SWSX 2023 has something for everyone, from franchise horror expansion to the hotly anticipated premiere of Dungeons & Dragons: Honor Among Thieves. But we’re here to share some of the films on our radar this year.
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Pure O
Director/Screenwriter: Dillon Tucker, Producers: Ricky Fosheim, Dillon Tucker, Ray Lee
A young screenwriter/musician grapples with Pure O, a lesser-known form of OCD while juggling his recent engagement and his day job at a high-end Malibu drug rehab. Inspired by the filmmaker’s own personal true story.
Cast List: Daniel Dorr, Hope Lauren, Landry Bender, Jeff Baker, Candice Renee, Breon Gorman, Tim Landfield, Isaac Nippert, Devon Martinez, Clint James (World Premiere)
Speaking as someone existing in a neurodivergent family unit, this one will hit hard for anyone battling invisible disabilities.
Raging Grace (United Kingdom)
Director/Screenwriter: Paris Zarcilla, Producer: Chi Thai
A bold coming-of-rage story where Joy, a Filipino immigrant, and her daughter Grace encounter a darkness that threatens all they have worked for.
Cast List: Maxine Eigenman, Leanne Best, David Hayman (World Premiere)
Femme-centric horror from Paris Zarcilla explores assimilation, trauma, and horror.
Another Body
Directors: Sophie Compton, Reuben Hamlyn, Producers: Elizabeth Woodward, Sophie Compton, Reuben Hamlyn, Screenwriters: Sophie Compton, Reuben Hamlyn, Isabel Freeman
Another Body follows a college student after she discovers deepfakes of herself circulating online. (World Premiere)
As if women didn’t have enough to fear, AI porn enters the arena. This mind-bending and infuriating doc shocks over and over.
Geoff McFetridge: Drawing a Life
Director/Producer: Dan Covert, Screenwriters: Erik Auli, Dan Covert, Amy Dempsey, Tara Rose Stromberg
What defines a life? The iconic work of artist Geoff McFetridge is everywhere. But this film is more than a primer on his career—it’s about the choices we confront in trying to lead meaningful lives, and how we use our most precious resource: time. (World Premiere)
Hold on, I know that art! This charming and insightful doc will introduce you to Geoff McFetridge, an artist we all know, but don’t know we know. Ya know?
Deadland
Director: Lance Larson, Producers: Elizabeth Avellan, Bob Bastarache, Jas Shelton, Lance Larson, Tara Pirnia, Chris Wilks, Screenwriters: Lance Larson, Jas Shelton
A U.S. Border Patrol Agent tries to apprehend the ghost of his father, a grave decision that will haunt him forever.
Cast List: Roberto Urbina, McCaul Lombardi, Julieth Restrepo, Kendal Rae, Luis Chavez, Julio Cesar Cedillo, Manuel Uriza, Chris Mulkey (World Premiere)
Get ready for chills and politics to collide. You’re not ready.
Hail Mary
Director: Rosemary Rodriguez, Producer: Karina Miller, Screenwriter: Knate Lee
A young Belizean girl, Maria, finds herself mysteriously pregnant and trying to cross the US/MEX border while outrunning a deadly virus, the Cartels, Border Patrol, and the right-hand man of the Devil. This genre-bending retelling of the Mary and Joseph story begs the question – who are the real monsters? Cast: Natalia del Riego, Benny Emmanuel, and Jack Huston with Angela Sarafyan (World Premiere)
As a former Catholic school kid and a lover of genre-defying fare, Hail Mary is 100% on my list. The meer idea that this will work brings my eyeballs to the screen.
Only The Good Survive
Director/Screenwriter: Dutch Southern, Producers: Thomas Mahoney, Justin X Duprie
While unwittingly doing crimes in Texas, Brea Dunlee stumbles upon a QAnon-like cabal that preys on the poor and the powerless. Through a series of interrogations led by a gaslighting sheriff named Cole Mack, we discover not everything is as it seems.
Cast: Sidney Flanigan, Frederick Weller, D’Pharaoh Woon-A-Tai, Will Ropp, Darius Fraser, Lachlan Watson, Jon Gries, Patrick Grover (World Premiere)
Quirky, colorful, and confusing, this ping-pong, time-hopping delight is pure delightful mayhem.
Peak Season
Directors: Henry Loevner, Steven Kanter, Producers: Lovell Holder, Patrick Ward, Henry Loevner, Steven Kanter, Screenwriter: Henry Loevner
An emotionally adrift young woman forges an unexpected friendship with a wilderness guide when she and her fiancé take a summer trip to Jackson Hole, Wyoming.
Cast: Claudia Restrepo, Derrick DeBlasis, Ben Coleman, Fred Melamed, Stephanie Courtney, Will Neff, Caroline Kwan, Ron Hanks, Gadiel Del Orbe, Natasha Dewhurst (World Premiere)
Look out for this authentic, easy breezy dramedy that is like an emotional warm hug.
Art for Everybody
Director: Miranda Yousef, Producers: Morgan Neville, Tim Rummel
Thomas Kinkade’s pastoral landscapes made him the most collected and despised painter of all time. After his shocking death, his family discovers a vault of unseen paintings that reveal a complex artist whose life and work embody our divided America. (World Premiere)
You could not escape his art in the late 90s. His “lit from the inside” painting of countryside cottages and mass marketable art held America captive. I almost bought one in a mall gallery at 20 years old. They were that enchanting.
Satan Wants You
Directors/Screenwriters: Sean Horlor, Steve J. Adams, Producers: Michael Grand, Melissa James
The shocking story of how a young woman and her psychiatrist ignited the global Satanic Panic with their bestselling memoir Michelle Remembers. (World Premiere)
One book twisted the narrative of a nation. It would start an avalanche of conspiracy theories that continues to run rampant in crazy circles today.
Who I Am Not (Romania, Canada)
Director/Screenwriter: Tünde Skovrán, Producers: Andrei Zinca
There is male, there is female, and then there is i. Born male and female within one single body, a beauty queen and a male-presenting activist break the intersex taboo through a personal and intimate exploration of truth, faith, and belonging. (North American Premiere)
Timely and important. That’s all you need to know.
Brooklyn 45
Director/Screenwriter: Ted Geoghegan, Producers: Seth Caplan, Michael Paszt, Pasha Patriki, Sarah Sharp
In the months following World War II, five old military friends are talked into an impromptu séance, which brings to troubling light each of their haunted pasts.
Cast List: Anne Ramsay, Ron E. Rains, Jeremy Holm, Larry Fessenden, Ezra Buzzington, Kristina Klebe (World Premiere)
Just because I know Ted Geoghegan to be one of the kindest and coolest gents in the biz doesn’t mean I have to mention his newest and perhaps most personal project yet. His work and the company he keeps (he is also producing Molli and Max screening at the fest this year), speak for themselves. I mean, how cool does this still look?! Shudder was smart enough to snap this up ages ago.
Monolith (Australia)
Director: Matt Vesely, Producer: Bettina Hamilton, Screenwriter: Lucy Campbell
All you have to do is listen. A disgraced journalist turns to podcasting to try and rebuild her career – but her rush to generate headlines soon uncovers a strange artifact, an alien conspiracy, and the lies at the heart of her own story.
Cast List: Lily Sullivan (International Premiere)
The history of deceptive podcasting has changed the lives of suspects and the far right in recent years. This one deserves your full attention.
Talk To Me (Australia)
Directors: Danny Philippou, Michael Philippou, Producers: Samantha Jennings, Kristina Ceyton, Screenwriters: Danny Philippou, Bill Hinzman
Lonely teenager Mia gets hooked on the thrills of conjuring spirits through a ceramic hand, but when she is confronted by a soul claiming to be her dead mother, she unleashes a plague of supernatural forces.
Cast List: Sophie Wilde, Miranda Otto, Alexandra Jensen, Joe Bird, Otis Dhanji, Zoe Terakes, Chris Alosio (Texas Premiere)
We caught this one at Sundance and can report that it is franchise worthy. Do not miss it. Talk To Me
The Wrath of Becky
Directors/Screenwriters: Matt Angel, Suzanne Coote, Producers: Raphael Margules, JD Lifshitz, Tracy Rosenblum, Russell Posternak, Chadd Harbold
After living off the grid for two years, Becky finds herself going toe to toe against Darryl, the leader of a fascist organization, on the eve of an organized attack.
Cast List: Lulu Wilson, Seann William Scott, Matt Angel, Courtney Gains, Aaron Dalla Villa, Michael Sirow, Denise Burse, Jill Larson, Kate Siegel (World Premiere)
Firstly, Lulu Wilson is a phenom in my book. A follow-up to the 2020 film BECKY, I cannot wait to see this girl kick ass and not give a shit about names.
The Artifice Girl
Director/Screenwriter: Franklin Ritch, Producers: Aaron B. Koontz, Ashleigh Snead
Three special agents develop a bold new computer program to catch online predators, but its rapid advancement poses unexpected challenges.
Cast: Tatum Matthews, Sinda Nichols, David Girard, Franklin Ritch, Lance Henriksen (U.S. Premiere)
We could not escape the buzz that this film has been generating on the festival scene. It’s about time we join the crowd.
Molli And Max In The Future
Director/Screenwriter: Michael Lukk Litwak, Producers: Candice Kuwahara, Ben J. Murphy, Mallory Schwartz, Kate Geller, Michael Lukk Litwak
Molli and Max In The Future is a Sci-Fi Romantic Comedy about a man and woman whose orbits repeatedly collide over the course of 12 years, 4 planets, 3 dimensions, and one space-cult.
Cast: Zosia Mamet, Aristotle Athari, Danny Burstein, Arturo Castro, Okieriete Onaodowan, Erin Darke, Grace Kuhlenschmidt, Michael Chernus, Aparna Nancherla, Matteo Lane (World Premiere)
After following the cast and crew of this film along the way, Molli and Max feels like a festival darling from the start.
With Love and a Major Organ
Director: Kim Albright, Producer: Madeleine Davis, Screenwriter: Julia Lederer
In an alternate world where hearts are made of objects and suppressing emotions is self-care, a lonely woman rips out her own heart for the man she loves, only to discover that he has run away with it.
Cast: Anna Maguire, Hamza Haq, Veena Sood, Donna Benedicto, Lynda Boyd, Arghavan Jenati, Enid-Raye Adams, Ryan Beil, Laara Sadiq (World Premiere)
The concept alone makes me want to run to the theater.
My Drywall Cocoon
Director/Screenwriter: Caroline Fioratti, Producers: Rui Pires, André Montenegro
Virginia’s death during her 17th birthday shakes up a luxurious building complex. For most residents, it’s a passing tragedy. For her mother and her friends, it is the beginning of a transformation: the crack in their drywall cocoon.
Cast: Maria Luisa Mendonça, Bella Piero, Michel Joelsas, Mari Oliveira, Daniel Botelho, Caco Ciocler (World Premiere)
The only Brazillian film in the fest this year, this intricately written film will surprise again and again.
Is There Anybody Out There?
Director: Ella Glendining, Producer: Janine Marmot
Inhabiting a bizarrely unusual body (the body I love), and navigating daily discrimination, I search the world for another like me. Is there anybody out there? (Texas Premiere)
Check out our previous coverage of Ella Glendining’s unfiltered look at self-acceptance and judgment. It will live in my family’s heart forever.
The Angry Black Girl and Her Monster
Director/Screenwriter: Bomani J. Story, Producers: Jack Davis, Darren Brandl, Bomani J. Story
Death is ever present in Vicaria’s world – violence, police brutality, substance abuse – and after watching her mother and brother succumb, she’s had enough. Vicaria is going to put an end to all this death… by bringing the dead back to life.
Cast: Laya DeLeon Hayes, Denzel Whitaker, Chad Coleman, Reilly Brooke Stith, Keith Sean Holliday, Amani Summer Boyles, Edem Atsu-Swanzy (World Premiere)
Writer-director Bomani J. Story takes on the complexities of survival and oppression with a femme-centric modern take on Frankenstein. Yes, please, and thank you.
SHORT FILMS
Fuck Me, Richard (Australia, U.S.)
Directors: Lucy McKendrick, Charlie Polinger, Screenwriter: Lucy McKendrick, Producers: Jenna Grossano, Lucy McKendrick, Charlie Polinger
Recovering from a broken leg, a romance-obsessed loner finds herself swept up in a passionate long-distance love affair. Richard is perfect in every way, except that he may be a scammer. (World Premiere)
As someone who “survived” a 5+ year long distance relationship, this one is a yes.
Dead Enders
Directors: Fidel Ruiz-Healy, Tyler Walker, Screenwriters: Fidel Ruiz-Healy, Tyler Walker, Jordan Michael Blake, Conor Murphy, Producers: Raven Jensen, Amanda Crown, Gregory Barnes, Conor Murphy, Nico Alvo, Jordan Michael Blake, Eduardo Ruiz-Healy
A disaffected gas station clerk finds out why they call it the “graveyard shift” after oil drillers set loose an ancient race of mind-controlling parasites. (World Premiere)
Horror shorts for the win, ladies, and germs. Give me a new badass final girl every day of the week.
Pietro’s father only begins to invest his interest in his son’s life when his abilities might benefit him financially. The juxtaposition of his father and Professor Moretti is ceaselessly absorbing. Pietro’s friends slyly represent the adults in the film, each playing a separate role in their treatment of his potential gift. The issues of class, old world vs. new, and family dynamics loom large in the narrative. The film mixes elements of skepticism, belief, science, and faith. It is undeniably intriguing, richly shot, and brilliantly performed.
Five Women Unpack the Deeply Entrenched Misogyny in Syria in this Intimate and Affecting Documentary
Ari Jan
As Carl’s chances for individualism seem to dwindle, augmented audio in transitional scenes complements visuals of deterioration. The primarily static 16mm camerawork gives the film a documentary feel, as does the often sparse dialogue and long takes. The intensely funny town gossip and local far-right ignorance come together to paint a picture of global tension. 
Wuthering Heights fans will recognize the inspiration in Frances O’Connor‘s screenplay. Sibling and familial dynamics loom large, as does jealousy. A myriad of topics appears in the script; grief, individualism, and life in the arts. Emily shirks gender norms and yet yearns for the approval of her Father. Betrayal, morality, lust, defiance, sibling rivalry, adoration, and spite play keen roles in EMILY. A particularly sharp monologue serves as a Freudian confessional. It is brilliant and heartbreaking.
Fionn Whitehead plays Branwell Brontë with the vibrancy of a firecracker. He is a delightful foil for Mackey. Their connection is undeniable. Oliver Jackson-Cohen is Mr. Weightman. Battling societal morality and love, Jackson-Cohen gives a stunning performance. His intuition and chemistry with Mackey are explosive.
The film utilizes classic devices. Mirrors and reflection play a dual role. Reds and fuchsias feature prominently in the form of nail polish, shoes, a toothbrush, Kyoko’s blouse, a robe, and phone case, and most importantly, the scar. I can see why this was such a hit on the festival circuit. WOMAN OF THE PHOTOGRAPHS begs a larger conversation about image and self-worth as dictated by the internet and society.
The writing is perfectly genius, as it disguises the mystery within the secretive nature of the religion. I watch a lot of horror. ATTACHMENT had me on the ropes. I had no idea where this script would land. The language barrier raises the stakes, as important revelations become lost in translation, literally. Performances are spectacular and nuanced. The emotional journeys are lush. Their pasts slowly revealed creating a genuine and curious bond. I could not take my eyes off the screen while watching Attachment, fearing I’d miss the smallest detail. Audiences will be hypnotized.
Although the zombie makeup is not great, costumes and general makeup are thoughtfully aged and disheveled. Something that is usually a sticking point in low-budget apocalyptic films. I was equally impressed with the locations. It appears the filmmakers had a lot of options, and they used them to their advantage. Performances are strong all around. A large ancillary and featured extra cast makes for a more impressive final product.
While the drama is a touch overplayed, perhaps akin to a Lifetime drama hokeyness, that does not lessen the intriguing arc in a genre that is tricky to conquer with new ideas. So while we’ve seen the sentimental attachment aspect in the past, the surprising plot point surrounding the very badass Ellen Hillman was phenomenal. Alive‘s final reveal garnered an honest, approving nod from me. I applaud the passion and commitment of writer-director David Marantz. It undoubtedly has an audience.
On the surface, the film is an intimate character study of the growing tensions in a family and community in close quarters and the disruption of everyday life. Slyly mirroring the Israel-Palestine tensions in a darkly comedic way, LET IT BE MORNING tackles the status quo, the want for power, and the need for change in a superbly brilliant way. 
Mesmerizing closeups of body parts beading with sweat captured with static and handheld camerawork beautifully complement the conversations and place the audience inside the room. Haunting vocals during transition moments captivate the audience. Images of south Estonian matriarchs are projected on the sauna smoke as their voices recall tales from their lives. It is another stunning addition to an already visually sumptuous film.
Topics like cancer, women’s rights, body shaming, unresolved trauma, sex, and sexuality swirl freely. It is a safe space I envy. Smoke Sauna Sisterhood brings a contagious joy. There is a raw elegance I think Sundance 2023 audiences, specifically female viewers, will welcome. This film is a celebration of our complexities, highlighting the tender care we take with one another. It is revelatory to rediscover the interconnectedness of women and our shared experiences, good and bad. It is an astonishingly rewarding emotional catharsis. 
Anna Hints is an Estonian film director with a background in contemporary art and experimental folk music. Having deep roots in the distinct culture of South Estonia, Hints’ second home is in India. As an active dumpster diver, Hints’ short documentary For Tomorrow Paradise Arrives initiated public discussion and growth of new grassroot movements against food waste in Estonia.
Memory preservation, emotional resonance, exploration, and exposure of truth, FANTASTIC MACHINE
The power of curated messaging in politics is something we know well. The film features a breathtaking 1993 interview with a filmmaker that changed the face of WW2 and modern-day filmmakers. In 1934, The Nazi Party hired Leni Reifenstahl to show the movement as powerful and attractive. She speaks about the entertainment factor, how a two-hour speech must be compressed to five minutes with a beginning, middle, and thrilling middle, despite the subject. As I witnessed the pride in her technical work, my mouth was agape. Juxtapose those images with the Sidney Bernstein footage from the final day of the war in 1945. Charged with proving the atrocities of war ever existed, Bernstein brings humanity, suffering, and truth. In the end, it is a product. In most cases, it is void of morality.
Maximilien Van Aertryck narrates with a profound statement: “A lack of perspective can distort what the world looks like.” There is such a fine line between propaganda and truth. We are all too familiar with this tactic. The results of media manipulation are monumentally dangerous but immensely lucrative. Instagram is rewiring young brains in a similar manner fashion magazines impacted our self-esteem in the 90s. It, quite literally, changes brain chemistry. The editing from Mikel Cee Karlsson and writer-directors Axel Danielson and Maximilien Van Aertryck is award-worthy. As the saying goes, they understood the assignment.
The editing combined with the score creates a charming and deeply affecting quality. Confessional diary logs place us in Ella’s headspace. She uses home videos and sit-down chats with her Mum and Dad about what it was like to raise her. Seeking specialists and families with the same disability offers Ella more questions than answers. We follow Ella through an unexpected pregnancy. Her gorgeous son River and the Covid 19 pandemic change how she views potential surgery options. As she speaks to others via Zoom, she contemplates the appreciation of her body. 
The discussion of ableism is paramount to understanding Ella’s life and any family with a differently abled member. I am the mother of a seven-year-old son with Autism Spectrum Disorder. I suspect that with his off-the-charts cognitive abilities, the more precise diagnosis is Aspergers. I appreciated Ella and her best friend Naomi’s honest discussions about her autism and the challenges of an invisible disability. Each admits they cannot fully understand the inner workings of one another’s feelings and worry they have inadvertently said horrible things to one another. Understanding the staring, judgment, and how it pierces the heart cannot be ignored. That is also why the conversations with Ella’s parents resonated with me. Like Ella seeking someone to connect to, her Mum and Dad were touchstones for me. 
IS THERE ANYBODY OUT THERE? tackles outdated stereotypes and deep-seated trauma, but also optimism. I hope Ella Glendining understands the gravity of her film. I have to thank her for sharing her life, and I look forward to sharing her story with my son when he is a bit older. IS THERE ANYBODY OUT THERE? celebrates individualism and isn’t that the ultimate goal?
The thrill of taking the otherworldly hand becomes like a drug to the group. This shockingly dangerous behavior throws me back to my teen years, forcing this horror fan to wonder if I would suffer the same fate. A goody two shoes concerning drugs and alcohol does not negate my risky excursions in the New England woods in the pitch black of summer nights. As Mia and her friends battle the typical parental control and need to fit in, their heightened chase of danger spells nothing but doom. Writers Bill Hinzman and Daley Pearson, with concept by Danny Philippou, give us all the background we need to get sucked into this wild scenario, leaving just enough mystery to keep us salivating. 
The practical fx are solid. The film’s special effects makeup team does a remarkable job of creeping the audience the fuck out. The work becomes more elaborate as the story progresses. It is spectacular. 
The film looks beautiful. Fran Fernández Pardo‘s cinematography highlights the rich colors in fabrics and paint and captures extraordinary angles in fantasy sequences. The commentary on religious oppression and desire is unmissable. The performances are outstanding. Kiti Mánve breathes vulnerability and quiet ferocity into the role of Mari Cruz. It is a stunning, award-worthy turn.
Screening Times
The competition does not occur annually, making it all the more exclusive. Here is how it works: Stage One: 87 participants, Stage Two: 46, Stage Three: 23, Stage Four: 12. The film bounces from the competition to our pianists’ hometowns before competing. A peek beyond the bench, we witness rehearsals, family life, and personal confessions.
An undeniably shocking level of emotional investment comes with experiencing PIANOFORTE. The amount of pressure is unimaginable. The film’s final edit is a masterpiece. Undoubtedly, the audience may suddenly find themselves unexpected piano enthusiasts.
In AirHostess- 737, we meet Vanina, a 39-year-old flight attendant trying to hold it together. Self-conscious over her new braces, her anxiety rises as the film progresses, exacerbated by a passenger, the pilots, and strong turbulence. But there is far more on Vanina’s mind than her newfound hardware.
As a frequent flyer, I instantly grinned at actress Lena Papaligoura‘s deadpan demonstration of safety protocols. Her performance hits every note. She is funny, manic, dedicated, and pitch-perfect.
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