I ONLY REST IN THE STORM
Pedro Pinho‘s sophomore film, I ONLY REST IN THE STORM, premiered for NYFF audiences yesterday. The film follows Sergio, an environmental engineer who drives from his homeland, Portugal, to Guinea-Bissau, West Africa, to work on a recently halted project. Tasked with reporting whether building a road from the desert to the jungle would be profitable or even plausible, he tries his best to ingratiate himself with the locals, to mixed reactions. 
Portugal-born, Brazil-based filmmaker Pedro Pinho tackles racism in an unfiltered, confrontational manner. The dialogue is no-holds-bar and yet entirely calm in its honesty. Alongside Sergio, the audience is thrust into a lively group of queer friends, who argue among their own ranks about blackness and identity. It feels very intimate to witness. It’s a head-on white savior complex reckoning. The longer you watch and learn, white behavior feels very self-congratulatory, regardless of true intentions. 
Performances are spectacular. The immersive cinematography is a character all its own. The film often feels like a documentary with elders casually dropping facts about colonialism in social settings. I ONLY REST IN THE STORM captures you in its boldness, if you can hold on for the three and a half hour runtime. While it would undoubtedly benefit to cut that time in half, you cannot deny the meandering plot points. Each is strong, but as a whole, the film is a five-course gluttonous meal. 
Before we were married, my husband and I abandoned our lives in New York and moved to Hyderabad, India, so that he could work for a local microfinance institution. He and I, both white, served more as a spectacle, fully owning our privilege as we navigated endlessly intrusive questions and the knowledge of our ability to leave the city on our own accord. To be the minority was an eye-opening experience. I ONLY REST IN THE STORM plays for a predominantly white NYFF audience. I would have loved to be a fly on the wall after yesterday’s premiere. One can only imagine the justifications over cocktails.
V/H/S/HALLOWEEN
Another glorious notch in the V/H/S/ franchise, Shudder presents the Halloween version.
Previously, each film played out in a single time period. Based on the reference in Coochie Coochie Coo, that segment takes place in the aughts, but KidPrint specifies 1992, and Home Haunt must occur in the 80s. That’s a nice departure from the rest of the films. Sticking to tradition, each movie features a homebase framework to work around. In V/H/S/HALLOWEEN, it’s a lab that disguises itself as a focus group company in a segment called “Diet Phantasma.” Ghost-infused soda wreaks havoc on its tasters. Bryan M. Ferguson strings us along for a gore-tastic good time.
In “Coochie Coochie Coo,” two high school seniors celebrate their final Halloween together with utter shenanigans. After entering a particularly creepy house, the girls find themselves trapped and tormented. Filmmaker Anna Zlokovic brings a local urban legend to life. With touches of Barbarian, it is undeniably disturbing.
“Fun Size” finds filmmaker Casper Kelly following two couples trying to find the best treats on the block. When a lone bowl filled with candy they’ve never heard of sucks them into a portal. This one is captured via a GoPro camera attached to the couple dressed as found footage characters, literally. Now, in some demented candy factory, Fun Size is the most campy, laugh-out-loud mindfuck.
Alex Ross Perry‘s “KidPrint” tells the tale of a small town with a child serial killer. Tim, the electronic store owner and KidPrint consenesuer (short videos identifying kids in case they go missing), always has a camcorder running. This year, festivities are run by the police in the town square. In an effort to find the latest victim, Tim runs back to the store in search of her video, only to discover the gruesome footage taken on the floor. This segment is by far the most upsetting. Children in peril is always a bold choice, and Perry goes there.
Home Haunt” is our only filmmaking double team. Micheline Pitt and R.H. Norman recount a crumbling father-son relationship. Keith and Zack used to connect over their annual, elaborate haunted house builds, but time and cruel kids kill the Halloween spirit for Zack. Desperate for a dazzling theme, Keith swipes a record from a local oddities shop. The house takes on a life of its own, and mayhem and blood are real this time. This fast-paced, coordinated chaos is genre magnificence. Zack acts as videographer, capturing every wild kill as he, his parents, and neighbors wander from room to room. Home Haunt is nonstop, devilish delight.
SCARED SHITLESS
Chelsea Clark (
Daniel Doheny plays Sonny with perfect manic energy. He is one panic attack away from implosion. Doheny handily glides through Sonny’s arch as the gross factor increases. He nails this genre. Steven Ogg (
Steven Kostanski serves as both Executive Producer and FX goo god. The amount of physical ick in the film should come as no surprise to fans of Kostanski’s work. 
SHE LOVED BLOSSOMS MORE
The boys flitter between trials, doing whatever drugs they can procure, speaking with utter nonchalance about their intentions. Hedgehog, clearly consumed by sadness, eagerly claws his way towards his ultimate goal. Obsession takes hold.
Cinematographer Christos Karamanis brings the viewer inside their drug trips, of which there are many, blurring the lines of reality. Fair warning: if you are sensitive to light or sound, the film can be overwhelming, but inarguably hypnotic. Performances, particularly Panos Papadopoulos, are fantastic.
Sci-fi extravagance aside, Veslemes takes audiences on a visceral and emotional ride into darkness. There is no denying SHE LOVED BLOSSOMS MORE is a WTF, jaw-dropping watch.
COYOTES
Brittany Allen plays sex worker Julie. Her ability to steal scenes is magic. 
This is essentially an ensemble survival horror. The CGI coyotes are a bit Twilight-y, but the practical FX are legit. The kills are super creative, and one is particularly gnarly and incredibly satisfying for genre fans. Scott’s occupation is a graphic novel artist. Director Colin 
Few films have been able to pull off the one-shot feat. SCURRY owns it. Here is a team that has total trust, impeccable timing, and chemistry between the cast and crew, leading to cinematic magic. The element of enveloping darkness, a small, unpredictable light source, and the blurry infrared of a camcorder create relentless dread.
Jamie Costa and Emalia (
Best Picture: CAMP, directed by Avalon Fast
FANTASTIC PITCHES 
The Hairbrained Salon’s owner is a bawdy broad named Laverne. Martini Bear is one hell of a force, slinging f-bombs on top of the already kitschy, 60s-inspired dialogue. John Waters and Mario Bava are all over this film; think 
The costumes, hair, and makeup are spectacular. The vivacious colors and sparkles pop on the 35mm film. The hyper-augmented sound editing will make you cringe. The script cleverly weaves in menstruation shame, medical gaslighting, and consent, while also playing into the adage that a period is a monthly curse. The ending is perfection. THE CRAMPS: A Period Piece has midnight madness cult classic written all over it. 
Zahra asserts herself as a savior in Noor’s life, flattering her, consoling her, and even intimidating her school bullies. But quickly, Zahra pushes boundaries. Noor’s hobby is photography, specifically of dead animals. Zahra talks her into a picture no one should take. While Amani flails to piece the ensuing madness together, Noor falls back on Zahra’s sway. THE VILE comes to a head as a simple birthday celebration brings darkness to the entire family.
Bdoor Mohammad creates a tangible desperation as Amani. You will easily root for her, particularly when it comes to the emotional dynamics between her and her husband. His oppressive hand will likely infuriate the audience, but it is clear Al Ansari did his research. Mohammad captivates at every turn.
This heartwarming doc has some amazing personalities. Audrey is Sound. Her infectious wonder is the epitome of SILVER SCREAMERS. David is Special Effects. With his puppeteering skills, the film’s villain comes alive. Diane is in charge of Makeup. Her theatre background is key to her role. Sonny is the Camera Operator. He is reactivating the dreams of his youth.
The team takes on their jobs with a refreshing enthusiasm. Watching each one tackle their assignments is like a boot camp into the complexities of filmmaking. Editor Lee Walker delivers an incredibly engaging montage of their initial endeavors. The opening credits are integrated into the film’s storyboards. It’s a brilliant device.
SILVER SCREAMERS acts as an advocacy pitch for art therapy at every age. Wait until you hear the ADR session. It’s a riot. The horror homage final scene is the cherry on top. Fantastic Fest audiences are in for a real treat.
Parts Two & Three: now wandering the land, the animals in tow, Gaspar’s existential crisis continues as he meets spirits, resides in a manor, converses with religious icons, all while Ogre and his minion pursue him. The film is A LOT. Green continues his signature style with static cameras capturing 4th wall-breaking deadpan delivery. Honestly, it will either be a winner for audiences or a total miss. The complexity of satire is laugh-out-loud funny, but outside intellectual circles, it might be a tough pill to swallow.
LONDON CALLING
Rick Hoffman is a master at searing delivery. His performance as Benson is unforgettable. Jeremy Ray Taylor gives Julian a spitfire energy. He is an undeniable star. His performance from the 2017 IT remake still haunts me. In this role, Taylor has a Michael Cera innocence and comic timing. Josh Duhamel plays a Tommy with comfort that few leading men genuinely possess. His swagger is only matched by his vulnerability and sardonic wit. Taylor and Duhamel’s chemistry is something I would watch over and over.
Upon first glance, Julian seems like a lost cause, but his love of video games makes him a crack shot. Tommy continues to fumble as his eyesight fails him. The two oddly balance one another out in talent and emotional needs as they delve deeper into crime shenanigans and plenty of character-driven redemption. Omer Levin Menekse, Quinn Wolfe, and Ungar’s script is laugh-out-loud funny. The only true cringeworthy moment is the repeated use of the “R” word, which felt lazy and offensive in 2025. 
The action sequences are incredibly entertaining. The final fight scene is nothing short of celebratory. LONDON CALLING has the same energy as The Other Guys or 21 Jump Street. Taylor and Duhamel’s father-son energy is an unexpected bonus, making for an entirely unexpected buddy comedy that earns your attention and melts your heart.
NIGHT OF THE REAPER
Opening credits are fantastic. The production design team covers homes with classic ’80s Halloween decorations, and the repeated VHS static filter is chef’s kiss. Every single slasher trope we’ve come to love is utilized to build that creeping sense of dread. The synth score is fantastic. Homages to franchise favorites are endless. Everything from Poltergeist to Halloween, Max’s outfit looks like it’s straight out of Pet Sematery or a nod to Chucky, and the “Kimble, R” buzzer might just be a reference to Australian director Kimble Rendall. 
Casting is delicious. Ben Cockell is outstanding as Chad. Summer H. Howell (
Brandon Christensen, alongside his co-writer brother Ryan, understands how to build suspense while giving horror fans the kills they seek. As a fan of SUPERHOST, I am impressed by this narrative shift again and again. Christensen nails the element of surprise, flipping the script on their head when you least expect it. NIGHT OF THE REAPER is another solid addition to Shudder’s stacked catalog.
HAPPYEND
This predominantly young cast is incredible. Yukito Hidaka is captivating as Kou. His brooding aura and genuine wonder are the perfect foil for Hayato Kurihara‘s intense Yuta. Each actor wears their heart on their sleeve.
Based in part on her 2017 film BIRTH OF A FAMILY, Tasha Hubbard brings her scripted narrative debut to TIFF 50. MEADOWLARKS stars Michael Greyeyes, Carmen Moore, Alex Rice, and Michelle Thrush as four Cree siblings who were separated by the Sixties Scoop, who are meeting for the first time as adults.
Performances are fantastic. Each character is incredibly nuanced. Four siblings with varying goals for the trip and vastly different personalities. But what links them is far deeper than the ways in which they were raised by white families.
For more TIFF coverage, 
![Lilith Fair_ Building a Mystery - [tiff.net]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Lilith-Fair_-Building-a-Mystery-tiff.net_.png?resize=678%2C344&ssl=1)
As he prepares to self-fund his hefty two-act drama with his theatre “besties,” Griffin’s theatrical passion is further fueled by a tumultuous homelife. Colia delivers a truly tangible script. Griffin’s mom seems overwhelmed with her go-getter and rather demanding son, but under the surface, something else is simmering. She hires a neighbor’s son to help with yard cleanup. What begins as an annoyance to Griffin transforms into a sexual awakening, a test of relationships, and a piece of art that mirrors his unresolved trauma.
Owen Teague plays Brad with an initial aloofness that perfectly contrasts Griffin’s overzealous nature. As Teague taps into Brad’s motivation, *no pun intended,* the performance captivates in an entirely unexpected way. Everett Blunck is a star. His portrayal of Griffin feels like a documentary rather than a performance. It is one well beyond his years. He exudes fierce confidence that is infectious. Teague and Blunck have magnetic chemistry. Colia skillfully creates a subtle doppleganger effect between the two. It is an incredibly nuanced balance of characterization and performance.
Colia cleverly speaks to art as catharsis, the plight of a tortured artist, and the meaning of authentic friendship. Existing between childhood and adulthood is wrought with emotional chaos, impossible questions, self-loathing, fear, and awkwardness. GRIFFIN IN SUMMER playfully touches on each of these with unfiltered heart and humor.
The doc features sit-down interviews with the world’s most successful competitive eaters as well as James’ family members. The latter informs his motivation, from his love of soccer to bodybuilding. Yudin sets the audience up to root for James as we lead up to the 2023 Hot Dog Eating contest. 10 weeks out, and something diabolical occurs in middle America. We learn about the physical barriers, including his brutal two-year hospital stay after his 
Doo Soo Kim‘s tight close-ups in the opening credits alongside the rather ominous score might make you think you’re about to watch a slasher film. If you can’t stand to witness grown men stuffing food into their mouths, then you might be right. Yudin subconsciously taps into the horror of it all. 
Scream Queen of my heart and Timelord Barbara Crampton plays Clara’s foster mom. She elevates every cast she’s part of, and this is no exception. Clayton Royal Johnson gives Zach a solid, good-guy vibe. He’s a great addition. 
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