EGGHEAD & TWINKIE

EGGHEAD & TWINKIE is an instant classic. After coming out to her parents, two best friends go on an impromptu road trip to meet a crush. This genre-bending film is one of the most fun selections at Outfest: LA. (Here is our original review from the fest)
Jill Cefalo-Sanders provides quirky animation, giving us adorable hand-drawn anime-inspired visuals for emotions, sounds, and transitions. It’s very Lizzie McGuire, and that’s an absolute compliment. It’s almost its own character in the film. The script kicks close-minded conservatism to the curb, much like a Mini Katana cutting through outdated beliefs with precision and style. Writer-director Sarah Kambe Holland makes Twinkie a total badass. She is funny, brave, awkward, fearless, and (to use a Gen Z word) fire. Holland gives Egghead all the qualities to balance his best friend. He is nerdy, loyal, thoughtful, and unequivocally at Twinkie’s mercy. The script doesn’t shy away from sexual fluidity but directly addresses it in an accessible way.
Asahi Hirano plays Jess with a comfortability that is chef’s kiss. Acting like an LGBTQ+ sensai for Twinkie, Hirano makes the conversation flow easily. She is a delight, someone who could carry a spinoff film. Louis Tomeo as Egghead is fantastic. He is laugh-out-loud funny in his natural delivery. The sass is perfection. Holland allows him to show his comedy chops through the script and hilarious editing from Anna DeFinis and Kristina League. Sabrina Jie-a-fa plays Twinkie with a perfect balance of audaciousness and hesitancy. We see authentic coming-of-age and coming-out stories in her journey. Together, Tomeo and Jie-a-fa are a spectacular duo. You will fall in love with them.
The teenage shenanigans ring true. That feeling of invincibility and daring reminds me of my crazy ideas and dumb decisions in the late 90s. Egghead and Twinkie take risks, make mistakes, hurt each other, get their hearts broken, and confess their fears. The film is a helpful guide for parents struggling to understand their kids’ feelings. Regardless of their core beliefs, EGGHEAD & TWINKIE is undeniably relatable. A modern-day romcom-buddy comedy-road movie we all needed to see. It is easily one of the year’s best films. Do not sleep on it!
EGGHEAD & TWINKIE
2023 | USA | 87 min | Color | Narrative Comedy
RELEASE INFO
Available on Demand April 29 (U.S. & Canada)
*Special Screening in Los Angeles, including Q&A with filmmakers and cast
Thurs, April 24, 7:00pm
Laemmle Glendale, 207 N. Maryland Ave.
Info & Tickets:
https://www.laemmle.com/film/ egghead-twinkie
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Director:Sarah Kambe Holland
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Screenwriter:Sarah Kambe Holland
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Producer:Danielle Fountaine, Sarah Kambe Holland, Valerie Starks
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Executive Producer:Simon Holland, Torye Kambe, Dan Pastewka, Kathleen Weldon
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Cast:Sabrina Jie-A-Fa, Louis Tomeo, Asahi Hirano, Ayden Lee
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Cinematographer:Olivia Wilson
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Editor:Kristina League, Anna Definis, Sarah Kambe Holland
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Animator:Jill Cefalo-Sanders
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Production Design:Luke Sanders
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Composer:Ben Thornewill
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Sound Design:Bo Li
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Music:Arielle James Harris
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DADDY
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Empathy, competition, and fear create a powder keg. DADDY is a superb companion watch for
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Two friends trudge through a Michigan forest 


ZERO
Fast-paced editing and augmented sound effects keep you engaged from the first frame. The concept combines the adrenaline of SAW and SPEED, but it’s funnier and inevitably much darker. The soundtrack is fantastic. Gregory Turbellier‘s camerawork is immersive and sharp.
Leading players Hus Miller (who also co-writes) and Cam McHarg have fiery chemistry, each delivering fully flushed-out characters even if we know the most basic information about them. They make a great on-screen team. I would love to see this entire crew create more projects together.
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Nelson remarked, “This story felt personal to me, I felt a real connection to it because the Nelson family farm has been a working farm in South Dakota since the Civil War, and my wife’s family were also farmers. Green and Gold captures the tenacity of small-town farmers and the strength of family and community. I was honored to play Buck and highlight the dreams defining many lives in America’s heartland.”
This meaningful film is presented in collaboration with Culver’s and the Green Bay Packers, the nation’s only community-owned professional football team. Culver’s small-town Wisconsin roots give the restaurant franchise a true heart for agriculture and inspired the creation of its Thank You Farmers® Project, which has donated more than $6.5 million toensure a sustainable food supply for the future.
Green and Gold is directed by Anders Lindwall and produced by Davin Lindwall and Aaron Boyd. Dan Visser, Darren Moorman, Scott Pomeroy, Craig Cheek, and Brooks Malberg executive produce the feature film. The screenplay was written by Steven Shafer, Michael Graf, Missy Mareau Garcia, and Anders Lindwall.
SXSW 2025
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The story jumps to 2004, only to find Nasir’s original success waning. His crew of friends finally grasp how he has coveted the spotlight and the money. When loyalty and interest in Nasir’s parodies wear thin by 2010, devastating news prompts cinematic and relationship magic.
THE BUILDOUT
Cameron and Dylan are not the first to set foot on the land. Timelines cross. The two friends document what they find on a camcorder. In the isolation, they discover more questions than answers, and the viewer travels down a rabbit hole of unnerving chaos.
Jenna Kanell gives Cameron a feisty edge that reminds me of Robin Tunney in Empire Records, appearance and all. There is a visible aversion to the hyper-religious nature that Dylan openly expresses. Hannah Alline (
The audience holds its collective breath with only drips of information at any given time. The eclectic camera work by Justin Moore is jarring in the best way possible, delivering a continuously menacing vibe. (Don’t think I missed your EP credit,
LOCKJAW
Blu Hunt is a comic genius. She has that it-girl quality. I’m buying whatever she’s selling at all times. Her commitment to the dialogue or a particular gag is chef’s kiss. Hunt recently wowed me in The Dead Thing. She is just as compelling in Lockjaw.
Eric McGinty‘s STOCKADE follows Ahlam, a Lebanese woman trying to get her artist’s visa extended in NYC. To pay her lawyer, she agrees to deliver a package upstate.
Halfway through the story goes in an entirely bizarre direction when Richard doesn’t show up, Paul isn’t answering the phone, and two strangers appear in the house demanding the contents of the package. Suddenly, easy money is not so easy after all.
While the rest of the cast is mediocre at best, Sarah Bitar is spectacular. She has a commanding presence about her. Ahlam holds unspoken trauma and guilt from leaving her family in Beruit. Bitar holds you captive with her fierce energy. She is the reason to watch this film.

David Borenstein has worked in the documentary industry on three different continents. He has produced and directed TV for BBC, PBS, ARTE, Al Jazeera, DR, Vice, and many more international broadcasters. Borenstein directed Can’t Feel Nothing (2024), Love Factory (2021), and Dream Empire (2016). 
Addison Heimann is a queer genre filmmaker currently residing in Los Angeles. His first feature, Hypochondriac, premiered at the 2022 SXSW Film Festival and was distributed by XYZ Films. His goal is to tell queer stories that explore mental health in the genre space.









Evan Twohy was raised on Hitchcock and opera on the edge of a forest outside Berkeley, California. From an early age, he found himself drawn to absurdist theater and began writing plays in New York City prior to making his first feature, Bubble & Squeak.
THE DAMNED
Young widow Eva endures a particularly harsh winter on an Icelandic fishing island. After the small population witnesses a shipwreck off their coast, Eva discovers a barrel of rations that have washed up on the beach. In desperation, our hungry villagers row their dingy through the icy waters in search of any further rations. Instead, they come upon a shocking number of survivors that swarm the boat. The fallout proves terrifying. Welcome to THE DAMNED.
The chill of the environment flows through the screen. You cannot help but shiver and feel the inherent dread. THE DAMNED initially drips with melancholy but quickly navigates into total fear. Screenwriter Jamie Hannigan gives us a surprising feminist dynamic with Eva having the final say in the men’s actions. The narrative beautifully balances lore and madness.
Odessa Young is captivating. As the horror progresses, so does her appearance. The sleepless nights and ceaseless tragedy take their toll physically. Young effortlessly commands your attention at every turn. What a star.
The cinematography swings from bleak, overcast skies to the darkest of nights, lit only by lanterns. The stark visual contrast provides a subconscious isolation. Practical FX are meticulous and brutal. THE DAMNED is a highly effective psychological horror, delving into fisherman’s superstitions, survival instincts, and guilt—a must-watch in the new year.
Distributed By: Vertical
BIRDEATER
Secrets, awkward first meetings, hyper-toxic masculinity, and ketamine collide in one of the most one of the most tension-filled narratives I’ve seen. A stag week, including Irene, goes off the rails when the past and present come to light.
The script is a complex push and pull of who knows what and when. Forty minutes in a massive cloud of mystery looms over this bachelor weekend. Clark and Weir deliver characters that crawl under your skin and burrow into your brain whether you like it or not. This is what happens when a control freak loses control.
Aggressive straight-to-camera looks feel like an invasion of the audience. Each one is more jarring than the next. The camera work is dizzying and immersive. The upbeat, celebratory soundtrack comes off as sinister amongst the feral behavior. The editing deserves an award.
Performances are extraordinary. The ensemble cast nails every beat. Each character is loathsome in their own way, either because they are self-righteous, weak, or revenge-driven. The final 30 minutes are explosive. BIRDEATER will f*ck you up. 

Footage from those rescued from collapsed buildings, unimaginable loss, children caught in a tornado of violence, every film is immersive and visceral. The bravery and passion of the filmmakers are on full display. The viewing experience is heavy, inspiring, and vital, particularly for those who believe we should stop funding humanitarian efforts abroad. Amongst turmoil on American soil, we should thank our lucky stars for the privilege of honoring the ongoing courage, compassion, and unity of the Gazan people. FROM GROUND ZERO is a must-watch. 


An unspoken competition begins between the two gentlemen, with Charlotte being the prize. Werther ingratiates himself into their lives based on his instant infatuation. That is what makes YOUNG WERTHER so intriguing. You cannot help but settle into the sheer audacity of a character, living vicariously through his fearless nature.
Patrick J. Adams is endlessly charming as Charlotte’s fiance, Albert. Adams’ genuine demeanor and the fact that he plays a lawyer again (Thank You Suits) makes him perfectly cast. His mature approach makes Albert all the more inviting.
Werther is a wealthy eccentric walking a fine between swoon-worthy and obnoxious narcissist. Douglas Booth grabs your attention from the first frame. His authentic hyper-fixation of experiencing things here and now is infectious. Booth has the energy of a Golden Retriever who is happy to see you at the end of the day. He is captivating.
FILTHY ANIMALS
This oddball team of modern-day outlaws fearlessly tracks down society’s worst with hypnotic nonchalance. It is no wonder the film had a field day on the festival circuit—the cast rules. Raymond S. Barry is phenomenal as Lester. Mena Elizabeth Santos is equally deranged, letting the intrusive thoughts win.
Ryan Patrick Brown delivers an unexpectedly gentle turn as Freddy. Focusing on gains rather than violence, his love for his Baba and adoration for Westerns fit perfectly into this weird puzzle. Austan Wheeler delivers a comedically unhinged performance playing Lars. He is a coked-up loose cannon and motivator/bad influence for Freddy. Wheeler’s toxic aggression gets a pass due to his vigilante goals.
Robby Ngai‘s editing is applause-worthy. North provides enough meat to expand into a series. There is much to explore within these characters. Each one deserves an entire episode for their backstory.
The film celebrates the morally grey areas of life. The fantasy sequences bleed into the narrative like a gift. Memorable, singular, and sensorial FILTHY ANIMALS is the epitome of cult indie filmmaking.

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Amy Carlson and Jordan Bridges are a joy to watch as Laurie and Gordan. Their chemistry is spot on. Kirrilee Berger is a pure delight as Joey. She has a natural star quality akin to Jane Levy or Rachel Sennott. She brings an effervescent energy to the screen.
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