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‘By Design’ Review: Juliette Lewis Plays a Chair in an Absurdist Comedy That Fascinates and Alienates

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‘By Design’ Review: Juliette Lewis Plays a Chair in an Absurdist Comedy That Fascinates and Alienates

Since her female-led Lord of the Flies riff Ladyworld premiered at Fantasia Fest in 2018, director Amanda Kramer’s films have gotten progressively weirder and more abstract. Her subsequent films Please, Baby, Please and Give Me Pity! were both experimental musicals shot and performed in a vintage style. Please, Baby, Please — the more ambitious of the two — boasted the return of Demi Moore, bringing her into the arthouse and paving the way for her career resurgence as the star of The Substance.

By Design also makes a point to bring back actresses Hollywood has been ignoring for years — Robin Tunney, Samantha Mathis, Melanie Griffith and, of course, Academy Award nominee Juliette Lewis. And in Kramer’s dreamland they don’t have to play tired moms or put-upon teachers; they can simply live a stylish life, quipping and conversing with each other onscreen.

By Design

The Bottom Line

Not for everyone, in a good way.

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Venue: Sundance Film Festival (NEXT)
Cast: Juliette Lewis, Samantha Mathis, Robin Tunney, Udo Kier, Mamoudou Athie, Alisa Torres, Madison McKinley, Clifton Collins Jr., Betty Buckley, Melanie Griffith
Director/Writer: Amanda Kramer

1 hour 32 minutes

The film tells the story of Camille (Lewis) a single, middle-aged woman carving out a quiet existence with her two best friends, Lisa (Mathis) and Irene (Tunney). After lunch one day, the women go shopping and Camille falls in love with a beautiful golden brown chair. The narrator (Griffith) refers to it as a stunner, and the sentiment is shared by almost everyone who sees it. The wood is high-quality with a smooth, chic design that would lend itself well to an elegant home. From the moment Camille sees the chair, she’s compelled to purchase it, despite how expensive it is. Camille, Lisa and Irene all fawn over the chair while the saleswoman Sarah (Madison McKinley) looks on with annoyance. The chair is so expensive that Camille has to go home that night and check her finances before returning to purchase it.

But the morning she arrives, cash in hand, the chair has already been sold to Marta (Alisa Torres) as a parting gift to her ex-boyfriend Olivier (Mamoudou Athie), a handsome and heartbroken pianist. Dejected, Camille asks Sarah if she can touch the chair before leaving. But once she does, something magic happens: Her soul leaves her body and enters the chair. 

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Irene takes Camille’s body home while her soul is wrapped up with the chair and delivered to Olivier. Its presence immediately improves his mood, and Olivier begins using the chair as emotional support. Marta has taken all the other furniture, so the chair sits in the middle of his home, serving as his only companion. Perhaps it’s Camille’s spirit that draws him to the chair, giving him comfort and allowing him to work through his loneliness.

Meanwhile, Camille’s body lies motionless in her apartment while her friends and family come over and try to spend time with her. Comedically, they all assume she’s giving them the silent treatment for one reason or another, and they become convinced she’s suffering from a deep depression. But our narrator reveals the truth: Camille isn’t depressed or jealous of any other person. Throughout the film, Camille’s favorite quote is repeated: “Resentment is like drinking poison and waiting for the other person to die.” Camille doesn’t want the money or love lives of her friends. She’s not depressed in any traditional sense, being content with the smallness of her life. It’s living that she seems to have little interest in. What she wants is to be adored without having to perform the tasks of being a real, live person. Camille wants to be coveted, desired and admired for simply being a beautiful thing. 

And Olivier loves her as the chair, perhaps because of Camille’s calming spirit. By Design is the kind of film that isn’t afraid to be corny, treating Olivier and Camille’s connection as man and chair as seriously as any other relationship. When Olivier goes to dinner with his friends, he brings the chair with him. When he sleeps, he dreams of people crowding him, intruding on his intimate time with it. Camille is just happy to be needed and provide care without having to be herself.

But eventually, as the people around them get increasingly frustrated with the odd couple’s dreamlike connection, real life threatens to kill Camille’s fantasy. Kramer’s script is philosophical, the film questioning the very nature of what it means to live and the burdens of emotions like love, hate and jealousy. 

By Design is a gorgeous film, with stylized interiors and attractive people in stylish, colorful clothes. The world Camille inhabits is a beautiful one and all she wants is to be one of the beautiful things a production designer would add to a scene. Why star in the film when you can just be still, waiting for admiring eyes? In contrast to Camille’s desires, By Design deploys a group of dancers who exist in her and Olivier’s dream spaces. It’s in these moments that the film feels more like performance art, externalizing a pleasure so abstract that it defies verbal explanation.

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But Griffith’s narration puts all the absurd scenes into context, her iconic, flirty and feminine voice gently guiding us through the film’s theatrical beats. Much like Give Me Pity!, By Design feels like a performance piece centered on one woman’s unique mind. The insights and artistic inclinations that populate Kramer’s work aren’t for everyone, and there’s a good chance By Design won’t connect with most viewers. But the alienating nature of the premise is what makes it fascinating, pushing us to question how we want to be seen and experienced as people in the world. With all the constant demands of living, wouldn’t it be peaceful to sit still for a little while?

Movie Reviews

Movie reviews reveal 2026’s best Certified Fresh films are arriving in March – Art Threat

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Movie Reviews reveal 2026’s best Certified Fresh films are arriving this month with stellar critical acclaim. March 2026 brings an extraordinary lineup of top-rated releases. Critics and audiences are celebrating these exceptional films together.

🔥 Quick Facts

  • Project Hail Mary: 95% Tomatometer, 96% audience score, released March 20, 2026
  • Certified Fresh Status: 75% critic rating or higher with 5+ Top Critics reviews required
  • March Releases: Hoppers (94%), GOAT (84%), Send Help (93%) all certified fresh
  • Streaming Options: Multiple platforms including Netflix, Peacock with exclusive March releases

Project Hail Mary Dominates with 95% Critical Acclaim

Project Hail Mary opened March 20, 2026, becoming the standout theatrical certif fresh hit of the month. Ryan Gosling stars as science teacher Ryland Grace, waking up light-years from home with no memory. The sci-fi epic, directed by Phil Lord and Chris Miller, earned 95% from critics and 96% audience approval. Cinephiles praise its visual splendor and emotional depth.

According to reviews, the film balances spectacular space sequences with genuine human moments that resonate deeply. Amazon MGM Studios released this 156-minute masterpiece based on Andy Weir’s beloved novel. Early box office numbers exceed expectations significantly.

Streaming Certified Fresh Titles Light Up March

March 24, 2026 delivered major streaming victories. GOAT (Greatest of All Time) hit platforms with 84% critic score and 93% audience approval. This animated sports comedy features Caleb McLaughlin as an anthropomorphic goat chasing championship glory. Send Help arrived simultaneously, earning 93% critical praise with 87% viewer satisfaction. Both titles capture hearts through humor and heart.

Streaming platforms flooded March with 69 new movies and shows total. Critics celebrated the diverse quality spanning cult classics, acclaimed dramas, and blockbuster franchises all at once.

Beyond the Blockbusters: Other Standout Certified Fresh March Releases

Title Tomatometer Score Release Date Status
Hoppers 94% March 6, 2026 Theaters
Ready or Not 2 73% March 20, 2026 Theaters
Late Shift 96% March 20, 2026 Theaters
Two Prosecutors 97% March 20, 2026 Theaters

“Visually, it is strong and immersive, but the real strength of Project Hail Mary is not spectacle alone. It is the sense of wonder and humanity running through the entire experience. The film knows when to be exciting, when to be funny, and when to slow down and let the emotional moments land.”

IMDb Critics, Film Review Community

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What Makes a Film Certified Fresh on Rotten Tomatoes

Certified Fresh status represents the industry’s gold standard for quality filmmaking. A movie earning this distinction must achieve at least 75% rating from professional critics. Additionally, films require 5 or more Top Critics reviews for certification. Recent updates tightened these standards to ensure only genuinely excellent films qualify.

This rigorous process explains why March’s nine certified fresh titles matter significantly. Critics spent hours analyzing each film thoroughly before adding their names. The combined critical weight behind these movies suggests spring viewing will be exceptional.

Plan Your March Movie Marathon Now – Which Film Will You Watch First?

Theater-goers should prioritize Project Hail Mary before it leaves cinemas. The 156-minute runtime demands a big screen experience. Meanwhile, streaming subscribers face delightful choices between GOAT’s comedy charm and Send Help’s heartfelt drama. Ready or Not 2 and Late Shift round out theatrical options perfectly.

New releases continue flowing through March 27, 2026, keeping entertainment options fresh. Kiki’s Delivery Service rereleased March 13, while Stand by Me returned March 27 with new appreciation. Which certified fresh film matches your mood this weekend?

Sources

  • Rotten Tomatoes – Official certification database and critical scoring system
  • Variety – Best movies streaming in March 2026 coverage
  • The Wrap – Most anticipated films arriving in March analysis

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MOVIE REVIEW: “THE KINDERHOOK CREATURE” is a fantastic deep dive into one of cryptozoology’s lesser-known mysteries – Rue Morgue

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MOVIE REVIEW: “THE KINDERHOOK CREATURE” is a fantastic deep dive into one of cryptozoology’s lesser-known mysteries – Rue Morgue

By BREANNA WHIPPLE

Starring Bruce G. Hallenbeck, Martha Hallenbeck and Paul Bartholomew
Directed by Seth Breedlove
Small Town Monsters

Whether you are a skeptic or a believer, it cannot be denied that certain pockets of our planet are hotspots for unusual activity. You’d be hard-pressed to find a person unfamiliar with the mysterious disappearances in the Bermuda Triangle, for example. Furthermore, places like Skinwalker Ranch in Utah have been documented extensively after multitudes of reports of various phenomena – UFOs, ghosts, cryptids, ancient shapeshifting elemental spirits that consume human flesh… it has it all. The Pacific Northwest is another location of intrigue with phenomena ranging from UFOs and cryptids to ghosts and sea monsters. 

More often than not, all that is supernatural seems to flow collectively. It’s not at all uncommon for grey aliens to come with a side of poltergeists and shapeshifters. Evidently, where there is smoke, there is fire. And Kinderhook, New York, is one such place ablaze with the high strangeness.

Nestled in the Hudson Valley, Kinderhook is an old town with even older legends. Despite being over 100km from the village of Sleepy Hollow, Kinderhook was the inspiration for Washington Irving’s The Legend of Sleepy Hollow. (Ichabod Crane was modelled after a Kinderhook schoolmaster; plaques honour this fact in the small community.) At a glance, one can sense an otherworldly ether in this place where the veil is seemingly especially thin.

THE KINDERHOOK CREATURE is a companion piece to The Kinderhook Creature & Beyond: A Personal Reminiscence by Bruce G. Hallenbeck. Naturally, Hallenbeck guides the unfolding events chronicled in the doc. Growing up under the care of his beloved late grandmother, Martha Hallenbeck, in a home surrounded by dense woods, he has memories that read like a choose-your-own-adventure novel. An unseen, incomprehensible, supernatural threat to shock and astound lurks around every corner. Martha was once quoted as saying, “I’d love to live in a haunted house!” Bruce’s apt response was, “Grandma, I think you do.” 

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“Haunted” feels like an inappropriate description.  What happens in Kinderhook is so fantastical that it is difficult to fit under a single umbrella. White, bloblike apparitions are only the tip of the iceberg. A sargantuan beast with red eyes, the doc’s eponymous creature, has been seen stalking nearby. Strange noises emanate from the woods, UFOs have been spotted, objects have levitated and strange dreams have been had… Something is very different in Kinderhook. 

To call THE KINDERHOOK CREATURE a wild-ride would be a gross understatement – the film is so full of so many unexpected twists, turns and encounters that it is a curious wonder why the area hasn’t been more widely acknowledged in cryptozoological circles until now. Again, director Seth Breedlove and the Small Monsters team have shone their spotlight on a tiny, strange corner of the world. On top of fantastic interview content, the documentary is chock-full of archival footage. Masterfully edited, THE KINDERHOOK CREATURE is made with love and attentive care, which is much deserved for a field of interest that isn’t always taken very seriously.

Of course, mystery is the source of the allure. As a species, we simply cannot know everything. Not every mystery can be solved, regardless of how advanced we become. Apelike humanoid sightings have been reported for as long as Indigenous people have been recording history with hide and stone. Theorists pore over speculations of time-travelling advanced beings, primitive species, protectors of the forest… It all sounds outrageous to those who have yet to open their mind to the possibility that there are forces at work that we simply cannot comprehend. One can easily write off the Patterson-Gimlin film as a hoax, but how can one explain the similarities in sightings from around the globe, again, for decades, if not centuries? One of the tales told in THE KINDERHOOK CREATURE mentions a sighting of a family of the Bigfoot-like cryptid. A similar occurrence is documented in the 1956 book The Long Walk by Sławomir Rawicz – a dramatic, first-hand account of a group of Gulag escapees in the 1940s that encountered a family of Yeti-like creatures in the Himalayas after fleeing Siberia on foot.

Even in the specific cases presented in THE KINDERHOOK CREATURE, there are curious synchronicities spanning a century. A woman speaks of an instance in 1981 when she and a friend skipped school to pick apples. While biking down a dirt road flanked by corn fields on both sides, they encountered a massive creature that towered above the stalks. Its gait was so wide that it was able to jump across the road with ease, its apelike arms swinging. What the girls likely did not know was that 100 years earlier, in 1881, livestock regularly went missing in the area. Locals eventually found a cave with piles of bones lying outside the entrance. Upon this discovery, they encountered a similar beast. They shot at it, nearly missing it. However, it left a mysterious lock of brown hair behind.

Breedlove has proved time and time again that Small Town Monsters is the reigning champion of quality cryptozoological documentaries. Aside from the obvious fun that naturally comes with investigating strange phenomena, much of the film focuses on Hallenbeck’s relationship with his grandmother. The bond they shared was beyond unique. They seemed to share an abundance of love, joy, fun and an appreciation for the mysterious. 

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We can learn a lot from these stories, exploring history, fear and curiosity. With THE KINDERHOOK CREATURE, Small Town Monsters again proves that cryptids and the legends that surround them will never get boring.

THE KINDERHOOK CREATURE: IN THE SHADOW OF SASQUATCH is available now on digital platforms. 

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Ron Brown’s movie reviews: ‘Project Hail Mary’ and more

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Ron Brown’s movie reviews: ‘Project Hail Mary’ and more

Lisa Dent

Weekdays 2-6pm

A native of Rockford, Lisa Dent, heard 2 pm to 6 pm weekdays, began her radio career in Fort Atkinson, Wisconsin in 1981. She has worked at stations in Minneapolis, San Diego, Seattle, and Houston. Dent returned to Chicago in 2002. (Click for more.)

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