Today is my last day of movies at Sundance for the year, which brings my grand total for this festival to twenty films. Yes: it is getting exhausting. But a funny thing happens along the way—when you see this many films at once, I think your critical muscles get stronger, not weaker. At home, in a typical week, I might see two or three movies, but after you’ve seen a dozen great narrative films, your bar is high.
A few standouts have emerged from this year’s Sundance (some of which I haven’t seen): The Birth of a Nation, Manchester By the Sea, Love & Friendship, Sing Street, The Eyes of My Mother, Kate Plays Christine, Morris From America, Green Room, Sonita, Certain Women. I’ve heard rumblings about other films and am looking forward to seeing them in the next year or so.
Morris From America
Chad Hartigan made This Is Martin Bonner, a film beloved of many Christianity Today readers and writers (read Jeffrey Overstreet on the film). Morris From America is Hartigan’s latest, and while it’s very different from its predecessor, it’s also a ton of fun.
Morris (newcomer Markees Christmas) is thirteen and living with his father (Craig Robinson) in Heidelberg, Germany, where his dad works for the soccer team. His mother passed away. As the only two black people in a sea of Germans, they stick out, but they’re close and they stick together. They joke (and sling dirty jokes at one another playfully) and hang out with one another. Morris is learning German and figuring out how to freestyle rap. One day, Morris meets Katrin (Lina Keller), who is 15, and they strike up a friendship.
From there, the film turns into a sort of classic coming-of-age story with a German twist. Morris is funny and sweet and just trying to find his way toward manhood. His father is loving and lonely. The scenes between the two of them are the best—by the way, when will we wake up and put Craig Robinson (who played Daryl in The Office) in all the movies?—but the cast of supporting characters are fun to watch, and the film’s writing had us in stiches.
In the Q&A after the film, Hartigan (who is white) said that he originally set the film in Dresden, but the racial tensions there are running high (especially with the influx of immigrants) and he knew that if he set the movie there, the fact that Morris and his father are black would become the story. Instead, the film acknowledges and depicts the casual racial prejudice the men experience in the context of the coming-of-age narrative. That’s wildly effective, and I’m glad he made that choice.
The Blackout Experiments and Tickled
These last two films are both documentaries, and perhaps it’s just because everything is blurring together, but to me they seem to be on the same theme, even though they couldn’t be more tonally different.
Tickled—the better of the two—started when David Farrier, a journalist in New Zealand who specializes in weird stories, discovers videos of “Competitive Endurance Tickling” on the Internet. Intrigued, he tries to contact the organization behind the “sport,” and in return receives a vitriolic email denigrating him (in horrible terms) for his sexual orientation and telling him to stop investigating. Farrier’s a good journalist, and this only makes him more curious. The rabbit hole it jumps down from there (it turns out the videos are linked to a tickling fetish, but if you can believe it, that may be the least weird part of the story) is just crazy, and Farrier’s film is both funny and disturbing in about five different ways.