Heartland Film Festival 2024 Screening #4: “Superboys of Malegaon”

Young filmmaker holding a digital camera, watching forlornly as the woman he loves is driven away offscreen.

Movies will break your heart, kid.

Previously on Midlife Crisis Crossover:

It’s that time again! Since 1992 my hometown of Indianapolis has presented the Heartland International Film Festival, a multi-day, multi-theater celebration of cinema held every October. Local moviegoers have the opportunity see over a hundred new works in the realms of documentaries, narrative features, shorts, and animation made across multiple continents from myriad points of the human experience. Some participants stop in Indy on their grand tour of Hollywood’s festival circuit; some are local productions on shoestring budgets; and a wide spectrum of claims are staked in the innumerable niches between, projects with well-known actors screening alongside indies with enormous hearts.

Heartland’s 33rd edition runs October 10-20, for which I’ve made plans to catch at least eight films in all (Lord willing). Longtime MCC readers know the rule: every film I see in theaters gets its own entry…

Full disclosure: Superboys of Malegaon was a last-minute addition to my festival itinerary, made possibly by one of my patented “six degrees” rabbit-hole investigations of the seeming interconnectedness of all cinema. Follow:

After loving Andrew Garfield’s back-to-back performances in The Social Network and the first Amazing Spider-Man (disregarding this judge’s low score for the second), I followed him to his next project, 99 Homes, which was the first film I ever saw by director Ramin Bahrani, whose most recent feature film was Netflix’s The White Tiger, which shined thanks in large part to its young leading man, one Adarsh Gourav. Fast-forward to this past September, when I spent a good hour or more reviewing the descriptions and cast/crew listings for every single Narrative Feature on Heartland’s site to check for familiar connections. Eventually I got to Superboys, which also stars Gourav.

Between his name and its capsule summary’s strong resemblance to the warm-hearted Be Kind Rewind…well, here we are. It’s funny how many roads lead to and from superheroes. Little did I know the Rewind similarities would end after a time, while the final twenty minutes would reveal strong ties to another, much larger pop-cultural touchstone — one of the all-time greatest, at least according to my generation of geeks.

Continue reading

Heartland Film Festival 2024 Screening #2: “Micro Budget”

Four young actors looking really helpless

Imagine if Don’t Look Up were made with nearly no money and its only agenda were “make ALL the money!” Now imagine the behind-the-scenes featurettes about that.

Previously on Midlife Crisis Crossover:

It’s that time again! Since 1992 my hometown of Indianapolis has presented the Heartland International Film Festival, a multi-day, multi-theater celebration of cinema held every October. Local moviegoers have the opportunity see over a hundred new works in the realms of documentaries, narrative features, shorts, and animation made across multiple continents from myriad points of the human experience. Some participants stop in Indy on their grand tour of Hollywood’s festival circuit; some are local productions on shoestring budgets; and a wide spectrum of claims are staked in the innumerable niches between, projects with well-known actors screening alongside indies with enormous hearts.

Heartland’s 33rd edition runs October 10-20, for which I’ve made plans to catch at least eight films in all (Lord willing). Longtime MCC readers know the rule: every film I see in theaters gets its own entry…

Next up on our to-do list is Micro Budget, an uproarious film-about-filmmaking, which of course means it’s legally guaranteed a Best Picture nomination. The uproarious satire’s skewering of indie movie production might seem offensive to other Heartland participants if they, like its witless fictional auteur, lacked any measurable integrity, artistry, or intent to at least watch a few “How to Make a Movie” YouTube tutorials, let alone see some actual movies while they’re at it.

Continue reading

The Power and Powerlessness of Memory Curation: “The Fabelmans” vs. “Aftersun”

Movie poster for "The Fabelmans", one of several in an outdoor grid.

Another one from the Department of the Power of Movies. If you’ve seen it, you’ll note the horizon is on the bottom.

Much bandwidth has been devoted to the movies-about-moviemaking subgenre that feels as if it’s relatively exploded here in the later pandemic years. Filmmakers are looking back on their lives with emphases on their relationship to movies and on their upbringing, often in that order. Given the perpetually precarious state of the world, everyone with at least a rudimentary level of self-awareness is in a reflective mood nowadays. Some of their stories are like a live feed staged in their mind palace, replete with witty host repartee and snacks. Others are more like candid self-therapy sessions, surveying the damage of years past and the few clues they still have on hand to decipher What It All Meant. The results among these motion-memoirs rely on whatever footage they’ve collected that hasn’t decayed like so much neglected celluloid, and on their level of control over the final cut.

Continue reading