The Archivist (2021) – Movie Review

By Andrew Buckner

Rating: ***** out of *****.

The Archivist (2021), the debut feature from director Eric Hand, is a glorious tribute to the distinct storytelling mechanics, characterizations, and vibrant, eye-popping style of the grindhouse motion pictures of the 1960’s–1970’s. The 109-minute creation beautifully mirrors this most cinematic of eras through its emotionally compelling, moody, and evocative music from White Noise Generator. The aforementioned time frame is also brilliantly reflected in the stunning cinematography from Hand. It is also seen in the remarkable performances, namely Emmett Corbin as Colonel Boaz and Jennifer Giles as Mother/Agent Pope, from everyone involved in the production.

This quality is immediately evident in the superb depiction from Hand as the lead of the narrative, Agent Caulder Benson. Hand’s enactment of Benson masterfully models that of Clint Eastwood as The Man With no Name in Sergio Leone’s brilliant Dollar Trilogy. This trio of western classics included A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad, and the Ugly (1966). What also heightens this parallel is that The Archivist was shot on restored 35mm Techniscope Arriflex cameras and lenses. These were also used in the recording of The Good, the Bad, and the Ugly. When Hand’s effort gradually aligns itself to a series of events one would associate with the previously stated Leone/Eastwood collaborations, it naturally fits the loving homage the movie mesmerizingly crafts.

Utilizing the book burning and governmental control elements of Ray Bradbury’s tour de force, Fahrenheit 451 (1953), alongside other timeless bits of science-fiction, human horror, and fantasy, Hand, who also successfully portrays Lazarus, tells the tale of Benson: a violent man whose been given the title position by an oppressive administration. Taking place in 2070, the exercise concerns Benson destroying historical remnants which are considered forbidden. In so doing, he finds out that these items seem to have a strange power over him. Filled with sudden questions and concerns about the world around him, he steals a muscle car from the 1970’s. He then heads out into the chaos of the post-apocalyptic landscape around him. Pursued by an ominous sheriff and in constant danger of the bizarre individuals he encounters, Benson searches for answers. This is while trying to escape his own past.

Reportedly made for $800,000, The Archivist is an ambitious, layered marvel of independent filmmaking. The screenplay, co-authored by Bo Gardner and Hand, is filled with tough, organic, occasionally quippy, yet often thoughtful and poetic dialogue. Such speech, along with the on-screen personalities who speak them, fit perfectly with the ambiance of a Leone/Eastwood work from nearly six decades ago. Such a design signifies that the primary personalities that dominate the piece remain enigmatic throughout the duration of the project. Regardless, this general lack of development doesn’t hinder the proceedings.

What also further strengthens the endeavor is the exceptional visual effects from Michael Crigler and Zach Hunter. They also illuminate the 1970’s veneer of the attempt. Moreover, the editing from D. Prescott Noel and Tom Marotta, makeup from Paul Moody, and set decoration by Kendall Moody are first-rate. The art direction from Ed Amantia and stunts are just as finely honed.   

Opening with an exciting, no-nonsense first act and concluding with an engrossing and quietly moving finale, The Archivist is smart, accomplished, tonally flawless, and consistently captivating entertainment. It is guaranteed to thrill both cinephiles and casual viewers alike. The action scenes are retro excellence. They are intimate and never overdone. Continually, they are also enthralling and deftly constructed. The excursion moves at a confident pace. It is never too rushed or too slow. This is ideal for the material. Hand’s undertaking incorporates social commentary into the plot just as smoothly as it does its high-level of audience involvement. In turn, The Archivist is one of the most impressive photoplays I have seen all year. It is a true fabrication of celluloid art. Particularly, one that will prove to be as enduring as the legendary ventures from which it takes such fervent notes.

The Archivist will be available via Vimeo on Demand Christmas, 2021. Blu-rays for it can be found at http://thearchivistmovie.com/.

31 Underappreciated Horror Gems in 31 Days (2021 Edition)

By Andrew Buckner

The following is a list of thirty-one terrific lesser-known and/or underappreciated horror films. All of which deserve to be more often celebrated. There is one title reserved for each day in October. This is with at least one entry per decade from 1920-2020. The varied genre features included herein are arranged in order of the earliest year of release to the most recent. When two or more movies share the same year, they are placed in alphabetical order.

This article will be the first of a yearly set of such itemizations. Thirty-one different terror pictures, all of which are similarly underpraised, will be included every October in each accruing piece. These works will also follow the rules specifically laid-out in the first paragraph concerning the decades of 1920-2020. Each respective exercise in this series will be published at AWordofDreams.com by the middle of the previously mentioned month.

Without further hesitation, here are the selections for 2021.

The Phantom of the Opera (1925)

Director: Rupert Julian.

The Lodger: A Story of the London Fog (1927)

Director: Alfred Hitchcock.

Freaks (1932)

Director: Tod Browning.

I Walked with a Zombie (1943)

Director: Jacques Tourneur.

Isle of the Dead (1945)

Director: Mark Robson.

Them! (1954)

Director: Gordon Douglas.

Horror of Dracula (1958)

Director: Terence Fisher.

The Tingler (1959)

Director: William Castle.

Black Sunday (1960)

Director: Mario Bava.

Kwaidan (1964)

Director: Masaki Kobayashi.

Black Belly of the Tarantula (1971)

Director: Paolo Cavara.

The Devils (1971)

Director: Ken Russell.

It’s Alive (1974)

Director: Larry Cohen.

Martin (1976)

Director: George A. Romero.

House (1977)

Director: Nobuhiko Obayashi.

Humanoids from the Deep (1980)

Directors: Barbara Peeters, Jimmy T. Murakami.

Inferno (1980)

Director: Dario Argento.

Motel Hell (1980)

Director: Kevin Connor.

Burial Ground: The Nights of Terror (1981)

Director: Andrea Bianchi.

The Entity (1982)

Director: Sidney J. Furie.

Santa Sangre (1989)

Director: Alejandro Jodorowsky.

Tetsou: The Iron Man (1989)

Director: Shin’ya Tsukamoto.

Dead Alive (1992)

Director: Peter Jackson.

Ghostwatch (1992)

Director: Lesley Manning.

The Devil’s Backbone (2001)

Director: Guillermo del Toro.

Teeth (2007)

Director: Mitchell Lichtenstein.

Pontypool (2008)

Director: Bruce McDonald.

mother! (2016)

Director: Darren Aronofsky.

The Wolf House (2018)

Directors: Joaquin Cocina, Cristobal Leon.

Tennessee Gothic (2019)

Director: Jeff Wedding.

Sister Tempest (2020)

Director: Joe Badon.

The 50 Best Horror Films of 2021 (So Far)

By Andrew Buckner

In the spirit of the Halloween season, I have compiled a list of the fifty best horror films that have come out so far this year.

Note: The criteria used for the feature films included in this list is an official release date, whether direct to streaming or theatrical, in 2021.

50. Teddy

Directors: Ludovic Boukherma, Zoran Boukherma.

49. Bad Candy

Directors: Scott B. Hansen, Desiree Connell.

48. Like Dogs

Director: Randy Van Dyke.

47. It Came from Below

Director: Dan Allen.

46. An Unquiet Grave

Director: Terence Kray.

45. Superdeep

Director: Arseny Syuhin.

44. Stay Out of the Attic

Director: Jerren Lauder.

43. Slaxx

Director: Elza Kephart.

42. Caveat

Director: Damian McCarthy.

41. Shadow in the Cloud

Director: Roseanne Liang.

40. Séance

Director: Simon Barrett.

39. Willy’s Wonderland

Director: Kevin Lewis.

38. Son

Director: Ivan Kavanagh.

37. Lucky

Director: Natasha Kermani.

36. Superhost

Director: Brandon Christensen.

35. The Last Matinee

Director: Maximiliano Conteni.

34. The Power

Director: Corinna Faith.

33. The Old Ways

Director: Christopher Alender.

32. The Swarm

Director: Just Philippot.

31. A Classic Horror Story

Directors: Roberto De Feo, Paolo Strippoli.

30. Separation

Director: William Brent Bell.

29. No One Gets Out Alive

Director: Santiago Menghini.

28. Werewolves Within

Director: Josh Ruben.

27. Don’t Breathe 2

Director: Rodo Sayagues.

26. Vicious Fun

Director: Cody Calahan.

25. Honeydew

Director: Devereux Milburn.

24. The Night House

Director: David Bruckner.

23. Benny Loves You

Director: Karl Holt.

22. Chompy and the Girls

Director: Skye Braband.

21. Nightbooks

Director: David Yarovesky.

20. Violation

Directors: Madeline Sims-Fewer, Dusty Mancinelli.

19. Fear Street: Part One – 1994

Director: Leigh Janiak.

18. The Conjuring: The Devil Made Me Do It

Director: Michael Chaves.

17. Jakob’s Wife

Director: Travis Stevens.

16. Psycho Goreman

Director: Steven Kostanski.

15. Saint Maud

Director: Rose Glass.

14. V/H/S/94

Directors: Simon Barrett, Steven Kostanski, Chloe Okuno, Ryan Prows, Jennifer Reeder, Timo Tjahjanto.

13. We Need to Do Something

Director: Sean King O’Grady.

12. Candyman

Director: Nia DaCosta.

11. The Girl Who Got Away

Director: Michael Morrissey.

10. Malignant

Director: James Wan.    

9. Censor

Director: Prano Bailey-Bond.

8. In the Earth

Director: Ben Wheatley.

7. I Blame Society

Director: Gillian Wallace Horvat.

6. The Boy Behind the Door

Director: David Charbonier, Justin Powell.

5. A Quiet Place II

Director: John Krasinski.

4. Sator

Director: Jordan Graham.

 3. Climate of the Hunter

 Director: Mickey Reese.

 2. Dementer

 Director: Chad Crawford Kinkle.

1. The Amusement Park

Director: George A. Romero.

THE 25 BEST ALBUMS OF 2021 (SO FAR)

By Andrew Buckner

*The Inclusion of these albums in this list is based on an official initial 2021 release date.

25. Haram by Armand Hammer, The Alchemist

24. Turquoise Tornado by Yelawolf, Riff Raff

23. Bushido by Mello Music Group

22. Imaginary Everything by L’Orange, Namir Blade

21. If It Bleeds It Can Be Killed by Conway the Machine, Big Ghost LTD.

20. The Plugs I Met 2 by Benny the Butcher, Harry Fraud

19. Wasteland: What Ails Our People is Clear by Lice

18. Mouse on Mars by Aa1

17. Slumafia by Yelawolf, DJ Paul

16. Maquishta by Patricia Brennan

15. The American Negro by Adrian Younge

14. Season of the Se7en by Bronze Nazareth, Recognize Ali

13. Mile Zero by Yelawolf, DJ Muggs

12.  Gary Bartz JID006 by Gary Bartz, Adrian Younge, Ali Shaheed Muhammad

11. Sound Ancestors by Madlib

10. ONYX 4 LIFE by Onyx

9. The Blue of Distance by Elori Saxl

8. The Lost Themes III: Alive After Death by John Carpenter

7. La Maquina by Conway the Machine

6. Soulful Distance by Devin the Dude

5. Mudmouth by Yelawolf

4. The Lunar Injection Kool Aid Eclipse Conspiracy by Rob Zombie

3. Gotham by Talib Kweli, Diamond D.

2. Super What? by Czarface, MF DOOM

  1. Exodus by DMX

THE 50 BEST FEATURE FILMS OF 2021 (SO FAR)

By Andrew Buckner

*The inclusion of the films in this list is based upon the criteria of an original 2021 release date in the U.S.

50. Benny Loves You

Director: Karl Holt

49. Lucky

Director: Natasha Kermani

48. Biggie: I Got a Story to Tell

Director: Emmett Malloy

47.  Jakob’s Wife

Director: Travis Stevens

46. PG: Psycho Goreman

Director: Steven Kostanski

45. Shadow in the Cloud

Director: Roseanne Liang

44. Saint Maud

Director: Rose Glass

43. The Courier

Director: Dominic Cooke

42. Raya and the Last Dragon

Directors: Carlos Lopez Estrada, Don Hall, Paul Briggs, John Ripa

41. Honeydew

Director: Devereux Milburn

40. Nobody

Director: Ilya Naishuller

39. Wrath of Man

Director: Guy Ritchie

38. Godzilla vs. Kong

Director: Adam Wingard

37. Oxygen

Director: Alexandre Aja

36. Lapsis

Director: Noah Hutton

35. In the Earth

Director: Ben Wheatley

34. Violation

Directors: Dusty Mancinelli, Madeline Sims-Fewer

33. Identifying Features

Director: Fernanda Valadez

32. Tina

Directors: Daniel Lindsay, T.J. Martin

31. Seaspiracy

Director: Ali Tabrizi

30. Malcolm & Marie

Director: Sam Levinson

29. I Blame Society

Director: Gillian Wallace Horvat

28. 17 Blocks

Director: Davy Rothbart

27. Falling

Director: Viggo Mortensen

26. The Dig

Director: Simon Stone

25. One Night in Miami

Director: Regina King

24. Test Pattern

Director: Shatara Michelle Ford

23. Slalom

Director: Charlene Favier

22. Spoor

Directors: Agnieszka Holland, Kasia Adamik

21. M.C. Escher – Journey to Infinity

Director: Robin Lutz

20. About Endlessness

Director: Roy Andersson

19. The Man Who Sold His Skin

Director: Kaouther Ben Hania

18. Sator

Director: Jordan Graham

17. Climate of the Hunter

Director: Mickey Reese

16. Dementer

Director: Chad Crawford Kinkle

15. Jumbo

Director: Zoe Wittock

14. Street Gang: How We Got to Sesame Street

Director: Marilyn Agrelo

13. In Search of Darkness: Part II

Director: David A. Weiner

12. The Mauritanian

Director: Kevin Macdonald

11. Judas and the Black Messiah

Director: Shaka King

10. MLK/ FBI

Director: Sam Pollard

9. Nomadland

Director: Chloe Zhao

8. Wojnarowicz

Director: Chris McKim

7. A Glitch in the Matrix

Director: Rodney Ascher

6. The Father

Director: Florian Zeller

5. Quo Vadis, Aida?

Director: Jasmila Zbanic

4. Acasa, My Home

Director: Radu Ciorniciuc

3. Minari

Director: Lee Isaac Chung

2. Bring it Home

Director: Carl Kriss

1. This is Not a Burial, It’s a Resurrection

Director: Lemohang Jeremiah Mosese

Runners-Up:

Earwig and the Witch

Director: Goro Miyazaki

Land

Director: Robin Wright

The Night

Director: Kouroush Ahari

Son

Director: Ivan Kavanagh

The 10 Best Books of 2021 (So Far)

By Andrew Buckner

*The criteria for being included on this list is based on an original publication date in 2021.

10. The Scorpion’s Tail

By Douglas Preston, Lincoln Child

9. The Plot

By Jean Hanff Korelitz

8. Sooley: A Novel

By John Grisham

7. Later

By Stephen King

6. The Other Emily

By Dean Koontz

5. Because He’s Jeff Goldblum: The Movies, Memes and Meaning of Hollywood’s Most Enigmatic Actor

By Travis M. Andrews

4. Jesus: A New Vision

By Whitley Strieber

3. A Distance from Avalon

By Mike Messier

2. A Bright Ray of Darkness

By Ethan Hawke

1.Vibrate Higher: A Rap Story

By Talib kweli

The 10 Best Short Films of 2021 (So Far)

By Andrew Buckner

*Please note that the short films included in this list are based on an official 2021 U.S. release date.

10. “The Nurturing”

Director: Alex DiVincenzo.

9. “Meet the Author”

Director: Steve Blackwood.

8. “Heart Wreck”

Director: Gabrielle Rosson.

7. “Stay Inside, Michael”

Director: Jeremy Joseph Arruda.

6. “A Concerto is a Conversation”

Directors: Kris Bowers, Ben Proudfoot.

5. “The Present”

Director: Farah Nabulsi.

4. “Trigger Warning: The Life and Art of Chrystal”

Director: Chrystal Shofroth.

3. “The Dreamer”

Director: Jeremy Joseph Arruda.

2. “Come Rain or Come Shine”

Director: Mark Maille.

1. “The Last Cruise”

Director: Hannah Olson.

Dementer (2020) – Movie Review

By Andrew Buckner

Rating: ***** out of *****.

Dementer (2020), from writer-director Chad Crawford Kinkle, establishes an expertly crafted tone of sinister menace, most readily expressed in a perceptibly hand-drawn commencing credits segment, in its opening moments. This sense of uncomfortable, impending doom remains unbroken for every one of its eighty minutes. What also makes the masterful atmosphere that permeates the work so impressive is that it is infused with a similarly well-done air of mystery. This primarily stems from the motivations of the lead character, Katie (in a fantastic and compelling turn from Katie Groshong). It is a question that is playfully teased, with genuinely haunting bits of flashbacks which add to the enigma at hand, throughout the efficient and effective feature.

The plot revolves around Katie embarking on a job. It is one that has her taking care of individuals with special needs. She soon finds herself assisting a resident of her new occupation, Stephanie (Stephanie Kinkle). Yet, there are undertones of darkness to the kindness Katie shows Stephanie. As reoccurring memories of escaping a terrifying spectacle take hold of Katie, her increasingly unpredictable actions make this unspecified wickedness more palpable. What is worse is that they seem to be directing their control over Katie to put Stephanie in danger.

This engaging and superbly developed narrative leads to a conclusion that is as unnerving and unforgettable as the film constantly leads viewers to imagine it will be. It is a powerful punctuation point. Such is one that makes this ominous puzzle-box horror outing, filled with indelible and eye-popping imagery, evermore brilliant. This is especially when considering how sharply everything has been put together.

What I also admired was the documentary-like veneer of many of the scenes. This is especially noteworthy in the stretches where Katie is going about her daily life. For example, the instances early-on where she is being interviewed by her latest employer. This is also reflected just as noticeably when she is performing her duties in her current career. It blends beautifully with the surreal glimpses of intense fear which push us to the finale.

The screenplay from Kinkle is top-notch. Continually, his direction is slyly stylish. What is evermore worthy of appreciation is that this element is never so overdone that it takes away from the admirable foremost concentration on weaving the tale at hand. Moreover, the characters from Kinkle are sufficiently developed and organic. His dialogue is also incredibly authentic and natural sounding. These ingredients certainly help make Dementer an incredibly believable and immersive experience.

This convincing quality is also reflected in the casting. Larry Fessenden is terrific, as always, as the wicked Larry. Brandy Edmiston as Brandy and Stephanie Kinkle are also excellent in this regard. The visually and tonally appropriate cinematography from Jeff Wedding is equally astounding. The music from Sean Spillane is superb. Furthermore, the same said editing from Chad Crawford Kinkle heightens these remarkable values.

In turn, the most recent cinematic exercise from Chad Crawford Kinkle is dazzling, dark, disturbing, and confidently paced. It reminded me of The Blair Witch Project (1999). This is in the way it memorably designs an all-too real feeling of foreboding and increasing underlying suspense. The effort is a knockout. It is a wonderful accumulation of talent in front of and behind the camera. Dementer is destined to endure as one of the best pictures of the year.    

“A Distance from Avalon” (2021) By Mike Messier – Book Review

By Andrew Buckner

Rating: ***** out of *****.

A Distance from Avalon (2021), the debut novella from fellow filmmaker and critic Mike Messier, is a refreshingly subtle and philosophical take on the vampire saga. In a compact and complex ninety-seven pages, Messier weaves the tale of two educators, Joe Humble and a young music instructor by the name of Shadow. Pairing up to enjoy a late October Friday Night, the duo arrives at an ominous mansion entitled Avalon. From herein, the hosts seduce and separate the guests. Immediately afterward, the visitors willingly follow the mysterious figures to separate rooms. At a point near the central mark, the narrative crafts a superb balance of introspection and intrigue. It is one which lasts the remainder of the volume. This is as the leads and their partners for the night gradually unveil secret and sentimental elements of themselves.

What is immediately striking about the tome is that Messier’s screenwriting roots are much intact. For example, the whole book is composed of brief chapters. These sections range mainly from one to two pages. They are so vividly written, yet efficient, that they could easily be scenes in a film. Additionally, every scrap of dialogue reads like a line of poetry: Beautiful, thoughtful, and as economical as the segments in which they are unified.

Messier’s characters, all of whom are terrifically formed and whose monikers greatly enhance the figurative essence of the effort, are equally captivating. They are all distinct, yet intelligent and credible. The individuals who dominate A Distance from Avalon are also enigmatic and insightful. They are well-established components that constantly elucidate the classic, sophisticated atmosphere of the project in spellbinding fashion. Messier uses them to discourse on religion, love, time, mankind, art, and a myriad of related subjects. This is in a way that is intellectually stimulating without appearing unnatural. It is also executed via a method that does not take away from the propulsion of the smoothly paced narrative.

I admired the manner with which Messier frequently avoids the tropes often attributed to such tales of bloodthirsty creatures. What is utilized of these bits is enough to establish a knowledge of the lore of these nocturnal entities. Instead of relying on this heavily, as an easy act of recognition hinging on events the audience has perused in other such exercises, Messier uses this foundation to forge his own path. In turn, this helps build a far more surprising and satisfying story.

In the work, Messier showcases a deft command of tying together all the fine details he has dispersed throughout the enterprise. This is most notable in the finale. In this climactic bit, Messier brings all the cumulative mystery, symbolism, and restraint that he exhibited throughout the endeavor to a compelling and appropriate punctuation point. It is one of the various signs ceaselessly at play of his knack for spinning an exemplary account.

There are also many sly references to the cinema of Messier expertly woven into the volume. The most obvious of these is his phenomenal forty-minute short documentary on the creative process, “Disregard the Vampire” (2017). His brief, and equally good, Fantasy tale, “The Nature of the Flame” (2014), are just as cleverly addressed. These winks at the reader are incredible. This is especially when considering how they organically derive from the attempt. They also operate just as significantly as world-building in the collective universe of Messier’s artistic ventures.

Graced by eye-popping and gorgeous cover art from Nazar Germanov, A Distance from Avalon is an all-around brilliant publication; a literary four-course meal. It is driven by a fantastic plot. Such is one that is given depth and dimension by Messier’s cerebral and refined writing abilities. The piece is intimate, open, ambitious, smartly structured, and perfectly told. Messier has constructed a sensational world of nuance and underlying fear. Masterful in all arenas, the power of this dignified beast is impossible to ignore.

A Distance from Avalon can be purchased in Kindle eBook or paperback format here.

“Making and Unmaking” (2020) – Movie Review

By Andrew Buckner

Rating: ***** out of *****.

In the opening scene of Making and Unmaking, a fantastic and fascinating 62-minute documentary from directors Shaun Rose and Andrea Stangle, Rose speaks of the aspects of his equally captivating debut feature, the “meant to be semi-autobiographical” Upstate Story (2018). He also conveys how the endeavor would become “more truth than fiction”. Herein, he also speaks of his worries of the 60-minute Drama failing. Furthermore, he communicates how this would reflect his own alleged shortcomings.

The honesty with which Rose addresses these feelings and ideas immediately spoke to me as a fellow filmmaker who, admittedly, has my own share of self-doubt in relation to my own work. It is this nature of personal reflection and frankness that is perceivable within every frame of this brilliant and heartfelt project. This is also a glimpse into the myriad reasons why this is essential viewing for any creative-minded individual. It is because a great number of the shortcomings in the artistic process Rose addresses throughout the undertaking, especially early-on, are universal. They will undoubtedly hit home, perhaps uncomfortably at times, for many. Such occurrences help make Rose a relatable and engaging figure throughout the entirety of the endeavor.

Making and Unmaking concerns the triumphs and downfalls, both personally and artistically, Rose experienced while preparing Upstate Story. It also recalls the ups and downs in offering the picture to the film festival circuit. The exercise also goes into intriguing detail on an unfinished film called “Dog Day” (2012-2013), which was stated to be about the technological swing in society. We also get several equally intriguing glimpses into other shorts Rose crafted before Upstate Story. These behind-the-scenes bits, which come largely in the first half of Making and Unmaking, are wonderful. They are quietly touching in their intimacy.

Making and Unmaking benefits from its uniquely independent movie look and tone. This is reflected via the excellent and appropriate-for-the-endeavor cinematography from Rose and Stangle.  Moreover, the interviews and archive footage heighten the emotional intensity and compulsively watchable essence of the production. The script for the endeavor, credited to Bruce Rose Sr. as well as Shaun Rose and Stangle, is well-structured and penned. Continually, the direction from Rose and Stangle is equally deft.

Recorded in New York and made on a reported budget of a mere $500, Making and Unmaking is constantly admirable in the way it handles its complex entanglement of themes and sentiment. Additionally, it is efficient and nicely paced. The attempt evenly balances all that it offers audiences. In turn, the virtuoso effort is also a refreshing affirmation of encouragement. While portraying the numerous avenues of excitement and irritation a single fabrication of imagination can make an individual go through, it, ultimately, showcases the light of joy that radiates when the construction is given to the world and praised. In this respect, as well as all the other regards previously mentioned, Making and Unmaking is a masterpiece; a cinematic four-course meal. It is a must-see which every viewer can somehow grow from and utilize in their own lives.