THE SEVERING (Slamdance 2022) – Review by Alexandra Heller-Nicholas

Screendance, defined as danceworks designed specifically to be performed for and recorded by the camera, this is a compelling niche field, but for its admirers, when it is done well it is nothing less than captivating. Mark Pellington’s The Severing is such a film, digging into the visceral muck of screendance’s full potential and pulling out from its guts something kinetic, mucky, emotive, poetic and very, very powerful.

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RETROGRADE (Slamdance 2022) – Review by Alexandra Heller-Nicholas

No one likes getting a ticket for bad driving, but in Adrian Murray’s Retrograde, Molly REALLY doesn’t like getting a ticket for bad driving. Retrograde is a classic buried indie treasure, a sharp portrait of a young woman who decides to fight that ticket with all her might to the detriment of almost every other aspect of her life, thus revealing that she is, in fact, a bit if an asshole.

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PARIS IS IN HARLEM (Slamdance 2022) – Review by Alexandra Heller-Nicholas

There is perhaps nothing more exciting than the discovery of a true indie film treasure; a film that, despite its visible budgetary constraints, pushes the envelope in ways that a price tag cannot be affixed, like a quality screenplay, solid direction and a talented, passionate cast. Exhibit A is Christina Kallas’ powerhouse Paris is in Harlem.

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