Tribeca Film Festival 2025 Review: “Oh, Hi!”

By Morgan Roberts

Director: Sophie Brooks
Writer: Sophie Brooks
Stars: Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds, Polly Draper, David Cross
Runtime: 94 minutes
Year: 2025

Iris (Molly Gordon) and Isaac (Logan Lerman) go on their first trip as a couple. In idyllic Upstate New York, the pair enjoy the scenery, the solitude, and time together. That is, until the definition of their relationship becomes the topic of discussion. Soon learning the two are on completely different wavelengths, Iris goes to great lengths to show Isaac what defining their relationship could mean for him. As her tactics begin to get out of hand, she calls Max (Geraldine Viswanathan) and Kenny (John Reynolds) for some assistance. “Oh, Hi!” from writer/director Sophie Brooks is an audacious, cerebral, and deeply empathic rom dramedy that tackles the current state of dating.

“Oh, Hi!” explores what happens when two individuals are confronted with their disparate viewpoints. What lengths would one go to in order to maintain their current relationship? And what does it say about the state of interpersonal relationships that the ante feels so high?  Nevertheless, “Oh, Hi!” manages to walk a fine line between humor, horror, surrealism, and It is really tricky to balance the film’s wit and charm with the twists and turns that it takes. But those shifts are executed seemingly effortless fashion.

Gordon and Lerman are tasked with having to make both these characters seem deeply in love - or lust? - as well as land the catalyst shift. And it is truly easy to believe both, especially as the film progresses. If Lerman played Isaac as a stereotypical ass, oozing with arrogance, hubris, and knowing he absolutely owns a “Saturdays Are For The Boys” flag, it would be difficult to buy into the spiral we witness Iris descend through. Likewise, if Gordon has chosen to go to “Fatal Attraction” on steroid levels of unhinged, it might be hard to sympathize with her. Both actors walk a fine line, and do so brilliantly to ensure the humanness, no matter how off the walls the circumstances become, shines through.

Isaac (Logan Lerman) and Iris (Molly Gordon) in “Oh, Hi!” | Sony Pictures Classics | Tribeca Film Festival

Male characters in films directed by women are always quite interesting to me; there is a grace that many male filmmakers do not give to themselves. Lerman took those facets of Isaac, sometimes contradictory elements to his character, and ran with them. He could be utterly charming one moment and patronizing the next. Lerman ensures the messy culminations of characteristics undermines one another. There is a reflective quality to his performance that is truly striking.

Meanwhile, Gordon has to allow Iris’ murky messiness to be big and bold - which is always entertaining and exciting to see women on film be brash and plucky. I think in lesser hands, both on the page and in the performance, Iris could have been reduced to a caricature of unwell, unhinged, “crazy women,” I know I saw regurgitated in media throughout much of my own youth. And while the film certainly plays with how diminutive that can be, they never allow Iris to embody it. The same way Isaac is allowed to be layered and nuanced, so does Iris. But Gordon gets to add those in really subtle ways. Iris is a character who wears her heart on her sleeve, and her vulnerabilities are really cared for in Gordon’s performance.

With a film as bold as “Oh, Hi!” the stakes have to rise, and cleverly the film uses the full introduction of Max and Kenny to add further dynamics to the situation. Max and Kenny as a couple give an interesting comparison point for Iris and Isaac, especially with the latter pair being at odds. Max and Kenny are very supportive of one another, there is a very clear mutual respect, and as they come to support Iris, they work really well together to problem solve. Moreover, having Max come into story adds to Iris’ journey. Seeing Iris in an unhealthy dynamic with Isaac then contrasting it with her healthy friendship with Max gives depths to Iris interpersonal relationships we wouldn’t have been able to see otherwise. Max is a pragmatic ride-or-die, never condoning Iris’ lengths, but never dismissing the feelings and vulnerabilities that led her to those moments. She shows up in tangible ways - some bordering on more drastic than others - giving both practical solutions and emotional support. “Oh, Hi!” reteams Gordon and Viswanathan after first appearing in the 2020 film, “The Broken Hearts Gallery.” Their friendship in the film adds levity and solidarity in truly impactful ways.

The film is a refreshingly rich text, one with layers that come forth in exciting ways upon each rewatch. Subsequent rewatches give the audience to the space to dig deep into the facets you originally absorbed subconsciously. Much of that is due to Brooks’ script which feels razor sharp from frame one. Then, as director, she has a keen eye on when to utilize the visual medium of filmmaking to play around with the tone. “Oh, Hi!” is an original and deeply human exploration of how we navigate our relationships. With captivating performances, a razor sharp script, and subversive contextualizations, “Oh, Hi!”is an audaciously fun roller coaster of a film.

Grade: A
Pair This Film With: “Band Aid” (2017) dir. Zoe Lister-Jones; “The Heartbreak Kid” (1972) dir. Elaine May; “Ruby Sparks” (2012) dirs. Valerie Faris and Jonathan Dayton

Tribeca Film Festival 2025 Review: “On a String”

By Morgan Roberts

Director: Isabel Hagen
Writer: Isabel Hagen
Stars: Isabel Hagen, Dylan Baker, Ling Ling Huang, Karen Blood, Frederick Weller, Jamie Lee, John Kroner
Runtime: 78 minutes
Year: 2025

In her directorial debut, “On a String” Isabel Hagen explores the life of one musician as she tries to reignite her passion. Violist Isabel (Hagen) is at a crossroads in her life. Still living with her parents (Dylan Baker and Karen Blood) in their New York apartment. A Juilliard graduate, she spends much of her time playing gigs - weddings, funerals, dinner dates, galas, you name it - as part of a quartet with her friend Christine (Ling Ling Huang). Even though she is playing regularly, there is still something missing. Her life gets more complicated after meeting Carl, a man who she originally thinks is attracted to her but soon learns he’s interested in hiring her to tutor his daughter. As her lessons continue, Isabel and Carl’s professional relationship gets complicated.

Isabel (Isabel Hagen) in “On a String” | Tribeca Film Festival

The lives of professional musicians, especially in a city like New York, is a very particular journey. Some elements are relatable such as the continued uphill battle of existing as a millennial in a capitalist society or the power dynamics at play amongst men and women (in a more binary lens of gender). But there remain eccentricities only a working musician knows. The mental strain, the physical strain, the inconsistent work, and the clawing to keep any forward momentum. The film certainly highlights the array of work professional musicians can do; from film scores, paid events, teaching, professional musicians have a number of opportunities but when the next job is never guaranteed, it can create a debilitating grind.

“On a String” has a lot of charm, but outside of our central character, there are a plethora of thinly written characters. It does not always feel like a well-worn world we’re inhabiting with her. Isabel is a compelling character as she maintains her work while a New York Philharmonic audition looms over her. However, the film feels very isolating - maybe that was the intention. But given how many people populate her world, and knowing how creative spaces attract all kinds, it would’ve felt more fleshed out if our supporting characters were given a little more substance.

“On a String” certainly feels fresh and original with Hagen’s voice clearly shaping the film from only a perspective a professional musician can. Given its tight timeframe, the film sacrifices some opportunities to build some interesting layers through delving a touch deeper into the supporting characters. Nevertheless, its reminiscent feel and charm allow for the film to stand out.

Grade: C+
Pair This Film With: “As of Yet” (2021) dirs. Chanel James and Taylor Garron; “Goodbye, Petrushka” (2022) dir. Nicola Rose; “Guinevere” (1999) dir. Audrey Wells

Tribeca Film Festival 2025 Review: “Natchez”

By Morgan Roberts

Director: Suzannah Herbert
Runtime: 86 minutes
Year: 2025

“Behind the big house is the rest of the story.”

Natchez, Mississppi is a small Southern town rich with history. Its garden clubs have turned Natchez into a pilgrimage site tourists particularly interested in the American Antebellum era can visit. Homes dressed up like the first half of “Gone with the Wind,” homeowners in period-appropriate costumes, which until very recently included Confederate regalia. Despite the pomp and circumstance, the layered history of the region is in full view in Suzannah Herbert’s “Natchez,” as residents and tourists must choose to reckon with the painful past of this Mississippi town.

The documentary film begins dream-like, a “Stepford Wives” air wafts through these opening sequences. Yet, just as quickly as we are introduced to the idealized version of Natchez, the picture-perfect begins to crack, revealing its imperfect and harmful history. After we are introduced to the garden clubs and their rose-colored view of the Antebellum past, we begin to interrogate the accuracy and depth of that view with Rev. Tracy Collins is a local reverend and when he is not in the pulpit, he is giving tours to those visiting Natchez, providing them with the history of enslavement, Reconstruction, and white supremest systems of oppression which are still in place today. It is far from the glamour and grandeur of the big, beautiful homes, many of which house altered recollections of the histories they hold. For example, enslaved people are usually called “servants” by tour guides and home owners; the treatment of enslaved people are often equated to a great employer, with, hopefully, audiences knowing too well the inaccuracies in that.

If audience members are unsure of these inaccuracies, the film does a brilliant job of pairing those falsehoods with factual examinations of the history of Natchez. Whether it is Rev on his tour, garden club member Deborah Cosby sharing her home during the pilgrimages, the historical preservations championed by Ser Boxley, and the conservation and tours from park rangers Kathleen Bond and Barney Schoby, the film creates a tapestry of the truly complex history of Natchez. “Natchez” is able to expertly use some traditional documentary filmmaking techniques build out how the history of this town has been utilized as a means to cater to white discomfort. There are subtle confrontations throughout the film as many white residents attempt to perform impressive mental gymnastics to satisfy their need to play dress up in the Antebellum period without being associated with the harmful and many times evil history of that era.

Tracy McCartney in a still from “Natchez” | Tribeca Film Festival

One resident, Tracy McCartney, begins to confront her own understandings of this time period. When we meet Tracy, she is getting dolled up, wearing a hooped skirt dress, almost cosplaying Scarlett O’Hara, as she works at one of the Antebellum homes. We see how important her sense of belonging is; how this identity has given her meaning and community. And yet, she is willing to learn more about Natchez from outside of her original worldview and her openness to that journey is a stark contrast to others. Whether it is people at a party cherry-picking what to be concerned about or white tour guides at homes with their cognitive dissonance full on display. One guide in particular, David Garner, is the portrait of the most glaring inconsistencies. Garner, an openly gay man, holds incredibly racist views which he feels emboldened to share. Garner is a perfect example of how some in other marginalized groups will still align themselves to their whiteness to the detriment of others, including peers in their own community.

“Natchez” is a powerful film which investigates how one Southern town reconciles its painful history, whether some community members want to or not. Herbert sheds light on those in that region who fight for the realities of the Antebellum period are not forgotten, and how conservation and preservation truly confront our past. The film empowers its audience to explore how restorative justice can be a tool for confronting our history, healing what we can together, honoring the scars that are there, and learning how we can collectively move forward in these tumultuous times

Grade: A+
Pair This Film With: “Dahomey” (2024) dir. Mati Diop; “Harlan County U.S.A.” (1976) dir. Barbara Kopple; “The Order of the Myths” (2008) dir. Margaret Brown

Tribeca Film Festival 2025 Review: “Honeyjoon”

By Morgan Roberts

Director: Lilian T. Mehrel
Writer: Lilian T. Mehrel
Stars: Ayden Mayeri, Amira Casar, José Condessa
Runtime: 80 minutes
Year: 2025

In “Honeyjoon,” June (Ayden Mayeri), an American, and her Persian-Kurdish mother, Lela (Amira Casar) vacation in the beautiful Azores islands. However, this is more than a mother-daughter trip. Their visit to the Azores islands coincides with the one year anniversary of the death of June’s father. Surrounded by honeymooners at their resort, the pair confront their grief and their desires in life in different ways. In her feature directorial debut, Lilian T. Mehrel explores how grief can take shape in diverging ways and how it can reshape a mother-daughter relationship.

The film presents June and Lela at odds, not in blatant conflict but in only the subtle, nuanced ways mothers and daughters can be. Lela harbors some slight disapproval with her daughter in how she dresses and presents herself to the world. Yet, deeply cares, worrying about her daughter in not always the most helpful of ways. Meanwhile, June is constantly in fear her mother will say something which embarrasses her, especially in front of their attractive tour guide João (José Condessa). June reads her mother’s concerns largely as critiques, frustrating her. Mehrel cleverly embeds the dynamics between these women in her script, exploring the layers of their relationship through this tug of war as June aims to recapture her joy and Lela desperately wants to interrogate how this profound loss has changed them.

Left to right: Ayden Mayeri as June, Amira Casar as Lela | Photo Credit: Inés Gowland

“Honeyjoon” is anchored by two powerful performances. Mayeri, known for supporting roles in films such as “Spin Me Round” or series like “I Love That For You,” shines in the central role. She gives June nuance and layers which allow for all of the messy, vulnerable parts of her grief to come through in a beautiful way. June’s thirst for joie de vivre is made all that more believable by Mayeri’s honest and sensitive performance. Casar, likewise, gives an emotionally charged and deeply moving performance. A veteran of both American and European cinema, Casar feels so effortless as Lela, exuding her grief through her care and concern for her daughter. Casar and Mayeri are a natural fit as mother and daughter, perfectly balancing their characters’ different but parallel journeys.

Mehrel’s voice shines through as this journey unfolds, finding ways to dig deeper into June and Lela’s grief, while also allowing them moments of joy. Mehrel is able to allow Lela and June private moments from themselves, which then add shades and hues to their relationship throughout the film.

The cinematography by Inés Gowland beautifully gives the film an etherial feel. The imagery allows melancholy and magic, heartbreak and happiness, joy and sadness exist in this practically heaven on earth location. Beauty and grief are allowed to exist simultaneously, and how these characters are captured in this settling only accentuates those muddled mix of emotions.

“Honeyjoon” is a stunning depiction of grief, and the reflections found in the mother-daughter relationship. Casar and Mayeri both give such moving and vulnerable performances, it is easy to join them on their journey. Mehrel clearly gives her all in her first feature, laying bare the human experience.

Grade: A
Pair This Film With: “Lady Bird” (2017) dir. Greta Gerwig; “The Meddler” (2015) dir. Lorene Scafaria; “The Persian Version” (2023) dir. Maryam Keshavarz

For more about “Honeyjoon,” you can visit the film’s Tribeca Film Festival page here.

Tribeca Film Festival 2025 Review: “Bird in Hand”

By Morgan Roberts

Director: Melody C. Roscher
Writer: Melody C. Roscher
Stars: Alisha Wainwright, Christine Lahti, James Le Gros, Annabelle Dexter-Jones, Jeffrey Nordling, K. Todd Freeman
Runtime: 87 minutes
Year: 2025

In Melody C. Roscher’s feature directorial debut, “Bird in Hand,” identity, the thorny mother-daughter relationship, and internal reconciliation are explored. Bird (Alisha Wainwright) is at a crossroads. Her partner has just proposed, and in the wake of this life altering moment, she runs to her mother’s, Carlotta’s (Christine Lahti) home. As she begins to look toward her future, Bird must begin to reckon with her past and her history. Through her own confusion and search for self, Bird meets and befriends Dennis (James Le Gros), her mother’s neighbor who is currently renovating - and PR-spinning the history of - a former plantation. As Bird maneuvers through these important relationships, she begins to learn more about herself, confronting her maybe less-than-flattering characteristics and finding ways to give herself grace.

“Bird in Hand” is able to capture the universal flailing many young women encounter at a monumental life precipice while feeling incredibly personal. Bird’s resilience in the face of adversity, especially when self-made, gives layers to her complexity as a character. Wainwright shines, never shying away from Bird’s messiness and imperfections. It makes her performance truly compelling to watch. Wainwright has to balance and navigate Bird’s yearning for sense-of-self with her unflattering coping mechanisms, coping mechanisms which may have previously aided her but currently no longer serve her.

Wainwright has the challenging task of allowing audiences to see Bird’s heart, her insecurities behind her prickly exterior. It is a more interior performance, but Wainwright clearly knows when to let that cracks appear to allow those vulnerabilities, Bird’s nuances and layers, to really come through. Moreover, it is captivating to watch Wainwright and Lahti build a thorny, yet compassionate mother-daughter relationship. The mother-daughter relationship is such a vital and particular interpersonal relationship, these actors give different hues and layers to it. Bird clearly seeks approval from her mother, and Carlotta struggle to balance empathy and tough-love. These two women evidently have a deep bond, however, there are moments they struggle to connect. Is it out of fear of rejection? Fear of disappointment? Fear of not doing the right thing? A murky, muddled combination of that and more? Wainwright and Lahti draw you in to search for the unspoken amongst these two in a really compelling way.

Elevating these performances is the writing and direction from Roscher. In lesser hands, the exploration of these layers would unravel. But not here. Roscher instead allows the film to breath, take shape in surprising ways, while always returning to Bird and her truth. The film feels grounded, real, and personal, which I truly find incredibly compelling in cinema. When a filmmaker’s voice is so central to the story coming to life, I find myself far more invested than when a filmmaker feels so far removed from their characters and what unfolds. Roscher manages to find subtleties in her actors' performances that shed light later on in the film. These characters come to life in such a natural, organic way. You can reflect on people you know or encounter who have similar traits or share some part of their journey with Bird, especially when sense of self, belonging, and longing are so woven into the fabric of the film.

“Bird in Hand” is a reflection of one woman confronting the precipice of change. While feeling deeply personal, the film manages to expand the universalities at this particular stage of life, in contention with where someone finds themselves and where they want to be. Roscher’s vision is quite clear, and her confidence in her feature directorial debut makes the future of her career feel quite exciting.

Grade: A-
Pair This Film With: “The Diary of a Teenage Girl” (2015) dir. Marielle Heller; “Miss Juneteenth” (2020) dir. Channing Godfrey Peoples; “Petite Maman” (2021) dir. Céline Sciamma

For more on “Bird in Hand,” you can visit the film’s Tribeca Film Festival page here.

Tribeca Film Festival 2025 Review: “An Eye for an Eye”

By Morgan Roberts

Directors: Tanaz Eshaghian and Farzad Jafari
Runtime: 84 minutes
Year: 2025

In Tanaz Eshaghian and Farzad Jafari’s documentary film, “An Eye for an Eye,” Tahereh, an Irani woman who was convicted of murdering her husband, but negotiate with her in-laws who, under Sharia Law, have the legal right to either execute her or forgive her. But forgiveness comes at a high cost. After serving 14 years for the murder of her husband, Tahereh is conditionally released. Moving in with her son and daughter, she attempts to re-enter society. However, she does not get too comfortable.

In Iran, her in-laws, specifically her brother-in-law, gets to decide if he will have her executed or choose to forgive her, conditional if she can meet his financial demands, something that is called blood money. Her family seeks help from agencies who oppose execution and assist with fundraising money. Nevertheless, Tahereh’s case is complicated. Despite reportedly enduring years of abuse, Tahereh is not seen as a victim. Domestic abuse is rarely, if ever, documented properly or believed. And some actions she took before the killing makes her even less sympathetic to the ultra-religious judicial system and society at large.

“An Eye for an Eye” is a truly harrowing watch as you witness family members, anti-execution activists, and Tahereh herself try to negotiate for her life. The film tackles a number of moral quandaries, such as the death penalty, religious zealotry, and justice. There has always been a heightened awareness of Sharia Law, especially for Americans propagandized to fear Muslim communities and countries. There is truth to those fears, but where that occurs, how it is imbedded into a judiciary system is far outside of Western audiences’ viewpoint. “An Eye for an Eye” takes an honest look at those realities and what they truly mean for women like Tahereh and her family.

Still courtesy of Unchained Productions.

What is additionally striking about the film is not just Tahereh’s fight, but that of her son, Mohsen. Her son, who was only six years old when his father was killed, becomes more of an advocate for Tahereh than she is for herself. He is the one who seeks guidance and support. He is the one who, after a blood money price has been named, does everything in his power to raise the funds. When films explore the blight of women, so often, they are relegated only to the person or to the community of women around her. “An Eye for an Eye” takes a larger look at how this law and system impacts families. It adds layers to this already fraught situation in surprising ways.

The film does have some conventional elements to it, balancing footage with talking heads from the subjects. Moreover, there are some moments the film takes a more true crime approach, particularly when talking about the murder itself. Those shifts can take some getting used to, but become more natural as the film progresses.

“An Eye for an Eye” is a haunting examination of Iran’s approach to Sharia Law and how scripture can be twisted in ways which can further victimize survivors of domestic violence. It takes a critical look at Iran and its relationship with oppression. As anti-execution activist Ms. Jabarazdegan states in the film, “Whatever we do in Iran, it seems there is a price to pay.” And that could be the ultimate price to pay.

Grade: B+
Pair This Film With: “The Perfect Victim” (2012) dir. Elizabeth Rohrbaugh; “Persepolis” (2007) dirs. Vincent Paronnaud, Marjane Satrapi; “Widow Champion” (2025) dir. Zippy Kimundu

For more on “An Eye for an Eye,” visit the film’s page for the Tribeca Film Festival here.

Tribeca Film Festival 2025 Review: “Widow Champion”

By Morgan Roberts

Director: Zippy Kimundu
Runtime: 95 minutes
Year: 2025

Imagine you are recently widowed. Your in-laws (father-in-law, brother-in-law, nephews) now own the land you live on. And in a moments notice, they take it all away. This is the reality for countless women in Kenya, and explored in Zippy Kimundu’s latest documentary, “Widow Champion.”

The film follows Rodah, a widow who lost her home, after her in-laws demolished her house while she was at church. What followed was seven years of homelessness with her three children as she fought to reclaim her home. Through countless hours of mediation with the elders of her community, she was able to return to the land where she and her husband lived. After her own personal experience, Rodah began volunteering as a Widow Champion, a small group of women tirelessly working with widows and their families in hopes of reconciliation and restorative justice to bring peace and security to the women facing their next of kin stripping away their homes, uprooting their lives. The law of ‘widow inheritance’ was originally designed for widows to receive support from their extended family; in practice, it became a land grab, boiling down to systemic oppression based on gender.

Much of the film joins Rodah as she works with two widow: Mary and Theresa. Both women are at odds with their brothers-in-law, men who are threatening to kick the women out of their homes. Theresa and her brother-in-law have a particularly contentious relationship, with law enforcement occasionally being called. Meanwhile, Mary’s brother-in-law wants her to leave as he blame her for her husband’s death as her husband was HIV-positive. Kimundu and her editors were able to strike an important balance in the mediations and conversations had with and behalf of Mary and Theresa. Mediations usually take hours, can be several meetings before a resolution is found. Kimundu was able to dig deep on the sources of conflict, to shed light on this process that is so meaningful to Rodah. This is clearly a process Rodah deeply believes in, and Kimundu is able to provide just enough of a glimpse to the process, that you can understand why Rodah champions this, even with its imperfections.

But the work to be had is not always linear nor seamless. It is a truly honest depiction of the events and struggle these women endure. Moreover, we witness the toll it takes on Rodah. It is evident that Theresa and Mary are not her only clients. And further complicating Rodah’s work is her own fight for the title to her home. It is a marvel how Kimundu and her post-production team were able to take six, seven years of events to layout the scope and insidiousness of this reality.

While it is heartbreaking to bear witness to these fights, the film manages to find joy. “Widow Champion” is able to paint a portrait of community, especially amongst women, in such an earnest and beautiful way. Their resilience also makes them joyful.  It is this focus on community that also makes the film so powerful. These realities are not just faced by women in Kenya, but other parts of Africa and the world. How we humanize this reality will also empower us to seek justice and reconciliation with all women encountering this type of oppression.

“Widow Champion” is a film which wears its heart on its sleeve. It is so deeply reflective of the systems of oppression Rodah and millions of women face, without devolving into complete despair. The humanity at the center of this film shines from its first frame, and never really fades, even in the most harrowing moments.

Grade: A
Pair This Film With: “An Eye for an Eye” (2025) dirs. Tanaz Eshaghian, Farzad Jafari;  “No Other Land” (2024) dirs. Rachel Szor, Hamdan Ballal, Yuval Abraham, Basel Adra; “Seeds” (2025) dir. Brittany Shyne

For more about “Widow Champion,” you can visit the film’s Tribeca Film Festival page here.

Review: “The Phoenician Scheme”

By Morgan Roberts

Director: Wes Anderson
Writer: Wes Anderson
Stars: Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis
Runtime: 102 minutes
Year: 2025

Filmmaker Wes Anderson returns to cinemas with his latest film, “The Phoenician Scheme” which follows businessman Zsa-Zsa Korda (Benicio del Toro) as he attempts to set into motion the greatest project of his life. Enlisting his only daughter and current nun-in-training, Lisel (Mia Threapleton), Korda weaves through the country in hopes of securing the financing for his latest endeavor. Things are made more complicated by constant assassination attempts made by an unknown enemy.

Anderson has long been known for his stylized filmmaking, with color palettes and camera movements largely associated with his work. “The Phoenician Scheme” similarly employs the same look, but feels hallow in comparison to some of his other works such as “Moonrise Kingdom” or “The Royal Tenanbaums.” Over the last decade, Anderson has become more of a cameo churning machine rather than a storyteller with rich, engaging characters. The past ten years, the characters in his films have begun to feel like caricatures of who once occupied a good Wes Anderson film.

It does not help that the film is littered with cameos. From Hope Davis to Riz Ahmed, Tom Hanks to Scarlett Johansson, there are a plethora of big names all portraying single note characters. “The Phoenician Scheme” suffers from this who’s who of appearances and leaves little substantive for his central characters. Korda is a businessman with a horde of children, equal to the amount of schemes he is working on. But there are no layers. Every moment feels one note and surface level, which makes it baffling anyone should care if this man succeeds or fails, lives or dies. We know very little about him nor is much revealed throughout the sluggish runtime of the film. If this is how Anderson anchors his main character, there is not much to go off of.

From L-R: Benicio del Toro as Zsa-Zsa Korda, Michael Cera as Bjorn, and Mia Threapleton as Lisel in “The Phoenician Scheme” | Focus Features

Likewise, his daughter Lisel is so devoid of personality or character traits, she feels useless a majority of the time. Even as she tries to determine who killed her mother and uncover her lineage, there is nothing to suggest this is a meaningful endeavor. It feels more like a time-filler than anything substantial. Even Bjorn (Michael Cera), a tutor Zsa-Zsa, wears thin after a number of misadventures. And this is no criticism of the film’s actors. They were all given thinly written characters. If there is no base for them, they are fighting an uphill battle to cobble some performance of substance.

Moreover, the revelations during the film feel endlessly predictable. And doing the predictable thing isn’t always wrong, but when it is served on the same plate as a decade’s worth of films, it is far from appetizing. Much of the plot feels regurgitated ideas from a viewpoint that does not feel invested in its own story. It is largely uninspired which is quite a disappointing place to be, after seeing the heights Anderson can soar to when humanity and the otherness of that humanity are the focus of his films.

While Anderson remains a technical marvel as a filmmaker, “The Phoenician Scheme” lacks any nuance or breadth. There are certainly moments where the prior brilliance of Anderson’s filmmaking and storytelling shines through, but it makes few appearances to garner similar praise to his previous works. At times, the film becomes mindless entertainment, but if you are looking for a film full of heart and whimsy, “The Phoenician Scheme” severely lacks it.

Grade: C-

Pair This Film With: “Ishtar” (1987) dir. Elaine May; “Kajilionaire” (2020) dir. Miranda July; “Seeking a Friend for the End of the World” (2012) dir. Lorene Scafaria

“The Phoenician Scheme” is currently in limited release and will be widely released 06 June 2025.

Review: The Assessment

By Morgan Roberts

Director: Fleur Fortuné
Writers: Mrs. & Mr. Thomas, John Donnelly
Stars: Alicia Vikander, Elizabeth Olsen, Himesh Patel, Minnie Driver, Indira Varma, Nicholas Pinnock, Charlotte Ritchie, and Leah Harvey
Runtime: 114 minutes
Year: 2025

In her feature film debut, “The Assessment,” filmmaker Fleur Fortuné explores parenthood, the climate crisis, and an overreaching government. Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) want to start a family, but in a dystopian future, where reproduction is monitored, requiring hopeful couples to be assessed, determining whether they can have a child. Assessments are shrouded in mystery, so when Virginia (Alicia Vikander) arrives, she turns the couple’s world upside down.

As of late, a pull towards dystopian cinema has been a draw to contemplate our current world. In the film, Fortuné roots much of the reality to present day circumstances. Climate change, food scarcity, toxicity have shaped the world, and in order for life to carry on, Aaryan and Mia live in a scientifically adapted and supported society, away from the ravages of what humankind was doing to Mother Nature. With the decision to remain in society, they are subjected to the rules to retain order. One of those structures surrounds reproduction. In order to keep society functional, controlling how many people are using resources in said society is imperative. It is a truly striking element of the film particularly as for many Americans, their own reproductive healthcare has been radically dismantled over the last few years.

Himesh Patel and Elizabeth Olsen in THE ASSESSMENT, a Magnolia Pictures release. Photo credit: Magnus Jønck. © 2024 Number 9 Films Assessment Limited, TA Co-Production GmbH, ShivHans Productions, LLC, TA2022 Investors, LLC, Tiki Tāne Pictures, LLC. Photo courtesy of Magnolia Pictures.

While the film has science fiction elements, “The Assessment” is grounded in the humanness of its characters. The film, even with its expansive sets, feels claustrophobic. With Virginia’s arrival, the mood completely shifts. What once was a loving couple hoping to start a family, turns almost nightmarish as these three individuals are essentially trapped together with one individual holding immense power over the other two. Mia and Aaryan seem genuinely eager to please Virginia. From offering their bedroom when their original accommodations are not deemed worthy of her to allowing Virginia to witness intimate moments between the couple despite their reservations. However, the stoic and judgmental watch of Virginia from the first day feels less extreme than her tactics in the days that follow. By day two, Virginia begins to act like a child, getting a rise out of first Mia, and then Aaryan. This shift is where Vikander shines. She fully imitates children and childhood in an authentic manner, while also giving hints to Virginia’s true age, intellect, and motives. Vikander manages to capture the extremes of children: their uninhibited expressions, their boisterous personalities, and their precociousness. Too often, when an actor acts like a child, it becomes mimicry which borders on belittlement. Contrarily, Vikander is earnest in her work. Yes, she is clearly having fun, but never at the expense of children. Having kids is hard, but there is a reason people are drawn to parenthood. If Vikander was only the Veruca Salt mixed with Dennis the Menace type caricature, it would be hard to justify how hard Aaryan and Mia are fighting to become parents. Vikander understands the big emotions children have. Her performance is assiduous, whether she is putting on this act or portraying Virginia herself.

Alicia Vikander in THE ASSESSMENT, a Magnolia Pictures release. Photo credit: Magnus Jønck. © 2024 Number 9 Films Assessment Limited, TA Co-Production GmbH, ShivHans Productions, LLC, TA2022 Investors, LLC, Tiki Tāne Pictures, LLC. Photo courtesy of Magnolia Pictures.

This shift then alters the dynamics between Mia and Aaryan. Watching Patel and Olsen walk a delicate balance with their characters is fascinating. With Aaryan clearly being favored by Virginia, you understand Mia’s frustration and isolation, while Aaryan has sympathy, there is some delight in feeling as if one is doing everything “correctly.” It feels like an indication of figuring out the rules you have never been given. Olsen, coming off of her latest indie film “His Three Daughters,” has some of the more difficult work. Many times, she serves as an audience stand-in, voicing the absurd circumstances, while also allowing Mia’s prickliness to shine through. Her apprehension and exasperation never make her unworthy of our time and attention; nor does it minimize her desire for the journey of motherhood. When we are introduced to Mia, we see her drawn to her mother and we later learn her mother was sent outside of the society for some of her own radical beliefs. Early on, one can’t help but question her motives. Is motherhood truly something she wants or does she feel it will heal something in her after her own mother left? As the film progresses, you begin to sense the answer to both is likely yes, but it remains an earnest answer.

You begin to understand that particularly in later scenes between Olsen and Vikander, adding an interesting layer to the characters and an engaging topic of conversation about the film. The way these two actors interact is special. They are able to share glances and minimal dialogue to speech real volumes. The last twenty minutes of the film would not work if either actor was not tuned into the material. Luckily, Vikander and Olsen clearly are invested in these characters and their truths, making the final act of the film stirring and unforgettable.

Elizabeth Olsen in THE ASSESSMENT, a Magnolia Pictures release. Photo credit: Magnus Jønck. © 2024 Number 9 Films Assessment Limited, TA Co-Production GmbH, ShivHans Productions, LLC, TA2022 Investors, LLC, Tiki Tāne Pictures, LLC. Photo courtesy of Magnolia Pictures.

The film delicately balances these themes and largely conversations about society and humanity. There is a dinner scene which perfectly captures those ruminations as the couple of forced to confront their pasts while planning for their future. Moreover, as the film explores and plays with power dynamics, it is done so in a sensitive and thoughtful manner. Most of the film feels not just an exploration of the human experience but a philosophical quandary with no clear answers. That said, there are a few scenes which feel very specific and concrete in their messaging. Intimacy coordinator Katarzyna Szustow in partnership with Fortuné makes very clear the events of these interactions without feeling a need to dwell or blur the understanding of those scenes. The tactful handling of these scenes ensures the entire audience can engage and journey with this film.

“The Assessment” is a captivating science fiction drama which manages to confront our understanding of the human experience and how that journey can mirror our current circumstances. Olsen shines as a steady force throughout as Vikander gives an audacious and wild performance. As a work of cinema, the way in which “The Assessment” explores the precipice of motherhood and the different child-rearing expectations when exploring parenthood through a gender binary, the film manages to authentically capture the female experience. It allows for the desire of motherhood to meet the confluence of doubt, self-preservation, and discomfort, never minimizing the experiences of the women at the center of the film. It is refreshing and rare to find a film so honest in its depiction.

Grade: A-

Pair This Film With: “Advantageous” (2015) dir. Jennifer Phang; “The Pod Generation” (2023) dir. Sophie Barthes; “Tank Girl” (1995) dir. Rachel Talalay

You can now see “The Assessment” in U.S. theaters Friday, 21 March 2025

Review: “Ramona at Midlife”

By Morgan Roberts

Director: Brooke Berman
Writer: Brooke Berman
Stars: Yvonne Woods, Alysia Reiner, Joel de la Fuente, April Matthis, Rosemarie DeWitt, Zarah Mahler, Robert Beitzel, Catherine Curtin, Brian Slaten, Yetta Gottesman, Kristen Vaganos, David Alan Basche
Runtime: 1hr 16min
Year: 2025

Men have always been afforded the chance to have a midlife crisis - on screen and in life - and have that moment be seen as pivotal in their growth as a person. Yet women are required to everything figured out before they turn 30. Life is not linear which requires women of all ages to struggle, adapt, and grow with each change thrown in our direction. The film “Ramona at Midlife” is able to articulate that crossroad and reflects a real human experience.

Written and directed by Brooke Berman, “Ramona at Midlife” captures the rediscovery and existential ennui that occurs as women grow older. Ramona (Yvonne Woods) is a writer who hasn’t written anything in years. Recently separated from her actor husband Carlos (Juan de la Fuente), her deepest insecurities and quandaries are relegated to the letter she writes to Patti Smith but never sends. However, her discomfort at her stalled life becomes something she is determined to protect when filmmaker Jonah Mansbach (Robert Beitzel) plans to turn her midlife crisis into a film.

Yvonne Woods in “Ramona at Midlife” | Gravitas Ventures

Ramona is an extraordinary central character.  She has achieved commercial and critical success with her first book, but found her writing sidelined after kids and marriage and creative insecurity took hold. Whether or not you are at that stage in your life, you can absolutely see parts of yourself in Ramona. She is so unabashedly herself while holding trepidation and guilt at desiring more for herself and for her life. As we get older, with the responsibilities we’ve inherited over the years, it becomes more difficult, particularly for women, to start anew. Even if starting over isn’t a complete fresh beginning, it is trying to understand where one can venture out that can be tricky.

Additionally, as Ramona tries identify that balance during that time of change, the responsibilities she still has to attend to are also ever-present. Many things don’t stop: the kids, work, social obligations, co-parenting. There is an unattainable perfection that she and the women in her life are held too. She is expected to manage all of this while rediscovering who she is. It is this balancing act that is so recognizable for many women.

It is not necessarily fair to compare films, but “Ramona at Midlife” feels akin to a Lynn Shelton feature. Berman captures the same attention to humanness that oozed through Shelton’s work. The film is incredibly grounded, while taking the mundane or ordinary feel extremely important. How often do we look past women like Ramona and not wonder the world inside their heads, the trials and tribulations they might be enduring. We lose our sense of wonder and empathy with each other. Yet, “Ramona at Midlife” reignites that intrigue. Berman brilliantly drops us into Ramona’s life and allows us to exist with her in her lived-in reality. Whether it is a reflection of yourself or women in your life, Ramona’s humanness shines throughout the film.

“Ramona at Midlife” is a refreshing film about reinventing yourself after others may have underestimated you. At the center of the film, we have a layered, nuanced woman worthy of our compassion and attention as she navigates this precipice in her life.

Grade: A

Pair This Film With: “Friends with Money” (2006) dir. Nicole Holofcener; “Take This Waltz" (2011) dir. Sarah Polley; “Touchy Feely” (2013) dir. Lynn Shelton

You can now watch “Ramona at Midlife” streaming on VOD on Prime Video and AppleTV.

Review: “The Other You”

By Morgan Roberts

Director: Shoshana Rosenbaum
Writer: Julie Gold
Stars: Beth Hylton, Vivienne Sievers, Staci Dickerson, Dennis Courtis, Kris Arnold, Jules Kanarek
Runtime: 1h 18min
Year: 2025

There are moments in our lives we simply want to get away. Work is demanding, our romantic relationships are strained, the non-stop work of being a parent becomes overwhelming. It is a universal struggle we all at face some point in our lives, and Shoshana Rosenbaum’s film, “The Other You,” explores just that. In the film, writer Annie (Beth Hylton) wants to get away. As she attempts to work on her new book, her husband Jack (Kris Arnold) is barely present as he constantly works. Their children, Scarlet (Vivienne Sievers), Wyatt (Dennis Courtis), and Sophia (Jules Kanarek), when not fighting with each other, are consistently demanding Annie’s attention. But soon, Annie discovers a tiny door in her closet that takes her seemingly perfect life.

In this alternative world, her husband is attentive, her children get along, and most importantly, she can write. It is a first time in a long while where Annie can not only put herself first, but her family supports that. The film certainly highlights the gender disparity when it comes to the labor force motherhood and who bares the brunt of the emotional labor in a heterosexual marriage. We see this woman having to navigate the uneven responsibilities of maintaining a family and household. Moreover, the film also highlights the way in which more creative fields are not usually valued. Jack’s work, though not gone into great detail, is not a creative endeavor. In her reality, Jack’s work, his livelihood is valued far more than hers.  So, when she enters this alternate version of her life, to have her work and her relationship be valued by her partner feels almost revolutionary.

Kris Arnold and Beth Hylton in “The Other You”

Moreover, the film succeeds in allowing there to be a balance within this imbalance. For every character we see in one universe, we see in the other. In stands out from other films which have this subtly sci-fi element. Typically, we see these giant plot holes which can make just sitting with the piece distracting. Instead, this story device is used to elevate Annie’s struggle and how stuck she feels. The film brings it back to Annie consistently, even when Annie is not on screen.

There are moments the film has some repetition, but once it enters its third act, it really catapults its theme to a new level, integrating all facets of Annie’s life into this other dimension. “The Other You” feels quite refreshing as it looks at a specific female experience for a woman of a certain age. So often, the stories of women in their late 30s, their 40s, their 50s, etc. are not really told with the complexity and nuance here. While not every woman has motherhood or marriage in their journey, there remains a universality to the attempted confines of one’s gender. The high expectations with little reward for the emotional intelligence and perseverance can be taxing. Watching a character like Annie navigate that conflict in a way that never takes away her agency nor diminishes her needs feels like a rarity.  “The Other You” spotlights this quest for fulfillment after years of patterns and behaviors which no longer serve you.

Grade: B

Pair This Film With: “Katie’s Mom” (2024) dir. Tyrrell Shaffner, “Nightbitch” (2024) dir. Marielle Heller, “Other People’s Children” (2022) dir. Rebecca Zlotwoski

“The Other You” is playing at the DC Independent Film Festival on Thursday, February 13.  For tickets, visit: https://www.eventbrite.com/e/the-other-you-premiere-feature-film-screening-with-cast-crew-tickets-1215507879789

Review: “Sorry, Baby”

By Morgan Roberts

Director: Eva Victor
Writer: Eva Victor
Stars: Eva Victor, Naomi Ackie, Lucas Hedges, John Carroll Lynch, Louis Cancelmi, Kelly McCormack
Runtime: 1hr 43min
Year: 2025

I’m sorry that bad things are going to happen to you. I hope they don’t.

Cinema has always examined trauma, the tidal wave that hits after, and, because it is film, a phoenix rising from the ashes. A phoenix that would have never found strength without enduring that trauma in the first place. It is an antiquated and tired story arch, that, until recently, has been the most pervasive depiction of trauma. “Sorry, Baby,” which just premiered at the Sundance Film Festival, subverts our expectations in a far more grounded and humanistic portrayal of trauma and survival. In their feature directorial debut, Eva Victor explores surviving trauma and navigating a world that views your experience through a constricted lens.

Agnes (Victor) is an academic living in New England. Over a five year span, we witness her life before and after she is assaulted by a trusted faculty member. After the assault, Agnes soon finds herself somehow frozen yet remaining in motion. Life does not stop, and there are moments it feels it is dragging her forward rather than her being an active participant. As her best friend, Lydie (Naomi Ackie) moves away and builds a separate life of her own, Agnes remains in coastal New England, teaching in the very walls which broke her trust.

Victor has been known for their comedy for years - my own introduction to their work being their quarantine “Portrait of a Lady on Fire.” Witnessing Victor balance her same sense of humor with the heavy and human experience of trauma is truly watching a master at their craft. She is able to weave together that humor and serious subject matter with the same sincerity that has always made Victor’s work so captivating. Behind the camera, Victor understands what is important to show, as well as moments that are best left to the imagination of the audience.

Victor never underestimates their viewers, instead, challenges them to meet Agnes where she is at. We are never forced to watch Agnes be assaulted, but we do sit with her and Lydie as Agnes recounts it. And interestingly (and importantly), the language used and not used gives nuance to traumatic experiences, especially sexual assault. Sometimes, bestowing a label to an experience can, for some, speak into existence the true horrors of what someone endured; and doing that could be catastrophic for a person just trying to hold their head above water. Survival and self-preservation look different for everyone.

Eva Victorappears in “Sorry, Baby” by Eva Victor, an official selection of the 2025 Sundance Film Festival. Courtesy of Sundance Institute | photo by Mia Cioffi Henry.

That is perfectly captured in the relationship between Agnes and Lydie. Lydie is in the same graduate program as Agnes. Graduate school can almost be a form of trauma-bonding. It is a grueling and relentless experience that many people sign up for, semester after semester, but the people moving through your program with you understand that experience intrinsically. Lydie is the first person who Agnes tells about her assault, and Lydie clearly weighs what she can say to make sure Agnes feels heard without pushing her too far. It should be noted that Ackie is incredible here. She and Victor have great chemistry, that their friendship feels so natural. And in this scene in particular, Ackie holds so much space in that moment. It takes a really skilled actor to hold space for their fellow actor, remain so grounded and present in a scene like that. Again, it is that work that makes this friendship feel so natural and lived in.

In addition to being able to meet Agnes in her truth, Lydie matches her humor. In one moment, Agnes has an intrusive impulse and finds herself telling lie after lie to her neighbor Gavin (Lucas Hedges) in order to obtain lighter fluid.  Coming home with lighter fluid in hand, Agnes tells Lydie about what she almost did and Lydie offers to follow through. It is both hilarious and touching. It is witty, dry humor which matches the intelligence of the characters.

“Sorry, Baby” is a grounded and authentic depiction of life. Victor manages to make Agnes’ world feel truly lived-in. There is a specificity to this film that makes it such a refreshing cinematic experience, while also being rooted in universal human truths. Whether it is our best friend, our grad school nemesis, the person your friend brought into the world, or yourself, there is a deeply genuine desire in this world for those we love to most to live an unscathed life knowing that will never be true. We will all be shaped by bad things that happen to us, directly or indirectly, and have to learn to make a new wholeness from events that alter us in some way.

The film is deeply moving and clearly so interested in the humanness that finds itself on the other side of trauma. In all of their roles, Victor demonstrates what a capable and sophisticated storyteller they are. The singularity in her vision paints a widely universal story which captivates, stirs, and emotionally devastates. It is one of the strongest directorial debuts I have ever seen, and will likely remain a personal litmus for films in 2025. Victor is absolutely breathtaking and gives an enrapturing performance full of heart, humor, and authenticity. “Sorry, Baby” is a striking film which beautifully depicts the magic and pain of living, and the quiet resilience which exists in us all.

Grade: A+

Pair This Film With: “I Used to Be Funny” (2024) dir. Ally Pankiw, “Sometimes I Think About Dying” (2024) dir. Rachel Lambert, “Wanda” (1970) dir. Barbara Loden

“Sorry, Baby” is apart of the 2025 Sundance Film Festival, and screening online now through Sunday, 02 February 2025.

Review: “All Happy Families

By Morgan Roberts

Director: Haroula Rose
Writers: Coburn Goss and Haroula Rose
Stars: Josh Radnor, Chandra Russell, Rob Huebel, Becky Ann Baker, John Ashton, Ivy O’Brien, and Liz Cardenas
Runtime: 1h 30 min
Year: 2024

Families are sometimes messy, sometimes delightful, and we all have some version of a family. Whether they are blood related relatives, marriage into a family, or chosen family, we all experience the highs and lows of our interpersonal relationships with our family members. In her latest film, “All Happy Families,” Haroula Rose explores one family as the navigate the crossroads they find themselves at.

Graham Landry (Josh Radnor) prepares to rent out a unit in his childhood home. A struggling actor and writer, he’s hoping his new screenplay will be his big break.  As he preps the home, his first interested tenant is Dana (Chandra Russell), Graham’s college crush. But this reunion is further complicated for Graham when his brother Will (Rob Huebel) returns to the family home. Will, an actor, is facing accusations of sexual harassment on the set of his television show. Family tensions further arise when parents Sue (Becky Ann Baker) and Roy (John Ashton) arrive to see their sons.

The film masterfully gives voice to each of its characters, never detracting from the from one story arch in order to uplift another.  The male characters of this film are refreshing. Graham, our introduction into this story, is a tremendously layered character. When we meet Graham, he appears stuck. He knows what he wants out of life, but struggles to make tangible changes to move himself forward. He also tends to have similar characteristics to his mother, Sue. He values his relationships and is willing to do the emotional labor to maintain those relationships. His main source of inner conflict is his self-sabotaging nature. It is refreshing to see our central male character have these layers.

Additionally, with Will and his serious allegations, the film never minimizes the weight of those actions, while not making Will completely villainous. He is complicated. Moreover, there is a resounding sense of disappointment and accountability towards Will in a way that ensures the conflict is not a “did he or did he not” harass his coworker, but more of a struggle to understand how to move forward. It is one of the most tactful depictions of this in film.

While the male characters are given a lot of nuance, the female characters are equally cared for in the film. Sue not only retires from her job but is sexually harassed as she’s leaving the workforce. Not only does she have to grapple with the changes that come with retiring, what that means for her marriage, her sense of self, but she enters what should be a celebratory period being violated by her former boss. It is incredibly relevant to the female experience, and some of the most memorable scenes are Sue confiding in her female friend group of what happened to her, then seeing this group rally to support Sue in this moment.

Meanwhile, Dana frequently serves as our audience surrogate, experiencing this family with us while being on her own journey. Dana is starting anew as she navigates her culinary workplace somewhat recently sober. While she might not be entrenched in this family (yet!), she certainly orbits their universe, bringing her own authentic experiences with her.

At just 90 minutes, the film impressively manages to bring all of these characters to life while sincerely touching on heavy subjects. It never loses the weight of what it is discussing including Roy’s gambling addiction or Evie’s (Ivy O’Brien) coming out story as a transgender woman, but it allows for heart to remain. We have moments where we can share in laughter with the family, or cheer for these characters to succeed. This is largely due to the impeccable script from Rose and co-writer Coburn Goss. The screenplay never doubts the intelligence of its audience and literally plops you into the story. You can pick up on context clues and use your own emotions to gauge where the characters are.

It also doesn’t hurt that the cast feels so effortlessly close. You can understand these characters through their interactions. Everyone feels at the top of their game. They somehow make the craft of acting look easy. And while you can assume having a good script helps an actor in the first place, the way the cast was able to grab hold and go along for the ride with these characters is a testament to how in tune they were with the material.

“All Happy Families” succeeds by having believable, authentic characters shepherding us through this story. Rose’s keen interest in humanity and genuineness keeps this film grounded and effortlessly breezy. In such a short time, the film manages to hook you in and wish you could stay with the Landry family indefinitely.

Grade: A

Pair This Film With: “In the Summers” (2024) dir. Alessandra Lacorazza; “Outside In” (2017) dir. Lynn Shelton; “The Savages” (2007) dir. Tamara Jenkins

If you’d like to spend time with the Landry family, “All Happy Families” is available to rent or own on VOD, and you can physically own the film on DVD.