Hello there! It’s me, your fellow cinema enthusiast, stepping back into Lisa Laman’s South by Southwest (SXSW) coverage. Although I’m not physically in Austin, Texas – the vibrant heart of the Lone Star State where this festival is unfolding – I’m joining you virtually from Dallas, Texas. The opening weekend, March 7-9, was nothing short of a glamorous spectacle, with big names like Ben Affleck, Jenna Ortega, Paul Rudd, Blake Lively, Anna Kendrick, and Nicole Kidman gracing the event, much like Dakota Johnson’s birthplace.
However, amidst these grand events, there were numerous under-the-radar films making their debut, eagerly seeking attention, engaging discussions, and potential distribution deals. So, let’s dive in and explore the cinematic gems that might just steal our hearts!
The Tallest Dwarf (dir. Julie Wyman)
In much the same way as many marginalized groups, representations of little people in movies often lack humanity and foster a sense of alienation. Furthermore, these individuals usually have no say in how they are portrayed on screen. Julie Wyman’s new documentary, The Tallest Dwarf, addresses these challenges mainly by giving members of this community the opportunity to reclaim various artistic expressions. Through recreating classical paintings, outlining their bodies, or participating in acting workshops, The Tallest Dwarf shows little people reclaiming the art forms that were previously used to stereotype them.
In this film, titled “The Tallest Dwarf,” we follow a woman named Wyman who stands out due to her exceptional height compared to others in her community. The movie explores her relationship with her father and her curiosity about her ancestry as she waits for DNA test results. However, the narrative frequently jumps between these themes and philosophical discussions on artistic depictions of little people. Unfortunately, this constant shifting makes “The Tallest Dwarf” feel disjointed and uneven in its storytelling. Although it’s not unheard of to blend academics and emotions in documentaries, “The Tallest Dwarf” struggles to maintain cohesion as it tackles numerous subjects.
There are certain aspects that gain from deliberate contrast. Notably, the dissonant atonal tune in the initial scenes paired with scrapbook-style animation mirrors the score of The Brutalist, creating a jarring blend of different musical styles. Furthermore, numerous on-screen testimonies, especially those from parents of little people expressing their eagerness for others to appreciate the joy of having children who resemble them, are particularly captivating. This is also true for Wyman’s candid conversations with her father. Despite his limited verbal expression, he conveys a profound emotional impact through only a few words.
Highlights from the film “The Tallest Dwarf” feature tales about pioneer actor Billy Barty and a section where Wyman’s peers read out scripted portrayals of thoughts rumbling inside the minds of little people, derived from old photographs. Similar to a striking scene in Mati Diop’s “Dahomey“, “The Tallest Dwarf” generates captivating cinema by merging various underrepresented viewpoints. In this instance, Wyman narrates discussions about whether or not a panel for little people should receive funding from a pharmaceutical company aiming to “cure” them. Although “The Tallest Dwarf” struggles at times to organize its disparate elements into a unified whole, this sequence showcases the occasional thought-provoking content within it.
Shuffle (dir. Benjamin Flaherty)
In the film “Shuffle“, Director Benjamin Flaherty doesn’t observe addiction from a detached perspective. Instead, he personally battles with the intense struggles of addiction every day. He’s here today thanks to having received proper treatment for his addiction. Regrettably, not everyone in similar circumstances receives the essential care they need. The movie delves into numerous individuals caught up in the appalling reality of fraudulent addiction treatment centers in modern America. These facilities keep people ensnared in the cycle of addiction to maximize insurance coverage. Similar to the disturbing truths behind the prison system, it’s about filling quotas with bodies, rather than offering long-term aid.
In some cases, it’s the smallest elements that make a documentary stand out as exceptional. The voiceover in “Shuffle” by Flaherty has a powerful impact, reminiscent of Ben Affleck with a touch of gravitas. It skillfully combines an authoritative tone with a relatable everyday spirit. Moreover, Flahert wisely steps back to let individuals like Daniel, Nicole, and Corey (currently guiding people towards other treatment centers) take center stage. Remarkably, Flaherty is absent from the screen throughout “Shuffle”, providing ample space for these unique perspectives to unfold.
The raw emotion and deeply etched sorrow portrayed on the screen is heartrending, at times even in the subtlest of ways. In one part of an interview, Daniel, seated in a public park, gestures towards a nearby picnic table, recalling where his family held his first intervention. In another scene, a distraught Nicole can be seen sitting on a walkway leading to a porch door, mourning the passing of numerous loved ones. On the other hand, Corey is constantly moving, with Flaherty filming him in motels, airports, and bus stops. Filming these and other moments in outdoor settings suggests that Flaherty is documenting these individuals in their daily lives. This approach deviates significantly from the conventional documentary style of having subjects talk directly to the camera on a controlled soundstage.
I must admit, Shuffle’s authenticity truly resonates with me. Unlike some treatment center frauds that dehumanize addicts to generate more wealth, Shuffle offers an unparalleled perspective by immersing us deeply into the everyday lives of its central characters. This intimate portrayal not only makes the film emotionally gripping but also ensures that every expository segment is as moving as a poem (“sobriety is an affront to profit”) or as impactful as a thought-provoking blackboard doodle. The closing scenes, which highlight the significance of treatment centers led by fellow addicts and underscore the importance of communal connections, are the crowning touch that makes Shuffle truly remarkable.
In a nutshell, “Shuffle” is not a documentary that paints all treatment centers as evil. Instead, it critiques those that take advantage of addicts for financial gain, rather than providing genuine help. This nuanced perspective makes the film a poignant portrayal of a man grappling with the fact that the tools meant to save his life can also be twisted into harmful means. The filmmaking in “Shuffle” is subtle yet deeply human, with intricate details like using film stock imperfections in certain images of Daniel and Nicole. The film’s deep personal connection to its central theme, as experienced by director Flaherty, greatly enhances the production.
She’s the He (dir Siobhan McCarthy)
In my Graduate School film classes focusing on musical cinema, we explored how scholarly perspectives often uncovered queer undertones in the strong male friendships featured in films such as “Singin’ in the Rain”. These friendships, in fact, seemed to have a deeper connection than the heterosexual relationships portrayed within the main narratives. It was almost inevitable for viewers to imagine subtextual queer relationships lurking just beyond the screen. The “No Dames!” scene from “Hail, Caesar!” beautifully encapsulated this idea by turning the underlying message into an explicit joke, making the subtext become overt humor.
Siobhan McCarthy’s piece titled “She’s the He” shares a similar approach. Over time, discussions about cross-dressing in movies like “She’s the Man” and “Sorority Boys” have been numerous. However, McCarthy boldly asks, “What if this common plotline evolved into a heartwarming tale of self-discovery for a transgender character?
Long-time buddies Ethan (Misha Osherovich) and Alex (Nico Carney) are facing the prospect of an unfulfilling final year in high school. Alex is disheartened because he hasn’t had any romantic success with his crush, Sasha (Malia Pyles). On the other hand, Ethan appears distant for reasons they can’t quite figure out. In a misguided attempt to win over Sasha, Alex suggests a foolish plan: they should pretend to be trans girls in order to gain access to the girls’ locker room. This questionable idea, reminiscent of 1980s teen comedies, leads Ethan to experience an unexpected sense of happiness, particularly when Sasha helps her pick out a dress that feels just right. As Ethan begins to understand she might be transgender herself, Alex continues to deceive Sasha further in the pursuit of his crush.
As a comedy enthusiast, I’m eagerly advocating once more to prominent comedy filmmakers in the major movie industry to take inspiration from indie films when crafting hilarious scenes. While many big studio and streaming comedy directors seem to be struggling with delivering effective gags, Siobhan McCarthy’s directorial debut showcases an impressive flair for visual comedy.
In particular, a scene early on in the film where Alex and Ethan attempt conversation amidst a gym class dodgeball game stands out as a superb example of layered visual humor. The film also demonstrates a keen eye for vibrant colors in its production and costume design, even when characters are situated in dimly lit environments like the backstage wings.
She’s the He doesn’t dismiss comedy cinema as second-rate; instead, it presents another opportunity to create captivating visuals that keep audiences engaged and entertained.
In McCarthy’s filmmaking approach, there are occasional bursts of rough, hand-drawn animations scattered throughout. This technique shares some similarities with that seen in The Mitchells vs. The Machines, but the mature themes of She’s the He give these doodles a unique flavor by incorporating more adult-oriented elements, such as depictions of a car called “D*ck Gobbler”. However, McCarthy is adept at knowing when to tone down these quirks and allow more lifelike visual styles to take center stage during intimate moments, like when Ethan and Forest (Tatian Ringsby) have a deep conversation about trans identity.
In many raunchy comedies, the introduction of heartfelt moments can lead to a loss of direction. However, in the film “She’s the He”, the heartwarming displays of trans camaraderie are just as engaging as watching Ethan and Alex trying on various feminine outfits at a thrift store (Alex’s comment about a revealing dress, “I look like I’d break up a marriage”, is hilarious). This balance between humor and emotion is also reflected in Nico Carney’s performance. Playing an intentionally annoying character, both McCarthy and Carney excel in portraying the youthful innocence that softens this character’s rough edges. He may not be overtly aggressive, but rather, he seems like a hyperactive younger sibling. This role fits Carney well, especially considering his excellent comic timing.
In this performance, Misha Osherovich truly shines as the heart and essence of their character in their debut film role. Amidst a flurry of humor, including jabs at male hygiene habits and playful banter about what Ryan Reynolds calls Blake Lively during intimacy, there’s an intense emotional resonance to Osherovich’s portrayal of Ethan’s transformation throughout the movie. Their acting is deeply moving and not to be missed. However, some aspects of how they develop on-screen can feel a bit awkward. I must admit, I was slightly let down by its transition from a more raucous John Waters-inspired high school comedy in the initial scenes to something reminiscent of Stephen Chbosky and Tim Tharp in the final act.
Siobhan McCarthy’s creative vision is truly captivating, as they understand the significance of strong imagery and talented actors in comedic productions. They also cleverly incorporate Charlie XCX’s music, which adds to the appeal. I’m eagerly anticipating more LGBTQIA+ films from this decade that use Charlie XCX’s tunes, like “She’s the He” and “Bottoms”. Essentially, “She’s the He” is this era’s equivalent of the classic “No Dames!” in turning a film genre’s underlying themes into the central focus.
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2025-03-14 15:15