The El Dorado Film Festival had the distinct honor of showcasing the most recent Founder’s Circle Winners from the 2023 Louisiana Film Prize – a Shreveport-based short film competition and festival founded in 2012. The group includes an exciting range of compelling visions from a host of intriguing filmmakers. Here is a rundown along with some impressions of the seven short films shown.

“Caught on Tape”

The kinda silly, often funny, and relatively chaste “Caught on Tape” takes a playful look at the warped allure of porn to boys in their early teens. Shot in three days and pulling inspiration from classic coming-of-age movies as well as teen sex comedies, co-directors Chris Alan Evans and Alexander Jeffery put us in the heads of the kids, namely the charming young Finn (Finnegan Collins) who goes looking for salacious treasures hidden in his father’s tool shed. It’s far from a serious examination of the subject, and it feels like there’s so much more story to tell. But sometimes wetting our appetites is the mark of a good short film. (3.5 STARS)

“Pink Suit Black Suit”

There’s a really good idea at the core of effervescent “Pink Suit Black Suit” that’s just waiting to be realized. But beyond the delightfully playful and often funny banter, I can’t escape the feeling that there is so much more to be explored. Directed by Jacob and Jaya McSharma working from a script by Jaya, the story follows a woman named Bianca (played by Jaya) who we meet as she is attending an art show. But what should be a fun and relaxing time is constantly interrupted by two competing voices inside her head. Artfully shot by DP Alexander Jeffery and well acted throughout, it’s the film’s script that ultimately teases more than it delivers. (2.5 STARS)

“Dead Flesh”

The emotionally intense “Dead Flesh” from writer-director Gianfranco Fernández-Ruiz is a mesmerizing film from its very first moments despite being a bit murky in its messaging. Rather than anything resembling a plot, the story is more of an internal reckoning. It unfolds within a boxing ring as a young fighter dukes it out with his fiercest challenger – himself. The film is strikingly shot by cinematographer Joewi Verhoeven whose visual shifts from color to monochrome give the movie a charge. As do the impassioned physical performances from brothers Joseph Dodson and Joshua Dodson. (3.5 STARS)

“Clownfish”

“Clownfish”, the third short film from filmmaker Clayton Henderson, immediately strikes you with its sweetness and charm. But the more you watch the more you begin to see the emergence of deeper themes such as finding our self-confidence and embracing our true selves. The story revolves around two people, Frank (Chris Alan Evans) and Elle (Sheilava) who have connected through an internet dating service. They’ve yet to meet in person, content to hide behind the online identities they have created for themselves. But when the opportunity arises, will they have the courage to seize it? Henderson injects his story with warmth and humor. And one somewhat jarring flashback aside, he shows a great knack for character building and storytelling. (4 STARS)

“Off Sides”

I have a real soft spot for mockumentaries and first-time filmmaker Kaitlyn Brown delivers a really good one with “Off Sides”. This hysterical spoof of suburban soccer parents sees Brown taking and playing with an assortment of parent types that nearly anyone with a child in sports will recognize. As for the documentary style, it’s a great fit and deftly handled by Brown. And it helps to have such a terrific cast who all seem perfectly in tune with what the film is going for. “Off Sides” is start-to-finish hilarious yet ever so slyly critical. More than anything, it left me wishing we could get a full feature film somewhere down the line. (4.5 STARS)

“The Capitalist”

There is a lot packed into “The Capitalist” – a little too much to be honest. But there’s also a lot to appreciate in this compelling yet slightly overstuffed short film from writer-director Gian Smith. It could be called a lot of things – a sociopolitical commentary, a character study, a heist film, and perhaps most of all a gritty southern crime thriller. It’s undoubtedly ambitious which turns out to be both a strength and a weakness. Yet the performances are superb and Smith impresses with his management of tone and ability to immerse us in his rich setting. (3.5 STARS)

“The Candy Lady”

The big winner at the 2023 Louisiana Film Prize was Monique Derouselle’s enchanting Deep South fantasy comedy “The Candy Lady”. In it, Debra (wonderfully played by Cheryl Shelton) is a beloved mother figure and candy lady for her entire neighborhood. She’s also an aspiring short story writer who has been tripped up by a frustrating case of writer’s block. But then something…magical happens. Her nephew Marvin (Chris Jones) brings her an old typewriter that when used causes her ideas to hop off the page and into real-life. It’s an entertaining premise and Derouselle has a lot of fun blending genres. Sign me up for whatever she decides to do next. (4 Stars).

Day 3 of the 2024 El Dorado Film Festival was jammed packed with short films and features of every make and model; style and flavor. Among them was Short Film Block #2, yet another curated collection of shorts from around the world. As before, Block #2 featured an eclectic group of selections spanning various genres and telling a wide range of stories. Here is a rundown and some impressions of the EDFF’s second block.

“Wheel”

In director Honora Talbott’s “Wheel” we’re introduced the jittery Louise (Nancy Friedrich) who is a longtime Wheel of Fortune enthusiast. Hoping for a chance to appear on her favorite game show, Louise seeks the help of videographer Soph (Thea Lux) to help her shoot an audition tape. Louise is sweet yet neurotic, blowing every take with her inability to focus. But to our surprise it’s Soph who just might be the most…troubled. Things get a little loud and abrasive, but Talbott, along with writers Friedrich and Lux, still manage warmth and a few good laughs in their story. (3 Stars)

“Florence in Customer Care”

A fabulous Tiffany Trainer plays the titular lead in “Florence in Customer Care”, an absorbing psychological thriller about a quiet and reserved customer service representative who develops an irritable rash that seems to worsen with every bad encounter she has. Co-directors Jordan Sommerlad and Cory Stonebrook do a great job putting us in Florence’s skin which manages to create both empathy and unease. Meanwhile Trainer conveys her character’s insecurities and discomfort with alarming detail. Her performance is a big reason the film works so incredibly well. (4 STARS)

“Beer Club”

Five neighborhood friends gather together for the inaugural meeting of their new beer club. The club’s organizer, Dan (Vincent Sarowatz) is hoping it will be an opportunity to appreciate special craft beers. And he’s especially excited to learn that his wealthy new neighbor has agreed to come. But wouldn’t you know it, things don’t go exactly as planned. In fact, it’s pretty much a disaster. Writer-director Nate Shively’s big screen comedy influences are obvious. But “Beer Club” feels more like it’s imitating those influences rather than doing something fresh and original with them. (2 STARS)

“The Bathtub”

In “The Bathtub” exasperated Ramon (Abel Folk) sits down in a warm soothing bath when his phone suddenly rings. Annoyed, he answers the call and hears the voice of a telemarketer named Clara (Paula Jornet). He tries politely brushing her off, but her persistence leads to him angrily unloading on her. After Clara bursts into tears, a guilt-ridden Ramon apologizes. It sparks a conversation that just might change both of their lives. Writer-director Sergi Martí reveals a lot through this one phone call. And both Folk and Jornet deliver emotionally rich performances that give the audience a look beyond the simple exchange we hear. (4 STARS)

“Smoke”

Delving beyond the well-documented physical dangers of firefighting, “Smoke” offers a clear-eyed examination of the psychological and emotional traumas associated with such a high-stress occupation. It focuses on an Allen, Texas fireman named Jesse (David DeLao) who returns home after a distressing day at work. His wife Tanya (Anna Antonia) senses that something is wrong, but Jesse insists he’s fine. It quickly becomes evident he’s not. As things play out at home, director Joshua Gallas shrewdly cuts back to Jesse and his company fighting a fire. These scenes are filmed with an intense and unshowy realism that adds to the emotional heft of Jesse’s story. (4 STARS)

“Credit”

There is a lot to admire about “Credit” from the filmmaking duo of Patrick and Susan Kirton. They tell the touching story of the unlikely friendship that forms between a young pop star (Eric Mason Kirton) and a down on his luck veteran actor (Brad Maule). One’s star is skyrocketing while the other has watched his career unfairly stall. One is terrified of what lies ahead of him; the other has years of wisdom from his former life in the spotlight. The relationship that blooms is organic and authentic, driven by strong performances from Maule and Kirton. And while it may get a little melodramatic, the story has some thoughtful things to say about loyalty, respect, and giving credit where credit is due. (3.5 STARS)

I remember seeing “Twister” in the theaters on opening weekend back in May of 1996. And I can’t count home many times I watched it on home video. Who could have guessed that 28 years later we would get a $200 million standalone sequel. Yet here we are only a few months away from “Twisters”. To get us ready, the first trailer was released and it looks fun. Silly beyond measure, but fun.

“Twisters” is directed by Lee Isaac Chung (“Minari”) and stars the captivating trio of Daisy Edgar-Jones, Glen Powell, and Anthony Ramos. The action-packed trailer promises us plenty of danger, plenty of destruction, and plenty of scenes showing Powell flashing that signature smile. Written by Mark. L Smith (“The Revenant”), the film is an entirely original story set in the modern day and will feature none of the characters from the first film. Who knows what to expect, but by the looks of it we could be in for a good time.

“Twisters” opens exclusively in theaters on July 19th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

Among the highlights of the 2024 El Dorado Film Festival’s first full day was Short Film Block #1, a curated collection of six dramatic short films spanning a wide variety of styles, themes, and genres. It was an eclectic blend that featured drama, comedy, science-fiction, and even a musical. Here is a rundown of the short films along with a few impressions.

“Music for a While”

With “Music for a While”, writer-director Kelvin Z. Phillips has made an aching yet beautifully lyrical short film that taps into the filmmaker’s longtime love for musicals. Exquisitely shot in New York City, this elegant and heartfelt poem uses the ambiance and aura of the city and melds it with the transportive power of music. Drawing inspiration from Baroque composer Henry Purcell and pulling from some of his own experiences, Phillips delivers something that you will see, hear, and feel. (4.5 STARS)

“Break”

Director Sam Henderson’s “Break” follows a jazz trio minutes away from performing a live television recording that could finally put them on the map. The problem is they had to scramble to get a new drummer, ending up with a nervous young kid fresh out of Juilliard who has never laid eyes on the music. Tension builds as their time approaches sending the story to an unexpected and slightly unfulfilling conclusion. Shot in gorgeous 35MM black-and-white, “Break” looks great and feels plucked out of time. (3.5 STARS)

“Chairs”

Writer, director, and producer James Hughes takes an utterly absurd premise beyond its limits in the simple yet fittingly titled “Chairs”. A terrific Georgina Campbell plays a psychiatrist whose new patient Joel (Akemnji Ndifornyen) has a most unusual issue – he is aroused by…plastic chairs. I won’t give away the weird places this wacky comedy goes, but writer, director, and producer James Hughes takes some crazy leaps that are often funny but hard to stay onboard with. (2.5 STARS)

“Outpost”

Science-fiction lover and bonafide Star Wars enthusiast Jamie Costa jumps feet-first into the genre he clearly loves with “Outpost”. This sci-fi swashbuckler sees Costa playing a scoundrel shooting his way out of an old bunker after snatching a highly sought artifact. But before he and his snarky robotic orb can escape, they’re attacked by a mysterious stranger who turns out to be the last person they expected to see. Filmed in just one day, writer-director Ben Anklam does a lot within that short time. And while his story sets up more than it reveals, “Outpost” captures what so many of us love about the sci-fi genre. (3.5 STARS)

“Purgy’s”

Writer-director Robbie Bryan’s fascinating “Purgy’s” plays like a neo-noir episode of “The Twilight Zone” with some spiritual flavor. The film is built around a terrific premise that has deeply personal roots for the filmmaker. And you can sense Bryan’s heart in every frame. The story is set in a bar where people come together and discover they have more of a connection than they first realize. I know that’s vague, but “Purgy’s” is a film best experienced blind. It won’t take you long to figure out what’s going on. But Bryan’s visual savvy and heartfelt storytelling sucks you in. And it certainly doesn’t hurt to have the great Richard Riehle as one of your stars. (4.5 STARS)

“They Grow Up So Fast”

John Beach writes, directs, and stars in “They Grow Up So Fast”, a lightning-paced comedy that earns its title in ways you might not expect. For Brian (Beach) and Amy (Emily Althaus), a wild night on the town leads to a one-night stand. And that’s when things get weird. As Brian tries to sneak out Amy suddenly informs him she’s pregnant. A minute later she’s in labor. Another minute later their son is ready for pre-school. Is Brian in some kind of time warp? We never know. It can be needlessly crass but also very funny as Beach packs some pretty big laughs into his zany story. (3.5 STARS)

What can I say, I never got onboard with the Deadpool movies. They felt more like gimmicks – hard R-rated superhero movies that leaned heavy on star Ryan Reynolds’ schtick. But then you have Hugh Jackman as Wolverine – some of the very best superhero casting we have had to date. What happens when you bring those two things together? I suppose “Deadpool & Wolverine”, the Marvel Cinematic Universe’s attempt to tap into the popularities of both.

Disney has dropped a lukewarm first trailer for the film and it doesn’t really tell us much. I guess you could say it’s more of a gag and tone sampler. Whatever you call it, the worse thing about it is the absence of Wolverine! Yes, I know it’s the first of what will be three or more trailers and we will see Jackman down the line. But this one could have really used him.

“Deadpool & Wolverine” opens in theaters on July 26th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

EDFF REVIEW: “The Hill We Climb”

“The Hill We Climb” is a poignant and powerful documentary short film from director and executive producer Raeden Greer. The film tells the moving true story of two Benton, Arkansas residents and their tireless efforts to improve and revitalize a marginalized 100-year-old African-American community known to the locals as “The Hill”.

Greer centers her film on two of her friends and classmates, Farisha Brown and Aaron Calvin. Both lived across the proverbial tracks in the “The Hill”, now referred to as the Ralph Bunche Community. Speaking mostly through compelling testimonies and the evocative camerawork of her DP Christian Wallace, Greer addresses the community’s complex problems with a heart-piercing clarity.

Interestingly, the struggles Greer emphasizes come from both inside and outside of the community. There is the constant battle for its reputation. There is the neighborhood’s history of crime and the resulting stigma that Farisha, Aaron, and others have tried to overcome. Then there is the difficulty in getting participation from within the community – a surprising dilemma that only adds to the challenge.

Farisha and Aaron are both interesting and inspirational. But just as important to the film’s overarching message are the various community members we see and hear. Whether it’s an elder preacher sharing his real-world wisdom, a longtime resident expressing the ways their neighborhood has changed, or a young boy explaining why he plans on moving away once he’s old enough. The people we meet bring out the energy, the frustration, and the personality of a part of Benton that people only know by the image they project.

Greer shares some of the city’s ugly history which speaks to the progress that has been made since. But she makes it abundantly clear that there is still a long way to go. That leads to an urgency in her approach that energizes the film. But there is also an honesty that leaves us wondering not only how change might come about, but if it even will.

VERDICT – 4 STARS

EDFF REVIEW: “The Last Thing Lost”

At the risk of stating the obvious, one of the great things about documentaries is the opportunity they provide filmmakers to tell affecting real-life stories that otherwise wouldn’t be shared outside of their own communities and circles. One such example is “The Last Thing Lost”, a striking 41-minute film from writer-director Jake Siam Solomon that’s equal part heartbreaking and uplifting.

“The Last Thing Lost” tells the story of Sarith Ou and his improbable journey from war-torn Cambodia to Wisconsin, USA and then back to Cambodia. Solomon chronicles Sarith’s unimaginable life, highlighting a man haunted by his traumatic past yet using it to drive his heartfelt desire to help future generations in his homeland.

The fourth of seven siblings, Sarith grew up part of a farming family in Tom Poung village. With the Cambodian government in chaos, a young Sarith joined the Khmer Rouge, a ruthless and murderous regime who is said to have killed three million people between 1975 and 1979. Sarith rose in rank, soon commanding a total of 300 troops. But he defected after seeing the group’s genocidal reign of violence and oppression, running for his life and even serving time in a Thai prison before making it to safety in the United States.

Sarith made a good life for himself in Wisconsin, but the trauma and guilt remained. With his native country ever in his mind, Sarith returned to Cambodia. There, with the help of his American friend Roger Garms, he began building a new school and teaching the enthusiastic children in hopes of setting their young lives on a better trajectory.

Solomon does a good job laying out Cambodia’s tumultuous history in relation to its current state, through Sarith’s personal testimony, archived footage, and even an occasional chalkboard-esque animation. Not only does it provide context to Sarith’s life, but it helps us understand what compels him to action. It truly is a remarkable story relayed through an evocatively shot, skillfully edited, and keenly directed documentary.

VERDICT – 4 STARS