Diomysus (2022) [Slamdance 2023]

DOCUMENTARY SHORTS BLOCK
Emily Morus-Jones’ documentary short is an absurdist and colorful look at a subset of society that is often misunderstood and demonized by the public. She emphasizes the inherent prejudice of said subset by exploring their world through mice. Mice are some of the more misunderstood animals and through great puppetry, we learn about the lifestyles of the polyamorous.

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Subway Stops (2023) [Slamdance 2023]

DOCUMENTARY SHORTS BLOCK
The streets and subways of New York City are filled with a colorful variety of performers, panhandlers, and personalities, and there have been some films based around this environment. The whole ecosystem of New York City thrives on artistic expression and people performing, and it’s a shame that Joe Zakko’s documentary short feels like a missed opportunity.

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Meet Me in the Bathroom (2023)

For years I was very keen to what was considered the last wave of rock and roll in the early aughts. I only was aware of it because MTV decided to air a lot of the more listenable brand of near rock and roll. From The Strokes, The White Stripes, The Hive, and the Yeah Yeah Yeahs, I loved all of it. But it being MTV they only scratched the surface of it all. “Meet Me In the Bathroom” is an okay documentary that has the ability to really capture a moment in time, a moment when rock and roll was really booming. It could have been a chronicle of a big final gasp for the music genre, and most times it feels like the directors left so much out, preventing it from feeling cohesive and even coherent.

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Orchestrator of Storms: The Fantastique World of Jean Rollin (2022) [Fantasia 2022] 

In this documentary, the life and works of French filmmaker Jean Rollin is explored through interviews with contemporaries, film experts, and people who were close to him. Through scenes from his films, photos of life, and these interviews, viewers get to know the man and what inspired him. 

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The Greatest Radio Station in the World (2022)

In August 2021, David Owen of The New Yorker published an article that declared WPKN-FM in Bridgeport, Connecticut, to be “the greatest radio station in the world.” It was a highly subjective opinion, of course, but Owen’s celebration of the community-supported station’s free-form programming made a cogent argument about how this eclectic station was able to maintain its originality and spirit during a time when too much of radio broadcasting has become stale and predictable.
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