Virginia Film Festival 2024

The Grand Prix recipient at this year's Cannes Film Festival, All We Imagine as Light, does an incredible job of capturing the vibrant spirit of Mumbai. The opening sequence as well as a stunning mid-film moment perfectly showcase the city’s energetic, pulsating heart. The hustle, the colors, the chaos — it all comes to life in a way that’s both immersive and exhilarating. These moments had me completely hooked, and I couldn’t help but marvel at how the film so vividly encapsulates the essence of this electric metropolis. All We Imagine as Light follows a trio of nurses whose quiet routine is disrupted, forcing them to confront unresolved emotions both internally and externally. It is truly a bold and essential piece of cinema that lovers of uniquely crafted international films should seek out. 

When I saw that VAFF was offering a 40th Anniversary Remastered edition of the coveted theatrical cut of Amadeus, I leapt at the opportunity to cover one of my biggest blind spots as a lover of film. Amadeus may just be the greatest fable ever committed to film. Miloš Forman’s epic is nothing less than a requiem for cinema itself. I can’t believe it took me 25 years to finally experience this masterpiece, but watching the stunning 40th Anniversary Remastered edition truly felt like an event. This film is undoubtedly one of the greatest of all time, and I’m glad to have seen it in its full glory.

I’m sure I’m not the first to say this, but Amadeus feels like Oppenheimer told entirely from Lewis Strauss’ perspective — Antonio Salieri is obsessive, envious, and consumed by a need to best the genius who threatens his very identity. F. Murray Abraham delivers one of the most iconic performances of his generation, embodying Salieri with such intensity and complexity that it’s impossible to forget. His portrayal of a man driven by both admiration and bitter resentment is nothing short of extraordinary, and I suspect his performance will outlive the fading legacy of the character he plays.

Just like the genius at its center, this film is a legendary stroke of brilliance. Tom Hulce’s portrayal of Mozart is bold, chaotic, and completely original. He captures the youthful exuberance and unpredictable genius of the composer in a way that is both hilarious and heartbreaking. His Mozart is a force of nature, utterly captivating, and will forever be etched in cinematic history.

Every element of Amadeus is outstanding. The operatic set pieces are a feast for the eyes, while the way the music is integrated with the characters’ inner thoughts and dialogue is masterful. The film is a technical achievement in every sense—from its breathtaking cinematography and stunning production design to the meticulous costume and makeup work, which may be the best I’ve ever seen on film. Despite its lengthy runtime, it remains utterly engrossing from start to finish.

Rewatching the Palme d’Or winner of the Cannes Film Festival as the Opening Night Gala section of this year's fest with Mikey Madison in attendance to receive an Achievement in Acting Award was exhilarating! Anora follows a Cinderella story gone wrong, where exotic dancer Ani (Madison) marries Ivan (Mark Eydelshteyn), the son of a Russian oligarch and misadventures ensue.

This film is a hilarious, emotional, tear-jerking ride that the Virginia Film Festival crowd devoured. Revisiting Anora with adjusted expectations really enhanced my viewing experience. The pacing is incredibly kinetic with off-the-charts energy. It is fun, engaging, and often straight-up hilarious. Eydelshteyn is a total scene-stealer, delivering some of the most memorable jokes of the year. His comedic timing is on point and had the audience in stitches. Yura Borisov, who plays one of Ivan’s father’s goons, delivers a very reserved yet charming performance that is sure to take awards season by storm. 

Madison, meanwhile, is nothing short of phenomenal. She takes this modern-day Cinderella story gone wrong to new emotional heights with a deeply committed and heartfelt performance that anchors the film. Her range is truly something special. Hearing her Q&A in person added additional layers to my appreciation for her take on Ani. Madison stated taking on this role was “reinvigorating and really reminded me of what I love about filmmaking”. She elaborated on her performance, saying, “I definitely put more physical preparation into this character than I ever have before. She’s a dancer, and I wanted her to come across as a seasoned professional with a lot of tricks up her sleeve. I wanted it to feel like she’s been dancing for years, but the truth is, I’m not a dancer at all. I’m a very stubborn person and there were certain things that I wanted to accomplish. I realized early on how difficult dancing really is—it's one of the most physically demanding things I’ve ever tried. It’s painful. So I really buckled down and dedicated many months to really cultivate my skills.”

Anora packs so much to enjoy for all viewers alike. I have now seen this film with my girlfriend, my mother, and my grandmother and all four of us have adored it. The home invasion sequence is thrilling, gripping, and expertly executed — potentially the best scene of all of 2024. This one’s got universal appeal—don’t miss it.

I highly encourage all to dive into the madness of VAFF’s Centerpiece Gala selection, Emilia Pérez. Jacques Audiard’s electrifying musical pulses with kinetic energy from start to finish. The Official Selection of France for this year's Academy Awards follows an underappreciated lawyer named Rita (Zoe Saldaña) who is courted by a Mexican Cartel leader for a life-changing career opportunity.

Emilia Pérez is a visual feast brought to life by Saldaña's dynamic performance. She dances, sings, and fully captivates, delivering a role that’s both demanding and mesmerizing. Selena Gomez is a surprising standout here. Her comedic timing lands perfectly, her singing is on point, and she delivers what may be the film’s most memorable dance number. But she also shines in the more dramatic moments, proving her range beyond just pop stardom. Karla Sofía Gascón, meanwhile, is simply stunning. Gascón’s powerful vocals and nuanced portrayal of Emilia showcase the remarkable evolution of her character, which is no surprise given the awards buzz surrounding her this season.

As for Audiard’s direction, he brings a bold and ambitious energy to Netflix’s awards contender. While not every choice lands, you can’t help but admire the amount of risks he takes. The music is a highlight—some tracks inject humor, while others deepen the emotional beats. That said, I do wish there had been more choreography in some of the dance sequences. What we get is visually striking, but there’s room to amplify the spectacle.

Emilia Pérez is definitely a film I want to experience again. The first half had me fully hooked, but as the focus shifted more towards Emilia and away from Rita, the energy dipped a bit. I’m curious to see how it holds up on a rewatch and discover whether it would resolve my concerns or pronounce them further. Regardless, the film is worth a watch. Even if it doesn’t fully win you over, its ambitious swings—whether through grand musical numbers, laugh-out-loud moments, or heartfelt drama—offer plenty to appreciate. 

Flow follows a pack of animals who must navigate the adapting challenges of a flooding world. It is an absolute gem—a unique experience that transcends age, resonating with children and adults alike. The film conveys its themes with remarkable subtlety, telling a story without a single word of dialogue. Through its original and playful approach, Flow captures something truly special. It is easily my favorite film of the festival.

Technically, the film is a masterpiece. The cinematography is breathtaking, with flawless one-takes and tracking shots that immerse you in its world. The sound design further elevates the experience, perfectly complementing the beautifully crafted animation. The film brings the textures of its animals and the vibrancy of the natural landscapes to life in a way that feels intimate and profound. 

What truly sets Flow apart, though, is its emotional depth. It’s heartwarming yet heartbreaking, vulnerable yet powerful—a perfect blend of joy and sorrow that stays with you long after the credits roll. This is a film that speaks to the human experience, making it a must-watch for anyone seeking a poignant, visually stunning journey.  

During the pre-screening discussion, we learned that The Glassworkers took a remarkable eight years to make it to the big screen. Though it was nearly complete in 2016, this unique animated film has finally found its way to U.S. theaters. I’m thrilled to have caught one of its first screenings stateside.

The first Pakistani hand-drawn animated film follows a young Glassworker named Vincent who is in an apprenticeship under his pacifist father. While in a seaside town, he falls in love with the Army Colonel’s daughter. 

The Glassworkers offers a fresh Pakistani take on the iconic Studio Ghibli style. The film is a labor of love crafted by talented artisans and creatives like Vincent and Alliz. The hand-drawn animation is absolutely stunning, complemented by enchanting music that perfectly enhances the narrative. At its heart, the film tells a poignant love story set against the backdrop of a war-torn dictatorship, and its unexpected twists keep you on the edge of your seat throughout.

I thoroughly enjoyed experiencing this film at the festival and can’t wait for more audiences to discover it. The Glassworkers is a beautifully crafted, emotionally resonant journey that stands out in the world of animation.

Memoir of a Snail is a beautifully crafted meditation on life and the journey forward. This Gala screening follows Gracie (Sarah Snook), whose life is filled with trouble and misfortune in 1970’s Australia. Memoir of a Snail masterfully blends comedy, heartwarming moments, tear-jerking revelations, and raw vulnerability. It is a deeply personal experience of self-reflection and embracing our imperfections. Adam Elliot’s latest film is a stunningly animated, emotionally rich tale that had me hooked from start to finish.

The comedic brilliance in this film is absolutely spot-on. It is packed with clever gags, recurring jokes, and sharp one-liners that had me — and the entire audience — laughing out loud. But it’s not all laughs: there’s a poignant undercurrent of sadness and remorse that had the crowd at the Virginia Film Festival teetering between laughter and tears, reflecting on the film’s deeper themes.

As someone who often grapples with self-perception and feelings of inadequacy, Grace felt incredibly relatable. I thus appreciated how the film beautifully conveys that these doubts aren't truths — that we each have the power to shape our own narratives. It’s a message that resonated deeply with me.

Adam Elliot was in attendance to receive the VAFF Achievement in Animation Award. Elliott stated how “this is a huge honor… since you normally don’t receive ones like these til you die”. Elliot’s Q&A was filled with hilarious and insightful tidbits on the “eight year journey” to bring this creation to audiences including that totaled in over “7 animators doing 5-10 seconds a day for 50 hour weeks. [It took] 16 weeks to make everything [the audience] just saw. So there’s 200 characters, 200 sets, and we guess between 5,000-7,000 little snail props”. Elliott further states that “all the water in the film, such as the rivers, tears, and everything of that nature, was actually sexual lubricant”, he jokingly adds “that we ran out in Australia”.

Steven Soderbergh’s Presence is a thrilling and inventive reimagining of the classic ghost story. This Spotlight screening at VAFF takes a daring departure from traditional ghost films by telling the tale from the ghost’s perspective. Soderbergh utilizes his recent signature iPhone cinematography to create an immersive experience. The film features long, fluid tracking shots that glide effortlessly from room to room, drawing the audience into its eerie world. Without giving away too much of the plot — Presence is best enjoyed with as little prior knowledge as possible — let me just say that if you appreciate bold storytelling, enjoy a chilling ghost story, and crave a taut, suspenseful 90-minute experience, this film is an absolute must-see.

This year's Closing Night Gala screening was the Venice Film Festival’s Golden Lion winner, The Room Next Door, which I found nothing short of exceptional. The film follows two friends who were once close but have grown distant. Ingrid (Julianne Moore) became an autofiction novelist, while Martha (Tilda Swinton) became a war reporter, and life eventually pulled them apart. After years of silence, they reconnect in an unexpected but oddly sweet situation. From its very first moments, I found Pedro Almodóvar’s latest film to be an immersive, exhilarating experience that expertly combines razor-sharp comedy with profound emotional depth. 

Swinton and Moore deliver performances that are nothing short of extraordinary. The chemistry between them is electric, creating a dynamic that feels both intimate and deeply compelling. Swinton’s understated yet commanding presence contrasts beautifully with Moore's nuanced portrayal, and together, they elevate the material to a level that feels both fresh and timeless.

Almodóvar's direction is, as always, a masterclass in blending humor with heavier themes. His adaptation of the source material is pitch-perfect, seamlessly weaving together moments of levity with moments of genuine pathos. The film doesn’t shy away from exploring complex emotional landscapes, and Almodóvar handles these moments with the same wit and sensitivity that has become his trademark. His direction is paired with an equally impressive score from his frequent collaborator Alberto Iglesias, creating a pitch-perfect environment. His hauntingly beautiful music adds a layer of emotional resonance, heightening both the comedic and dramatic moments and enriching the overall viewing experience.

I had an absolute blast with Saturday Night. While the film doesn’t quite hit the same comedic highs you might expect from its source material, the way it builds tension toward the big night is much more captivating than a straight comedy would have been. This Gala Screening places the audience at 10:00pm on October 11, 1975 and follows a fearless group of young comedians and writers attempting to revolutionize television in the 90 minutes leading up to the first-ever broadcast of Saturday Night Live.

The pacing is energetic, and the suspense keeps you hooked as everything starts to unravel just before the live broadcast. The ensemble cast works incredibly well together, and I loved the use of oners that added to the film’s dynamic flow. Jon Batiste’s score, too, was a major highlight, elevating the mood and adding an extra layer of energy.