Driven by their devout Christianity, the Erwin brothers — Andrew and Jon — have never been shy about the agenda behind their work. “Our mission,” it says on their website, “is simply to spread the Gospel further than it’s ever been using film as the medium,” and that mission has seen their Kingdom Story Company evolve into one of the biggest forces in America’s burgeoning “faith-based” sub-genre.
In light of the brothers’ stated purpose, however, it’s strange that they’ve responded to their success by making increasingly secular movies. Perhaps that’s just part of the Erwins’ plan to widen the tent and share Jesus’ light with people who haven’t necessarily sought it out for themselves, but it’s hard to overstate the difference between their self-directed 2012 debut — the virulently anti-abortion drama “October Baby” — and the latest feature they’ve produced, a hokey but harmless Hilary Swank vehicle...
In light of the brothers’ stated purpose, however, it’s strange that they’ve responded to their success by making increasingly secular movies. Perhaps that’s just part of the Erwins’ plan to widen the tent and share Jesus’ light with people who haven’t necessarily sought it out for themselves, but it’s hard to overstate the difference between their self-directed 2012 debut — the virulently anti-abortion drama “October Baby” — and the latest feature they’ve produced, a hokey but harmless Hilary Swank vehicle...
- 2/22/2024
- by David Ehrlich
- Indiewire
The films of Canadian director Kazik Radwanski are freedom in its purest form, or the purest this particular medium can contain. Being the opposite of prescriptive, they sculpt themselves according to interpersonal dynamics that can otherwise be invisible, and by doing so, give shape to parallel emotional worlds, extensions of a protagonist’s psyche. That goes for Derek (Derek Bogart), the impulsive lead in Tower (2012), sleep-deprived gamer dad Erwin (Erwin van Cotthem) from How Heavy This Hammer (2015), and for the chaotic Anne (Deragh Campbell) whose quarter-life crisis makes a delightful whirlpool out of Anne at 13,000 ft (2019). The second collaboration between Radwanski, Campbell, and Matt Johnson following Anne premieres at the Encounters section of this year’s Berlinale and it is humbly named Matt and Mara.
Just as Mara (Campbell) is about to welcome students to her poetry class, she spots her old friend Matt (Matt Johnson) in the corridor. Her...
Just as Mara (Campbell) is about to welcome students to her poetry class, she spots her old friend Matt (Matt Johnson) in the corridor. Her...
- 2/20/2024
- by Savina Petkova
- The Film Stage
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