2024 Middleburg Film Festival Diary Days 3 and 4: Isabella Rossellini Talks ‘Conclave;’ Coffee and Contenders, plus ‘Nightbitch,’ ‘The Room Next Door’

I kicked off day three of the Middleburg Film Festival at one of this year’s most compelling venues: the Conversation with Colman Domingo and Clarence Maclin, moderated by Variety’s Clayton Davis. The duo was there to celebrate their film, Sing Sing, and to receive the festival’s Impact Award, honoring artists who bring significant stories to the screen.

For those familiar with Sing Sing, it’s clear why they deserve such recognition. Their discussion centered around the importance of bringing art to communities that often lack avenues for expression.

Domingo shared how theater has shaped his journey as an actor, noting that the script for Sing Sing emerged from the cast and filmmakers bonding over Zoom, exchanging stories and exploring what mattered to them as men – family, art, and personal passions. “Sing Sing was a film I had to be a part of, and be a champion of,” Domingo explained, “I actually filmed it in between The Color Purple and Rustin in the 18 days I had available. And they took every single one of them!” He spoke on the privilege and honor it was to tell the stories of these men and debunk and deconstruct images of black and brown men who people cast aside. He acknowledged the impact that theater arts have on these communities on the inside, to help make people feel more alike as individuals on personal journeys and to examine their humanity.

The conversation deepened further as Domingo reflected on his newfound platform and the creation of his production company, Edith Productions. He aims to amplify the voices of marginalized individuals and help rebuild their communities. “Art has therapeutic aspects,” he explained, “which is why it feels so vital. Finding the arts allowed me to dream bigger.”

Maclin humorously noted how he was inspired by Domingo’s dedication and felt compelled to match that level of commitment for the project to succeed. Their rapport was palpable, underscored by a profound mutual respect.

“People are now seeing me as an inspiration,” Maclin, a former inmate, shared. “I once felt worthless, convinced my destiny was set in stone. I was ingrained with the belief that I’d always be a gangster. I worked to get in the mindset that I am not going to allow the department of corrections to change my behavior. I am going to choose to make these changes for myself, and I want to inspire others to do the same.” 

The pair wrapped by answering a question about finding ways to get more amazing stories like Sing Sing made. Colman Domingo paraphrased George C. Wolfe, director of Rustin, with his answer. “It doesn’t have to look like you, to be about you. If we all took that to heart with the way we produced, financed, and moved the needle, we would find plenty of interesting and diverse stories.”

I hope the Academy takes note of this film and its remarkable performers, and that the pair gets more opportunities to speak about their work and what they brought to their roles. 

The next Conversation at the festival featured the legendary Isabella Rossellini, here to promote Edward Berger’s Conclave and to receive the Agnes Varda Trailblazing Film Artist Award.

When asked about her role in Conclave, Rossellini responded, “I love this role because, in the Catholic Church, women play a submissive role. But I did not play a submissive character.” Her pride and strength were palpable in her answer.

Surprisingly, Rossellini has never been nominated for an Academy Award, and I sincerely hope we can soon celebrate her as Academy Award-nominee Isabella Rossellini. Her mother, Ingrid Bergman, was nominated seven times for acting, including two wins – Lead Actress for Anastasia (1957) and Supporting Actress for Murder On the Orient Express (1975). Her father, Roberto Rossellini, received his sole Oscar nomination in 1950, for Best Writing, Story and Screenplay for Paisan.

Rossellini shared insights about her parents’ controversial love affair and her upbringing in Italy, France, and Sweden. Though she never aspired to an acting career and initially pursued costume design, she “accidentally” ventured into modeling. Her desire to forge her own path rather than follow in her mother’s footsteps was clear, but a burgeoning passion for storytelling ultimately shifted her trajectory.

She credited her accent with landing many femme fatale roles and noted how it has now opened doors for her in animated films like Marcel the Shell with Shoes On.

At 72, Rossellini is as hilarious as she is vibrant, radiating joy for filmmaking and connecting deeply with the audience at Middleburg.

The third event of the day was Cocktails and Contenders, featuring Clayton Davis and Jazz Tangcay from Variety. This annual highlight covers the current state of the awards race and allows the enthusiastic audience to pose questions. I always enjoy this event, not just for Clayton and Jazz’s insights, but also for the audience’s curiosity about which films have captured their attention and what under-the-radar contenders might emerge during awards season.

In addition to the major players, the discussion touched on the Oscar prospects for Nosferatu, Queer, Nickel Boys, Juror #2, and Thelma. They highlighted the crucial role of campaigning on the awards circuit, emphasizing that making appearances at festivals, interviewing for publications, shaking hands and kissing babies, are all essential steps for securing nominations. The conversation also covered several documentaries in contention, noting how that branch of the Academy often overlooks early frontrunners and films featuring celebrities or reconstructed footage. A question arose about the new Best Casting category, set to debut next year, and both agreed that Anora or Emilia Pérez would likely be frontrunners if it were already in play.

As an Oscar enthusiast, this event is always a highlight for me.

The only film I caught on day two was Marielle Heller’s darkly comedic Nightbitch, starring Amy Adams as a woman on the brink of losing herself to the pressures of motherhood. After pausing her promising career, Adams’ character feels trapped in the monotony of caring for her toddler, as her husband, played by one of my favorite actors, Scoot McNairy, continues his career with the duties of parenting seeming a nice break for his wife. As her resentment builds, she develops a fantastical connection with the dogs in her community, using this coping mechanism to navigate the stress and sacrifices of parenting.

For many, becoming a parent can feel like abandoning personal dreams, with the heaviest burdens often being placed on our mothers. I say that as I sit fulfilling my own dreams at a film festival while my wife is back home playing referee to our two teen boys. What dreams did she abandon, I wonder? What dreams did my mother let go of to raise four children of her own?

Nightbitch addresses these reflections with stark honesty, highlighting the sacrifices made by our matriarchs. It contrasts one generation devoted to motherhood with the one that followed, which often had to adapt while the men pursued their own successes and aspirations. Heller and Adams powerfully convey this message, prompting me to reflect more deeply on my own role as a father. 

The weight of motherhood is artfully portrayed, culminating in Adams’ exasperated declaration that “motherhood is fucking brutal.”

Nightbitch is a perfect ode to motherhood, parenting, and the unending and invariably true principle that kids suck.

God love them (unconditionally) like we do.

My final day at the Middleburg Film Festival featured two engaging conversation events. The first was a panel titled “The State of the Industry,” moderated by Ann Hornaday, the chief film critic at the Washington Post. This diverse group of independent film producers, executives, and distributors discussed the current state of the film industry as it emerges from the challenges of COVID-19, recent strikes, and the cultural shift toward streaming. The overarching concern was clear: “How do we get butts in seats?” in an era where many are opting to stay home.

Hornaday prompted the panel to share their biggest anxieties about the current landscape. A common theme emerged around the necessity to craft stories that resonate with younger audiences. “We need to rethink the independent film ecosystem and help young viewers differentiate between fame in film and TikTok,” one producer emphasized. Concerns about digital piracy were also raised, with estimates suggesting it costs the industry a billion dollars in lost sales annually. While some panelists advocated for consistent timelines for theatrical releases transitioning to streaming, others cautioned that a “one size fits all” approach doesn’t suit a diverse industry.

A notable consensus among the group was the exorbitant cost of filmmaking in the U.S. compared to international markets, which they identified as a significant barrier to producing the right types of films.

Yet, the mood wasn’t entirely bleak. One executive pointed out, “The global market is up 5-9% and nearly 30% internationally,” highlighting a silver lining. The potential of streaming was also a topic of optimism, particularly for its capacity to showcase diverse genres and perspectives. Younger panelists praised the sheer volume of content available, while their older counterparts emphasized the importance of quality. This generational divide underscored the industry’s evolving landscape and its target demographics.

One panelist passionately advocated for greater access to diverse cultural voices – though ironically, they dominated the microphone, limiting others’ opportunities to contribute. Ideas about fostering community through social media platforms like Letterboxd and film festivals like Middleburg resonated with the audience, as attendees nodded in agreement. These avenues were seen as effective ways to generate word-of-mouth buzz for smaller films, with the accessibility of international features via streaming noted as another positive outcome.

The discussion concluded with one panelist referring to a quote from Tony Robbins: “Change happens when the pain of staying the same is greater than the pain of change.” It’s clear that Pandora’s box has been opened, and there’s no going back to the pre-streaming era. The question now is: how do we move forward? Adapt or die.

The second Conversation I attended focused on costume design, featuring Paul Tazewell (West Side Story, Hamilton) and moderated by Variety’s Jazz Tangcay. Tazewell, a frontrunner for the Costume Design Oscar this season for Wicked, shared insights into his journey and evolving love for costume design.

Growing up in Akron, Ohio (a stone’s throw from where I grew up), Tazewell described a rich family background of artists and educators. “I learned to sew in fourth grade and became involved in the arts program shortly after,” he recounted. He initially explored both costume design and acting but ultimately chose to focus on design during his university years.

It’s safe to say he made the right choice. As a Tony Award-winner for his work on Hamilton, Tazewell has built a career centered on representing people of color. “Being put in that niche was incredible and created a rewarding career, but I wanted to explore creatively beyond the constraints of that space,” he explained.

His childhood fascination with The Wizard of Oz greatly influenced his career; he has worked on major productions of The Wiz five times, shaping his vision for Wicked over the years.

Tazewell spoke eloquently about his designs for Glinda, emphasizing curves, softness, and femininity, using light fabrics to give her an ethereal quality. In contrast, Elphaba’s costume was more symmetrical, drawing inspiration from nature, with intricate micro-pleating and patterns reminiscent of mushrooms and fungi – elements he studied closely to convey her connection to the natural world.

The discussion was a fitting conclusion to a remarkable series of events that make Middleburg a truly charming and intimate experience.

I closed the festival with Pedro Almodóvar’s The Room Next Door, his first feature in English. Tilda Swinton stars as Martha, a woman with cervical cancer who seeks to die on her own terms, asking her old friend Ingrid, played by Julianne Moore, to accompany her on a trip where she plans to end her life.

While the film tackles serious themes of euthanasia and dignity in death, it veers much too far into melodrama. This approach that has worked many times for Almodovar, didn’t seem to translate well in English. The dialogue felt flat and forced, detracting from the strong performances.

Alberto Iglesias’ score was a highlight, though it occasionally felt overly assertive, reminiscent of Todd Haynes’ May December from last year.

Despite its flaws, Almodóvar has a dedicated fanbase, and while his films have varied for me, I regret to say that The Room Next Door is a significant miss.

Other films to play on days three and four that I saw in Telluride (or before) include Conclave – where I witnessed the audience’s thrilled reaction to the last fifteen minutes, September 5 (featuring a must-see performance by John Magaro), Emilia Pérez, Sing Sing, The End, Porcelain War, Maria, Nickel Boys, and A Real Pain. I also look forward to catching up on Unstoppable, Martha, The Wild Robot, The Seed of the Sacred Fig, The Order, All We Imagine As Light, Flow, and The Last Showgirl.

I thoroughly enjoyed my third visit to Middleburg. The showrunners should take pride in their achievements – from outstanding programming to unique venues and generous parties, and the incredible talent they attract each year. Middleburg is undeniably one of the best film festivals in the world.

I look forward to next year!

The 2024 Middleburg Film Festival ran October 17-20, 2024.