Ebertfest, Days Three and Four

Ebertfest, Days Three and Four (photo)

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The movie beat can be a lonely job. Even in a theater with hundreds of people, the film critic is alone in the dark. But personally, I find that the real joy of movies come from sharing them with others. Host Chaz Ebert asserted several times from the stage of the Virginia Theatre that Ebertfest is “all about the movies.” But after my first trip to the festival, I would say it’s an event as much about a community of movie lovers as the movies themselves.

As Tilda Swinton, star of Ebertfest selection “I Am Love” noted during her Q&A, festivals are about “the collective experience.” It’s even more true at Ebertfest than at most other film festivals I’ve attended. Bigger festivals sprawl over numerous venues with dozens of movies: two people could spend the same amount of time at Sundance or Toronto and have two entirely different experiences. At Ebertfest everyone from the filmmakers to the critics to the fans spend the entire week in one room watching the same movies. At night, you go to a bar or a restaurant or somebody’s house and talk about what you’ve watched. Maybe ironically, maybe intentionally, the ideas of loneliness and community were present in many of this year’s Ebertfest lineup. Several were about isolated characters on literal or metaphorical journeys of self-discovery, like “Natural Selection,” “Umberto D.,” “Only You,” and “Tiny Furniture.”

Swinton’s “I Am Love” is another perfect example. She plays Emma, the matriarch of a wealthy Italian family. Emma comes from Russia where she met her husband Tancredi (Pippo Delbono), who brought her back with him to Milan. Many years later the couple has three children and an impossibly opulent mansion (for fans of pocket doors, this movie is borderline pornographic). But Emma’s life, though well-appointed, is cold and hollow. That changes when she meets Antonio (Edoardo Gabbriellini), a talented young chef who’s a friend of her son. His cuisine kickstarts her long dormant passions, and reconnects her with the glorious people and natural beauty of Italy.

Emma’s transformation is similar to the one undertaken by Edward Norton in “Leaves of Grass,” which preceded “I Am Love” on Saturday night at Eberfest. Norton actually plays two roles, twin brothers who lead vastly different lives; classics professor Bill has the Emma-ish part. Bill’s dedicated himself to a life of temperance of the kind advocated by the ancient philosophers he studies. But when his pot dealing brother Brady calls him back to their hometown in Oklahoma, Bill is forced to confront many of his ideas about the correct way to life your life.

I’d seen both “I Am Love” and “Leaves of Grass” before Ebertfest and I admit I wasn’t the biggest fan of either film. Of the two, “I Am Love” improved the most on second viewing. During the Q&A, Swinton joked that she believes cinema went downhill when people in movies started talking to one another. That emphasis on visual storytelling is clearly present in the film; now that I knew the essential outline of its plot, I found myself paying less attention to the subtitles. I still remain dubious about some of the twists in the final act — a character receives an implausible death as a convenient way of pushing Emma to complete her metamorphosis from rigid Italian housewife to free-spirited lover — but that feels like less of a weakness after you stop thinking about the words and simply give in to the film’s dreamlike atmosphere.

“Leaves of Grass” is a more curious film. On second viewing, it’s clear how frequently and how early writer/director Tim Blake Nelson foreshadows the shocking developments that suddenly flip the film from genial Southern comedy to dark crime story (you can read my original review here). The word that comes up a lot about Brady’s pot growing business is “hybridization,” because he’s created this amazingly potent hybrid pot varietal. Obviously “Leaves of Grass” is a hybridization as well. But Brady also makes mention that his pot is the seventh generation of that hybrid; it’s gone through this lengthy and rigorous trial and error process to arrive at this THC masterpiece. Maybe the problem with “Leaves of Grass” is that it doesn’t feel like it’s been tested quite so rigorously. There are prominent subplots about Judaism and anti-Semitism that don’t really connect in any way to the rest of the film, other than the fact that Nelson himself is Jewish and was speaking from a personal place about his life experiences. Everything he feels deeply about, from poetry to marijuana to crossbows, is in this movie, for better and for worse. If ever a film could be too personal for its own good, “Leaves of Grass” might be it.

Also personal in a far more profound way was my favorite film of Ebertfest, the documentary “45365” from brothers Bill and Turner Ross. A modern, small-town version of the city symphonies of the 1920s, it’s a survey of the people of the Ross’ home of Sidney, Ohio. The cops and criminals, the elderly and the young, they’re all presented in incredibly detail. There’s no narrative, just a series of small observational sketches about the various constituents of Sidney, all connected through brilliant visual and aural transitions like trains and music played on various car stereos from the local radio station. Though this is a film about a community, loneliness plays a role here as well, most movingly in the scenes about a high school girl who spends all of her time on the phone with a jealous boyfriend who never seems to be around when she needs him.

“45365” uses unlicensed music from Sidney’s local radio station, which means the film can only play at non-profits, museums, and festivals like Ebertfest. It is a shame the movie can’t reach a wider audience, since it is one of the most beautiful and relatable films about small town life that I’ve ever seen. At least we lucky few at Ebertfest were able to see it and share it with one another, discussing it after the screening and comparing our own stories of life in our own hometowns. I hope I get to go back to future iterations of Ebertfest, both for the great films and the great people. The films are there to restore out faith in cinema; the people are there to restore our faith in the love of cinema.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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