“The Graduates,” which counts Chloé Zhao and John Cho among its executive producers and gets its world premiere at the Tribeca Festival, revolves around school shooting survivors who are unable to move on even one year later. It’s a compelling subject, for sure, but one on which no dramatic treatments have been nearly as astute or profound as what’s already been in the news.
Genevieve (Mina Sundwall of Netflix’s “Lost in Space”), who lost her boyfriend in a shooting and owes her teacher several assignments, doubts her test score is sufficient to get her into college and contemplates taking a gap year post-graduation. Ben (Alex R. Hibbert of “Moonlight”), who lost his friend and coworker at his part-time job, has transferred and quit the basketball team before dropping out of high school entirely. John (Cho), who lost his son, continues to coach at the school even though...
Genevieve (Mina Sundwall of Netflix’s “Lost in Space”), who lost her boyfriend in a shooting and owes her teacher several assignments, doubts her test score is sufficient to get her into college and contemplates taking a gap year post-graduation. Ben (Alex R. Hibbert of “Moonlight”), who lost his friend and coworker at his part-time job, has transferred and quit the basketball team before dropping out of high school entirely. John (Cho), who lost his son, continues to coach at the school even though...
- 6/10/2023
- by Martin Aubert Tsai
- The Wrap
It makes sense that one of the protagonists of “Materna” is a fan of Jean-Pierre Melville’s existential neo-noir “Le Samouraï,” given that David Gutnik’s feature debut is itself a tapestry of modern alienation and disaffection. Charting the plights of four women whose paths eventually cross on a New York City subway train, Gutnik’s fragmented feature debut is rooted in fraught mother-daughter dynamics and intertwined issues of regret, resentment, racism, classism and homophobia.
Having won prizes for best actress (Assol Abdullina) and best cinematography at the pandemic-pinched 2020 Tribeca Film Festival, it should entice audiences in search of distinctive art-house fare when it debuts in limited release on Aug. 6 (ahead of an Aug. 10 VOD premiere), even if
Co-written with leads Abdullina and Jade Eshete, Gutnik’s film begins in a New York City subway car whose crowd includes a quartet of women — later identified as Jean (Kate Lyn Sheil...
Having won prizes for best actress (Assol Abdullina) and best cinematography at the pandemic-pinched 2020 Tribeca Film Festival, it should entice audiences in search of distinctive art-house fare when it debuts in limited release on Aug. 6 (ahead of an Aug. 10 VOD premiere), even if
Co-written with leads Abdullina and Jade Eshete, Gutnik’s film begins in a New York City subway car whose crowd includes a quartet of women — later identified as Jean (Kate Lyn Sheil...
- 8/6/2021
- by Nick Schager
- Variety Film + TV
If last year’s massively successful “The Farewell” taught the film industry anything, it’s that American audiences have an appetite for stories that haven’t been seen before. Lulu Wang’s debut feature was a major boon for Asian-American indie film, and Wang’s success an inspiration to all marginalized filmmakers. While it may seem reductive to compare two films directed by Chinese-American women, both films revolve around a Nai Nai, the Mandarin word for “grandma.” Of course, where Wang’s Nai Nai was sweet and naive, the Nai Nai in “Lucky Grandma” is a grizzled, cantankerous chainsmoker — and a total badass.
The feature debut of filmmaker Sasie Sealy, “Lucky Grandma” is This is precise and confident filmmaking, and if there is any justice in Hollywood, Sealy’s name will soon be as ubiquitous as Wang’s. Co-written with Angela Cheng, Sealy’s dynamic script is deeply funny, heartfelt,...
The feature debut of filmmaker Sasie Sealy, “Lucky Grandma” is This is precise and confident filmmaking, and if there is any justice in Hollywood, Sealy’s name will soon be as ubiquitous as Wang’s. Co-written with Angela Cheng, Sealy’s dynamic script is deeply funny, heartfelt,...
- 5/23/2020
- by Jude Dry
- Indiewire
While Lulu Wang’s emotional family drama “The Farewell” may have broken through last year, and upcoming comic book adaptations “Birds of Prey” (by Cathy Yan) and “The Eternals” (from Chloé Zhao) spell fresh opportunities for filmmakers of Chinese descent in 2020, a rollicking little follow-the-money caper called “Lucky Grandma” from first-time feature director Sasie Sealy and co-writer Angela Cheng proves there are plenty more emerging Chinese American talents just waiting for their shot. All it takes is a little good fortune — and the support of a few encouraging festivals, like the Tribeca team that gave this film a boost — and they should be on their way.
, Sealy’s high-attitude debut stars Tsai Chin of “The Joy Luck Club” as a surly, age-toughened widow who, reluctant to accept that it’s time to move in with her son (Eddie Yu), follows her fortuneteller’s advice and takes her life savings to the casino.
, Sealy’s high-attitude debut stars Tsai Chin of “The Joy Luck Club” as a surly, age-toughened widow who, reluctant to accept that it’s time to move in with her son (Eddie Yu), follows her fortuneteller’s advice and takes her life savings to the casino.
- 1/15/2020
- by Peter Debruge
- Variety Film + TV
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