BFF FILM & FESTIVAL BLOG
“Here Comes the Content:” A Review of “Bo Burnham: Inside”
Bo Burnham stuns in his new Netflix special "Inside," probing us all to contemplate performativity, authenticity, and the troubled space of the Internet.
Written by Kennedy McCutchen
Photo Credit via Netflix
A disclaimer: prepare for hypocrisy. The following is an amateur review of a non-amateur comedy special about how internet-users are losing their mental health to Silicon Valley capitalists and becoming incrementally deluded in a very, very chaotic world. I am an internet-user. I am a white woman on Instagram who has certainly snapped pictures of “a simple glass of wine,” though I’ve poked fun at others for doing the same. I will happily watch YouTube compilation videos of John Mulaney on talk shows I’ve seen three times already. And now, I’m diligently going to explain to you why you should take note from Burnham, sing a song about the tragedy of our dying planet, put down the phone, and go outside. I sound like an authoritative figure on this kind of content, right?
Another imperative admission: I had never heard of Bo Burnham before watching this special (collective, pitying gasp). I knew nothing of his public upbringing on YouTube, his previous specials on Netflix, or his directorial debut Eighth Grade. I didn’t know that he used satirical ballads and pop songs to convey ever-ironic messages about culture, nor would I have fathomed my substantiated ability to watch and listen to each and every one of his specials with undivided attention. But now I know.
So where to begin with a special that encompasses the spectrum of human emotion performed by a stage persona whom we shouldn’t mistake for the real Burnham? This last note is up for debate, of course (artistic subjectivities, am I right?), but I wouldn’t take anything Burnham says or does in a moment of perceived vulnerability at face value. Afterall, a segment of Burnham playing a video-game of his projected isolationism subliminally reoccurs before the skit begins (around the fourteenth-minute), hinting that the entire show is a comedic mind-trick of the creator’s own doing, unsurprising given Burnham’s performance record.
Photo Credit via Netflix
The show is a visual-sonic masterpiece. Burnham showcases exquisite command over the song-writing, camera shots, light fixtures, and editing tempo. The latter is demonstrated in his tonal shift following the intermission. What begins as an upbeat, slightly demoralizing, white-saviour apology — cue “Comedy” and “Problematic” — becomes an unsparing, capitalism-critiquing, mental-health discussion — hello “All Time Low” and “That Funny Feeling.” Burnham reuses lyrics that take on new meaning by the end of the screening; “look who’s inside again” repeats itself with a solemnity that no longer feels mocking, and “you’re really joking at a time like this” reinforces the reality and severity of global circumstances that Burnham really doesn’t find very funny at all.
It’s increasingly hard to distinguish what in the “outside” world exists with a humbled authenticity and what exists for attention, and as I was researching for this review, the oversaturation of “Inside” opinions certainly felt like the latter. Are we (novice volunteers and salaried film critics alike) writing to truly celebrate Burnham’s achievement in accurately portraying the demise of a technologically-dependent society, or are we simply trying to be the first to over-analyze a creative venture that should be contemplated privately, introspectively, and thoughtfully? Perhaps the choices aren’t quite as binary as that, but when Burnham asks if it's necessary for every single person to express “every single opinion that they have on every single thing all at the same time,” there seems to be a pretty clear answer. He even parodies YouTube “reaction videos;” we, as public commentators, are quite literally the subject of his joke.
We’re not made fun of alone, however, because Burnham is also the butt of his joke. He mentions that, as the star of his self-directed special, he isn’t shutting up either, and he refuses to explain himself for it. Just as he sings in his infamous satire “Art is Dead,” we all just seem to be little attention attractors — and we’re lonely. Pandemic circumstances certainly haven’t made those traits any less palpable.
I think, ultimately, we’ve collectively determined that I’m not here to tell you what lessons are to be learned from “Inside,” but if I can relay one of Burnham’s most interesting suggestions, maybe, just for a second, we should all “shut the f*** up.”
Director: Bo Burnham
Running Time: 87 minutes
Available on Netflix
Stream the “Inside” album on Spotify and Apple Music
Hollywood - Where Dreams Come True?
Review of North Hollywood, directed by Mikey Alfred. A look into his debut film.
Written by Andrea Tangelo
Photo Credit: Kirk McKoy/ Los Angeles Times
When you think about Hollywood, what probably comes to mind is the glitz and glam of your favorite celebrities and the place where all the big-budget movies are made. But just like every other city that is known for a trademark phenomenon, the “native” locals have a different experience and bring other cultures that take part in that city.
Director Mikey Alfred shows us another side of Hollywood in his debut film North Hollywood, giving us a look into skate culture as we follow Michael’s character in his journey to becoming a pro skater. The film largely reflects Alfred’s life; as he grew up in North Hollywood, he aesthetically shows you his hometown through his eyes, birthing his auteurist style.
Before his debut feature, Alfred had created a few short films that heavily influenced the cinematography in North Hollywood. After utilizing a primarily indie LA -hip hop tracklist throughout the film, Alfred switches it up a bit by adding the 1950s rock and jazz sounds to set the tone for scenes, including the works of Arthur Lee Maye and The Crown, Shirley Horn, Bill Haley & His Comets and more musicians from that era. From local skateparks to the hangout spots where he and his skate group, Illegal Civilization, could be found, the backdrop for many of the locations in the film were locations that Alfred would frequent while growing up in North Hollywood. In fact, many of Alfred’s fellow skaters also played several lead roles in the film, enhancing the interplay between his own life and the film's fiction.
Photo Credit: Everett Collection
While the cinematography is amazing, the plot of the film tends to fall short. It becomes less about Michael’s professional skating and more about becoming an adult, making it more of a coming-of-age film than anything else. Pursuing a pro-skating career is where Michael learns the small lessons about being an adult as he is trying to make that first big step out of high school.We never really get to see him skate in the film, leaving the audience to question what the point is of the turmoil he was causing in his life; we as viewers don’t even know if he can genuinely skate.
Its linear structure forces us to focus on one theme and one person. The moment you get some type of character development, the film closes its doors. Michael projects his fear onto his friends and family by believing that they are not supporting his dreams. He pushes them away when he constantly gets caught lying to them about his whereabouts when hanging with a more well-known skate crew. The continuous cycle is played throughout the entire movie and ends when he has honest conversations, later finding out that they only want what is best and support him. These moments occur in the last ten minutes, ending with a scene of him skating off into the sunset, reciting a poem about the journey ahead being a lonely one. The audience never gets to see beyond this new learned experience, left wondering if Michael ever goes pro, but left with reassurance that he will always have the support of his loved ones.
Director: Mikey Alfred
Running Time: 93 Minutes
Available on select streaming services
Andrea is a Production Coordinator based in Brooklyn, NY whose true passion lies far away from the set and more on what is given on screen.
Reel Works’ Outcalt Award Nominees Shine in Virtual Screening
The nominees of the 2021 F. John Outcalt Award for Outstanding Filmmaking were highlighted at a virtual screening produced by Reel Works, a non-profit production company uplifting young people’s cinematic visions. Here are reviews of the dramas and documentaries directed by these incredible storytellers.
Written by Kennedy McCutchen
The nominees of the 2021 F. John Outcalt Award for Outstanding Filmmaking were highlighted at a virtual screening produced by Reel Works, a non-profit production company that empowers young storytellers through partnerships with filmmaking mentors and resources. Hosted by Bryan Clark, the night featured a combination of five different dramas and documentaries, followed by Q&A’s with each filmmaker. Reel Works’ efforts to uplift young people’s cinematic visions in New York City succeeded by leaps and bounds; by the end of the evening’s virtual screening, dozens of attendees had been moved to tears by these young visionaries. The nominees and their respective films are featured below.
Photo Credits: Shot from “MerryMakers” via Reel Works YouTube channel
“MerryMakers”
Directed by Elena Goluboff
Running Time: 10 minutes
Watch on YouTube
Goluboff’s techniques feel effortless and well-executed in a short film about two young girls growing apart while maintaining their independence. The film begins with 12:17 am flashing brightly on the screen as two thirteen-year-olds, Maya and Nora, contemplate their boredom inside a dimly lit bedroom. Maya, sensing Nora’s dissatisfaction with their night, proposes venturing out past curfew into the streets of New York, silently hoping to win back her friend whose emotional distance is palpable.
The use of a handheld camera closely follows their whimsical journey as Maya’s subdued narration ponders her friend’s growing distance. Eventually, the pair stumble into a man abusing his girlfriend; while their childlike whimsy dissipates, their empowerment does not. Maya throws a glass bottle at the man to disrupt the scene. Running away, Maya and Nora encounter more obstacles. They are arguing about whether to return inside when they see Maya’s dad awake in the house. Tension builds as Maya realizes that not all friendships are meant to last, and she once again asserts her strength by going against Nora’s demands, turning the key to unlock the door to her home.
“Under the Sun”
Directed by Jesus Luna
Running Time: 8 minutes
Watch on YouTube
Luna investigates the complexities and intersections of religion and science via his family members’ experiences with sleep paralysis. Juxtaposing shots of color and black and white, the eight-minute documentary showcases interviews of Luna’s aunt and uncle relaying their sleep paralysis histories. The dichotomy of religion and science arises in those diplomatic confrontations; his uncle, Gabriel, seeks to understand through his faith by taking up consistent prayer, while his aunt, Yvonne, attempts to remedy her episodes by managing her stress and maintaining a regular sleep schedule. Luna expertly includes Father Espinal, a Catholic priest, who unexpectedly bridges the divide between Luna’s family members. “There seems to be a false dichotomy that exists between science and faith,” the priest asserts, seeking consensus and understanding. Luna concludes the film with a similar tone, reinforcing his efforts to find not only underlying meaning but greater purpose and cohesion in the ordinary events of a life.
Photo Credits: Shot from “Under the Sun” via Reel Works YouTube channel
“Normal Family”
Directed by Maya Velazquez
Running Time: 9 minutes
Watch on YouTube
It was hard not to be incredibly touched by the love story of Velazquez’s mothers, Maritza and Jeannette. Velazquez’s documentary did not feel like her first; her artistic choices appeared like those of an experienced and powerful storyteller. The timing of her edits showed true mastery over material that was so deeply personal and profound.
“I love her. She’s my best friend… That’s what it’s all about. It’s about love.”
Moving between home videos of the past and glimpses of the present, Velazquez recounts her surprise after learning about the difficult battles each of her mothers underwent when coming out to their respective families. Their journey for authenticity and honesty is enhanced by the mise-en-scene of Maritza in the grocery store, of Jeannette running errands in the car, and of her brother, Marcus, playing Jenga. These small shots of the ordinary echo the wonderful life Velazquez continues to share with her family amidst injustice, intolerance, and pain.
“Who Is It?
Directed by Marcus Cochran
Running Time: 11 minutes
Watch on YouTube
Cochran’s drama is a nod to traditional film noir with a twist of the contemporary. Shot in black and white: Cochran directs a tense exchange between a father, Joseph, and a son, Michael. The son, diagnosed with multiple personality disorder, struggles to confront his selfish and manipulative father. Upon arrival, Joseph feigns celebration for his son’s birthday, only to mischievously grab at Michael’s wallet by the end of the evening. As the camera shifts from wide shots to close-ups, viewers watch Michael muster the strength to confront his abuser and subsequently his childhood trauma, tackling the horrors of his past while accepting who he is now.
Photo Credits: Shot from “What We Owe to Ourselves” via Reel Works YouTube channel
“What We Owe to Ourselves”
Directed by Khiari Jaffier
Running Time: 10 minutes
Watch on YouTube
Jaffier professionally excavates the conflict between the capitalist dollar and self-actualization in his documentary, “What We Owe to Ourselves.” Jaffier’s expert narration plays over shots of paintings, high school hallways, and assorted creative spaces as he contemplates how young people’s artistic ambitions can be squashed by incentives to dive into “safer” career choices.
“Life hasn’t gotten easier, it’s just gotten noisier.”
Erik Satie’s “Gymnopédie 1” ripples over interviews with aspiring students, like Paolo whose passion for the piano is evident in his earnestness. In a conversation regarding the essence of creativity, Paolo mentions that “it’s all kind of cheesy stuff, but I like the cheesy stuff.” It’s these small idiosyncratic moments captured on film that makes Jaffier’s inquiry into becoming such a pleasure.
All of these young filmmakers showcased true mastery over cinematic techniques in their own unique ways. Jesus Luna was announced the winner of the Outcalt award at Reel Works’ virtual 20th Anniversary Gala on May 26th with his film “Under the Sun.” You can donate to Reel Works’ efforts here.
'Tina' Review: Her Story on Her Terms
The HBO documentary Tina delves into the personal life and career of rock icon Tina Turner. Utilizing never before released sound recordings and archival footage, the film exposes how media coverage of her abusive first marriage to Ike Turner furthered her traumatization, but never overcast Tina’s phenomenal talent.
Written by Aubrey Benmark
Tina Turner in 1973 Photo Credit Rhonda Graam/Courtesy of HBO
The new HBO documentary Tina, directed by Dan Lindsay and TJ Martin, examines the personal life and decades-long career of the legendary singer Tina Turner. It begins with archival footage of her performing “Ask Me How I Feel” to a packed stadium of energized fans fueled by Tina’s powerful voice. The concert’s visuals continue as the music fades into an old sound clip of a reporter asking Tina if anyone has approached her to make or create the story of her life.
She replied, “Yes, but I don’t want to play the part. I’ve done it. . . It was just so unlike me, my life, that I don’t want anyone to know about it. . . it wasn’t a good life. It was in some areas, but the goodness did not balance the bad. So it’s like, not wanting to be reminded. You don’t like to pull out old clothes, you know?”
Tina truly donned many costumes and played many roles in her life: singer, dancer, mother, daughter, a survivor of domestic abuse, a triumphant star. And yet, throughout much of it, she lacked the agency to make her own choices. Tina, a story told in five compelling acts, allows the singer to take control of her narrative and put the final footnotes in the margins.
Tina was born Anna Mae Bullock in 1939 and raised by sharecroppers who grew cotton on a farm fifty miles outside of Memphis, TN. Her parents fought constantly. They eventually abandoned Tina and her siblings, leaving them in the custody of an older cousin with next to nothing. At the age of seventeen, she met Ike Turner when she went with her sister to see his band play, billed the hottest band in town. Intent on being in the band, Tina relentlessly urged Ike to hear her sing, although she knew nothing of show business at the time— a weakness Ike would later exploit in his favor. They were never legally married, but without asking, Ike gave her the name Tina Turner and declared them a couple as a marketing ploy to sell more records.
From 1962 to 1978, they were Ike and Tina Turner, the sensational music duo. Tina dazzled onlookers with her undeniable talent. The documentary is flush with recordings of live performances that ignite fans as much today as they did back then. It seems unfathomable that the same person was simultaneously experiencing what Tina described as “basic torture.”
“I was living a life of death. I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back,” Tina said.
Ike got everything they built together. During Tina and Ike’s divorce proceedings, Tina asked for nothing but her stage name. Now in her forties, Tina used it to propel herself forward, dreaming of being the first black rock and roll star to fill stadiums like The Rolling Stones. However, she was hindered by an ageist, racist, and misogynistic industry that didn’t understand her or why she was no longer with Ike.
In 1981, to distance herself from her former partner and establish herself as a solo act, Tina did an interview with People magazine detailing some of the brutality she suffered at the hands of Ike Turner. She hoped it would make interviewers stop questioning her about him, but it only made their questions more intrusive. After the success of her debut album, 1984’s Private Dancer, the intrigue around her marriage grew. She penned I, Tina, with co-author Kurt Loder in 1986, hoping that she could put the story out there and be done with it. Instead, it became public domain.
Official Release Poster HBO
The film delves further into how the extensive and invasive media coverage of the abuse she endured perpetuated her traumatization, specifically obscene questions from various TV interviewers over the years. “Is there a real lowlight, something you’d love to forget?”, one reporter asked Tina, as if she were there only to give him salacious sound bites about domestic violence. Her husband and partner for the last 35 years, former music executive Erwin Bach, likened her experience to “a soldier coming back from the war.” Tina didn’t want to revisit the battleground.
While Tina recounts some of the savageries she experienced during her marriage to Ike, it doesn't show it or glorify it. The documentary focuses on how the media’s sensationalizing of her story affected Tina throughout the rest of her career despite her enormous success. It is the story of an amazingly talented woman trying to come to grips with why the darkest parts of her life could become such an inspiration for many, but also a sick fascination for others.
During Tina’s interview for the film, at the age of 80, she said, "You let it go because it only hurts you. Not forgiving, you suffer, 'cause you think about it over and over again. And for what? I had an abusive life. There's no other way to tell the story. It's a reality, it's a truth. That's what you've got. So you have to accept it."
In many ways, Tina's 1981 interview with People magazine was a #metoo moment long before social media existed, and a long time before women felt safe discussing domestic violence or sexual abuse publicly. In the end, Tina’s fans aren't inspired by the gory details of the torture she suffered. Instead, they are inspired by her musical legacy, the courage it took to share her story, and her determination to rise above it.
‘Tina’
Directed by: Daniel Lindsay & T. J. Martin
Running Time: 1 hour, 58 minutes
Streaming: HBO Max
