A man returns a letter meant for his neighbor but it’s not what it seems. In this satire by Johnny Frohman and Jeremy Levick, the topics of pandemic masking and modes of shaming are explored in prickly fashion. Wearing a bright yellow vest and double-masked, a man turns up at a woman’s door and strikes up a conversation. He claims he recognizes her from somewhere (“you’re not, like, a movie star or something?”), before admitting he saw her at the park not conforming to the highest standards of Covid protocols. Levick, often collaborating with Rajat Suresh, specializes in an edgy brand of critique (on the media, internet trends, the news, et al) that wanders uncomfortably where upstanding liberals are not supposed to go. “Good Samaritans” was filmed in one shot and builds to a cacophony of passive-aggressive confrontation. Levick can also be seen as an actor in Ryan McGlade’s “On Showbiz,” which we featured in 2019. Frohman was previously featured as the D.P. of Tynan DeLong’s “Azurine” and Anthony Oberbeck’s “Book.” -KA. Writer, Director, Editor: Johnny Frohman, Jeremy Levick. Cast: Jeremy Levick, Sally Burtnick, Matt Nussbaum. Director of Photography: Johnny Frohman Producer: Jeremy Levick, Johnny Frohman, Harris Mayersohn. Sound: Taylor Gonzalez. Assistant Camera: Shirley Chan.
When Sandy and Mitra get into trouble, they come to their friend Alyssa for help. “Alyssa Learns to Drive,” written by and starring Sandy Honig, Mitra Jouhari, and Alyssa Stonoha, is an ingeniously silly sketch that cycles through a smorgasbord of random accents, absurd phrasings, botched languag...
In order to finally be seen, a forlorn teenager takes the biggest action of her life: auditioning to be church cantor at her Christian high school. Kate McCarthy directs “Look, Mira,” a coming-of-age comedy delivered with colorful verve, a sweet-natured take on not fitting in. Overly sensitive fr...
While dealing with sexism and mistreatment at work, Lee finds solace in her relationship with her best friend, Evelyn. One of the more off-the-wall selections we’ve featured of late, this short feature (42 minutes) by Mitch F. Anderson is perhaps most notable for a striking absence — an on-screen...
