Among Wolves: A Film that Builds Tension In Slow but Structured Pacing

AMONG WOLVES is a film depicting the struggle to heal after conflict and post traumatic stress disorder.

The Wolves are a multi-ethnic motorcycle club led by Bosnian War veterans. In the mountains where they once fought, they now defend the threatened herd of wild horses with whom they once shared the front line.

In helping others, they discover a sense of liberty that heals themselves as they make amends to their society. In cooperative humanitarian mission, they and emerge from the pain of war.

Jennie Kermode at Eye For Film has called this work visual poetry, Alex Salivev has called it “a statement on achieving redemption in a seemingly doomed place.”  John DeFore in his Hollywood Reporter review called scenes from Among Wolves “psychic soothing.”  All three positions represent significant descriptions detailing what it is to engage with PTSD or traumatic moments and come out on the other side a little stronger.

I would additionally describe the film as “a visually pleasing work that lends itself to immense emotional release.” The colorist and DP rendered images that are full of saturated coloration in a pleasing way despite its gritty stylings and seemingly ugly moments.

In this sense, Shawn Covey has created a film that builds an excellent amount of tension in slow, but structured pacing.

After sold out screenings (all of them) and winning the prestigious Chicago Award at its Chicago International world premiere, AMONG WOLVES has spent two years screening to great audience approval at festivals spanning 4 continents and has been awarded Best Director, Best of Fest, and Triumph of the Human Spirit.

Chicagoans still have time to see it at Music Box Theater on Wednesday Feb 13 and 14 as part of a special “and Friends” event featuring related films on themes that portray the complicated emotional nature of masculinity.

The Best Laughs at SXSW and Sundance: the Danielle Solzman Lowdown

Chicago Indie Critic Danielle Solzman reports to us from SXSW this year with the comedies she loves the most: 

While the early months of the year tend to be a dumping grounds for the studios, there’s a lot to be discovered at film festivals.

Sundance

Hearts Beat Loud is a beautifully made, music-driven film from Brett Haley.  What makes the film work isn’t just the screenplay Haley co-wrote with Marc Basch but it’s the music from songwriter/composer Keegan Dewitt that Nick Offerman and Kiersey Clemons shine through on screen.  To say that Clemons is phenomenal in this musical masterpiece is an understatement. (Featured Image Credit: Jon Pack)

Clara’s Ghost is the feature directorial debut from Bridey Elliott and offers us an exaggerated glimpse into the life of the comedic Elliott family.  While Chris, Abby, and Bridey may be the more familiar names, it’s Chris’s wife, Paula, who gets a substantial amount of material to work with in the film.  It’s a fun film that’s best watched with a glass of wine in your hands.

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Blockers is the feature directorial debut of comedy writer Kay Cannon.  It’s laugh-out-loud funny and I found myself falling out of my seat during the world premiere at SXSW.  The film offers a teen sex comedy from the female perspective with some great performances.  When it comes to R-rated comedies, this film is an instant classic and joins the likes of so many great films from the Judd Apatow brain machine.

What I love about Summer ’03 is that it comes from a first-time feature filmmaker and is so full of heart, emotion, and comedy.  Becca Gleason has a fresh voice and ought to be around for a long time to come.  It’s actress Joey King who carries this film from start to finish with an amazing performance.  That being said, everyone in the film, including improv pros Paul Scheer and Andrea Savage, get upstaged during June Squibb’s brief role as a dying grandmother whose biggest regret is never learning how to perform a proper blow job.

You Can Choose Your Family takes us back to 1992, where Jim Gaffigan’s Frank Hansen is married to two different women and has two children with both wives.  It’s going great for Frank until his son, Phillip (Logan Miller), discovers his secret and threatens to spill the beans unless his father gives him the money to attend NYU.  There’s times where it feels like the audience knows more than what the characters do and as such, there’s a few OMG moments late in the film.

I’m not ignoring Sorry to Bother You but I’m placing the satire into a category of it’s own.  It’s the new Get Out on so many levels but it’s not an outright comedy or drama.  Somewhere in between to be honest.

29134970_10102083915109720_1906448420_n   Danielle Solzman is a film critic and a member of the Chicago Independent Film Critics Circle, Galeca: The Society of LGBTQ Entertainment Critics, Alliance of Women Film Journalists, and the Online Film & Television Association. She also writes for Solzy at the Movies.

Don’t miss DIM THE FLUORESCENTS as the Slamdance Cinema Club continues screening at ArcLight Chicago.

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Work. It’s usually a drag. But, sometimes, if you’re lucky, it’s also an opportunity to create art. Most creative people, at some point in their life or another, make a compromise for the sake of advertising or the corporate agenda. For some of us, it’s a cry for acceptance. For others, it’s about survival.

But how, do we as creatives, transcend these boundaries we find arbitrary? That’s what some of the best corporate training videos and Dim The Fluorescents are really all about.

Share Audrey and Lillian’s journey through the world of the “corporate presentation.”

See Dim The Fluorescents on July 19 at 8 p.m. as it screens at ArcLight Chicago