SXSW 2021: Women are losers, I’m fine (thanks for asking), the end of us | Festivals and awards

Period pieces from major studios can boast of taking larger shots, meticulously detailed wardrobes, and hundreds of extras to more cinematically paint the scene and social change of ’60s America. is Losers ”can’t afford such an expensive pop-up show. The shot compositions are often cramped, but this serves the film, reflecting how Celina often feels trapped. The suits are simple, but sketch the cultural background enough with modest school uniforms to flowing evening dresses, work clothes with a funky twist, and a crisp white tuxedo. Really this crew knew how to stretch a dime for its full value. However, Feliciano’s greatest resource is Izzo, who brings a thoughtful storyline to life.

Whether it’s laughing over a girl-to-girl conversation, crying over a life-shaking loss, wielding a knife, or cuddling a cooing baby, Izzo is fascinating. Her large hazel eyes contain an ocean of emotion, from weariness and pain to determination and hope. The sliding of his smile invites us to his secret world and Izzo’s sparkling on-screen presence and grounded performance takes us deeper. Cracking wise and breaking the fourth wall, Izzo reminds us that this is not only Celina’s story, but also one of the many women who could sing along with Janis Joplin, including the filmmakers who fight to make their dreams come true. on the big screen right now. It’s a movie that doesn’t just have a message, it is his message. Lively, imaginative, moving and particularly charming, “Women Is Losers” is a real winner.

A terrific dual functionality could be cobbled together by following “Women Is Losers” with “I’m fine thanks for asking). Written by Roma Kong, Kelley Kali and Angelique Molina (and directed by the latter two), this genre drama also follows a single mother who works tirelessly to keep her child safe at home.

After the unexpected death of her husband, Danny (Kali in triple threat mode) is homeless, living in a tent on a dusty strip of forgotten Los Angeles. To hide this from her young daughter, she insists that they are just camping until their new home is ready. This fascinating film follows Danny on a pivotal day, where she must earn enough money for a down payment on a much needed rental. So, she drops off her child with a babysitter, and drags her ass around, doing odd jobs to achieve her goal. The bootstrap draw becomes literal here, as this strong black woman straps her skates into errands, hair braiding dates, food deliveries, and unexpected errands. Along the way, she’ll run into sunny weather friends, a party girl offering weed, hissing cats, a dubious con artist and much worse. But of course, hard work and meticulous financial management is not enough. Danny must also be unwaveringly friendly.

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