Omaha
Cole Webley‘s Omaha finds a grieving husband and father of two young children at the end of his rope during the 2008 financial crisis. To avoid the shame of the family’s eviction, Martin sweeps his kids and their golden retriever Rex into the car during the early morning hours, convincing them they are embarking on a cross-country road trip.
9-year-old Ella quickly pieces things together, keeping her anxiety to herself. As the money runs out and Ella witnesses her father spiral day by day, she cannot fathom how this story will end.
Molly Belle Wright and Wyatt Solis play Ella and Charlie. These two young actors will blow you away. Their chemistry with John Magaro is something from the movie gods. Wright bears the weight of being the eldest daughter, exquisitely. A performance immediately clocked by those who have lived it.
Magaro slowly sinks into a state of desperation as each hour ticks by, knowing he has almost zero options to keep up the ruse. It is a deeply affecting turn. 
Christopher Bear‘s music is akin to an American folktale, almost echoing Taylor Swift. Paul Meyers‘ camerawork and Jai Shukla’s editing create a tangibility that touches your soul. The film’s deliberate pacing and lingering shots allow the audience to be in the moments of realization, joy, and grief of this little family.
Writer Robert Machoian taps into a specific, heart-rending phenomenon explained in the film’s final moment, yet, as unnecessary wars rage on and prices rise, Omaha‘s impact does not simply exist in the realm of 2008. It is any day now for so many families. As a parent, it is a visceral watch. If you don’t find yourself in the deepest hurt while watching this film, count your blessings.
Watch the trailer here:
OMAHA, the debut feature from Cole Webley, opens in New York on April 24 via Greenwich Entertainment
The film stars John Magaro in his first leading role and premiered to strong reviews in the U.S. Dramatic Competition at the 2025 Sundance Film Festival. Shot on location across Utah, Nebraska, and Wyoming, OMAHA lends an authentic, sweeping backdrop to its journey through the American West.
Set against the 2008 financial crisis, OMAHA follows a struggling father (Magaro) on a road trip across the American West with his two children, Ella and Charlie. What begins as a seemingly spontaneous journey gradually reveals deeper emotional stakes, exploring parenthood, love, and the quiet desperation of protecting your children when you’re unsure you can.
In his feature directorial debut, Webley favors emotional authenticity over sentimentality, matched by a remarkable breakout performance from 11-year-old Molly Belle Wright. Written by Robert Machoian (The Killing of Two Lovers) and shot by Paul Meyers, ASC, the intimate screenplay and striking visuals mirror the characters’ inner lives with subtlety and grace.
Following Sundance, OMAHA has continued to resonate, earning honors at Jakarta World Cinema (Best Film, First Features), Deauville (Jury Prize), Richmond (Grand Jury Award, Best Feature), Nashville (Audience Award), Munich (CineKindl Award), Dallas (Grand Jury Award), and Miami (Jordan Ressler First Feature Award).
Mabel
Nicholas Ma‘s darling coming-of-age film Mabel follows Callie, a 6th-grade botany-obsessed girl who struggles to adjust to her family’s move. 
Judy Greer is a gem. Having worked with and for scientists, Greer nails the bluntness and often curt tone in Ms. G’s delivery. It’s a performance that wins in its specificity. Newcomer Lexi Perkel‘s raw turn will undoubtedly hit the core of anyone raising a headstrong leader. Perkel settles easily into Callie’s hyper focus. You can see the light in her eyes as the two become one. Perkel is so effortless, you’d think she were the subject of a documentary. 
Mabel struggles slightly with pacing, even at a satisfying 84-minute runtime, but its relatable storytelling keeps it a breezy watch. Anyone who has ever felt different, misunderstood, or any parent of a child on the spectrum (even though Callie is specifically not) will relate to the desire to find connection and genuine friendship. Mabel is a solid family film. 
Ready or Not 2: Here I Come
Has a sequel ever been more fun? It’s a question worth sitting with, because the answer is almost certainly no.
Maybe it’s the sheer zaniness of the premise that makes expansion feel so natural. A woman marries into a cursed dynasty of obscene wealth, survives a wedding-night blood sport orchestrated in service of the devil, and then because the universe has a cruel sense of humor gets pulled right back in when the ruling families of the satanic council scramble to fill a vacant seat of power. The countdown starts again. There is a new estate. This one has a casino.
Perfectly blending horror and comedy once again, the film hits the ground running and does not relent for 108 minutes. Notably, it even manages some genuinely touching moments between sisters before hurling you back into the gleefully unhinged action, a trick that requires real skill to pull off without breaking the spell.
Sam finds musician David’s absence a subconscious excuse for connecting with the beautiful but aloof Dianne. As the months roll on, Dianne is working out her midlife crisis shit with Sam as her newfound bestie. Crashing out, and rightfully so, over aging, a waning acting career, and deepening depression. Sam, managing the eclectic needs of the three girls, a seemingly narcissistic husband, and his own feelings of inadequacy, must navigate new feelings and old fears.
Something that really stood out to me from an acting and writing standpoint in Fantasy Life warrants a mention. Eating scenes are actually quite rare in film. I don’t mean sitting at a table doing dialogue, I mean actually consuming food as the actors speak. It’s one of the most natural actions in our everyday lives, but we don’t often get treated to genuine relationship-building when actors have their mouths full of food. That simple and very specific choice by Shear has such an impact. It solidifies an immediate intimacy between Sam and Dianne. Bravo.
For all the reasons, Shear and Peet have the most electric chemistry. They share a beautiful, “will they, won’t they” energy, far beyond the trope itself. It’s so very easy.
Jordan Dulieu (Danny) gives us an emo rocker heartthrob and villainous mayhem with equal fire. He is genuinely mesmerizing. Avalon Fast (Gen) is great. Her delivery is so natural, you might think she’s in a documentary. Alexandra McVicker (Anna) brings innocent ingénue energy. The three have stellar chemistry. I not-so-secretly wanted a threesome scene between them. Shout out to Intimacy Coordinator, Zoe Taylor, for the overall hotness. 
MacKay has a neon-saturated visual calling card and always provides a kick-ass soundtrack. Another genius collab with 
SXSW 2026 true-crime doc I Got Bombed at Harvey’s tells the off-the-wall tale of a casino, a ransom note, a homemade bomb with 1000 pounds of dynamite, and 24 hrs. Your jaw will drop as one absolute narcissistic lunatic’s spiral brings his kids down with him.
Juliane Dressner and Miriam Shor bring SXSW 2026 audiences the brave stories of three people living with the daunting realities of Nondisclosure Agreements. The My NDA begins with each of our subjects, and the look of pure fear on their faces as a lawyer tells them that breaking their silence could lead to financial ruin.
![The Peril at Pincer Point (2026) - [www.imdb.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/The-Peril-at-Pincer-Point-2026-www.imdb_.com_-e1774014647397.png?resize=577%2C882&ssl=1)
The Peril at Pincer Point
The dialogue is outrageously offensive and damn funny. My guess is that they’re closer to reality than comedy since people are assholes, but I digress. The music is delicious. Fantasy sequences are action-packed shenanigans, akin to Everything Everywhere All At Once. Leading man, screenwriter, and showrunner Ash T absolutely kills it playing Raag. Not a single millisecond of hesitation in this absurdist performance; this is star-making stuff of the gods. The plot twist is out of left field, but that’s a complete compliment. I have to know what happens to Raag once the credits roll. I’m going to need HBO to pay attention because Son of a Bikram deserves all the money and every minute of an audience’s attention.
In Lauren Noll’s SXSW 2026 dramedy, Same Same But Different, we follow three Persian childhood friends: a personal trainer, a lawyer, and an aspiring writer, grappling with identity and their ever-evolving relationships.
SXSW 2026 Watchlist
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