‘Little Death’ Review: David Schwimmer & Dominic Fike In A Manic Tale Of Two Movies In One [Sundance]

just gave us all second-hand cringe (on purpose) when they had that exact interaction, only magnified times a million because, of course, they costarred for 10 seasons as the on-again, off-again soulmates Rachel Green and Ross Geller.The skit is part of a new Uber Eats ad campaign that's rolling out for the . The conceit is that you can get a bunch of stuff, not just food, via the delivery service (flowers, office supplies, booze, etc.), but to remember this fact, you have to forget something else.

The idea of youth escaping into a large section of woods so as to start life anew is a plot device not at all unexplored prior, seen in films as recently as 2013’s “The Kings of Summer,” while literature will always have “My Side of the Mountain. “In “Penelope, “the concept gets the episodic treatment, but if the premiere is any indicator, this is one project with the potential to captivate in its own unique way.

There’s something magical that happens to most people around the age of 13. For many, that’s when you might have your first real romantic love.

Matt Donnelly Senior Film Writer The 2024 Sundance Film Festival Awards are underway in Park City, Utah, where a new crop of indies will do battle across multiple categories, including the coveted U.S. Dramatic Grand Jury Prize.

It might come as a surprise to most that the skirmish between Russia and Ukraine has been active for nearly a decade. However, international headlines would raise awareness to new heights upon Russia’s invasion of its neighbor in February of 2022.

A formally rigorous and free-associative dive into a decade’s worth of political fighting in the Congo, from roughly 1955 to 1965, Johan Grimonprez’s “Soundtrack to a Coup d’Etat” is a fascinating and sprawling historical overview. Eschewing the usual mix of contextual talking heads, the Belgian filmmaker and multimedia artist instead adopts its narrative approach from the jazz that flows freely throughout the film and helps frame the political struggles of the Congo.

It starts innocuously enough. “Krazy House,” the English-language debut of Dutch filmmakers Steffen Haars and Flip van der Kuil, launches with a ‘90s family sitcom parody that ribs their cheese and cringe.

China began loosening its one-child policy in 2015 until finally, in 2021, it abolished all restrictions on the number of children a family could have. Young Chinese filmmakers are beginning to grapple with the fallout of those prior decades in new fiction films that demonstrate how the Chinese family unit has been irreversibly transformed.

As one examines the abundance of cultures worldwide, to see the marginal way women continue to be treated on a global scale remains infuriating to take in during the era of #MeToo and the fact that seemingly little progress has been made even as our society makes its way into 2024. Though gains can undeniably be acknowledged on the political front and numerous other fields, it’s still apparent that an ocean exists in the way of real change, with “Black Box Diaries” a stunning example of the heavily outdated customs in which parts of our minuscule planet find themselves stuck and the women who suffer as a direct result.

The premise of the documentary “Will & Harper” is so simple that it almost seems presentational, self-serving, or stunt-y. The idea is, after 30 years of friendship, comedian Will Ferrell learns, through a personal email, that an old friend and former “Saturday Night Live” writer, then Adam Steele (yes, the dead name is used at first), is coming out as a trans woman.

Dominic Fike is opening up about the challenges of working on a show that focuses so much on drug addiction — especially as someone who struggles with it IRL.

It’s notoriously difficult to make films about writers. Writing — literally sitting down at a keyboard and banging out words — is about as fun to watch as paint drying.

Since returning from his announced retirement from feature filmmaking, Steven Soderbergh has been on a tear of productivity unmatched since the heyday of Hollywood’s studio system. His quickie projects might feel like slight exercises in style or storytelling, but they have never felt disposable.

Dominic Fike opened up about the upcoming season of Euphoria and if he would like to reprise his role.

PARK CITY – There are multiple meanings to the title of Jesse Eisenberg’s latest directorial effort, “A Real Pain.” There is the pain that cousins Benji Kaplan (Eisenberg) and David Kaplan (Keiran Culkin) are experiencing over the passing of their beloved grandmother and there is the pain Benji is feeling over a horrifying incident in his cousin’s life. The most pressing example, however, is in David’s soul.

David Schwimmer has never been known for his movies. Perusing the “Friends” star’s film resume is quick — and painful. There’s “Six Days Seven Nights,” “The Laundromat” and “Madagascar 3: Europe’s Most Wanted,” among other screen non-classics.But the actor’s undeniable charisma and uniqueness are finally put to proper full-length use in the demented “Little Death,” which has its world premiere Friday night at the Sundance Film Festival.

There’s commitment to the bit, and then there’s David and Nathan Zellner. The brothers’ latest film “Sasquatch Sunset,” billed to Sundance audiences as only “a year in the life of a singular family,” makes good on the filmmaking duo’s long desire to make a film about the legend of Bigfoot.

Dominic Fike is opening up about working on season two of Euphoria and how his sober coach on the show failed him.

Zack Sharf Digital News Director Dominic Fike appeared at the Variety Studio presented by Audible while attending the Sundance Film Festival and compared his experiences playing a character struggling with drug addiction on HBO’s “Euphoria” and his new Sundance premiere, “Little Death.” The latter title marks the feature directorial debut of music video helmer Jack Begert, who happens to be one of Fike’s friends. Fike has been open in the past about his real-life addiction struggles, so his proximity to Berget made playing a drug addiction in “Little Death” a bit easier than playing one in “Euphoria.” “I’ve done that before, like acted like a drug addict,” Fike said. “I actually am a pretty big drug addict myself, believe it or not.

When setting out to make his feature directorial debut with Little Death, a surreal genre-bender premiering tonight at Sundance, Jack Begert looked to synthesize “two very powerful influences” — a love of “surreal” cinematic stylings, carried over from his work in high-profile music videos, as well as a much more “grounded, authentic, humanistic” mode of filmmaking.