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“Frybread Face and Me” is a sweet coming-of-age film that’s imperfect all around. Inspired by writer-director Billy Luther‘s childhood, this deeply personal project has its fair share of stumbles, but it manages to stay above water with a charming Native American cast and a story that amplifies Indigenous voices through cinema. Set in the early 1990s, the film tells the story of eleven-year-old Benny (Keir Tallman), a boy who lives in San Diego with his mom and dad. On the brink of divorce, Benny’s parents put him on a bus to the reservation in Arizona so he can spend the summer with his Grandma Lorraine (Sarah H. Natani), free-spirited Aunt Lucy (Kahara Hodges), tough Uncle Marvin (Martin Sensmeier), and his pudgy tomboy cousin Dawn (Charley Hogan), whom he has never met. Benny’s days are spent living, playing, and sometimes working on the family’s sheep ranch, but he is instantly intimidated by Dawn (who goes by the nickname Frybread Face). She’s sassy and authoritative, which may be just the type of companion Benny needs to make it through the summer. There isn’t a whole lot of plot here, just a series of recollections about the summer and scenes of kids being kids. Much of the story is told from Benny’s point of view, which means most of the adults are mean or dismissive except for grandma, who desperately clings to Navajo traditions, and Aunt Lucy, who just wants to leave her past behind. There are character quirks that are obviously highly personal, like the fact that Benny plays with dolls and listens to Fleetwood Mac. It’s an eye-opener of a summer for him in more ways than one. The film’s biggest problem is that the humor simply doesn’t work, and almost every attempt at comedy lands with a thud. This isn’t supposed to be a traditional comedy of course, but the overreaching jokes feel desperate and universally unfunny. It’s not overly mean-spirited, but it is sad how Dawn has been saddled with a very unflattering nickname, and many barbs are made at her expense. The most interesting points raised by the movie are all about Native American customs and traditions that are being lost at a greater rate with every new generation. Grandma still crafts rugs by hand and refuses to learn English, and there’s a glimmer of hope in the idea of finding purpose through your heritage (Dawn speaks Navajo and Benny is fascinated by the artistry of weaving). It’s something many struggle with in their own family, and Luther’s script lends an authenticity that’s earnest and relatable. It’s the heartfelt sentiment behind “Frybread Face and Me” that makes it feel special. **By: Louisa Moore / SCREEN ZEALOTS / WWW.SCREENZEALOTS.COM**
Chet Kasedon is after the Indians hidden gold mine but Chief Moya will not reveal it's location. He has also hired mining engineers Gale and Mortimer to locate the mine. When Gale sees Kasedon's cruelty to Moya, he switches sides.
A lost film based on the 'Reign of Terror', a real-life series of several dozen murders committed against the Osage people. 'Tragedies of the Osage Hills' was directed by James Young Deer, the first known Native American film director, and boasted a cast of “hundreds of real Indians.” Described as a dramatic thriller interwoven with a “tender love story”, the film’s premiere in Cushing, Oklahoma occurred just months after the arrest of Ernest Burkhart, the subject of Martin Scorsese’s similarly themed 2023 film 'Killers of the Flower Moon'. The 'Cushing Daily Citizen' described 'Tragedies of the Osage Hills' as having a fictitious ending of the Osage and white men united under an American flag.
Exiled Chilean director Patricio Guzmán filmed in Cuba and in Venezuela to create this controversial statement on the creation and survival of Latin American culture from the late-15th century to the present. For some viewers, the film will be superficially symbolic and rhetorical, for others, it will be a strong and personal vision of several centuries of history.
A beautiful young woman is arrested by a wonderful policeman, due to her effort to steal letters from a gigolo's house.
In the fall of 1986, six knuckleheads from Detroit travel north to partake in the annual tradition of deer hunting. But something horrific has been awakened and the hunters become the hunted.
Forced to trade his valuable furs for a well-educated escaped slave, a rugged trapper vows to recover the pelts from the Indians and later the renegades that killed them.
On a desolate Navajo reservation in New Mexico, three young people – a college-bound, devout Christian; a rebellious and angry father-to-be; and a promiscuous but gorgeous Nádleehi (trans person)- search for love and acceptance.
New York trapper Tom Dobb becomes an unwilling participant in the American Revolution after his son Ned is drafted into the Army by the villainous Sergeant Major Peasy. Tom attempts to find his son, and eventually becomes convinced that he must take a stand and fight for the freedom of the Colonies, alongside the aristocratic rebel Daisy McConnahay. As Tom undergoes his change of heart, the events of the war unfold in large-scale grandeur.
Gabby, the waitress in an isolated Arizona diner, dreams of a bigger and better life. One day penniless intellectual Alan drifts into the joint and the two strike up a rapport. Soon enough, notorious killer Duke Mantee takes the diner's inhabitants hostage. Surrounded by miles of desert, the patrons and staff are forced to sit tight with Mantee and his gang overnight.
The town of Primrose, Arizona is beset by outlaws, so the towns people hire Fletcher Bissell III (A.K.A. The Silver Dollar Kid) as their new sheriff. Fletcher is so cowardly the townsfolk are sure that the local outlaws will be too proud to gun him down. This proves to be the case, and the outlaws hire their own cowardly gunfighter, Chicken Farnsworth, to go up against The Silver Dollar Kid. Written by Jim Beaver