Author: Josiah Teal

Read Frame Type Film: Book Review. By Josiah Teal.

The Bell curve of film books ranges from fun plot-summary listicles to dense hyper-niche deep dives, with plenty of critic pieces and biographies in between. This opening statement is not to discredit any books but to convey the many audiences and possible prerequisites before diving into film as a literary sub-genre. “Read Frame Type Film” is firmly in the hyper-niche deep dive category.

Written by Enrico Camporesi, Catherine de Smet, and Philippe Millo, “Read Frame Type Film” is an analysis of text in cinema: print, cursive, different fonts, lettering, subtitles, and coloring, if its letters are on the screen. “Read Frame Type Film” has an in-depth examination of it. 

“Read Frame Type Film” is academic, made for a film school audience already christened with more knowledge of film than the average cinephile. The work includes references to David Lynch, Jean-Luc Godard, and even Bob Dylan’s “Subterranean Homesick Blues,” all centered on the words and how different auteurs present them on the silver screen.

The names above include some of the more household names within the book, as the bulk of the text dives into 24 films that would make even the most seasoned film historians proud. Avant-garde and psychedelic films offer some of the best insights as the authors discuss how these films present text in an artistic format and heighten the audience’s emotional response. 

Stylistically, “Read Frame Type Film” is primed for dissertations and thesis papers and is armed with plenty of great quotes to connect main ideas across academia. It’s a curriculum book with plenty of excerpts for film schools to review and grad students to mine for content. Within the film industry, up-and-coming filmmakers could find parts of the book helpful in finding the perfect way to present text or subtitles for their indie films.

However, for the general public or even a regular moviegoer, there are far more accessible books on film. Even veteran cinephiles may appreciate “Read Frame Type Film” but find the book too dense. Density aside, the analysis is first-class and offers plenty of insight into an often-overlooked aspect of the cinematic experience. 

The depths of cinema continue to grow with the medium. From syncing up The Wizard of Oz with Pink Floyd to watching only the Ingrid Bergman shots of Casablanca or attending midnight screenings of Rocky Horror while knowing all the inside jokes, cinema expands with its audience. Camporesi, de Smet, and Millo represent the depths and expansion of cinema with “Read Frame Type Film.” The audience and subject are beyond niche.

The text is a slow read, not for the binge-read BookTok era. But for its intended audience, “Read Frame Type Film” displays the passion beyond the hyper-niche, displaying cinema to the fullest extent of the film spectrum and representing the furthest end of the academic bell curve, seeking to champion film culture in every word, both on screen and on the page. 

Sound Spring: Review.

Directed by Catalina Alvarez, Sound Spring explores the history of Yellow Springs, Ohio, through eight unique vignettes. Entirely narrated by the small town’s residents, the documentary blends slice-of-life storytelling with reflections on the town’s dark history. Sound Spring premiered at the Cleveland International Film Festival, giving the film and festival a more personal feel since both cities reside in Ohio. The personal feel is noted through every frame as Alvarez uses the story of Yellow Springs to create a narrative that any small town in the U.S. can connect with.

Yellow Spring, Ohio, is the sole focus of Sound Spring, in the way New York or Paris can become a character in a classic drama or lovely rom-com. While the town is small in population, the idea of Yellow Springs is a massive part of each resident’s story and connection to the past.

Alvarez contrasts Yellow Springs’ past racial prejudice with modern-day progressive symbols to showcase the town’s shift from discrimination to a place working towards inclusion. Throughout the vignettes, residents discuss the beautiful surrounding forest, the local college, changes in the political climate, and even breakdancing as the documentary weaves the story of Yellow Springs into a clear picture of life among the citizens.

As with many anthologies, not every vignette or chapter is equally engaging. Sections on breakdancing and telling the town’s history through hip-hop are creative, streamlining a typical documentary interview into art in its own right. Yet some sections lack the same transcendence as others. The best parts of Sound Spring tell the story of Yellow Springs in a way that conveys a larger, arcing tale of small-town America. However, the narrative sometimes loses itself when it becomes hyper-focused on Yellow Springs. Documentaries like Sound Spring often shine brightest when they follow a present-day narrative tied to the past. But, with Sound Spring‘s present narrative focused on the past, it makes perspectives seem too retrospective, losing the flavor of a modern, politically conscious doc and the depth of a historical documentary. 

Sound Spring‘s stories of racial discrimination and shifts towards progress are super important, especially in 2025 America. Interviews acknowledging the town’s past and connecting to the present enrich the documentary. Telling the story of a small town through vignettes creates a lot of room for creativity and ways to showcase the many facets of an overlooked area. Sound Spring carries several important messages throughout its story, but the film rarely engages viewers with a strong call to action or education. Using residents to tell the story of Yellow Springs is a beautiful homage to the city, and Sound Spring will have its fans. But it’s a niche audience seeking the comfort of Anytown, U.S.A., merged with political commentary. 

May is a high school student who is struggling with depression and finds solace in caring for her family’s cat. When her teacher discovers May’s journal, he grows concerned about her well-being. May’s mother is trying to offset poverty by earning money as a sex worker, and May is struggling to cope. Caring for her cat seems to be her only escape or piece of normalcy as May navigates life, grief, and family in Before the Winter.

Venice Wong is incredible as May. She is a total standout, elevating the material to the festival-worthy drama that Before the Winter strives to be, bringing a nuanced performance to every scene. May’s story is packed with heavy emotions and a complex character study, all told within 15 minutes. Wong’s subtle performance in the role allows director Juan Zuloaga Eslait’s use of drama tropes to shine, making the short a welcome addition to the Cleveland International Film Festival.

Wong is reason enough to watch Before the Winter. She does more with her character in 15 minutes than most performers can do in 90. Flora Wengu Jiany showcases a prowess for writing drama and great young characters. And Eslait frames the narrative so that Wong’s performance enhances every aspect of the film. The twist at the end feels innately divisive.

Audiences will either accept the ending as brilliant or see it as undercutting an already bleak and emotionally riveting drama. Regardless of how one thinks about the twist, the ending will certainly spark conversation. However, the ending merits conversation almost as much as the future career of Venice Wong. 

Minted: Review. By Josiah Teal.

Beeple started creating one picture a day every day since May 2007. As a digital artist, he found some success, but nowhere near the success he would achieve in 2021, when his art sold for over $ 60 million. Yet what made Beeple’s newfound wealth so groundbreaking was not just the price tag but that his art was completely digital; thus began the rise of NFTs. Directed and produced by Nicholas Bruckman, Minted takes audiences on a journey through the ever-evolving and highly criticized world of blockchain and NFTs.

In the NFT community, “Minted” is defined as having a unique, individual place within the blockchain (a massive digital ledger to the unfamiliar). While NFTs may be new to the Internet and digital world, digital art has been popular since the introduction of MS Paint. NFTs thrive on “digital uniqueness,” the concept of owning the original code of the digital art. But just as NFTs took over the art scene, worlds collided as NFTs and cryptocurrency merged and mutated, creating an unbalance of artistry and commerce. Through the voices of Beeple, Justine Aversano, Latasha, Kina Matahari, and some of the biggest names in NFTs, Minted seeks to address misconceptions about the rise and (maybe) fall of the NFT empire.   

Minted shares more than a bit of DNA with recent Reddit-savvy docs like Gamestop: Rise of the Players or Apes Stronger Together. A hint of anarchy and indie spirit flows throughout the doc as Bruckman weaves interviews between B-roll of mesmerizing digital art. Using Beeple as a starting point works well to ground the story of NFTs for those unfamiliar with the topic. Not every interview is created equal, but many offer diverse perspectives on NFTs as art, memes, cryptocurrency, fortune makers, and reasons for bankruptcy. Minted seeks to share a nuanced perspective on the controversial medium, highlighting the opportunities NFTs create for tech-savvy artists and the potential woes of blockchain banking.

While Minted may not offer as much to those within the NFT space, Bruckman explains the appeal and downfalls in a more digestible format than even the most entertaining Redditors and streamers in the NFT game. Bruckman showcases the artistic side of NFTs, allowing artists to tell their own stories and capture the lightning-in-a-bottle moment of the NFT explosion. Pacing is key as Minted navigates the aftermath of the NFT boom and the fallout from the bust. Fusing meme culture with high art, Bruckman creates an engaging and informative documentary with the energy of a pop culture exposé.

Like many pop-culture or Internet-infused docs, Minted features more than a few notes of blissful nostalgia and moments of rose-colored glasses. But through sweeping music and artistic documentary storytelling, Bruckman can entice even the most jaded viewer into an enjoyable 77 minutes. It’s a fascinating take on an industry that began as a meme, grew into an economic giant, and then returned to memes, yet still finds a place in the finest art museums in the world. The validity of NFTs may still be debatable; what shines most in Minted is Bruckman’s clear curiosity on the subject matter. A curiosity that leads to passion and a passion that engages the viewer from start to finish. Minted may not convince everyone to join the blockchain, but it is undoubtedly an engaging step toward understanding the appeal. 

Sinners: The BRWC Review. By Josiah Teal.

A young man, Sammie (Miles Caton), stumbles into his father’s church, covered in blood and scars from the night before. In his hand, he clutches what remains of his prized guitar. His father told him, “When you dance with the devil, he may just follow you home.” It appears his father was right. Set in the Mississippi Delta at the start of the Great Depression, Ryan Coogler’s Sinners takes audiences on a mythic journey of vampires and music in the “Land Where the Blues Began.”

One day before Sammie’s bloody appearance at Sunday’s service, twin brothers “Smoke” and “Stack” (Michael B. Jordan) return to the Delta from Chicago. The brothers show up after a long estrangement from the Jim Crow South; the two sought fortunes in the North. Rumors of hitting a big Casino, robbing banks, and working with a notorious crime boss surround the brothers; whether true or fantasy, the brothers prove they have plenty of money and are quick with a gun. Hoping to open a Juke Joint music club, the twins hire their cousin Sammie to play guitar as they hustle their way into a packed club on opening night.

The night brings an almost spiritual night of music, dancing, and acceptance. Connecting the past, present, and future through the blues and the voice of young Sammie. A voice so pure, moving that, as foreshadowed in the prologue, could “pierce the veil” between worlds. Sammie’s voice is heard, not just by the other side but by demons within our world. What began as the ultimate high for Sammie and the twins soon becomes a night of terror and blood as vampires descend upon Club Juke.

Smoke & Stack’s return to Mississippi is often met with a mix of shock and, at times, disdain even among friends. Hailee Steinfeld is magnificent as Mary, Stack’s witty, smooth-talking, jilted lover. As Sinners unfolds and the narrative leads the brothers toward their brush with vampires, the supporting cast shines, elevating the excellent characterization of Sammie, Smoke, and Stack to create a lived-in world before thrusting the vampires into the story Miles Caton brings vulnerability and eagerness to Sammie, making his taste for freedom before destruction all the more heartbreaking. Jack O’Connell is a sinister head vampire, channeling equal parts cult leader and blood-drunk sociopath in every scene. Every performance in Sinners is on point, especially those of Michael B. Jordan.

Sinners marks Coogler and Jordan’s fifth film together. With a track record of Creed, Black Panther, and Fruitvale Station on their resume, the “Scorsese & De Niro” comparisons are valid. Jordan brings his trademark charisma and nuance to the dual role, adding layers of personality to both Smoke and Stack. Whether fighting hordes of vampires, charming everyone, or intimidating Klansmen, Michael B. Jordan is electric in this film. His chemistry with the entire cast makes Sinners a horror film with the soul of a period piece.

Music, history, and horror flow freely through Ryan Coogler’s script. The Ludwig Göransson score paired with traditional Delta blues radiates throughout Sinners, giving the narrative a supernatural feel long before vampires arrive. Coogler draws influences from vampiric folklore, John Carpenter’s The Thing, a bit of Tarantino, and his own personal filmmaking gravitas to create a magical experience. Sinners has deep roots in the horrific stories of the American South. Ryan Coogler takes the Jim Crow Delta and gives the violence a vampiric spin, creating an allegory that transcends cinema, expressing the blood-soaked reality.

Without a single vampire, Sinners works as a film. Given the first and even most of the second acts, the film could be a gripping period piece on survival and freedom in an era of sharecropping and segregation. It would still be a character-driven narrative about brothers trying to feel alive in a world that has taken everything. But by adding blood-sucking demons into the mix, Ryan Coogler creates one of the most profound and entertaining vampire epics in decades. Sinners is not just one of the best installments of the new “Vampire Renaissance” but one of the best installments of the vampire mythos and perhaps the best film of his illustrious career. Vampire mythology lends itself easily to the spiritual, primal story of survival within Sinners. It is almost too perfect. Coogler, Jordan, and the entire team take Robert Johnson’s blues and blend them brutally with the harsh devil of the vampiric South.