Rowdy Friends (2024). Reviewed by Kathryn Fulp

A high-angle medium close-up of a heavily tattooed man, who appears white, with graying short hair and a beard, as he floats on the surface of slightly cloudy natural water; stones on the water's bed can be seen in the background.
Rowdy Friends (Pioneers of the New West, 2024)

Rowdy Friends, the new feature-length film directed by Jacob Hatley, is not going to be everyone’s cup of tea, and it likes it that way. Rough around the edges but full of exuberance, this film throws fiction and truth into a blender and spits out an experience that is not always enjoyable, but is definitely memorable. The film meanders loosely about its narrative, unsure of where to place its emotional highs and lows. The strength of the film lies within its actors’ performances, which feel so real that it’s hard to distinguish their performances from their everyday personas. This is due in part to the fact that they’re all fresh, first-time actors with real-life experience dealing with the subject matter. The choice to shoot on location in the North Carolina towns of Badin, Asheboro, and Thomasville only reinforces the narrative’s truth.

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Film Matters 15.2 (2024) TOC

Cover of FM 15.2 (2024)

New year, new Film Matters! Our latest issue is 15.2 (2024), which includes the following features peer reviewed by Chapman University:

These features peer reviewed by the University of North Carolina Wilmington:

A robust featurettes section, courtesy of Chapman:

These book reviews:

And, finally, some film reviews:

Congrats to all our published authors! For more information about this issue, please visit: 

https://intellectdiscover.com/content/journals/fm/15/2

Are you an undergraduate author who wants to be published in Film Matters? Then we want to work with you! Please check out all the different ways you can publish with us.

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The 2024 Film Matters Masoud Yazdani Award for Excellence in Undergraduate Film Scholarship Honorees

The Masoud Yazdani Award for Excellence in Undergraduate Film Scholarship hit an important milestone in 2024, marking ten years of celebrating the impactful work of undergraduate scholars. In this anniversary year, Film Matters is particularly pleased to announce the winner, as determined by our volunteer panel of judges: Tillie Quattrone for her FM 14.1 (2023) article “‘You know how the game goes, Baby’: Exploring Intersections of Power in Sweet Sweetback’s Baadasssss Song.” Tillie holds an AA in Liberal Arts, a BA in Drama and Film, and an MA in Film Studies. She is currently pursuing a PhD in Drama (Screen Studies) at The University of Manchester. Her research interests include screen culture in the digital age, on-screen representations of age and marginalized bodies, and stardom.

Our judges also recognized Sophia Bain with an honorable mention for her FM 14.2 (2023) article “Made of Shadows: The Night Porter (1974) as Memory Text and Memory Work,” which was part of Chapman University’s “Retrospective 1974: Fifty Years Later” themed issue. Sophia received her bachelor’s degree in Film Studies at Chapman University in spring 2023. Her research interests include the works of Simone de Beauvoir, ambiguity, and embodiment. She is currently continuing her research independently. 

Film Matters, of course, could not administer this annual award without the meaningful work of our judges, who selected our 2024 honorees after a rigorous judging period last fall:

Hannah Davenport is a second-year MA Film Studies student at the University of North Carolina Wilmington. Her academic interests include ideological film criticism and fringe cinema. 

Dason Fuller is pursuing his MA in Film Studies at the University of North Carolina Wilmington. His research primarily focuses on politically charged films in American history. Previously, he has published two reviews for Film Matters and one for the “Cucalorus x Film Matters” collaboration in 2023. After obtaining his master’s degree, Dason hopes to enter into film festival or curatorial work.

Alex T. Romero is an aspiring film scholar and MA student at the University of North Carolina Wilmington. Returning to academia after seven years in the entertainment industry, Alex is informed by his varied experiences in stage management for competitive dance, production travel coordination, film accounting, and creative producing. His scholastic interests include contemporary Hollywood, East Asian cinema, and the history of labor relations in the American film industry.

K. A. Vale earned their MFA in Film Production in 2023 and is currently pursuing an MA in Film Studies, both from the University of North Carolina Wilmington. Their research focuses on the aesthetics of video game adaptations in film and streaming and finding the point where film theory and video game theory converge through adaptation. Upon graduation, they intend to pursue academic writing and publishing while preparing for a PhD in Film and Media Studies. When they are not studying and watching movies, they can be found playing video games and reading LGBTQIA+ fiction.

Jackson Whorton is a graduate student pursuing his MA at the University of North Carolina Wilmington. His primary subjects of research are the intersections between religion and cinema, including religious expression via cinematic form. He’s also interested in exploring film adaptation and cinematic sociology. He spends his free time reading, writing, and drinking coffee.

Each year Film Matters – in fond remembrance of Masoud Yazdani, founding chairman of Intellect and a key person in the establishment of our journal – revisits the peer-reviewed feature articles from the prior volume year with the help of graduate student judges. We approach this undertaking with enthusiasm, an opportunity to celebrate the innovative and passionate texts we publish, products resulting from the unique collaborative work of emerging undergraduate film scholars, their mentors, and the Film Matters publication process. The honorees receive book awards from the field of film studies, in recognition of their achievement. For more information, please visit: https://www.filmmattersmagazine.com/masoud-yazdani-award/

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Parallel Memory, Class Commentary, and Queer Desire in Duino (2024). By Lexi Collinsworth

A medium close-up of two males hugging; one with short brown hair has his back to the camera, the other, blond and wearing glasses, faces in the direction of the camera.
Duino (Terroir Films, 2024).

Watching Duino (2024) felt like stepping into a mirror and seeing parts of myself I hadn’t recognized before. The quiet tenderness of its storytelling, the rawness of its emotional hidden layer, hit close to home in a way I didn’t expect. From the opening moments, where the camera clicks and the frame freezes on Matías behind the lens, I was reminded of my own relationship with memory, and how often it’s filtered through a lens—whether literal or emotional. The film immerses its audience in a sensory experience from the start, utilizing sound design and self-reflexivity to draw attention to its medium. The sharp clicks of a camera, transitioning into an image of the camera screen, introduce a self-aware narrative that emphasizes the film’s search for identity and memory through the protagonist’s lens.

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From Page to Stage: The Story Behind the Curtain. Review by Estefania Rosas De La Maza

Cover of the book Opening Weekend, featuring a man, with his back to the viewer, staring up at a cinema marquee, scratching his head as if puzzled over what to see.

Blockbuster films, such as the Harry Potter (2001-2011) franchise, The Iron Giant (1999), and The Shawshank Redemption (1994), have left an indelible mark on society, with their distinct storytelling and memorable characters becoming household, if not global, cultural references. Though these films followed different journeys from script to screen, they share different degrees of strong marketing, strategic planning, and visionary direction. Jim Fredrick, a seasoned veteran with over three decades of experience, has overseen more than 150 advertising campaigns at some of the industry’s most notable studios, including Warner Bros., Castle Rock, and Screen Gems under Sony. He honed his craft in an environment where success and failure are always in balance, earning his reputation as a master of his field. Fredrick’s recently published memoir, Opening Weekend, is a frank “behind-the-scenes” look at his Hollywood escapades, beginning in the 1980s.

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Celebrating Artistic Heritage and Innovation on the World Film Festival Circuit: Egyptian American Film Festival in NYC

Long shot of a male standing in front of a logo wall on the red carpet; he wears glasses, a long scarf, and a suit.
Director Fraser Kershaw, The Summer of Love, The American Egyptian Film Festival.

The vibrant atmosphere of New York City recently hosted a prestigious gathering for film enthusiasts—the Egyptian American Film Festival. This year’s edition highlighted an experimental filmmaker whose work not only won accolades at festivals, but attempted to capture how love can move humans. Fraser Kershaw weaved elements of the artform “Live Cinema’” in his latest film, a project previously developed in close collaboration with Francis Ford Coppola.

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Beyond the Screen: Empathy, Memory, and Film-Souvenir. By Gillian Fast and Kai Paschall

Screenshot from Arrival -- a long shot of the aliens facing the camera with Amy Adams standing in front of them, her back to the camera, in silhouette
Dr. Louise Banks (Amy Adams) communicates with the silhouetted heptapods through a transparent screen. Arrival, (Paramount Pictures, 2016).

An encounter with the unknown evokes two separate but equally powerful spheres of emotion: fear and fascination. In the film Arrival (2016)by Denis Villeneuve, linguist Dr. Louise Banks (Amy Adams) is tasked with peacefully bridging the dangerous gap of language between humans and the existentially threatening aliens— named heptapods—that have just landed on Earth. The tension between the two parties is immediate: military outposts, constructed within hours, surround the heptapods’ monolithic ships. Everyone, from the characters to the audience to the film’s poster, is haunted by the same question: “Why are they here?” Louise and her team of scientists, witnessing the aliens within the ship—massive, tentacled deep-sea creatures speaking in pulsating whale calls—find themselves at once terrified and deeply invested in decoding the heptapods’ movement and language. The barrier of mutual understanding in encountering something entirely foreign bars both empathetic communication and material self-evaluation. Yet, as powerful a force as Louise’s fear may be, her fascination with what is unquestionably deemed “other” drives her to make first meaningful contact with the heptapods. This same liminal conflict between repulsion and attraction is what defines early experiences in childhood, including and especially those with film, which not only serve as a demonstration of this contradiction, but a resolution of it.

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Our 2024 Masoud Yazdani Award Judges

Judging is already underway for the 2024 Masoud Yazdani Award for Excellence in Undergraduate Film Scholarship. Articles under consideration are from these fine higher education institutions:

  • Chapman University (2)
  • Miami University
  • Norwich University of the Arts
  • Queen Margaret University
  • South Gate Creative Writing School
  • Temple University
  • University of Manchester
  • University of North Carolina Wilmington
  • Washington University in St. Louis
  • William & Mary

And it is our pleasure to celebrate this year’s judging panel:

Hannah Davenport is a second-year MA Film Studies student at the University of North Carolina Wilmington. Her academic interests include ideological film criticism and fringe cinema. 

Dason Fuller is pursuing his MA in Film Studies at the University of North Carolina Wilmington. His research primarily focuses on politically charged films in American history. Previously, he has published two reviews for Film Matters and one for the “Cucalorus x Film Matters” collaboration in 2023. After obtaining his master’s degree, Dason hopes to enter into film festival or curatorial work.

Alex T. Romero is an aspiring film scholar and MA student at the University of North Carolina Wilmington. Returning to academia after seven years in the entertainment industry, Alex is informed by his varied experiences in stage management for competitive dance, production travel coordination, film accounting, and creative producing. His scholastic interests include contemporary Hollywood, East Asian cinema, and the history of labor relations in the American film industry.

K. A. Vale earned their MFA in Film Production in 2023 and is currently pursuing an MA in Film Studies, both from the University of North Carolina Wilmington. Their research focuses on the aesthetics of video game adaptations in film and streaming and finding the point where film theory and video game theory converge through adaptation. Upon graduation, they intend to pursue academic writing and publishing while preparing for a PhD in Film and Media Studies. When they are not studying and watching movies, they can be found playing video games and reading LGBTQIA+ fiction.

Jackson Whorton is a graduate student pursuing his MA at the University of North Carolina Wilmington. His primary subjects of research are the intersections between religion and cinema, including religious expression via cinematic form. He’s also interested in exploring film adaptation and cinematic sociology. He spends his free time reading, writing, and drinking coffee.

Many thanks to our judges for their service!

Expect an early 2025 announcement — in the meantime, happy holidays!

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2024 Chelsea Film Festival: A Digest. By Ben Holland

A medium shot two people standing in profile in the center of the frame in the middle of a nightclub; the man is on the left and wears an overcoat and fedora, the woman is on the right and wears a red dress.
The City (Daroma Productions, 2023).

My experience at the twelfth annual Chelsea Film Festival regrettably began, not on opening night, but on the following afternoon. My lack of proper black-tie attire prevented me from attending the opening festivities; and my frugality, coupled with my observation that Chelsea was also holding a matinée screening of the opening film on Friday, was enough to convince me not to rush to the nearby Nordstrom’s to rent a tuxedo. So, I arrived at the East Village Regal at 4PM on Thursday, picked up a program and a press pass, and made my way into the theater where the film that I had scouted out the night before was playing.

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12th Annual Chelsea Film Festival Announces Its 2024 Award Winners

Chelsea Film Festival 2024 logo

The 12th Annual Edition of Chelsea Film Festival announces its list of winners listed below by award category. It introduced both American and international films to the public.

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