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DC Shorts festival goes hybrid with robust LGBTQ selections

In-person, online options for local film fans

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Peter Morgan and Raedorah Stewart of DC Shorts are ready to welcome film fans. (Photo courtesy DC Shorts)

Beautiful animation and rich historical detail make a short film about gay commercial artist J.C. Leyendecker as compelling as many of the more than 900 selections showcased in this yearā€™s DC Shorts International Film Festival, running Sept. 9-19 both in-person at the Edlavitch Jewish Community Center (1529 16th St., N.W.) and online.  

Director Ryan Whiteā€™s short film ā€œCodedā€ is one of many LGBTQ, “homegrown” and international submissions to the Districtā€™s short film festival, which kicks off its 18th year as a hybrid event due to the ongoing pandemic. “Coded” is a biopic about J.C. Leyendecker, a gay commercial artist from the 1920s-30s who coded gay themes in his ad drawings. 

Safety protocols for the festival, which was completely virtual last year, include having an online viewing option for those uncomfortable or unable to attend events, and requiring in-person attendees to wear a mask and present their vaccination card to enter the venue.

ā€œWhen they purchase the ticket online, before they can proceed to purchase, they have to click that they acknowledge the rules,ā€ DC Shorts Venue and Volunteer Manager Raedorah Stewart said. 

She added that at the venue ā€œyour vaccination card must match your ticket and you must wear a mask.” Extra masks will also be available at the door. 

In July concerns about the highly transmissible Delta variant of the coronavirus led both the CDC and Mayor Muriel Bowser to recommend even fully vaccinated individuals to wear masks indoors.

Although 57% of the Districtā€™s residents are estimated to be fully vaccinated, according to D.C.’s coronavirus website, as a precaution DC shorts will screen 95 short films online and hold five in-person showcase screenings at the Jewish Community Center and two at the Goethe-Institut (1377 R St., N.W.). 

Stewart told the Blade the festival also staffed fewer volunteers this year in order to maintain proper social distancing at the venues. But despite the added precautions, enthusiasm remained high.

ā€œThe volunteers this year are excited and relieved to return to something that is familiar,ā€ Stewart, who identifies as a queer Black woman, said. ā€œHaving that shared, global experience through story has become a key to making our festival unique and stand out. And we are doing it with such stringent protocols…it advances the entire festival atmosphere.ā€

She said the goal for her and her volunteers was to make this experience as enjoyable as possible for guests.

When asked which of the hundreds of short films was her favorite, Stewart laughed and ā€œpleaded the fifth.ā€

ā€œThatā€™s like asking a mother whoā€™s her favorite child,ā€ she said, stating each one was special and unique.

Joe Bilancio, DC Shorts programming director, told the Blade normally the festival receives between 1,500 to 2,000 entries for works that must have been completed the previous year to qualify.

While the number of submissions was down this year, he said his team was surprised by how many were submitted despite unprecedented constraints.

ā€œWe were shocked that there was that much content,ā€ Bilancio said. ā€œFor example, that meant if someone were used to working with an editor in a suite collaboratively, they now had to do it over Zoom.ā€

And he said the quality of all of the films was impressive considering the pandemic constraints.

ā€œI liked ā€˜Codedā€™ by Ryan White,ā€ said Bilancio, an out gay man who also struggled to find a ā€œfavoriteā€ among the wide selection. ā€œHe did a film about hidden messages in products coded for the LGBTQ community.ā€

Bilancio identified with the film’s idea of different people having different perceptions of the same experience, a key reason why he enjoys programming the DC Shorts film festival.

Christian Oh, the festivalā€™s board chair, identifies as heterosexual but the film ā€œGodā€™s Daughter Dancesā€ particularly resonated with him as a Korean American.

ā€œEven though it focuses on the LGBTQ community from a light-hearted perspective, there is the military,ā€ Oh said of Director Sungbin Byunā€™s comedy-drama about a transgender female dancer who gets called up by the South Korean military.

ā€œIt makes you wonder what things others are dealing with in their home countries that we donā€™t know about.ā€

Oh also works with DCā€™s Asian American film festival and Stewart helps with the LGBTQ Reel Affirmation series.

ā€œThese stories are important,ā€ said Oh, a filmmaker and instructor. ā€œAnd need to be told from the perspective of people who are dealing with these issues.ā€

ā€œAnd they’re fun,ā€ said Stewart, who enjoys being part of an artistic community.

The in-person screenings include ā€œAnimation Domination,ā€ ā€œCinema 10% LGBTQā€ and ā€œHomegrown Showcase,ā€ which is a special selection of films made by local D.C. filmmakers.

The local filmmaker showcase will screen at the Goethe-Institute on the festivalā€™s opening night at 6 p.m. and includes ā€œMiss Alma Thomas: A Life in Colorā€ about the first Black woman to have her paintings exhibited in the White House in 2009, ā€œOurselves, in Storiesā€ about the independent comics communityā€™s efforts at inclusion, and ā€œOut to Voteā€ about activist Bobby Perkins and the fight to restore voting rights for the formerly incarcerated in Baltimore.

The festival also includes four free filmmaker workshops, which Oh said is critical to networking and increasing representation.

ā€œThis short format provides more equity and access to minority storytellers,ā€ he said. ā€œTwo filmmakers meet and produce a film for the next festival.ā€

And that connection he said is important especially now with pandemic limitations, which can also cause economic harm, further limiting the reach of new and unique voices.

ā€œA lot are dying because they donā€™t have the economy from ticket sales,ā€ Oh said. ā€œSupport creatives, especially locally. They are hurting big time. If you can support them virtually or in person, please do. We open our doors to every community ā€” Asian, LGBTQ, Black, Latino, everyone.ā€

General admission for in-person showcases is $15, while individual online access is $12. An all-access festival pass, which includes all live and all online showcases, is $140. For more information, visitĀ  dcshorts.com.

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Nick Kroll and Andrew Rannells want to adopt baby in ‘I Don’t Understand You’

Film premiered at SXSW in Austin

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(Courtesy photo)

Editor’s note: Jack Morningstar attended SXSW in Austin, Texas.

“I Don’t Understand You” focuses on a couple whose romantic Italian getaway devolves into bloody chaos while they prepare to adopt their first child.Ā 

The film, while veering into hilariously gruesome hijinks, tells the story of a gay couple who is willing to kill for a chance at fatherhood. It sheds light on the hurdles that same-sex couples often go through in the adoption process: Financial burdens, time constraints, fraud, and in this case, a rural Italian family.

The film premiered last weekend at SXSW in Austin and stars Nick Kroll and Andrew Rannells along with Nunzia Schiano, Morgan Spector and Eleonora Romandini. It was written and directed by Brian Crano and David Craig, who are married. They sourced inspiration from their own adoption struggles and an Italian vacay gone wrong. 

ā€œWe were about to leave for Italy when we found out that we had matched with a birth mother and our son would be born in about six weeks,ā€ said Crano. 

According to Craig, the trip was tense and it culminated in their car getting stuck in a ditch on their way to an anniversary dinner.

ā€œWe ended up at an old ladyā€™s house after she rescued us in her Fiat. Her family cooked us a meal and we stayed up drinking with them until 3 a.m., not understanding a word they were saying,ā€ he said.

Without spoiling anything, the couple in the movie go to absurd lengths to ensure that their adoption goes through. Craig explained that the theme of the movie was “what would you do for your kid.”Ā 

“We were three years into our own journey at the time and realized we would literally do anything to make that dream a reality. Itā€™s really a love letter to our son,ā€ he said.

The film is hard to relegate to a single genre. 

ā€œWhen conceiving the story, we saw it as different parts ā€” romantic comedy, horror movie, murder play ā€” but I think by bringing in Nick and Andrew that blend actually became much more of an organic mix where the comedy sustained throughout. They elevated it in a more elegant fashion,ā€ said Craig. 

“I Donā€™t Understand You”was produced by Pinky Promise, a women-led production company with the mission to elevate diverse voices in their storytelling. Kara Durrett, Pinky Promiseā€™s current president was a champion of this script from the beginning. Founder Jessamine Burgum recounts that when Durrett was onboarding, she said ā€œIf you donā€™t get [“I Donā€™t Understand You”] I donā€™t know if this is going to work.ā€ 

It ultimately became one of the first projects Burgum and Durrett collaborated on.Ā 

Kroll and Rannellsā€™ chemistry carried the film. 

ā€œThere was a desire to work with each of them because they had both separately been in such amazing comedian teams ā€” like Andrew with Josh Gad and Nick with John Mulaney. Nick and Andrewā€™s characters are in almost every scene of the movie together, so they needed to be adept to basically doing a shared performance. There was no one more well-positioned to do this as naturally as possible,ā€ said Crano. 

Their characters are easy to root for, yet also deeply flawed. 

ā€œA big thing we wanted to do with this movie, and with all of our work in telling stories, is avoid telling a cliched gay trauma film. Weā€™ve never ascribed to the idea that there is a subcategory to film that is LGBTQ, rather ā€” movies are for everyone. We want to make a movie where gay characters are flawed, not for being gay, but because of who they are. They can be villains, but they are our protagonists,ā€ said Craig. 

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Previewing queer movie and TV highlights for spring

New options coming despite recent Hollywood strikes

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Andrew Scott stars in ā€˜Ripleyā€™ on Netflix. (Image courtesy of Netflix)

The Hollywood awards season has come to an end at last, which means we can finally look forward to some fresh new movies hitting screens over the next few weeks. And although the actorsā€™ strike of 2023 has led to inevitable delays in bringing new content to our televisions for the spring, there are a few titles to watch for there, as well.

Girls 5Eva: Season 3 (March 14, Netflix)

The under-the-radar cult hit musical comedy series from Peacock, following a Y2K-era girl group that reunites to take advantage of a wave of millennial nostalgia, returns for a third season after being resurrected by Netflix. Lauded for its sharp and funny skewering of pop culture and the music industry and cut from the same zany, absurd cloth as ā€œThe Unbreakable Kimmy Schmidtā€ (much of its creative team are veterans of that hit show), itā€™s the kind of giddy-but-smart, rapid-fire comedy that begs to be binged. Starring Sara Bareilles, Busy Philipps, RenĆ©e Elise Goldsberry, and Paula Pell as a divorced lesbian dentist, fans will surely be logging on to watch as soon as it drops, but new viewers are encouraged to jump on board for this one, too. 

Love Lies Bleeding (March 15, theaters)

Rumbling into theaters after an auspicious premiere at this yearā€™s Sundance Festival, this pulpy 1980s-set lesbian-themed thriller from director Rose Glass (ā€œSaint Maudā€) is touted as ā€œan electric new love storyā€ and promises to take viewers on a wild ride with its story of a reclusive gym manager (Kristen Stewart) from a criminal family who falls in love with an aspiring bodybuilder (Katy Oā€™Brian) on her way to Las Vegas to follow her dreams; unfortunately, their romance sparks unexpected violence, dragging the new lovers deep into a dangerous web of crime and intrigue. Though it was given limited release in New York and Los Angeles on March 8, it expands wide on March 15. Also starringJena Malone, Anna Baryshnikov, and Dave Franco, with Ed Harris as Stewartā€™s crime boss father. Consider it a must-see.

Femme (March 22/29, limited theaters with national expansion to follow)

From the UK comes this taut noir-ish thriller about a prominent London drag artist (Nathan Stewart-Jarrett) who, while stepping out one night after a show to buy cigarettes, is brutally attacked by a man (George MacKay) and his gang of friends. Left traumatized by the experience, he retreats into isolation ā€“ but when he recognizes his attacker in a chance meeting at a gay sauna, he begins an affair with the closeted bully, hoping to enact a plan of revenge. Co-writer/directors Sam H. Freeman and Ng Choon Ping developed the film as an expansion of their award-winning 2021 short film of the same name, and the resulting debut feature premiered to enthusiastic acclaim at the 2023 Berlin Film Festival. Also starring Aaron Heffernan, John McCrea, and Asha Reid.

Ripley (April 4, Netflix)

This long-awaited eight-episode limited series adapts lesbian literary icon Patricia Highsmithā€™s novel ā€œThe Talented Mr. Ripleyā€ for yet another screen incarnation ā€“ there have been at least four so far, most famously the 1999 feature film version starring Matt Damon, Jude Law, and Gwyneth Paltrow ā€“ and stars queer Irish actor Andrew Scott (BBCā€™s ā€œSherlockā€, ā€œPrideā€, ā€œAll of Us Strangersā€) as the title character, who is sent by a wealthy man to persuade his son to return home from an extended trip to Italy. Once there, however, the ambitious Ripley finds himself irresistibly drawn into the privileged life of leisure led by young Dickie (Johnny Flynn) and his girlfriend Marge (Dakota Fanning), and he embarks into ā€œa complex life of deceit, fraud and murder.ā€ Shot in an elegant black and white that evokes its early 1960s setting, show creator/writer/director Steve Zaillian says his adaptation was crafted to provide an interpretation  more faithful to the story and closer in tone to Highsmithā€™s novel than has been seen before, which is great news for fans of the original Ripley, whose adventures were continued by the late author throughout three further books after the success of the first, perhaps paving the way for follow-ups to this adaptation should it live up to the high expectations that accompany it. Eliot Sumner, Maurizio Lombardi, and John Malkovich also star.

Housekeeping for Beginners (April 5, limited theaters)

Another festival darling, this Macedonian film won the Queer Lion prize at Venice in 2023, and was submitted as an official selection for Best International Feature at the Academy Awards. While it didnā€™t make the cut for Oscar, itā€™s hitting US screens for a limited release next month ā€“ no doubt on the strength of writer/director Goran Stolevskiā€™s previous feature, ā€œOf An Ageā€, an Australian coming-of-age romance between two young men that made multiple ā€œBest of the yearā€ lists (including ours) in 2023. Revolving around a woman finds herself raising her girlfriendā€™s two troublemaking daughters despite having no interest in being a mother, the synopsis describes it as an exploration of ā€œthe universal truths of family,ā€ framed in a ā€œheartwarming storyā€ of clashing wills ā€œabout an unlikely familyā€™s struggle to stay together.ā€ The pedigree alone is enough for us to suggest catching this one, if you can, when it hits theaters. Starring Anamaria Marinca, Alina Șerban, Samson Selim, Vladimir Tintor, Mia Mustafa, Džada Selim, Sara Klimoska, RozafĆ« Ƈelaj, Ajse Useini.

Glitter & Doom (April 9, digital)

Billed as ā€œa fantastical queer romance set to the hit music of the Indigo Girls,ā€ this indie oddball made a theatrical debut earlier this month, but heads to digital and VOD on April 9. Itā€™s the ā€œlove at first sight journeyā€ of its title characters, two young dreamers ā€“ an aspiring circus performer (Alex Diaz) and a struggling musician (Alan Cammish) ā€“ who embark on ā€œan epic summer romanceā€ until they find their love threatened by ā€œthe realities of pursuing their dreams.ā€ Though we havenā€™t yet seen it ourselves, the buzz promises a campy yet uplifting and exuberant good time, and a star-studded queer-centric cast that includes Tig Notaro, Missi Pyle, Ming Na-Wen, Lea DeLaria, B-52s diva Kate Pierson, ā€œDrag Raceā€ alum Peppermint, Broadway star Beth Malone, and yes, even the Indigo Girls themselves.

Challengers (April 26, theaters)

From ā€œCall Me By Your Nameā€ director Luca Guadagnino comes this buzzy romantic triangle starring ā€œEuphoriaā€ and ā€œDuneā€ star Zendaya as a former tennis prodigy turned coach whose husband ā€“ a champion on a losing streak (Mike Faist, ā€œWest Side Storyā€) ā€“ must face off against a washed-up former best friend (Josh Oā€™Connor, ā€œThe Crown,ā€ ā€œGodā€™s Own Countryā€) that also happens to be his wifeā€™s former boyfriend. According to the synopsis, ā€œpasts and presents collide and tensions run high,ā€ and though details are scarce beyond the basics weā€™ve already shared, rumors (as well as a few not-so-subtle hints in the trailers) suggest that things might take a decidedly bisexual turn. Whether or not that should turn out to be true, Guadagninoā€™s name on the credits is enough reason to make this a queer must-see ā€“ especially with a cast as vibrant and talented as the one he has assembled.

I Saw the TV Glow (May 5, limited theaters)

Also coming from Sundance is this horror thriller from writer/director Jane Schoenbrun, produced by recent Oscar-winner Emma Stone (with husband Dave McCary) and starring queer actor Justice Smith and Brigette Lundy-Paine as two troubled teens who bond over a fantasy TV series and find their realities starting to blur after its cancellation. Praised by reviewers for its surreal style and its exploration of queer and trans themes within its mind-bending, darkly disorienting framework, itā€™s likely not the kind of movie that will resonate with all viewers ā€“ but itā€™s probably a great match for those who enjoy their horror on the abstract side. 

In addition to all these, though their premiere dates are still not set, three much-loved  TV series are set to return this spring. Streaming network Max will debut the third seasons of both Hacks and The Sex Lives of College Girls, two popular shows with heavy queer appeal. The former, starring Jean Smart and Hannah Einbinder, is a multi-award-winning comedy about the unlikely creative partnership between an old-school stand-up legend and an edgy young comedy writer who loathe each other – or at least did in the beginning. After two seasons of alternately awkward, bittersweet, and hilarious misadventures together, they might have warmed up to each other a bit, but weā€™re betting that wonā€™t keep them from locking horns. 

The latter, starring RenĆ©e Rapp, Pauline Chalamet, Alyah Chanelle, and Amrit Kaur, is also a comedy, following four freshman roommates at a fictional college as they explore love and friendship, financial stability and personal independence, and ā€“ of course ā€“ sex. It would have a draw for queer audiences even without the sapphic subplots, and for its enthusiastic fans, queer or otherwise, it will surely be a must watch.

Finally, the venerable UK sci-fi adventure series Dr. Who is set to return to the BBC sometime in May, when out queer actor of color Ncuti Gutwa (ā€œSex Educationā€, ā€œBarbieā€) officially becomes the 15th incarnation of the shape-shifting titular time lord ā€“ a role he already previewed to much fan approval in a Christmas special late last year. While the charms of this long-running fan franchise may escape viewers without an appreciation for the kind of campy intellectual fantasy that is its trademark appeal, Gutwaā€™s charmingly fabulous persona might be just the thing to bring a whole new army of queer converts into the fandom.

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No problem with ā€˜Problemistaā€™

Julio Torresā€™s debut film hints at greater achievements to come

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Julio Torres and Tilda Swinton in ā€˜Problemista.ā€™ (Photo courtesy of A24)

Confronted with the title of queer SNL alumnus Julio Torresā€™s debut feature film, the first question that comes to mind for many people might be, ā€œWhatā€™s a ā€˜Problemistaā€™?ā€

For the millions of retail workers, reception staffers, and hospitality clerks, however,  or anyone else whose job it is to interface with the public, the label ā€“ coined by Torres to describe the particular kind of driven personality embodied in his movie by headliner Tilda Swinton ā€“ may be, if not familiar, at least evocative enough to convey its meaning. 

Weā€™ve all encountered them, actually; entitled, self-righteous, demanding, aggressively impatient, and unwilling to accept anything less than complete capitulation for an answer, they are the people every cashier dreads to see (and every customer loathes to be behind) in line. They seem to thrive on drama, and they donā€™t care how much it inconveniences or disturbs anyone in their radius. In fact, they seem at times to relish doing so, as if they were striking a blow against social injustice by bullying a grocery clerk into honoring an expired coupon. In short, they might be described as a sort of contemporary urban warrior whose response to a problem is to become a problem until they get the solution they want. But by legions of waiters and customer service reps, they are typically just described as ā€œthe customer from hell.ā€

The central character in Torresā€™s stylish, smart, and surrealistically infused contemporary New York fairy tale ā€“ Alejandro (played by Torres himself) ā€“ is not such a person, at least not when we meet him. His creative imagination nurtured by his artist mother (Catalina Saavedra) in El Salvador, heā€™s now a young immigrant on a work visa in the U.S., getting by in his daily life by making as few waves as possible while dreaming of being a toy designer for Hasbro. But when a minor flub gets him fired from the cryogenic company where he works, he inadvertently finds himself drawn into the never-peaceful orbit of the titular ā€œproblemistaā€ herself: Elizabeth (Swinton), an outcast art-world maven and wife of a terminally ill eccentric painter (Wu Tang Clan founder RZA) that has frozen himself in hope of being revived when a cure is available to save his life. 

Tasked with tending to her not-quite-late husbandā€™s legacy and estate, she is harried from her efforts to enforce her husbandā€™s wishes via a campaign of unreasonable requests and non-negotiable demands, and sorely in need of someone to help manage the burden ā€” and with his future in America now hanging by a thread, Alejandro takes on the challenge, hoping this terrifying woman whose path he has crossed can keep him from deportation until he can land the career opportunity heā€™s been waiting for.

Itā€™s at once a familiar and an oddball conceit, a tale of toxic mentorship with shades of ā€œThe Devil Wears Pradaā€ that weaves a strangely heartwarming sense of unexpected but perfectly matched kinship into the mix and takes us past tropes and clichĆ© to discover a perspective that illuminates the extremes instead of reinforcing the bland status quo of our lives. While most audiences may not have experience within the elite cultural circle in which Swintonā€™s Elizabeth asserts her presence, the core essence of her persona is instantly recognizable to us all. And although Torresā€™s screenplay gets a lot of mileage ā€“ and indeed, the movie gets a lot of its appeal, thanks to Swintonā€™s masterful performance ā€“ out of parodying that ā€œhigh-maintenanceā€ image, it also takes us slyly past our easy judgments to reveal all the easily relatable human qualities behind the stereotype. By the time itā€™s over, we might still see her as a ā€œmonster,ā€ but perhaps no more so than any of the rest of us. We might even, like Alejandro, start to see her seemingly insufferable approach to life as something a little less clueless and a lot more justifiable than we want to assume ā€“ and recognize that, even if it makes people cringe when they see her, it might sometimes be the only way to get by in a world bent on maintaining a veneer of calm banality. It might even be the only appropriate response to ā€“ and best rebellion against ā€“ the indifference of a system whose first priority is always the preservation of a placid status quo.

That, of course, is the joy of ā€œProblemista,ā€ a movie that successfully gets a load of intelligent laughs from the eccentricities of both its unorthodox lead characters ā€“ a non-specifically but unmistakably queer protagonist and a ferociously uncompromising ā€œdifficult womanā€ ā€“ yet somehow manages to turn them both into aspirational figures. It successfully pokes a savvy kind of fun at the rarified cultural niche in which it takes place ā€“ as well as at the not-so-subtly delusional constructs which govern the lives of anyone who fits within its boundaries ā€“ without diminishing or degrading its characters or making their individual pursuits feel foolish; it accomplishes this because, even in its unabashedly satirical milieu, it places the greatest emphasis on the humanity of its characters. Alejandro and Elizabeth, in almost any other film, would be supporting players ā€“ comic relief, perhaps ā€“ in a story about people whose lives were more comfortably mainstream; here, they take center stage, allowing us to laugh at their eccentricities but never letting us lose sight of the real human impulses behind them.

For that, we can thank the deeply committed performances of Swinton, an actress of legendary caliber whose background in underground and counter-cultural theater and film brings a considerable layer of stature to Torresā€™ freshman effort, and Torres himself, who comes across as a fully confident and seasoned performer capable of holding his own onscreen with someone of his co-starā€™s stature. RZAā€™s amusing but somehow sweet performance in flashbacks as Elizabethā€™s husband also has a humanizing effect, and acclaimed Chilean actress Saavedra casts a luminous glow in her limited screen time that nevertheless seems like a keystone element of the filmā€™s delicate balance of magical realism and absurdist comedy.

To be fair, defining ā€œProblemistaā€ within a label is a problematic undertaking from the start; neither comedy nor drama, fantasy nor surrealist ephemera, it combines all these elements to approach something more profound, perhaps, or at least more useful for audiences looking for a new perspective on the sometimes-soul-crushing sea of obstacles that seems to govern our daily lives. At any rate, far more important than any of these esoteric themes, it confronts ā€“ gently, if with considerable cynicism ā€“ the existential rattlesnake of navigating the immigration system of the US, straddling multiple agendas and managing to succeed with all of them.

Torres, whose stint on ā€œSNLā€ led to a successful stand-up special and a gig as the creator and star of HBOā€™s critically acclaimed Spanish-language series ā€œLos Espookys,ā€ has managed an impressive debut as a filmmaker; itā€™s the kind of movie that hints at greater achievements to come, and we are eagerly on board to watch them unfold in years to come. No small feat for a first-time filmmaker, especially considering the number of ambitious sociocritical comedies that have tried and failed to pull off the same delicate balancing act ā€“ and even more especially because itā€™s also a lot of fun.

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