TIFF ‘22 Coverage: ‘The Greatest Beer Run Ever’
The Vietnamese perspective is not only completely ignored in 'The Greatest Beer Run Ever', but it is blatantly whitewashed and disrespected.

As one of his generation's quintessential Mad Men, television commercial director Joe Sedelmaier's work was iconic, dynamic, and instantly recognizable--some twenty to thirty years later, people are still wondering 'Where's the beef?” He turned the advertising world on its brain-damaged head by casting offbeat non-actors in still-unforgettable spots. His brilliant, frequently hysterical commercials for Wendy's, Alaska Airlines, Federal Express and others were snappy slices of cultural quirk that tapped into the Cold War-fearing, corporate workaholic zeitgeist of the '70s and '80s with a sense of humor that cracked billions of smiles, sold billions of burgers, and sped up the default rhythm of time-based media.
The Vietnamese perspective is not only completely ignored in 'The Greatest Beer Run Ever', but it is blatantly whitewashed and disrespected.
Another uneven "Guess Who's Coming to Dinner" redux that says nothing novel about its subject matter.
SPOILERS AHEAD. Sweet Sweetback's Baadasssss Song distinguished itself from Hollywood films of its time by introducing New Wave cinema storytelling methods into Black cinema.
Netflix's Afterlife of the Party might fall into the rom-com genre, but it's much more about grief, strong female friendships, and platonic love than it is about romance.
Not only can viewing Not My Dog inspire people to adopt a dog that may be facing tremendous odds, but even that simple action of watching has a social effect.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch