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SINGIN’ IN THE RAIN (Party at the Parkway)
A silent film star falls for a chorus girl just as he and his delusionally jealous screen partner are trying to make the difficult transition to talking pictures in 1920s Hollywood.
IMDB
FRAMELINE 49: RIVER OF GRASS
The spirit of the Florida Everglades is distilled with poetic beauty in River of Grass, a multi-faceted look at the climate crisis with an eye towards history and local specificity. Director Sasha Wortzel previously brought the short films Happy Birthday, Marsha! (Frameline42) and How to Carry Water (Frameline47) to the Festival, and now returns with this evocative piece of nonfiction filmmaking.
River of Grass utilizes archival footage and finds inspiration in the writing of Marjory Stoneman Douglas, all serving a vital message of preservation and protection of the fragile environmental present. Wortzel captures the plight of the community to fight for the local wildlife, gracefully weaving a tapestry that considers this ecosystem in both a spiritual and physical sense. As history and a terrifying future collide in the filmmaker’s soulful verse, the film’s composition penetrates with its daring call to action.
FRAMELINE 49: OUTERLANDS
In a San Francisco losing its soul to rapid gentrification, nonbinary newbie Cass (Asia Kate Dillon, in a breakout performance) barely scrapes by nannying for wealthy kids, waiting tables, and dealing just enough party drugs to cover rent on a small apartment. A one-night stand with coworker Kalli (Louisa Krause) sparks something real, but when Kalli disappears — leaving her 11-year-old daughter, Ari (Ridley Asha Bateman), in Cass’ hands — the seams start to come undone.
Capturing San Francisco from a unique angle, this slowburn, moving feature debut from Elena Oxman (Lit, Frameline38) frames its character study of Cass and Ari through Raymond Carver’s poem “Late Fragment” — a quiet gut-punch about wanting to be loved that feels very apt here. Playing Outerlands, a lo-fi video game about a stranded astronaut searching for a lost ship, Cass and Ari form a bond that nudges them toward healing old scars through new ties and responsibilities, while wrestling with their place in a city pushing its longtime residents out. With supporting roles from Lea DeLaria and Daniel K. Isaac (reteaming with Billions co-star Dillon here), Outerlands digs into lingering childhood trauma, substance abuse, and the complexity of caring for someone else when you’re still figuring out how to care for yourself.
FRAMELINE 49: THE SERPENT’S SKIN
Twentysomething Anna (Alexandra McVicker, October Crow) finally leaves her small, transphobic hometown for good and quickly begins dating goth tattoo artist Gen (Avalon Fast, Castration Movie) after the two discover they share supernatural powers. But before Anna can call up the U-Haul, Gen inadvertently summons a demon through the sick neck tattoo she gives sensitive guitarist Danny (Jordan Dulieu). As Danny — or whatever’s inside of him — begins feeding off their friends, it’s up to Anna and Gen to figure out how to use their powers to save everyone before it’s too late.
The sixth-and-latest feature by 20-year-old filmmaking force of nature Alice Maio Mackay (Carnage for Christmas, Frameline48), The Serpent's Skin like a trans take on The Craft or the YA horror paperback you wished you had in high school. Returning to the same premise as her early short The Serpent’s Nest (2021) and working with a group of trans film luminaries — including producer Louise Weard (Castration Movie, Frameline49), editor Vera Drew (The People’s Joker), and colorist Jessica Dunn Rovinelli (So Pretty), all remarkable filmmakers in their own right — The Serpent’s Skin sees the full blossoming of the bold neo-Araki aesthetic that has made Mackay one of the most exciting voices in this current wave of independent trans cinema.