Movie Reviews
‘A Child of My Own’ Review: Award-Winning Chilean Documaker Maite Alberdi Ventures North to Mexico for a Chronicle of a Faked Pregnancy
Following her justly acclaimed documentaries (The Mole Agent, The Eternal Memory) that play like dramas and a scripted feature inspired by actual events (In Her Place), Chilean director Maite Alberdi continues to blur, smudge and gleefully mess with the lines between fiction and fact in her latest, the by-turns highly comical and then suddenly moving A Child of My Own (Un hijo propio).
Revolving around a news story from the early 2000s that brings Alberdi north of the equator for her first Mexican-set feature, Child layers interviews with the actual participants in this strange tale with a scripted and performed re-enactment of the events. But don’t worry, this is nothing like the tacky reconstructions one often sees in made-for-TV docs to break up the monotony of talking heads telling the story, thanks in part to Alberdi’s deft narrative footwork. It helps that the cast is led by the immensely engaging Ana Celeste Montalvo Peña, who stars as Alejandra, a young hospital administrator who fakes a pregnancy and takes drastic measures to assuage her intense maternal longings. And also shut up all the pesky relatives who keep asking her about when she and husband Arturo (Armando Espitia) are going to start a family of their own.
A Child of My Own
The Bottom Line A playful and touching blur of fiction and fact.
Venue: Berlin Film Festival (Berlinale Special Presentation)
Cast: Ana Celeste Montalvo Peña, Luisa Guzmán, Armando Espitia, Mayra Sérbulo, Casio Figueroa, Alejandro Porter, Mayra Batalla, Ángeles Cruz
Director: Maite Alberdi
Screenwriter: Julián Loyola, Esteban Student
1 hour 36 minutes
Recalling Kitty Green’s darker but similarly genre-tweaking doc Casting JonBenet, this starts with a flurry of edits showing different actors trying out for the role of Alejandra, nicknamed Ale, our complicated protagonist. Montalvo Peña’s audition gets across in just a few minutes Ale’s distinctive blend of perk, pluck and pastel-pink girlishness spiked with a generous dollop of disassociated delusionality. From there, the film goes into a mostly straightforwardly chronological account of how Ale and later Arturo get into the desperate situation they eventually find themselves in.
As (staged) footage unfurls of Ale and Arturo dancing at their wedding to “Unchained Melody” (we get to see the real thing later on), Ale explains how even at this, what should have been the happiest moment of her life, she sensed that Arturo’s mother didn’t think Ale was good enough for her son. A sly freeze frame reveals a scowling mother-in-law (Ángeles Cruz), looking very grumpy indeed. The confetti has barely settled before the extended family of aunties and cousins start asking when they’re going to produce a child. Unfortunately, poor Ale has two miscarriages in short succession, and eventually an OB-GYN at the hospital where Ale works warns her that she may never carry a child to full term.
Just after a third pregnancy also miscarries, Ale meets a young woman named Mayra in a hospital waiting room and the two get talking. A single mother of one child already and due around the time that Ale would have had her baby, Mayra is unhappily pregnant. She’s come to the hospital seeking an abortion, although she’d prefer to “give [the baby] away rather than throw it away.” Ale suggests that Mayra passes over her baby to her when the time comes, and Mayra implausibly agrees.
To keep the deception going, Ale starts eating for two, piling on the pounds, fortunately carrying a lot of her new extra weight in her midsection. Concerned that Arturo might figure out she’s not knocked up, she puts him off when he tries to get conjugal in bed (it could be bad for the baby, she says) and insists he doesn’t have to come to any of her pre-natal check-ups at the hospital. Armed with marabou-feather festooned pens, an in-depth knowledge of the hospital’s procedures and familiarity with staff on many wards, she manages to fake a hospital record for herself, obtain a fake ultrasound picture and generally keep the whole deception going until it all falls apart in a matter of days.
To reveal what happens exactly would spoil the film’s several canny surprises, but it’s worth noting that we get to spend considerable time in the last half hour with the real Ale and Arturo — at least enough time to appreciate how well the actors inhabited the characters. And yet there remains an ineffable quality, especially in Ale — a placid dreamy blankness, inimitable, touching in its naiveté, and a tragic flaw all at once.
DP Sergio Armstrong and his team ensure that the candy-colored palette pops just enough to suggest we’re not quite in the realm of reality at times, while frequent overhead shots and odd angles enhance the sense of discombobulation. Nevertheless, the documentary footage also has a polished sheen to it, minimizing the separation between fact and fiction in a way that feels respectful of the subjects, putting them on the same level as the dramatis personae.
Olivia Wilde, Seth Rogen, Edward Norton and Penélope Cruz star in The Invite.
A24
hide caption
toggle caption
A24
The new comedy film The Invite centers on an unhappy married couple who host another couple — they live upstairs — for an uncomfortable, and revelatory, evening of dinner and charcuterie. The film’s screenwriters, Rashida Jones and Will McCormack, are actors who are also longtime writing and producing partners.
Jones and McCormack met decades ago, when McCormack’s sister (actor Mary McCormack) set them up on a date. It didn’t work out as a romantic pairing. Instead, it was the start of a long-running creative partnership.
“We’re really like brother and sister who dated briefly, which is not weird,” McCormack jokes. “I think we both knew right from the very beginning that we were connected and that we had to be in each other’s lives. And it took us a minute to sit down to write, but finally we did, and I’m so glad we did.”
Jones says she and McCormack share a voice: “The two of us have the same clip, the same rhythm, and we’re so different in so many ways, but we just kind of like fit like puzzle pieces conversationally very quickly, which is a wonderful thing to have with a writing partner.”
Inspired by the 2020 Spanish film The People Upstairs, The Invite takes place over the course of one night in a chicly appointed apartment in San Francisco. Two couples gather for dinner, and as the evening unfolds, the stories they’ve been telling themselves about their relationships and about themselves fall apart.
McCormack describes the film as a sex comedy that’s not really about sex. “It’s about wanting to be seen and heard and valued,” he says. “You live with someone for so long and it’s really hard.”
Jones says it’s no accident that their work tends to focus on relationships and middle age: “Selfishly, it’s great that we can channel the thing we’re most interested in, which is relationships, living with other people, being parents, losing parents, being alive, getting older, being middle-aged, looking straight down the barrel of the back half of life. All these things we got to bring to this script.”
Interview highlights
Will McCormack and Rashida Jones attend the Los Angeles premiere of The Invite on June 23, 2026.
Valerie Macon/AFP via Getty Images
hide caption
toggle caption
Valerie Macon/AFP via Getty Images
On their working relationship
Jones: We write separately. We write together. We’re in an open relationship as writers, a very healthy, open relationship. But when we come together, there’s a thing that happens.
McCormack: I think we always found the same things funny. … And I think also the same things sort of broke our hearts, and I think that we wanted to try to say something together. There were movies that appealed to us both, and there was a voice that we shared from the beginning. There was just an easy rapport.
On acting out the dialogue together as they’re writing it
Jones: Well, we act while we’re writing, but that’s our discovery process of dialogue because we’re lucky, we both started as actors and can do a good job with that. So often we act out the scenes and if it’s not working, it doesn’t feel right … that’s easy to fix.
On why they’re drawn to stories about heartache
McCormack: Life is really just a series of losses. It’s one loss and one heartbreak after another. When your little summer ends and you don’t want it to end, and then you get your heart broken, and then you have kids, and they’re gonna break your heart, and then your parents die and then [you] start to lose bone density. …
Those moments can actually be the funniest because they’re so raw. And it’s when we feel connected, right? Like, heartbreak is the thing that binds us. Like, no matter who you are or no matter where you are or no amount of how old you are, like you’re gonna go through heartache. … And to be able to dig into some of those moments with Rashida has just been such a gift, and I don’t take that for granted to be able to do that for a living.
On Quincy, her documentary about her dad, Quincy Jones, and experiencing anticipatory grief
Jones: I filmed for six years, and the second to last year of filming, he went into a diabetic coma, and we stopped filming, and luckily my brother filmed a little bit in the hospital because we were going to kind of show him what he had been through if and when he came out and we were so lucky he did come out at 82. … But having that moment where he was that close to death, and then deciding to put that in the film and show him overcoming that, I think was my way of sort of preparing for the inevitable, you know? And I was so lucky to have him for another nine years after that, but ultimately, I knew what was coming, and it was really a love letter to my dad, but also a way to hopefully reach out to other people and say, listen, we’re all going to go through this and we want to be honest about what it’s like for our family to come to the other side of this.
My dad is obviously an icon and a culture shifter, and he had been documented a lot before. And what I felt like people missed, because he’s so successful at what he did, was they missed his personality. They missed the personal side of him, which is a very important part to why he was successful. It’s not just his talent and his hard work, but he had this gift with people. And he had a way of relating and being honest and getting to the heart and the honesty of something and the intimacy of something so fast with a stranger, with his kids, with the people who loved him, the people didn’t know him. And I really wanted that to be on screen.
On what they bring out in each other
Jones: Will is like my closest chosen family in a way. … I don’t wanna get emotional, but I feel like Will, and I see the child versions of ourselves and can really take care of that little kid in each other, because we’re both very hard on ourselves. … We sort of like, very kind of gently, love and respect each other and give each other the benefit of the doubt that we might not give ourselves. And then, I think, born of that is this sort of thing that lives in the intersection between pain and humor, and maybe hopefully something divine, like hopefully we leave some room, as my dad always said, “for God to walk in the door,” because that’s really our job ultimately is to channel. And so hopefully there’s something about us coming together that allows that to happen.
McCormack: I don’t want to get emotional either, but what she said.
Ann Marie Baldonado and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.
Way back in 2017 I reviewed a film called Demon Hunter (which was recently rereleased as Taryn Barker Demon Hunter), a moody character driven horror action hybrid that I enjoyed very much. After a very long wait, a sequel, Demon Hunter: Time 2 Kill, has finally been released in the world.
Read on for my thoughts on the film
Synopsis
Taryn Barker is just your average everyday monster slaying, wise-cracking, demon hunter on the hunt for two pieces of an ancient artifact, The Necrox. Standing in her way is Elysia Cronika, the CEO of Illumini Industries and a member of the Satanic sect The Stygian.
Cronika plans to obtain the Necrox to unleash Hell on Earth. The problem is Taryn is hard to kill and with every demon sent to eliminate the demon hunter getting wiped out, she gets closer to saving the day.
As a last resort, Cronika sends Taryn through time alongside a band of innocent teenagers to the year 1987 and now Taryn needs to protect the group from a notorious summer camp slasher Lucien Krull, whilst finding the Necrox and a way back home to the present
Demon Hunter: Time 2 Kill was written and directed by Zoe Kavanagh. The film stars Niamh Hogan, Lisa Wilcox, Angel Nichole Bradford, Kevin O’Malley, Anthony Cespedes, CJ Dorsey, Valeria Arango Gomez, Jada Krueger and Desiree Xu.
After all these years, it was nice to see Taryn Barker return. She’s a little less moody and more grown up and she has a stronger sense of humor. One thing that hasn’t changed is that she’s an absolute badass. I was really impressed with the increased action, fight scenes and stunt work. Niamh Hogan does a great job as Taryn. She kills it at the fight scenes, she’s got great comedic timing and she’s just genuinely fun to watch.
I was really happy to see Kevin O’Malley return as Ethan, as I felt he was one of the strongest characters in the first film and I really enjoyed his chemistry with Taryn. He’s given a lot more to do here and that was exciting. The cast includes a lot of new additions and there was definitely some highlights.
Angel Nichole Bradford (one of my absolute favorite indie actresses) plays Deborah, a character who shares a sisterly energy with Taryn. I loved the way they looked out for each other and always had each other’s back. Enea Pagni’s Jay and Jacob Rainer’s Lawrence were 2 characters I was able to root for. I loved their friendship. Last but not least is Desiree Xu’s Azumi, a demonology expert who is also a ninja. She was definitely a badass and I loved seeing her work together with Ethan.
The story here is much different than the first film, including time travel and a strong slasher element, which I really enjoyed. It gave Demon Hunter: Time 2 Kill a unique feel and set it apart from the first film. Given the slasher elements, it’s much gorier than the original film, which is sure to please those who enjoy that sort of thing. I loved how the film ended and am curious to potentially see where the series could go from here.
Final Thoughts
Demon Hunter: Time 2 Kill is an excellent sequel that increases the action, has some well executed fight scenes and ups the body count. Demon Hunter: Time 2 Kill is supernatural slasher/action film that is well worth a checking out. Highly recommended.
Earnest, preachy and melodramatic to a fault, “Mississippi Scholar” is exactly the sort of movie that the independent cinema was born to create.
Director and co-writer Marcus Bleecker’s film may traffic in tropes and cliches. But it has a vivid sense of place and a clear notion of the message it wants to send, and that message’s relevence.
Set in an unnamed small Mississippi city — it was filmed in Baldwyn, Saltillo and Fulton — the film is “a mind is a terrible thing to waste” in cinematic form. Our “Scholar” was born into a world of substance abuse, the racist legal traps of the country’s remaining marijuana laws and has a baby-mama-in-waiting and a drunken parent whom our teen hero is responsible for as his burdens.
But he has a world of promise that one dedicated teacher, his dead father (whom he still converses with) and even he himself can see if he can just “stay focused” and keep his eyes on this very personal prize — college and a better life beyond Ole Miss.
Shannon Brown is James, a kid with great grades and an ill-tempered mother (Gisla Stringer) who crawled into the bottle a long time ago and has no interest in crawling out.
But he’s got an ad hoc support system helping him through his senior year. His aunt (GiGi Marie Gaines) feeds him and keeps him advised of his mother’s latest tumbles. His dead dad (co-writer Obba Babatundé) passes on wisdom about his mother in fortune cookie-sized bites when father and son chat — at the cemetary or elsewhere.
“Hurt people hurt people.”
His English teacher, Mr. Keating (Sonny Marinelli) has high hopes for him, hopes he’s willing to nag the kid to achieve — “It takes only five seconds to get in trouble, and 25 years to get out of it!”
His school principal (Lance E. Nichols) expects greatness, but has learned to never get his hopes up over any Black boy at his integrated high school.
Even Ray-Ray (Jeremy Isaiah Earl), the ex-con drug dealer, takes a brotherly interest in the kid who is his “best distributor.” That money is what keeps a roof over James’ and his mother’s heads, and pays for his Jordans.
His white boy bestie (Dominic Arvielo) may act “Black,” but will he have James’ back when things get real?
And girlfriend Tammy (Aysa Branch) may be far and away the prettiest girl in school. But she’s taking the easy route, relying on her looks to achieve the limited goals the script sketches out for her.
“We’re gonna have ourselves a baby as soon as we graduate!”
Bleecker’s film covers all of the bases, all of the tropes and most of the cliches as James faces Big Choices with perils to his plan at every turn. Maybe taking him to visit the football-mad University of Mississippi isn’t the deal-maker his teacher hopes it is, as James doesn’t “see anybody who looks like me.”
Only a real civil rights hero (Dr. Donald Cole) can set him straight, relating the story of what James Meredith and generations before him did to give James this chance. Or can he?
“Mississippi Scholar” is well-crafted and an easy film to like, with relatable if “stock” characters and decent performances from all but the most amateurish (James’ classmates) cast members. But it’s entirely too predictable to surprise and too pre-digested to have an edge.
Worthy subject and novel setting aside, we’ve seen this story on the big screen and the small one too many times to count, seen this kid’s hand played out in every variation the cards have to offer.
But it makes a fine calling card for its cinematographer turned director, and let’s hope we see Bleecker’s name and hear his voice in another Deep South indie film, and soon.
Rating: TV-14, violence, profanity
Cast: Shannon Brown, Gisla Stringer, Sonny Marinelli, Jeremy Isiaah Earl, Aysa Branch and
Obba Babatundé
Credits: Directed by Marcus Bleecker, scripted by
Obba Babatundé, Marcus Bleecker and P.J. Leonard. A Narrative Distribution release on Amazon Prime.
Running time: 1:24
-
Lifestyle1 minute agoSam Neill, known for ‘Jurassic Park’ and ‘The Piano,’ dies at 78, his family says
-
Technology13 minutes agoMicrosoft tests Windows Search without all the ads and fluff
-
World19 minutes agoIran-backed terror proxy Houthis threaten fresh attacks after Yemen airport strike
-
Politics25 minutes agoHegseth announces joint task force with DOJ to prosecute leaks to journalists ‘with the full force of the law’
-
Health31 minutes agoMicrowaved squishy toy explodes onto boy’s face and chest amid viral trend, causing horrific burns
-
Sports37 minutes agoFBI, Atlanta police target unauthorized drones flying near World Cup venues
-
Technology43 minutes agoWhy careful people still end up on data broker sites
-
Business49 minutes agoNetflix to add videos from digital publishers to its homepage
