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    Filmmaker Spotlight

    Dallas filmmaker takes risks to reap rewards with experimental feature debut

    Jessica Tomberlin
    Oct 11, 2013 | 1:33 pm

    As writer, director, producer and editor, Cameron Nelson wears many hats in his upcoming feature-length debut, Some Beasts, about a man who moves from the city to a small farm town expecting to find a simpler life. The experimental film is inspired by the Lake Highlands High School grad’s own experiences as a migrant worker and farm apprentice in a small Virginia town back in 2008.

    But film wasn’t always his creative outlet; during his time in Virginia, it was music. Nelson and his band, comprising two drummers and a looping synthesizer, played house parties and art galleries while they projected video footage of Nelson’s travels on the walls behind them. The result was more of an interactive art performance than a concert, which helped shaped Nelson’s point of view as a director.

    “I just completely fell in love with the way the moving image had a symphonic element to it; it was its own music in a way,” says Nelson, who is currently the technical director for Dallas VideoFest. “To me, with film there’s an overture — the first movement, crescendos and decrescendos moving up and down — and as the director I see film as a million moving parts you have to kind of form into a symphonic structure: the music, the image, the performance. That all comes from my background with making those concept albums.”

    “Some Beasts is somewhat autobiographical, so I wanted to temper that with real locations and real people — people who outweigh my own experience,” Nelson says.

    When Nelson moved back to Dallas in 2009 to start making short films and documentaries — his shorts have been selected for national and local festivals, including the 2013 Oak Cliff Film Festival — he noticed a lack of accurate representations of farm life in film. So he began working on a script he hoped would do it justice, especially because the Virginia community had such an effect on him.

    “In general what we’ve seen in cinema with these outlying communities evokes this sense of otherness that I was really weary of,” he says. “So the idea of this film is to destroy the idealism of what living out on the land is all about.”

    Nelson admits that breaking into the Dallas film scene was difficult at first. “I put a call on Craigslist for actors. I had no idea what I was doing.”

    To get an idea, Nelson pursued work on film festivals and local film projects, including Upstream Color, from Dallas filmmaker Shane Carruth. It was 2011, and Nelson was working on his master’s in documentary filmmaking at the University of North Texas. He faced a difficult decision, but he went with his gut.

    “I was a huge fan of Shane’s and of David [Lowery]’s, and my good friend Frank Mosley, who is also the lead in Some Beasts, had a part in it,” Nelson says. “So I took the job as assistant editor and dropped out of school.”

    Through Upstream Color, Nelson met producer Ben LeClair. Nelson told LeClair about the script he’d been developing, and the two decided to collaborate on the project that would become Some Beasts.

    Nelson’s narrative style borrows from the documentary genre he studied at UNT — “It’s so much easier to have a visceral reaction to something that feels real,” he says — and constructing that sense of realism in Some Beasts was so important to Nelson that he didn’t rely on his singular perspective.

    “The film is somewhat autobiographical, so I wanted to temper that with real locations and real people — people who outweigh my own experience to create a more communal film,” he says. “My background is in anthropology, so I’ve always been very skeptical about the way I see the world versus a consensus.”

    The film recently finished post-production, and Nelson is currently submitting applications for the 2014 festival circuit.

    “I’ve just really been blown away with this feature because it was such a group effort — the cast, the crew the community,” Nelson says. “There are so many things that shaped this film.

    “It started off as just this crazy idea, and it has really garnered a lot of support. It’s become a lot bigger than I ever thought it would be. It’s sort of out of my control at this point, but that’s kind of a good thing. It’s become its own beast.”

    Dallas actor Frank Mosley stars in Some Beasts.

      
    Photo by HutcH
    Dallas actor Frank Mosley stars in Some Beasts.
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    Movie Review

    Animated Disney film Elio is fun but falls short of Pixar top tier

    Alex Bentley
    Jun 19, 2025 | 1:22 pm
    Elio (Yonas Kibreab) and Glordon (Remy Edgerly) in Elio
    Photo courtesy of Pixar
    Elio (Yonas Kibreab) and Glordon (Remy Edgerly) in Elio.

    Pixar has done a ton of different things in the 28 feature films they’ve released over the past 30 years, but the one they’d never done is deal with aliens (and, no, the alien toys in Toy Story don’t count). Now they’re going where many storytellers have gone before, but in their own unique way, in the new film Elio.

    Elio (voiced by Yonas Kibreab) is a space fanatic who has recently lost both of his parents in an unnamed event. His Aunt Olga (Zoe Saldaña) is now his guardian, and because she happens to be a member of the U.S. Space Force, Elio finds himself tantalizingly close to communications from space. With a desire to be abducted by aliens for both curiosity and sentimental reasons, Elio sends a message into space, hoping for some kind of response.

    He gets that and more when a ship full of multiple types of beings takes him into space, believing him to be a leader instead of a child. An encounter with a hostile force led by Lord Grigon (Brad Garrett) gives Elio both a new friend, Grigon’s son Glordon (Remy Edgerly), and responsibility for maintaining peace during an unexpected galactic crisis.

    Pixar has not typically followed the route of many Disney movies of giving their child protagonist the trauma of dead parents, and doing so here is the first of a few minor missteps. Having Olga be his mom instead of his aunt would have altered their dynamic, but only slightly. While Elio is shown to miss his parents, his major focus is on making contact with aliens. Since the film only briefly deals with his grief, it would have been better served by excising it altogether.

    For the most part, the film is goofy, with Elio’s enthusiasm for aliens matched by the oddness of the creatures he meets in space. The filmmakers - there are three credited directors and three credited writers - seem to have taken inspiration from sea creatures and Pixar’s own history, as the main bad guy emulates Mike and Sully’s boss from Monsters, Inc. Almost every character in the film is heightened to a degree that makes for funny situations, but not as much sentimentality as other Pixar offerings.

    Surprisingly, especially since the film ends with a voiceover from notable astronomer Carl Sagan, the filmmakers play fast and loose with real-life science. Elio’s journeys to and from the alien spaceship are treated as close-to-instantaneous trips, even involving portals directly to Earth. The idea of the story doesn’t allow them to delve into things like relativistic time dilation, but there still could have been other scientific references to keep the story aboveboard.

    There are very few stars to be found among the film’s voice cast other than Saldaña and Garrett, who are each fine if unmemorable. Kibreab and Edgerly are given many more scenes than anyone else, and they each do a great job of bringing out both the joy and naivete of their characters. Some lesser-known actors like Jameela Jamil, Atsuko Okatsuka, and Brendan Hunt show up in minor roles, but they don’t stand out in any way.

    The story and characters in Elio are sweet and fun, but the film as a whole falls well short of the top tier Pixar movies. The filmmakers could have gone many different directions with a story about a boy who wants to be abducted by aliens, and the way they chose ended up being innocuous and less than compelling.

    ---

    Elio opens in theaters on June 20.

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