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'Beyond Utopia' tracks desperate North Koreans trying to escape to freedom

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'Beyond Utopia' tracks desperate North Koreans trying to escape to freedom

“Beyond Utopia,” an eye-opening thriller that captures a family’s desperate and dangerous escape from North Korea, is one of the year’s most acclaimed documentaries, winning an audience prize after its January premiere at the Sundance Film Festival, and recently earning a spot among the 15 shortlisted titles for consideration in the documentary feature Oscar race. Yet, at the beginning, it was a hard sell to its director, Madeleine Gavin.

“My initial feeling was one of great hesitation,” the New York-based filmmaker said. “I didn’t understand why I would be the right person to do this. I said to them, ‘Wouldn’t you want to talk to Korean directors or somebody who has more of a connection to the subject?’” But her producers — Rachel Cohen, Jana Edelbaum and Sue Mi Terry — with whom she had worked previously as an editor, persisted.

“They gave me a huge amount of latitude,” recalled Gavin, whose 2016 film “City of Joy” focused on a women’s refugee center in eastern Democratic Republic of Congo. She took her time exploring the subject and source materials. Those included the 2015 memoir “The Girl With Seven Names,” by Hyeonseo Lee, a North Korean defector and activist who appears in the film, which provided an early impetus for the production.

Digging deep into the internet, “almost into the dark web,” Gavin discovered a secret world of hidden camera footage that made graphic the harsh realities of life under the totalitarian regime of Kim Jong Un. “North Koreans themselves have been shooting [this] since the ‘90s, with flip phones,” she said. “Really risking their lives, risking their families’ lives to get the truth of their country out. They’re shooting literally out of holes in paper bags, out of their pockets and sleeves.” The filmmaker recognized a vast disparity between what she saw “and the absence of North Korean people in our media and in our world.”

That’s when she knew. “This film had to be made, and there was no one making it,” she said. “Beyond Utopia” leans into the ragged aesthetic of this guerrilla-style found footage, deftly reassembled by the filmmaker (who also acted as editor) to not only show why North Korean defectors would risk death to escape the country but also how they manage their getaways: utilizing an “underground railroad” of brokers and safe houses to navigate a grueling trek through China and multiple Southeast Asian countries to reach South Korea. “I wanted to do something that was as experiential as possible,” said Gavin, who pointedly avoided one of the most common nonfiction workarounds, the re-creation.

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South Korean pastor Seungeun Kim and his Caleb Mission has, since 2000, guided more than 1,000 defectors out of North Korea.

(Roadside Attractions)

Her key was a South Korean pastor named Seungeun Kim, whose Caleb Mission has, since 2000, guided more than 1,000 defectors out of North Korea. Pastor Kim’s mission acts as the heart of the film, and also its pivot, as Gavin tracks two different defection attempts engineered through a multinational network. One is the five-member Roh family, whose number complicates the transit. The other is the teenage son of a successful defector named Soyeon Lee, who longs to reunite with her child.

Both endeavors are tense and torturous, with dramatically opposite outcomes.

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Even if someone makes it across the Yalu River, which borders China across 800 miles and is overseen by ramped-up North Korean security forces with “shoot to kill” orders, the risks are intense and forbidding. If caught by Chinese officials, a defector will be returned to North Korea and face torture and imprisonment, possibly death. Brokers, paid to safeguard the defectors but typically with no higher motivation, might instead consign them to the organ trade or sell them to sex traffickers.

Remarkably, Kim himself meets the defectors en route, although he can no longer enter China. “He was warned in 2009 that he could be kidnapped into North Korea,” Gavin said. In the film, Kim confides that although he looks fine on the outside, his body is a wreck from all the injuries he’s sustained. “He prepares himself for death every time he does one of these escapes,” Gavin said. “He always tells himself, this is going to be the last one, and then he finds himself doing it again. He’s in constant pain … and he’s in a lot of fear.” Yet there he is with the Roh family, including two children, and their elderly grandmother, making a rugged marathon trek through a jungle in Thailand.

“The journey through the jungle is so physically and mentally difficult that it is hard to describe in words,” Kim said, via email, citing his faith in God to help him overcome fear. “While I am in the jungle, I try to focus on the freedom that North Korean defectors will find at the end of their journey. That’s how I get through the experience.”

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Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

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Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

 

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

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My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.

Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”

“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.

“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”

A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”

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According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.

“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.

Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.

Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.

“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”

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Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.

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‘Hoppers’ review: Pixar’s best original movie in years

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‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway. 

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

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That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged. 

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

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HOPPERS opens in theaters Friday, March 6th.

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