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< Back Derek Magyar A Conversation with River of Grass Director Derek Magyar River of Grass Writer/Director Derek Magyar sits down with Cup of Tea Critiques Chris Chaisson 2024-09-18 Reading time: 13 minutes River of Grass provides a look into a young Vietnam veteran suffering from PTSD who returns home to the Florida Everglades and joins the family’s crime business. The film was accepted into the Oscar qualifying festival Hollyshorts this summer and screened for the festival audience. Cup of Tea Critiques caught up with director and co-star Derek Magyar, who plans to shoot the full-length feature in 2025. Derek gives us background information on the origins of River of Grass’ setting in the Vietnam era. It's based on real events, and for one of my co-writers, it is sort of based on his family lore. And so in Everglades City, all the kind of things that happened there, which, if you Google it, is crazy. That's when this happened. So it made sense to have him come back from Vietnam, because that's when the real story takes place. Derek gave his perspective on who makes up the target demographic for River of Grass. I think it has a really broad demographic. The short is exciting to 18 to 39 [year olds] because PTSD is something that a lot of people can connect to in lots of different ways. As we know, PTSD is not just one thing, and so I think that has a lot of resonance for people as well as there's some fun action stuff which happens in the second half, which I think is also really gripping. I think the older audience is really engaged by the family drama. A lot of people can connect to that time period, whether they served or not, and really relate and reminisce to what their lives were like during that period. Derek expanded on the process of turning the story from a TV series to an on-spec feature. The project was brought to me as a pilot of sorts, from the guy who it's based on. Instead of a pilot, it was more like lots of episodes in one episode. He was trying to get it all out there, and we started developing it as a TV series. And then a production company got involved and asked us to write the feature on spec . I was like, “Sure, why not?” It just made sense. And then from there, it just evolved, and the writing began, and now it's going to be a feature film that we're shooting at the beginning of next year. River of Grass was shot with a team of about 40 to 50 people over a four-day stretch. Derek shared the most challenging aspects of the shoot. There were a few. I would say one, certainly for me was, I've directed and acted before, but this was different. We had a very limited budget. We chose to shoot with natural light, which I always think has a better quality to it, a more honest quality. But that also comes with limited time, because the sun is only there for so long. It was very complicated for me to drop in as an actor present in the scene, and then also be able to remove myself and check monitors and make sure that I was happy with the composition of the frame, or, the performances. When you start running behind on time, that got even more complex. It was more like, “Get that, get that, cover that, cover this, let's shoot that.” And I stopped looking at the monitor because time was tight. I needed to focus on my work as an actor, and I just sort of picked off things that I knew we'd need or use. Luckily, we had two cameras, and it worked out that way, but that was really challenging. We had the car scene; it was a bigger scene originally, but we chose to do sort of a hood mount. That's very complicated, because you're limited on what you can do, and the setup time is a lot more than you'd expect it to be. You don't get enough sort of variety of shots. I couldn't make the scene the way I wanted to. It's worth spending a little bit more money potentially, and having a poor man's process trailer to be able to focus on the work, as opposed to, “Hurry up, hurry up, hurry up.” Everything is a learning lesson, and everything is sort of complicated, especially when you're on a limited budget. It's just about making your day and making sure that your actors are happy, which is the first thing for me. My cinematographer, and everybody, luckily, who's in the nucleus of the team are all people I know and people I know well. So we have a real shorthand, and that helped make things a lot easier, thankfully. I'm very fortunate in that sense. Given Derek’s dual perspective of acting and directing, he can speak to both experiences. He weighed in on whether or not actors should try directing in order to step into someone else’s shoes. It's a choice. There's a lot to learn and to take away from it. I think that depending on how focused you are in just one specific medium, which I think in today's world and in this business, it's impossible to be in one lane, unless you're extremely successful. You really have to be a “multi-hyphenate,” in which case I encourage people to direct, act, produce, write, first AD [assistant direct]; do it all, because you never know where the next paycheck is going to come from. You never know where you can fit in. I think the more that you can do on a set, the more valuable you are. So yes, I would say absolutely everyone should try it. In that sense, it's not for everyone, but I would encourage everyone to try everything. Directors not only dictate the look of the film but influence the acting performances. Derek shared which he enjoys more, coaching actors or composing shots. Working with actors. I think probably because I've been an actor my whole career, pretty much before in the last sort of five or six years I was directing, but I was also acting still. I started acting when I was 10, and I've been acting all the way until a few years ago. So being connected to my actors is really something that is very important to me. I went back to school and studied at AFI [American Film Institute] and really honed my skills as a director, which I think in my first feature film was a challenge. I understood how to direct actors, how to work with actors, and I understood basic composition, but I needed to learn a lot more. It was really important for me, and it's not for everybody to go back to school and really learn the foundation, the principles of which directing are built upon. Not allowing that to totally dictate how I am or how I create on set, but to give me information and help me through the process. As stated above, Derek had a fellowship in the American Film Institute Directors’ Program for two years beginning in 2015. He revealed his favorite part of his experience as a fellow. The people; meeting really amazing people, people that I work with. My cinematographer on this is someone from AFI, my production designer, producers, writers. It's about finding a family of creative people that are really cool, talented, creative people. That was by far the coolest thing about AFI. Surrounding yourself with talented people is only going to make you better and make you work harder. It's about the education, the first year especially. And I think the first year is really important. I think that you don’t necessarily need to go to get a Masters, to get that learning, but what AFI does so well is you just make movies. That's awesome, because you learn by doing, and there's no better way to learn. That was really valuable. So the people you meet, and just getting to create and make movies, there's no better way to learn than that. Artists of all types tend to find inspiration in their everyday lives and sometimes even their hobbies. Derek revealed what aspects of his life outside of film he believes influence his filmmaking. I don't know about just hobby wise, but, from the birth of my daughter, to my wife, to family and friends and just ups and downs and working through challenges. I think all of those things have made me a stronger director, because they've tested my courage and they've tested my ability as a man and as a human being, and that makes you that much stronger. I think that life experiences, good and bad, as well as reading and learning and being voracious about what you do. I watch a ton of film and TV, and it's [that] work for me that I enjoy. To me, it's really all of those things that have made me a stronger filmmaker. I really love cinematography, so I've studied certain parts of cinematography that I also think have made me a better director. I've also learned how to direct as an actor, as opposed to just being an actor, [such as] directing actors to have more of a director’s lens on how I approach a given scene or blocking or things like that. So, I really think the biggest thing is life and just continuing to live. Ups and downs make you a stronger artist, as well as studying and learning and watching and reading. All of those things will make you an evolved artist. And you're constantly learning; you're constantly growing. You're always learning from the moment you start ‘til the end. River of Grass was accepted into the Hollyshorts Film Festival over the summer, one of 150 Oscar-qualifying festivals for winning short films. Derek shares on the gratifying experience of having his short screened at a prestigious event. We had a great run. We were honored to be selected. Then we headlined the action category, which was sort of surprising to be in that category, but there is some action in it, so, still cool. We were nominated for Best Drama at the end, which was really exciting to us. We lost to a really wonderful film called Motherland . It was a great run. For our domestic US premiere, I don't think it could have gotten any better, other than I would have loved the win for Live Action, so we would have had the potential [Oscar] nomination. But we're just starting the journey, and so we're really focused on not this year's Oscars, but next year's Oscars and listen, that's shooting for the moon, right? But, just enjoying the ride while we're going through it all the way until we get there, whether it's Oscars or not. I think Hollyshorts was indicative of what we hope is to come. Watching other people watch your work can be an unnatural feeling. Derek dishes on what it was like for him to sit with people watching a work he produced. Nerve wracking. Always for me, as an actor or director; I'm always anxious, nervous, and I'm always very critical. It's hard for me to not watch something and say, “Why did you do that?” As an actor, a writer, a producer, director, in all of the hats that I wear, I am picking apart everything. “Why did I have him walk over here?” Or, “Why did I deliver that line that way?” It’s challenging. I've gotten better, but it’s still tough. Fans of electronic dance music may recognize Derek from acting in… a Zedd video? I did. It was before Zed blew up. That song was sort of his first, second major hit, and I had a blast doing the video, and it was actually with my ex-girlfriend from a long time ago, and we just had a lot of fun making it. It was a blast. Zedd’s a really cool guy. We had a lot of fun making it. Great director, great team. Zedd's awesome. [Singer] Matthew Koma’s really cool. And what lies around the corner? I'm definitely quite tunnel-visioned, but I do have some other things I'm working on. I have another short film that I'm really excited about that's exploring the theme of death. I think something that I hope will also be cathartic for me, and that's a project that I'm going to be working on a bit with my wife. I have mixed feelings about it, to be honest. I'm really looking forward to it, but I'm also terrified to go there. But I think it's important, and I think there's a really interesting story to be told. It's something that I think everybody is afraid of in different ways, for different reasons. The idea of this story is a glimpse into the beauty of life and the suddenness of loss. I think it's something that a lot of people will be able to connect to. That's more on the back burner, but this short is something that we'll be working on as I'm prepping for the [ River of Grass ] feature, which is pretty much all I'm doing, because that's taking up all of my time. I do other work gigs, to keep me busy. I need to work and provide. I do a lot of real estate photography, videography, and I direct music videos. I direct brand videos, I direct all sorts of stuff. In terms of directing, I know I have a very diverse portfolio of stuff, so I'm always doing things like that. In terms of really creative stuff, right now, it’s that short and the feature. Updates on Derek’s ongoing and upcoming projects can be found on Instagram (@derekmagyar) or at Derek’s official website . Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

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Yae: Blind Samurai Woman shows the disdain for condescension < Back Yae: Blind Samurai Woman shows the disdain for condescension Samurai Girl, 2022 19 minutes Director/Writer: Akiko Izumitani / Akiko Izumitani and James “Doc” Mason Reading Time: 3 minutes 📷 : Used with permission, Akiko Izumitani Yae: The Blind Samurai Woman The Curse of the Hourglass (9LRKKSSNJAOBXODH) 00:00 / 03:26 Barley Movies and TV shows with a lot of dialog Masala Chai Movies and TV shows about toughness and athletic competition Reba Chaisson 2023-03-02 Being underestimated has its advantages. You can then blindside the person or people that are displaying their condescension towards you, by whipping out your knowledge of Durkheim’s structural-functionalist theory and Parsons’ take on it. Or suddenly plopping down at a piano and flawlessly playing Pachelbel’s “Canon in D” before seamlessly moving into Lizzo’s “About Damn Time.” Think about the scene from the 1997 movie, Good Will Hunting , when Matt Damon’s character embarrasses a student from Harvard by showing him he understood some classical theories better than the student did. Was that a good scene or what? This is Yae: Blind Samurai Woman in a nutshell. The short film is about a young woman in 18 th century rural Japan who has the power to heal. It comes at a cost however, in that she loses some degree of her eyesight or “light” whenever she uses her power. Starring Yuwi Kim ( The Music Box , Desperation ), Yae has already lost most of her light at the beginning of the film, when she hears her father, a samurai, fighting in the forest but arrives too late to use her powers to save him. She encounters his killer, Masanobu, who offers to lead her out of the forest to a nearby village so she will not be alone given that she is blind. Too often, people with disabilities are treated as if they lack certain sensibilities because they are missing a limb, reliant on support devices, unable to hear, or vision-impaired. For this reason, some films centering disabilities are problematic because the disabilities take on a life of their own, making the individual who is disabled appear unable, such as in Children of a Lesser God , My Left Foot , and more recently, The Upside . But this is far from the truth. What is often lost in these depictions is the fact that human beings have five senses, and medical science suggests that the loss of one usually leads to enhancement of the other four. What is also lost is that despite having a disability – cognitive or physical, people with them still have hopes and dreams. They enjoy socializing, having fun, and challenging themselves as others do. As it turns out, Yae likes a challenge and Masanobu underestimates the wrong woman on this day. Played by Masa Kanome ( Bullet Train , Snake Eyes ), Masanobu is boastful and proud of what he calls his killing in honor of his father. Despite Yae’s insistence that he remains quiet, he continues to talk as they embark on their journey out of the forest. A funny thing happens though, when we engage in conversation with people. We get to know them. We humanize them. And things become not quite as simple as they once seemed. Intrigued? If you have 20 minutes, you might want to give this one a try. Available on Film Shortage Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Peter & the Wolf provides a goth-animated adaptation to a familiar fairy tale < Back Peter & the Wolf provides a goth-animated adaptation to a familiar fairy tale Blink Industries, 2023 33 minutes Director/Writer: Elliot Dear and Stephen McNally / Bono and Sergei Prokofiev Reading Time: 4 minutes 📷 : Licensed from Shutterstock Peter & the Wolf Boo! (RESPVDYED21KBUR7) 00:00 / 04:02 Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows Jasmine Movies and TV shows with heart, positive vibes, and warm messages Chris Chaisson 2023-10-26 Peter & the Wolf tells the tale of a grieving 12-year-old boy sent to live with his grandfather in the forest after the death of a parent. While he wants to play outside, his grandfather tries to keep him close to the house and back inside early, as there is said to be a wolf on the prowl. However, Peter seeks out an encounter with the wolf with the help of a duck, a bird and his cat. He initially finds the wolf aggressive and predatory, but once he tames it, Peter attempts to protect it from capture at the hands of two hunters. Bono’s adaptation of a 1946 Disney animation (which itself was based on a classical composition by the same name) centers heavily around the idea of protection. Peter spends the entire short film trying to protect his animal friends from each other and from humans, while his father also tries to protect him from the wolf and the hunters. Peter uses several methods as means of protection, including his slingshot, trickery, and reasoning skills. His adventures allow him to transfer his angry energy about the loss of a parent into something productive, as he essentially makes a new family out of his animal friends. In stages of grief, we often need to withdraw from our routines in order to emotionally recover. Peter & the Wolf paints a different picture of processing grief, with its protagonist taking on the responsibility of caring for animals. The short also uses gothic animation to portray the good and bad, or innocence and guilt, in its characters. The wolf, initially in its predator state, is outlined in chalk with X’s for eyes, making it the clear villain. Once Peter has tamed it, the wolf’s outline goes away to reveal its fur and soft, round eyes, drawn the same as the other characters. Another example is the duck wearing a snorkel mask while it wades in the pond. Not only does it add a touch of humor, but it makes the duck seem more like a human. We see Peter’s animal friends experience the full emotional spectrum, from fearful to brave to playful to serious, and even annoyed (the cat jumps and glares at Peter for slamming down a book). Even more clever than the art is the way Peter & the Wolf uses music. The classical music accompanying this children’s story might even offer a nice reprieve for parents who still have Justin Timberlake’s “Can’t Stop the Feeling” or the Hamilton soundtrack ringing in their ears. Accompanied by singer Gavin Friday’s narration, the short consists of similar music to the original, which contained compositions by Sergei Prokofiev. Each character (bird, duck, grandfather, wolf, Peter, and hunters) has their own instrument and musical theme. As with Prokofiev’s symphonic fairy tale first performed in 1936, the musical pace quickens to represent impending danger and the rush to safety, while the normal slow, bouncy tunes symbolize calm. The music, along with the character’s behavior, exhibits how violence begets violence, with the characters threatening each other’s safety one after the other before being subdued. Peter & the Wolf differs from a lot of children’s stories that tend to be about lost characters and their adventures in trying to find a way home. Rather, it depicts the need for safety and security of the most vulnerable creatures. There are few symphonic fairy tales available for a comparison; however, a recent one to shout out is the 2021 Merregnon: Land of Silence , about a wooden robot who must find his creator in a realm of eternal frost. Both projects offer adults a chance to introduce classical music to their children within the context of what is still a children’s story. Available on max Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

A Brush of Violence makes us consider how we handle disappointments < Back A Brush of Violence makes us consider how we handle disappointments DLW, 2023 40 minutes Director/Writer: Daniel Lawrence Wilson Reading Time: 5 minutes 📷 : Used with permission, Daniel Lawrence Wilson A Brush of Violence Echo Mountain (T4UAWDOFDJONIQJD) 00:00 / 05:26 Ginseng Suspenseful and intense thrillers Dandelion Movies and TV shows with heavy subjects Reba Chaisson 2023-08-21 “Always remember why you started in the first place.” Popular wisdom on adversity contends that how we respond to disappointments and setbacks reveal a lot about our inner strength and focus. Do we persist when things initially don’t go our way, or do we cut and run in a different direction? I think the thinking here is simplistic since it considers neither the context of our lives nor our complexity as individuals. In other words, we neither cope with nor respond to happenings in the same ways. A Brush of Violence highlights this issue, but also leads us to consider our own fragility as it relates to our passions and disappointments. A Brush of Violence centers Vio, a reclusive artist who is famous for his provocative and violent paintings. After years of anonymity and being isolated in his home, he requests that Akila, a photographer, come to his home to take pictures of him that would amount to an unveiling of the man behind the paintings. Played by Mia Krystyna ( Solitude , A Letter on Loss ), the sedate and unflappable Akila is initially hesitant, though also curious why he chose her. She accepts Vio’s invitation, realizing it as a rare opportunity to boost her career ambitions. Darren Streibrig’s cinematography for the film is dark, fitting for the subject matter about a man who rarely ventures beyond the brick masonry and stone walls of his vast, eerie, and isolated estate. Joseph Holiday and Snakes of Russia’s soundtrack of low notes and shrieking violins add an ominous tone that hangs throughout the presentation. When combined with the minimal though profound dialog, it completes the film’s doomy feel. So, when Vio, played by Yavor Vesselinov ( The Bridge , Adultery ), asks Akila how far she will go to be remembered, we get the sense that something dark and unimaginable might happen during her visit. The 40-minute film contains some unexplained symbolism with flashes of color and masks. This may be frustrating for some of us since we’re not keen to Vio’s experiences, motivations, and what brought him to his life as a recluse. But films of all genres and lengths contain elements that are annoying and off-putting. I am reminded of several Spike Lee films that are laden with symbolism and special effects forced into the productions, disrupting an otherwise seamless movie-watching experience. The 2006 film Inside Man and the 1991 hit Jungle Fever come to mind. Both were, nonetheless, engaging films with strong lessons. In A Brush of Violence , the annoyance of the symbols is dampened by writer/director Daniel Lawrence Wilson’s use of multiple locations and the large cast of extras appearing in scenes at a bar and an art gallery, for example. Unusual for short films, these elements seem to make the movie come up for air after what feels like a dark and suffocating visit with Vio. Over an eerie silence, Vio and Akila engage in a conversation that gently stirs our emotions with light fingertips as the two use few words to talk about passion, aspiration, and ego. At one point, Vio, in his light, monotone voice advises Akila to “Always remember why you started in the first place” and later asking rhetorically, “What if there was never a day you were forgotten?” Vio’s musings hint that he lost himself sometime during his career, and that the passionate painting he once relished was somehow derailed. Despite his famed accomplishments, he is deeply saddened by not having fulfilled his ambitions and is now concerned about his legacy. In this sense, A Brush of Violence is similar to the passion exhibited in the 2008 tearjerker, The Wrestler . Mickey Rourke received an Oscar nomination for his role as Randy “The Ram,” a retired wrestler who has settled into a life outside the ring. While he works to make amends for his past failings as a father and husband, he longs for the fame and popularity he once reaped from the sport. He seizes the opportunity to get back into the ring, telling his fans that they are the only people to tell him when he’s through “doing his thing.” Passionate but not as brazen and vocal, Vio in A Brush of Violence is similarly concerned about his legacy and wants to solidify it on his own terms. I think many of us, especially those over 40, can relate to this. We begin our work lives with every intention of doing what we love, but we abandon it for practical reasons, or we are forced to leave it because of a life event. Also, sometimes, crap just happens! Our response to these disappointments varies, for instance dabbling in our passions on the weekends or returning to them after the dust has settled in our lives — to restore the essence of ourselves. I’m hoping Vio’s response to his disappointments is the exception. Check out this intriguing film and you’ll see what I mean. 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A Good Day Will Come sheds light on a real-life tragedy < Back A Good Day Will Come sheds light on a real-life tragedy Zargara Productions, 2024 25 minutes Director/Writer: Amir Zargara Reading Time: 4 minutes 📷 : Used with permission, Amir Zargara A Good Day Will Come Just A Dream 00:00 / 04:24 Dandelion Movies/shows with heavy subjects Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2024-10-19 If you follow sports even in the slightest, you are probably aware of the times that they have notoriously intersected with politics. From a historical standpoint, incidents like John Carlos and Tommie Smith raising their fists on the Olympic podium or Muhammad Ali refusing to fight in the Vietnam War stand out. More recently, we’ve seen Colin Kaepernick and numerous others protest against police violence. A less well-known example is decorated WNBA player Maya Moore abruptly retiring to focus on reform in the justice system. The most common pushback is to point out the privilege of famous athletes and suggest that they stick to what they know best. One political commentator famously told LeBron James to “shut up and dribble.” Though reductive and dismissive, the statement does highlight the quandary that gifted public figures find themselves in. Do they put everything they’ve worked for their entire life on the line for a just cause? Or do they decide that activism is best left to others? Inspired by the true story of Navid Afkari, A Good Day Will Come examines this quandary in the setting of an even more tumultuous political climate. Sia Alipour plays Arash, a talented wrestler with hopes of competing in the Olympics. However, in his home country of Iran, turbulent protests against the human rights violations by the current regime persist. While his wrestling coach initially dissuades him from getting involved or speaking on the matter, the issue becomes more personal for Arash in the blink of an eye. After brief comments to the press and the donning of a T-shirt, he decides to put his own safety on the line and attend a protest. Seeing the tide turning towards potential violence, he must decide whether to hang back or step to the forefront and use his celebrity to save lives. A Good Day Will Come brings us a very heavy re-telling of a recent tragedy, but it also shows us what change and activism looks like through a character arc. Arash is not just soft-spoken on the current political issues; he is generally very bashful for the first half of the short film. His skill for wrestling stands out immediately through the depiction of his matches, but he does not initially come off as brash as Muhammad Ali or as open as Arthur Ashe. Rather, he is tunnel-visioned and keeps his head low, looking to his coach for guidance. As the short progresses, he speaks more, initiates more and makes decisions without looking for someone else’s instructions. Short film protagonists may not always display the character arc that Arash does, but being forced into such precarious positions causes one to either change very quickly or pass the buck. The short film also shows the initial pushback to Arash’s decision to get involved. At one point, a group of agitators at a protest try to shoo him away when he discourages their behavior. They say, “All you’ve done is wear a T-shirt!” Their words echo the frustration of many activists at what they perceive to be performative measures. Often, public figures gain praise for what are symbolic gestures that do not necessarily contribute to a cause in any practical way. This allows them to gain adoration without any sacrifice. The exchange forces Arash to go a step further and put his safety even more on the line. Driven people with sky-high personal goals do not tend to put their own happiness aside quickly. It is often a gradual process as they learn the severity of many social issues. The timeline can often shrink significantly when they are personally affected. Nonetheless, it is a lot to ask of anyone to halt the pursuit of the one thing they’ve aspired to be all their life. What differentiates “real” activism from performative shtick? The answer is very subjective. A Good Day Will Come may make you reflect on your own perspective. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

The Waltz shows the importance of time spent with loved ones < Back The Waltz shows the importance of time spent with loved ones Coffee Ring Films, 2015 11 minutes Director/Writer: Trevor Zhou Reading Time: 3 minutes 📷 : Used with permission, Trevor Zhou The Waltz Storyteller (X7JIUSHW6XB99CDH) 00:00 / 03:45 Jasmine Movies/shows with heart, positive vibes, warm message Chamomile Family dramas Chris Chaisson 2022-10-29 “ Remember to stay light .” Many people have become fond of the phrase “invest in experiences, not things.” The platitude suggests that fulfilling experiences will bring more long-term happiness than prized possessions, which quickly bore us. Such emotional journeys as learning a new skill or traveling to another country also make for better stories to share. Less often stated is the importance of sharing these experiences with people you love the most. The Waltz , Trevor Zhou’s touching short film, encapsulates both of these sentiments through the eyes of one affectionate couple. The Waltz follows Ling, an immigrant mother and wife who takes up dance lessons in order to shake up her routine. She becomes invested in her new hobby to the point of shutting out her husband Jian, who wants to support her despite his busy work schedule. Several weeks into the class, Ling’s teacher confesses that he must end lessons in order to return to his home country and take care of his sick mother. He mentions that his family must take priority over anything else, prompting Ling to reflect on her relationship with Jian. As her class is coming to an end, she greets Jian coming home from work and, much to his delight, teaches him the waltz. Ling’s desire to take dance classes stems from the loneliness she feels, largely due to the absence of her son. Combined with Jian’s work schedule, the fact that her son never visits makes her feel neglected. Her interactions, even with complete strangers, amplify these feelings. For instance, at the grocery store, she gets a nasty attitude from the cashier and the man behind her in line while trying to redeem multiple coupons. These experiences are consistent with those of many immigrants, who are subject to the impatience or irritability of others not comfortable interacting with them. When she spots the flier for waltz lessons, she sees an opportunity to not only take up a new pastime but join a community. The Waltz brings to mind a recent Academy Award Best Picture winner, CODA . CODA ’s protagonist, Ruby, struggles to balance her newfound passion for singing with her efforts to be supportive of her family. Ling in The Waltz experiences a similar struggle. While Ruby’s family is dependent on her communication skills and labor, Jian simply needs Ling’s companionship. The film’s theme can be summed up in just a couple of moments. The first moment comes when Ling admonishes Jian about moving her things out of the garage to make space for a dance floor. The other occurs when she tosses some of her own things to recreate the same open space. Her dance teacher’s words ring in her ear during the latter of these two moments: “Remember to stay light.” While he is referring to footwork in the midst of the waltz, Ling applies this advice to her familial situation. She makes the conscious decision to choose experiences over things and, furthermore, shared experiences over isolated ones. The waltz itself is a dance for companions, yet in her haste to learn, she shuts out her most loyal one. As they reconcile at the end, we see that Ling has learned to balance her newfound interest with her love for Jian. Available on YouTube Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!