LAST STRAW
Set over one night in a dusty roadside diner, LAST STRAW follows Nancy (Belkin), a young waitress working alone on the late shift. As a series of chaotic events spiral out of control, Nancy finds herself in a fight for her life when she is terrorized by a group of masked assailants. No one is who they appear to be, and with nowhere to turn, she must do everything she can to survive the night.
Alan Scott Neal brings SITGES & Beyond Fest 2023 audiences a nasty small-town tale of terror in LAST STRAW. A stressed-out Nancy must manage a double shift at her father’s diner, confronting a group of local teens promising to make her night a living hell.
Following a confrontation in the diner earlier in the day, Nancy’s now solitary night shift turns deadly when a masked group turns up to terrorize her. The film starts with a bang, as close-ups of some goretastic aftermath flash across the screen. We already know we are in for some shit. Flash to 24 hours earlier, and we meet our leading lady, her father, and those who would become her tormentors throughout the film. LAST STRAW serves up a brilliantly structured screenplay by Taylor Sardoni. A shocking multiple narrative comes together, and it is chef’s kiss.
Jeremy Sisto plays Edward, Nancy’s father and diner owner. Sisto gives him a loving nature that grounds everyone else’s backstories. Christopher M. Lopes is Petey, Jake’s brother. His sweetness shines. Joji Otani-Hansen plays Bobby with a boy next door core. His pack nature clashes with his morality, making him a spectacular foil for so much of the male energy in the film.
Taylor Kowalski‘s sarcastic edge counters Nancy’s sass. Jake’s desperation and a fierce sense of protection for Petey fuels his rage. He is undeniably compelling. Jessica Belkin gives Nancy an attitude for days. Her dynamic badassery is something to behold. She is a brand ambassador for Final Girls.
The music is an epic mix of synth and girl punk rock. Tender Misfit’s song over the credits is perfection. Do not think you know what’s happening at any given moment. The style and tone shifts again and again. It’s a fresh and satisfying take on revenge horror and one superb debut for Alan Scott Neal.
DIRECTED BY Alan Scott Neal
WRITTEN BY Taylor Sardoni
ORIGINAL SCORE BY Alan Palomo (NEON INDIAN)
STARRING Jessica Belkin (American Horror Story), Jeremy Sisto (Six Feet Under, Wrong Turn) and Taylor Kowalski (Snowfall)
LAST STRAW marks the directorial debut of Alan Scott Neal with a script by Taylor Sardoni, a raw & relentless twist on the home-invasion thriller, starring Jessica Belkin (American Horror Story), Jeremy Sisto (Thirteen, Clueless) and Taylor Kowalski (Snowfall).
LAST STRAW is produced by Daniel Brandt (I Love My Dad), Bad Grey’s Dane Eckerle (I Love My Dad) & Cole Eckerle (Mother, May I?), along with producers Michael Giannone & Phil Keefe on behalf of AC3 Media, Levon Panek, and Sam Slater of Burn Later Productions. LAST STRAW will world premiere at Sitges Film Festival, followed by a North American debut at Beyond Fest in Los Angeles.
DIRECTOR Alan Scott Neal
WRITER Taylor Sardoni
CINEMATOGRAPHER Andrey Nikolaev
COMPOSER Alan Palomo (Neon Indian)
PRODUCERS Daniel Brandt, Dane Eckerle, Cole Eckerle, Michael Giannone, Phil Keefe
GENRE: Horror/Thriller
RUN TIME: 81 Minutes
YEAR: 2023
SALES: Blue Finch Films



Beginning in Shakespearean fashion, the chaos and bait-and-switch screenplay of Claude Schmitz‘s THE OTHER LAURENS earns your attention. Private investigator, Gabriel gets contacted by his niece to look into the recent death of her father and Gabriel’s estranged twin brother, François.
Loise Leroy wows in her feature debut as Jade. The emotional turmoil she endures puts Leroy through the wringer, and she handles it like a pro. She is a star. Olivier Rabourdin plays dual roles as Gabriel and François. His ability to shape-shift will captivate you. THE OTHER LAURENS is an epic film, brimming with twists and turns, and is a real stand-out from Fantastic Fest 2023.
Writer-director Nicholas Tomnay takes us on a journey of twisted morality. Down on his luck, chef Ryan steps into the life of his schoolmate and cooks for a small group of ultra-wealthy diners. The experience is nothing like he imagined.
Nick Stahl has been on my radar my entire life. We are the same age, and as a cinephile from the womb, I’ve followed his career from The Man Without a Face to Disturbing Behavior and, more recently, 
1991, in the middle of a Massachusetts cornfield, open every day in October, Dave Bertolino‘s Spooky World was a horror con and a theme park. It was the first dedicated haunted attraction, paving the way for every modern-day, big-name fright night across the country. Built on a dollar and a dream, Spooky World grew more popular and went through numerous iterations. As one of the first featured guests, Tom Savini’s direct influence on Spookyworld shifted from a homegrown haunted hayride to a proper frightening experience within a year, with Tom building his own branded Haunted House. The busier the park, the more elaborate and inventive Bertolino had to become.
The townspeople of Berlin had a fantastic relationship with Bertolino. Bringing jobs, money, and recognition to a sleepy farming town. But, not everyone was thrilled with the boundary-pushing additions, playing politics and making Bertilino’s job harder. That’s not to say that his antics and ideas came without skepticism from within.
Growing up in northern Connecticut, I cannot believe I never ventured up the Spooky World as a self-proclaimed Halloween addict and horror fanatic. I’m thankful the park ever existed, and its humble and exciting existence spread like wildfire so that global genre fans could care and scare together.


The cast is phenomenal. Focusing on our leading lady, Carmen Madonia, gives Renata an often aloof attitude, hiding a lost mindset. She’s soft-spoken, outwardly feeling othered by her sister’s personality. But little is said. Madonia’s face replaces any unneeded dialogue.

As dementia sets in, Yohji’s arc proves devastating to witness. The story also unravels the piles of notes strewn about Yohji’s home. Takashi must piece together this collection of garbled messages, love letters, and diary entries.
Yutaka Yamazaki‘s cinematography is memorable. There is something special about letting the camera be static and allowing the performances to speak for themselves. The script surprises with every scene, which is quite a feat for a two-and-a-half-hour runtime. GREAT ABSENCE is a nuanced look at memory, perception, regret, and the endless complexities within relationships. This film will bring you to your knees.

The film consists of informal sit-down interviews, extensive personal writings, archival footage, and plenty of home videos of the generations of strong women in the family. We discover the hurt from Hiam’s past, the emotional baggage of leaving behind the turmoil of Palestine, but also the treasured connections of the women who shaped her. Hiam’s letters and poems serve as both insight and narration. They are intensely affecting.
Hiam and her family love one another with their whole hearts. They have no filters when speaking to each other, and their words of affirmation are something to aspire to. Lina Soualem captures all of this in an elegant edit. The film is beautifully intimate. It’s a loving commentary on memory, identity, and honoring your past.

The overwhelming joy of hearing these kids laugh is infectious. SUMMER QAMP is an education, through and through. As a former theatre kid and current creative adult with two kids, I strive to understand how identity plays a part in overall confidence. I grew up with often crippling anxiety, a stranglehold of perfectionism, and feeling othered. It doesn’t feel good. My job is to protect my kids from the same overwhelming feelings of chaos any way I can.
SUMMER QAMP‘S brave kids allow the audience into their personal lives. They may not fully appreciate how fearless they are. Campers share their gender identity journey, the good, the bad, and the emotionally ugly. This film provides a conversation starter for understanding gender dysphoria from those experiencing it firsthand. It’s an aha of a film. 











Les Dents Du Bonheur (Sweet Tooth)

Eva takes over as a Foley artist for her hospitalized sibling Zara. With no knowledge or self-esteem for the task, Eva endures shockingly abusive behavior from every angle; Zara, her boss, and the hospital nurse. When threatened with dismissal from Zara’s position, she becomes obsessed with the assigned commercial clip.
PIAFFE gives audiences a fever dream of imagery and sound. Music is an eclectic Giallo-inspired mix of ominous cello and techno. The color Red features symbolically in lipstick, a telephone, tinsel, roses, and lighting. Simone Bucio is fearless as Eva. Her palpable anxiety and social awkwardness pour off the screen, making her relatable in the most unexpected ways.
Utterly fascinating, this documentary horror hybrid effectively puts the fear of God into the audience. The film begins by sharing the history of each incarnation of what we now refer to as the “Ring” security camera, each inspired by a recurring nightmare. Historical recounting gets the creepy treatment with a random subject’s security footage playing in its fisheye lens version behind the storytelling text. There is no formal dialogue. This voyeuristic nightmare is unlike anything we’ve seen before, featuring videos of everything from natural disasters to doorstep theft and animal encounters to delivery people behaving badly and creatively.
The score is bone-chilling, with its piano cords striking. It’s something straight out of hell. But, the film is even scarier than it initially appears when we learn the global and societal impact of advancing technology. Cinematic tropes alone reflect the world’s potential terror. Fantasia 2023 audiences get a taste of a film that would be a perfect Fall statement at MoMA. HOME INVASION is exceedingly disturbing. If anything, it reminds you how quickly the scales of good and evil tip. It will haunt you.
It’s the year 2041, and humanity has reached the point where it can cheat death. Anyone who dies an unnatural death has the right to be brought back to life. All you have to do is to create a backup of your personality – a restore point – at least every forty-eight hours. But there exists a movement of people who try to sabotage this concept. “Agent Em” finds herself drawn into a case that is not as simple as it first seemed and the consequences of which reach to the highest levels of politics.
Matej Hádek plays David with an intentional glitchiness. The physical and emotional choices draw you into the mystery. Andrea Mohylová brings humanity that grounds her performance. You can see the gears turning, the struggle between the personal and principles of the case. Mohylová is badass, effortlessly carrying the action. She is extraordinarily watchable. As a duo, they are inarguably compelling.
Both films also ask complicated questions surrounding the way ideals or symbols exist or endure once they are exposed to the whims of the broader world. When Barbie and Ken leave Barbieland, they quickly learn that what they believed to be universal truths no longer apply. The way they see themselves may not be how others see them. Similarly, an initial vision for how the atom bomb might be leveraged quickly shifts when the weapon rolls out of the lab and into the hands of the US military. Both Barbie and Oppenheimer are forced to realize that intention doesn’t necessarily translate to reality.
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