Note: Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library meant we could still offer coverage of this year’s selections. Tribeca is also participating in the We Are One global film festival, whose streams are being uploaded through June 7th.
Every year the Tribeca Film Festival showcases a wealth of short films from across the globe in all different mediums. Where animation is concerned, the fest turns to acting legend Whoopi Goldberg to curate their lineup. Due to the unprecedented postponement of the festival in New York, I screened this collection from the comfort of my home and would like to highlight my favorites of Goldberg’s picks.
Personal Favorite: Beyond Noh
Patrick Smith’s 4 minute foray into every mask you could think of is mesmerizing. The setup is a simple black space with masks from every culture and time around the world rapid-fire shuffling through to a rhythmic drum beat. It’s so simple but so deftly made. This short doesn’t stick to just the fine arts either with detours through American Halloween masks, and the quite topical medical field to boot, it covers all the faces–err, bases.
Award Winner: Friends
Florian Grolig’s deceptively simple Friends took home the prize for Best Animated Short from the Tribeca Film Festival’s jury and it was well-deserved. It’s just two characters–one very small and one so large we only see its massive hand or foot for most of the runtime– interacting despite the challenges of their massive gap in size. For me, it’s the one that most celebrates the medium of animation. With its simplistic line work morphing through a blank white void accompanied by perfectly pitched breathing from its giant, the scope is clearly conveyed.
Most Star-Studded: The Tiger Who Came to Tea
Clocking in at 24 mins, Robin Shaw’s adaptation of Judith Kerr’s story is the longest of the program and starts very slow before evolving into something much more fanciful. We watch the cute morning routine of a British family ending with sending the father (Benedict Cumberbatch) off to work for the day while mother (Tamsin Grieg) and daughter (Clara Ross) are home to receive an unusual visitor. The titular tiger voiced by David Oyelowo politely invites himself to their afternoon tea and proceeds to scarf down the whole pantry. The animation on the tiger is utterly charming.
Historic and Beautiful: Kapaemahu
Directors Hinaleimoana Wong-Kalu, Dean Hame and Joe Wilson delve deep into Hawaiian history to tell the tale of transgender healing spirits that are behind a landmark often passed by in Waikiki Beach. The use of native voices and music bolsters some gorgeous and warm animation as the tale transcends across time.
Additional program titles included “Umbrella” and “Grandad was a Romantic”, which both mine true stories for some lovely animation, and “Bathwell in Clerkentime” which is third in a series whose bouncy black and white animation couples with a soundtrack that may drive you as cuckoo as the birds it follows. (Note: “To Gerard” from Dreamworks artist Taylor Meacham was also selected however was not available to me in the press library at the time of the festival)
Among the sections I most look forward to each year at the Tribeca Film Festival are the comedy shorts. This year the lineup, titled collectively under “LOL” were presented online in lieu of the postponed festival. Here are my thoughts on this year’s program:
Personal Favorite: I Can Change!
Jim Jenkins’s plays with time travel creatively and with perfect deployment of brief special effects. John Hoogenakker stars as a groom who is gifted the ability to stop time and uses it ostensibly to “better” himself for his bride-to-bride. How? Well he freezes his bride and their friends in time at their wedding chapel while he disappears to the outside world for a blink of an eye and returns a whole new man having spent the time, for example, training to be a doctor. The simplistic way the “time travel” is achieved recalls some of the clever shortcuts something like Bill & Ted used–ie just stating their time travel intent means we immediately get to the consequences, sparing us the time trip. The pacing of the escalation in Hoogenakker’s jumps until the film taps into a big sci-fi finale is really fun.
Second Fave: Query
Jay and Alex spend nine minutes mulling over sexuality–both their own and its larger place in society–as they hang out. It’s nothing Earth shattering, but the natural rapport between the two leads (Justice Smith and Graham Patrick Martin) is really charming and it’s nice to see a pair of young guys just delving into their thoughts on the matter not in some overwrought or homophobic manner, but just chilling, and with enough friendly mocking to keep things funny. And to bolster this strong duo, you also get a brief run in with Call Me By Your Name’s Armie Hammer!
Overlong: John Bronco
Walton Goggins stars as a disgraced cowboy car pitchman John Bronco in a star-studded, but overlong mockumentary. I was excited for this one, generally always glad to see Goggins get to play over the top, but the film gets to the core of what the joke is with John Bronco relatively early and hammers on it over and over instead of advancing the plot. It’s 36 minute runtime could have been halved and achieve the same beats, though I understand why the filmmakers may have been reticent to cut any of the big cameos they got. Kudos for getting the MicroMachines pitchman (John Moschitta Jr) back on screen with his rapid-fire speech patterns though!
Additional program titles included the clever meet cute of One Last Heist–a romcom wrapped in a robbery from Canada, A Piece of Cake starring “Glow’s” Rich Sommer as a desperate dad and Egg which takes viewers from a simple diner and spirals it into a grand adventure.
Note: Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future! Check out all our TFF 2020 coverage HERE
10-Day Digital Festival, Produced and Organized by Tribeca Enterprises and YouTube, will Feature Programming from Festivals including Berlin International Film Festival, Cannes Film Festival, and Venice Film Festival
Highlights Include Online Premiere of Ricky Powell featuring Natasha Lyonne and LL Cool J, Global Premiere of Third Eye Blind’s Motorcycle Drive By, Talks Including Francis Ford Coppola with Steven Soderbergh, Song Kang-ho with Bong Joon-ho, and Jackie Chan and a DJ set by Questlove
NEW YORK, NY– May 26, 2020 – Tribeca Enterprises and YouTube announced today the programming slate for We Are One: A Global Film Festival, which will feature over 100 films co-curated by 21 prolific festivals, hailing from 35 countries, in addition to talks, VR content and musical performances. The 10-day digital event will celebrate global voices, elevate films that have the power to create change and bring audiences from around the world together to create meaningful connections. Assembling some of the world’s most talented artists, storytellers and curators around a central effort to provide entertainment and offer relief in the form of supporting organizations responding to the COVID-19 pandemic, the festival will run exclusively on YouTube May 29 – June 7 at YouTube.com/WeAreOne.
We Are One: A Global Film Festival will give audiences an opportunity to experience different cultures through an artistic lens – each official selection was handpicked for inclusion to highlight the singularities of each participating festival, while also providing a voice to filmmakers on a global stage. Many of these titles will have significant debuts at the festival, with programming consisting of over 100 films, including 13 world premieres, 31 online premieres, and five international online premieres.
A truly international festival, the programming will represent over 35 countries and will include 23 narrative and eight documentary features, 57 narrative and 15 documentary short films, 15 archived talks along with four festival exclusives and five VR programming pieces.
Notable film presentations will include Ricky Powell: The Individualist, a documentary about legendary street photographer Powell featuring interviews with Natasha Lyonne and LL Cool J; the online premiere of Eeb Allay Ooo!, a unique satire about professional “monkey repellers” and winner of the Mumbai Film Festival’s Golden Gateway Award; and the world premiere ofIron Hammer, a compelling documentary feature directed by Joan Chen about legendary Chinese Olympic volleyball star Jenny Lang Ping, a true trailblazer who forged connections across the globe. Audiences will have access to over 50 narrative and documentary shorts with exciting entries such as the world premiere of Japanese narrative short Yalta Conference Online [working title], created exclusively for the festival by Director Koji Fukada; the global premiere of the Third Eye Blind documentary shortMotorcycle Drive By, as well as the first short pieces made by Dreamworks Animation, Bilby, Marooned and Bird Karma. Episodic programming features the world premiere of Losing Alice, an Israeli female-led neo-noir psychological TV thriller andAnd She Could Be Next, a two part documentary series on the experiences of women of color running for office, including Stacey Abrams and Rashida Tlaib.
We Are One: A Global Film Festival will host a number of specially-curated talks, both archived from past festivals and brand new discussions, that will offer viewers a chance to revisit important moments in film. Talks will feature Francis Ford Coppola with Steven Soderbergh, Song Kang-ho and Bong Joon-ho, Guillermo del Toro, Jane Campion and Claire Denis. 360 VR selections will feature Emmy-nominated documentary Traveling While Black and Alteration, asci-fi narrative starring Bill Skarsgard, as well as additional titles with notable talent including John Legend, Oprah Winfrey and Lupita Nyong’o. There will also be special musical performances, including a 30 minute DJ set by Questlove.
“We are so excited to share the combined efforts of our festival partners and YouTube with the world this week,” said Tribeca Enterprises and Tribeca Film Festival Co-Founder and CEO Jane Rosenthal. “Together, we were able to curate a compelling slate of programming that succinctly reflects the subtle variations in style that make each festival so special. We Are One: A Global Film Festival will offer audiences an opportunity to not only celebrate the art of film, but the unique qualities that make each story we watch so memorable.”
“One of the beautiful things about films and other visual content is the ability to tell stories and bring people together, no matter where they live or where they’re from. This is a phenomenon we’ve seen at YouTube throughout the years but especially today, as people look to connect and be entertained,” said Robert Kyncl, Chief Business Officer, YouTube. “The programming coordinated by Tribeca Enterprises for We Are One: A Global Film Festival has that magical ability to transport viewers from all around the world to a special moment in time, through the unique lens that our esteemed festival partners bring.”
The global festival will include programming curated by and unique to the identity of all participating festival partners, including: Annecy International Animation Film Festival, Berlin International Film Festival, BFI London Film Festival, Cannes Film Festival, Guadalajara International Film Festival, International Film Festival & Awards Macao (IFFAM), International Film Festival Rotterdam (IFFR), Jerusalem Film Festival, Mumbai Film Festival (MAMI), Karlovy Vary International Film Festival, Locarno Film Festival, Marrakech International Film Festival, New York Film Festival, San Sebastian International Film Festival, Sarajevo Film Festival, Sundance Film Festival, Sydney Film Festival, Tokyo International Film Festival, Toronto International Film Festival, Tribeca Film Festival, and Venice Film Festival.
“Cinema is not only a collective work, but also a shared experience. In these times of social distancing, the spirit of cooperation and a sense of community are needed more than ever before. Therefore, we are happy to participate in the We Are One initiative. We wish all those wonderful artists that their audiences will be able to see their work on the big screen again soon,” said the Berlinale Director Duo Mariette Rissenbeek and Carlo Chatrian.
“We are honored and happy to join We Are One, as a sign of friendship and solidarity for our friends of Tribeca, at the same time offering to the worldwide audience a taste of what we do in Venice in order to support new filmmakers concretely,” added Venice Film Festival Director Alberto Barbera.
True to its mission, We Are One: A Global Film Festival will seek to bring artists, creators and curators together around an international event that celebrates the exquisite art of storytelling. In doing so, it will aim to provide not only solace and entertainment for audiences during a time when it’s needed most, but also opportunities for these individuals to give back through donations to the World Health Organization (WHO), UNICEF, UNHCR, Save the Children, Doctors Without Borders, Leket Israel, GO Foundation and Give2Asia, among others. Audiences will be able to donate to COVID-19 relief efforts through a donate button or link on every film page.
About Tribeca Enterprises Tribeca Enterprises is a multi-platform storytelling company, established in 2003 by Robert De Niro and Jane Rosenthal. Tribeca provides artists with unique platforms to expand the audience for their work and broadens consumer access to experience storytelling, independent film, and media. The company operates a network of entertainment businesses including the Tribeca Film Festival; the Tribeca TV Festival; and its branded entertainment production arm, Tribeca Studios.
About YouTube Launched in May 2005, YouTube allows billions of people to discover, watch, and share originally-created videos. YouTube provides a forum for people to connect, inform, and inspire others across the globe and acts as a distribution platform for original content creators and advertisers large and small. YouTube is a Google company.
About We Are One The global festival will include programming curated by and unique to the identity of all participating festival partners, including: Annecy International Animation Film Festival, Berlin International Film Festival, BFI London Film Festival, Cannes Film Festival, Guadalajara International Film Festival, International Film Festival & Awards Macao (IFFAM), International Film Festival Rotterdam, Jerusalem Film Festival, Mumbai Film Festival (MAMI), Karlovy Vary International Film Festival, Locarno Film Festival, Marrakech International Film Festival, New York Film Festival, San Sebastián International Film Festival, Sarajevo Film Festival, Sundance Film Festival, Sydney Film Festival, Tokyo International Film Festival, Toronto International Film Festival, Tribeca Film Festival, and Venice Film Festival.
All programming will be screened globally on YouTube at no cost. Audiences will be able to follow along via scheduling listed on official We Are One channels with a full festival schedule at www.weareoneglobalfestival.com.
THE TRIP TO GREECE Directed By: Michael Winterbottom Starring: Rob Brydon, Steve Coogan Runtime: 103 mins. IFC Films
Through no fault of its own, The Trip to Greece is arriving on VOD today with some extra baggage. Seeing as this release comes at a time when the world doesn’t know how and when we might resume the kind of care free international tourism that stars Steve Coogan and Rob Brydon enjoy, it’s hard to judge how this film might hit you. Is armchair tourism at this juncture escapism or masochism? At this point in the series, given this is the fourth time around with this specific formula, that might be the only factor in your decision making. As with their first three trips–starting in England the duo then hit Italy and Spain–the vistas are gorgeous, the food looks delicious and the impressions are plentiful. What sets this one apart, fittingly for ancient Greece, is the injection of some tragedy within the film’s “plot” separate from the context of its release. The result of this turn is a film that is more an admirable finale than the hilarious joyrides that its predecessors were.
The setup is slim, as always, with the comedians ostensibly working on some article while retracing the trail covered in The Odyssey from modern day Turkey to Ithaca. Ten years of Odyssey condensed into six days of jet setting. The structure sets their agenda but then Brydon and Coogan’s conversations go off the rails as needed. This time around, Coogan has recently received dramatic accolades for his portrayal of Stan Laurel in Stan & Ollie and a lot of their comedic tension comes from Coogan trying to emphasize his newly minted dramatic chops while Brydon firmly still categorizes his buddy as a comedian. If there were an Olympics for negging, these two would surely medal. The guys are hilarious at oneupmanship whether it’s picking up on a Mick Jagger impression and doing their own take or attempting to turn the the mundanity of a restaurant check into a game show round. In these sequences this series always hits its stride and credit must go to director Michael Winterbottom and his editor Marc Ricardson for often wringing another laugh out of a moment by just cutting on the right beat.
The film does do that shift for the dramatic though by adding in ominous black and white dream sequences rooted in Greek myth for Coogan and introducing a family health crisis as well. I haven’t been able to suss out if that part was based on something in Coogan’s actual life or entirely fabricated for the film but if the latter, it seems an odd choice. At one point they also take a detour to a refugee camp after coming across a former colleague of Coogan’s who’s based there. While it is, as I said above, admirable that this series of extreme-first-world tourism actually takes a moment to observe the realities of a host country, it comes off more as momentary lip service rather than genuine reflection. Eventually the back home problem for Coogan split the comedic duo apart for the remainder of the film much to its detriment. Where the pair end up does have the air of finality, which this installment supposedly is, so I understand the choice. Overall I enjoyed Brydon and Coogan’s competitive company as I always have, just wish that this finale could have focused more on the series’ strengths as it headed off into the sunset.
Note: The Trip To Greece was due to make its North American premiere as part of the 2020 Tribeca Film Festival’s “Spotlight Narrative” slate. Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future!
Note: Inheritance was due to make its world premiere as part of the 2020 Tribeca Film Festival’s “Spotlight Narrative” slate. Though the 2020 Festivalwas officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future!
INHERITANCE Starring: Lily Collins, Simon Pegg, Chace Crawford, Connie Nielson, Patrick Warburton Directed by: Vaughn Stein Runtime: 111 mins. Vertical Entertainment Not Rated
Early on in Inheritance, the will of deceased banker Archer Monroe (Patrick Warburton) is read out to his district attorney daughter Lauren (Lily Collins) and her congressman brother William (Chace Crawford). While the campaigning son takes a massive twenty million dollars, his sister “only” gets one million. If you think that’s the main source of strife in this family then oh boy, strap in because that difference barely scratches the surface of Lauren’s problems. Director Vaughn Stein’s new thriller releasing on VOD this week after having been a 2020 Tribeca Film Festival selection, takes a hard turn into its potential-horror setup but doesn’t fully embrace it with leads who can’t sell it.
The monetary discrepancy between Lauren and her brother quickly gives way to Lauren receiving her actual inheritance in the form of a mysterious key and a video from her late father urging her to keep the truth buried. Not to be too cynical but it’s pretty expected that a wealthy family like these Monroes–populated with bankers, lawyers and politicians–is going to have its share of skeletons in its closet. Stein’s film does this cliché one better by Archer leaving his daughter a full grown man chained up in a bunker. Thanks, dad. The bunker man is named Morgan (Simon Pegg) and seems to know everything about Lauren who desperately wants to know the whys and hows of Morgan’s disgusting situation. More than that, Lauren must face a crisis of conscious whether to heed her father’s will, especially in the middle of her brother’s re-election or release the bedraggled, pitiable Morgan with his trove of family secrets.
Simon Pegg has long been one of my favorite actors, whether in leading the “Cornetto trilogy” or popping up in larger fare like Star Trek or even better the Mission: Impossible series, but saddled in this film with the heavy wig and grime of Morgan’s imprisonment and, worse, a ropey American accent, and he is utterly wasted. The main tension in Inheritance should come from whether Lauren can muster enough pity for Morgan to release him or Pegg can be sufficiently menacing in his blackmail of the Monroes to achieve his ends. But in their contained scenes, the dynamic never coalesces into real tension. Where you’re expecting someone to actually strike, they just keep talking in circles. And I can’t underscore enough how badly Pegg’s US accent hobbles how threatening his character could have been. There are later parts in the film where I imagine Pegg was really having fun with it, but too much of the runtime for his character is leaden stuff. Collins, 31, for her part as a DA in Manhattan is much too young to hold such a role and comes off as someone playing dress up. It was hard to take either of them seriously in these parts.
For a movie where the crux of the problem is a man chained up in a basement, Inheritance is just overall way too bland. Outside of Pegg and Collins, the Monroe family and their posse come off as stock soap opera characters. Chace Crawford, so good on “The Boys,” is as ridiculous as a hot-shot congressman as Collins is as the DA. Ultimately their rich people problems–and secrets–aren’t as shocking as the film wants them to be.
Inheritance is available on DirectTV and releases on VOD on May 22nd