, and dialogue-free, Phil Tippett’s ‘Mad God’ is the crowning achievement of a prolific career in visual effects.
‘False Positive’ has things to say about patriarchy, sure; but it also has something stark to say about the racism of affluent white liberals.
While all of Richard E. Bates Jr.’s other projects feature, in some way, a journey of reflection and self-actualization, King Knight may be the first to really achieve it.
Andrew Gaynord’s ‘All My Friends Hate Me’ has the allure of relatable anxiety.
Reviews of short films ‘David’ and ‘Liza Anonymous’ from Dorianne Emmerton (@headonist) at the 2021 Tribeca Film Festival!