THELMA (Melbourne IFF 2024) – Review by Alexandra Heller-Nicholas

An easy target for a ruthless phone scammer, Thelma is devastated when she realizes she has been conned into parting with $10,000 to supposedly cover bail for her grandson. Writer/director Josh Margolin foregrounds Thelma’s subjectivity and experience, brought to life so vividly by June Squibb in what no doubt will be remembered as one of the great roles across her long and varied career. And it is in this light that Thelma feels almost radical in the film’s driving refusal to diminish and ignore the plight of older women.

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THELMA – Review by Sarah Knight Adamson

June Squibb of Nebraska (2013) fame’s new film role of Thelma, a 93-year-old widow living alone with the help of her daughter (Posey Parker) and grandson (Fred Hechinger), is a heartwarming, comical, family-themed generational saga. Writer/Director Josh Margolin based his script on comparable adventures of his grandmother named Thelma, who encountered scammers pretending to be him and, in turn, attempted to steal money from her. Margolin has said that his grandmother didn’t go to the extent to find the robbers or confront them as in the movie, although he said that his tough-as-nails grandmother could have easily gone to the extent of Squibb’s character in the film.

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THELMA – Review by Susan Granger

Federal authorities warn that seniors are increasingly being targeted by scammers pretending to be their grandchildren and cajoling them to send money after a car crash, arrest or other catastrophe. That’s what happened to Thelma, an elderly widow living alone in Los Angeles. A fraudster claiming to be her grandson calls Thelma Post (June Squibb), telling her that he was in a terrible accident and needs her to send $10,000 immediately. Horrified, she complies, only to discover she’s been swindled. Her apprehensive daughter (Parker Posey) and son-in-law (Clark Gregg) cannot help, nor can the police. So this feisty grandma decides to get a gun and retrieve the money on her own.

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THELMA – Review by April Neale

Thelma is a film that stands out for its unique storytelling—a refreshing departure from the typical cinematic fare we are being force-fed in the summer. It’s a brilliantly, hilariously subtle exploration of aging in the digital age and the generational blind spots when raising a functional kid wrapped inside an action flick. The importance of Thelma’s family and her struggle to retain her agency underscores the story. Director Josh Margolin crafted the tale based on the real-life experience of his grandmother. June Squibb plays the titular Thelma, a widowed woman of 93 years watching the dust settle as life slips by with needlepoint and television, who greatly admires Tom Cruise’s stunt work ethic in films. One day, a scammer phone call is received that changes her life trajectory.

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THELMA (Sundance FF 2024) – Review by Leslie Combemale

There’s something truly badass and subversive about making a movie inspired by the Mission Impossible franchise starring a 93 year old woman. That’s the premise for Thelma, writer/director Josh Margolin’s Sundance release starring June Squibb in her first leading role in a 70-year career. It’s as fun as it sounds, but without sugar-coating the challenges that face us all as we enter our twilight years.

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Sundance FF 2024: Previewing Femme-Helmed Films, Part One – Leslie Combemale reports

January is generally known as the repository for the studios’ least promising releases. January is also the MONTH OF SUNDANCE, where promising film projects are introduced to the public for the first time and some go on to acclaim, winning multiple awards. The rising cost of attendance, the difficulty in getting films accepted (over 14,000 apply, about 100 get a premiere), and the ever-lowering percentage of films picked up for distribution are valid challenges for fest attendees, critics, and filmmakers. However, Sundance still one of the best games in town for female filmmakers and filmmakers of color. Of the first 82 narrative and documentary features announced by the fest, 47% were directed by filmmakers who identify as women, and 45% who identify as people of color.

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