THE BEARDED GIRL
Jody Wilson delivers a special film to Fantasia 2025 audiences with THE BEARDED GIRL. Cleo is the heir to a sideshow as the next Bearded Woman. Feeling conflicted about her future, Cleo rejects familial expectations to find herself.
Inheriting a legacy from an overbearing and proud mother, Cleo wants to choose her path. After discovering a secret about her past, Cleo abandons her assigned responsibilities and heads out into the world, much to the chagrin of her bitter mother.
After a bus ride on her way out of town gets cut short by a sighting of her local crush, Cleo’s infatuation becomes a way of life that maybe isn’t what she intended. Her mother, Lady Andre, comes looking for her and mistakes a passing moment for the end of her legacy.
There’s a subplot involving the sale of sideshow land to a greedy developer. If the heir apparent does not sign papers, Andrea loses the land. Cleo begins to understand cyclical trauma, and it doesn’t feel good.
Jessica Paré delivers a vivacious performance as Lady Andre. She is eccentric and demanding, but is undoubtedly battling unresolved wounds. Skylar Radzion is Josephine, the hairless sibling in the bearded family. She is a spitfire and a slick foil for Cleo.
Anwen O’Driscoll is magnificent. She owns her sass, nails the angsty comedy, and commands your attention in every scene. It helps that she is surrounded by a fantastic ensemble of fully fleshed-out characters. O’Driscoll attacks the role with a beautiful balance between quirk, awkwardness, and authentic innocence.
The production design, from Danny Vermette, deserves all the accolades. The circus tents, trailers, and stages all boast vintage jewel-toned draperies and props. In the outside world, the repeated pops of yellow are striking.
The dialogue is hilarious, particularly set against the nostalgic sweetness of the score. It reminds me of Pee-Wee’s Big Adventure. There is a timeless feeling about the entire film. You can’t pin down a year, and that somehow makes everything more satisfying.
THE BEARDED GIRL is a one-of-a-kind coming-of-age tale. The story is a fantastic metaphor for superficiality and a fierce feminist anthem for self-love.
The Bearded Girl Teaser Trailer:
Director
Jody Wilson
Producer
Amber Ripley
Writer
Jody Wilson
Cast
Anwen O’Driscoll, Jessica Paré
Cinematographer
François Dagenais
Composer
Cayne McKenzie
Editor
Fredrik Thorsen
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DROWNING DRY
The organic meandering of unplanned vacation time reads entirely authentic. The montage of the kids’ initial shenanigans and their mothers’ choreographed childhood dance are stand-out moments. At this point in the runtime (35 minutes), the audience could easily tap out. But the request for a swim and an innocent act of horseplay trigger a tonal shift.
The film’s deliberate observational pace builds discomfort, only exacerbated by non-linear storytelling. The moment you realize what’s happening, it is like a punch to the gut. This decision will either tantalize audiences or turn them off. Performances are outstanding from our cast of only six. Bareiša’s camerawork is perfect for his stylistic choices. DROWNING DRY is a meditation on loss, examining the varying emotional reactions between the sexes. It is a film that will have you talking about it long after the screen goes dark.
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After coming to Fantasia as a short film selected for the Frontierés Market Shorts to Features Lab in 2022 and Sitges Fanpitch that same year, directing duo Deanna Milligan and Ramsey Fendall expand the world of Mia Sunshine Jones in their darkly trippy feature, LUCID. Mia is a rebellious art student who struggles to create the ultimate project for a demanding professor. Desperate to find her artistic voice, she takes Lucid, a candy elixir, to access her creativity, but taps into something much darker. Starring Caitlin Acken Taylor, who reprises her role from the short, and Georgia Acken (star of the 2023 Fantasia hit THE SACRIFICE GAME), Milligan and Fendall create a surreal nightmare with a vintage look that fully embraces the 90s grunge era with a punk art aesthetic. Using live on-set music, an eclectic cast, and loads of experimental and haunting visuals, the World Premiere of LUCID will be a nightmare-come-true. 
For her debut feature film, FOREIGNER, Ava Maria Safai (Zip) expertly harnesses the power of identity, social acceptance, horror, and comedy. It’s 2004, and Iranian immigrant Yasamin, or Yasi, is the new girl. Her high school experience is daunting, as she tries to improve her English by watching her favorite sitcom and befriends a trio of pastel-clad girls who feed Yasi’s need to fit in. Desperate for acceptance, she dyes her hair blonde and, in doing so, also attracts a demonic force. With a fun retro setting, great performances by Rose Dehgan as Yasi, Chloë MacLeod as the creepy high school “Queen Bee” Rachel, and a blend of our favorite teen horrors, FOREIGNER takes up space as a new entry to “bubblegum horror,” bringing a fresh narrative to the Canadian immigrant experience. The film has been referred to by some as Mean Girls meets The Exorcist and Ava is definitely a young director to watch. 
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ZENITHAL
Francis believes Sonia has told the police he is responsible, causing him to flee from the authorities. In his desperation, he finds solace in a laundry client who always seems to be wooing Francis away from his station. Turns out this man is no eye-fucking mechanic but a supervillain, woman-hating, mad surgeon named Doctor Sweeper, who wants to upgrade Francis with a massive robotic, brain-implanted penis and blow up the moon to disrupt menstrual cycles. (Still with me?)
Now, Sonia, Francis’ business partner Marcus, and a few ladies from Sonia’s Sexkido class (a method of martial arts that takes advantage of men’s depravity and returns power to women. While meant to be silly, I think it’s brilliant), must find Doctor Sweeper, save Francis, and clear his name.
Performances from the entire cast are phenomenal. They land somewhere in between Austin Powers and Zoolander, with incredible one-liners and a 1000% commitment to the gag. 
PINS AND NEEDLES
Filmmaker James Villeneuve brings audiences a creative thriller ripped straight from global science and technology headlines. In PINS AND NEEDLES, a diabetic biology grad student’s ride back to campus turns deadly when a flat tire finds her trapped with two diabolical biohackers. With her insulin running dangerously low, Max must figure out a way to escape and take down a couple of psychopaths in the process.
Max’s diabetic hallucinations are an incredibly creative way to use Daniel Gravelle and work out potential escape routes. Short and sweet fantasy sequences also keep your heart racing. I would have loved more of both. I do have a gripe about there being no food in the house. Emily and Frank very clearly live in the house, and there is not a single snack lying around. 
While Kate Corbett and Ryan MacDonald are sufficiently eccentric and evil as our whackjob “scientists,” PINS AND NEEDLES is 100% the Chelsea Clark show. She easily carries every scene with grace and ferocity while never going overboard. She is one to watch.
I loved the use of car keys, and women will cheer that shit on. Did I yell at the screen during the finale? Damn right. PINS AND NEEDLES makes direct fun of billionaire Bryan Johnson. You know, the guy injecting himself with his son’s blood to stay young forever. And, just for your information, he’s moved on from that practice and opted for a “total plasma exchange” instead. Biohackers love to claim science when we all know damn well any fountain of youth is only for sale to the highest bidders. PINS AND NEEDLES leans into real-life monsters in a wildly clever way.
The jury is exceptional as they move through measured recall to furious shouting matches. Their diligence in tracking down evidence and looking at all sides gives me hope that jurors take their duties seriously. Jack Thornton’s editing is a feat. The choice to keep Krieps in the frame for longer than seems normal has a chilling effect. RE-CREATION is akin to live theatre. It is an improvisation session strapped to a ticking time bomb. The audience is the 13th jury member. Sheridan provides newsreel footage, newspaper clippings, video testimony, and audio recordings at the precise times we might feel lost. It is a real-time exploration of possibilities. 
Jim Sheridan also plays Juror #1, serving as a guide and sounding board. Sheridan’s attention to detail is award-worthy. Going as far as to take the jury on a tour of the key locations in the investigation. It’s hard to discern where Sheridan lies on the guilty spectrum personally. His extensive knowledge never feels coercive. He and Merriman skillfully make a case for confusion and conflict, mirroring the state of the evidence.
José Condessa creates a vibrant and charming character. He is sensitive and caring, everything a woman desires in a man. Condessa is dazzling. Ayden Mayeri gives June a true egocentric millennial with an unresolved emotional trauma vibe, which is precisely what Lilian T. Mehrel intended. Mayeri effortlessly glides into June’s arc. Amira Casar takes on Lela with a lived-in authenticity and passion. She holds each frame with her powerful presence. These two women share gorgeous chemistry. 
It becomes clear early on that fear and unresolved trauma impede Mel’s release. He lashes out to prolong his release. Getting polar opposite advice from Mark and Warren, Mel enters a quiet tailspin of decision-making as the clock runs down. 
Guy Pearce is a legend. Warren’s goal is emotional redemption for past transgressions, but reality outside forces him to save the only soul he can on the inside. Pearce is a quiet storm. His masterful ability to speak volumes with nothing but a breath proves vital to Warren’s arc. He is an unconventional guardian angel. Vincent Miller captivates as our young leading man. He comes with an unusually mature sense of self, and his comfort in front of the screen and alongside other screen titans is beyond impressive. 
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THE MOOGAI
Barely tolerating her birthmother, Ruth, Sarah’s whitewashed existence comes to a halt when an ancient entity rears its ugly head. Sarah’s aggression heightens as her delusions increase. She quickly spirals out of control in every aspect of her life. Sarah’s husband, Fergus, embraces his culture and does his best to navigate his familial deterioration.
The break between Sarah and her first child, Chloe, is heartbreaking. There’s no denying her resemblance to Fergus has something to do with Sarah’s icy response. The connection between Chloe, Fergus, and Ruth burns Sarah’s limited understanding of her absent culture. Ruth tries her best to protect her family, but Sarah’s relentless resistance to her roots only makes them manifest quicker as lore becomes reality and history repeats itself.
Jahdeana Mary brings earnest innocence and hurt to Chloe. You want to hug her. Meyne Wyatt is great playing Fergus. He is charming and protective. He’s a real highlight. Tessa Rose is spectacular as Ruth, giving audiences lived-in knowledge and fear. She is the heart of the film. Shari Sebbens gives Sarah everything from elitism to postpartum depression, unbridled rage to superstitious anxiety. You simultaneously loathe and feel for her. Sebbens is truly a revelation.
Practical FX, makeup, and jump scares are solid. THE MOOGAI keenly delves into medical gaslighting and the pressure on women to “do it all.” While the film is also a creature feature, Jon Bell never shies away from showing viewers that the scariest monsters are humans. It is a surprising cultural reclamation.
The cinematography is something to behold. The sepia-toned lens locks you into a compelling plot. It creates this magical, borderline eerie feeling. The production design team is aces with children’s drawings and makeshift inventions. The post-apocalyptic aspects are relatively subtle but incredibly effective. The end credits are outstanding. The original song “Our People Need Our Help” is a certified banger.
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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