THE PROBLEM WITH PEOPLE
Two distant cousins who’ve never met – one in NYC, the other in the smallest town there is in Ireland – come together to finally put an end to a generations-long family feud. It doesn’t go well. The Problem With People, set in the beautifully lush Irish countryside, is a heartwarming comedy about family, world peace … and sheep.
Director Chris Cottam brings Austin Film Festival audiences a charming transatlantic tale of fortune, forgiveness, and family.
Paul Reiser, who also writes the screenplay with Wally Marzano-Lesnevich, plays Barry. A real estate mogul from NYC, he receives a call from his distant cousin in Ireland, requesting his presence to heal a wound from generations past. The caller is Ciáran, played by Colm Meaney. The two proud, established men momentarily connect for the sake of their family. When Barry finds himself inheriting half of the family land, shenanigans ensue, dividing this small town between old and new ways.
This breezy film is perfect for the festival circuit. Jane Levy grounds the film as Barry’s daughter. While 95% of her appearances occur as phone calls from NYC, her brightness keeps Barry grounded for the viewer. Reiser is as great as ever. His big-city energy is a delicious foil for Meaney’s homegrown pride. Ciáran wavers between forgiveness and fight, and Meaney is a pro.
The landscape of the film is breathtaking. The sets are inviting. The script is heartwarming and silly. Frankly, THE PROBLEM WITH PEOPLE is a film we all need right about now. While it doesn’t break the mold, it makes you smile from beginning to end. I would easily watch a sequel of these two men navigating whatever comes next.
The look of the film is dreamy. Moody indoor shots juxtaposed with lush Swiss landscapes create a visually sumptuous experience. 
Emilia Jones plays Margot, a college student and movie theatre concession girl who goes on a date with an older patron who may or may not be a murderer. Based on Kristen Roupenian‘s 2017 viral short story in The New Yorker, director Susanna Fogel skillfully weaves a dark tale that every woman has lived.
Emilia Jones (
The script also comedically highlights how far women go to remain appealing, how we placate for acceptance, the self-deprecating behavior, and the blatant shunning of red flags. There is a sex scene that is truly something to behold. It is the most cringeworthy, amusing, icky, relatable thing any woman can watch. It accurately captures the constant fear of existing as a woman. The relentless anxiety, the people pleasing, and the patriarchal pressure from every direction, CAT PERSON nails each aspect with humor and truth in fiction.
MOSQUITO LADY
Phillipino folklore Manananggal meets Catholic guilt in Kristine Gerolaga‘s short film, MOSQUITO LADY. When a young woman can no longer hide her pregnancy from her devout parents, she resorts to a legendary monster to assist her. The practical and Special FX are exquisitely gag-worthy. What a frightening jab at religious righteousness and an exploration of culture. 
A little girl who lost her sight tries to convince her mother that an old woman haunts her. ALICIA is a standout short in story, production, and performance. The score is a perfect combination of high-intensity strings. The film hinges on the spectacular young lead, Naia Las Heras, as the titular character. There’s nothing more unsettling than experiencing the genuine fear of a child. Director Tony Morales and writer Cekis Casanova give us enough information to grow an entire franchise. I could see studios from Blumhouse to IFC Midnight snapping this up for development.
Cole is a new online content monitor for the FBI. Upon discovering the final message of his predecessor, he finds a new meaning of “images seared into your brain.” Michael Rich‘s THE QUEUE is the physical manifestation of PTSD from vile online videos.
In EMPIRE V, the two primary notions of Vampirism are Glamour and Discourse. They essentially break down to look and influence. Blood holds all the memories of the human it comes from and arrives differently than we’ve become accustomed to. 
The CGI transition pieces serve as history lessons and sexy vampire propaganda. I’ve never seen anything like it outside of high-tech, immersive video games. Even the closing credits have an elegance and visual splendor akin only to Netflix’s The Crown. 
The fight choreography is Matrixlike. The entire film echoes Neo’s training. It holds equal complexities, no doubt captivating a similar audience. If I didn’t know any better, EMPIRE V would fit perfectly into the list of films featured in the new doc 
Lewi Dawson plays Spencer, Sophie’s best friend and colleague. They are undeniably fantastic in this role. Stanley Browning is Adam, blind date and lead carrier of the infected alien hate worm. Etcetera Etcetera is our hostess with the mostess and hypnotizes with her spooky charm. Lauren Last gives us everything we need to feel grounded, permitting us to laugh at the premise. I would love to see her in more stories. I would welcome a sequel about Spencer and Sophie’s forthcoming shenanigans. 
2023 has been a step in the right direction for trans, queer, and nonbinary representation with films like 
The script could be an audiobook or podcast all its own. Harry describes the entire play-by-play as if creating the alt text of an Instagram post. Jon Cooper’s graphics are a time capsule that comes to life. Enhanced by Josh Ascalon‘s ominous, 80s-inspired score and Benjamin Shearn‘s immaculate editing of sporadic audio clips and archival footage, SO UNREAL is a hypnotic head trip.
The editing is masterful. The narrative flow is deliciously punctuated with L’Orange’s (Austin’s artist name) uniquely produced and created beats. His music is hypnotic, sampling blues and standards to assemble something fresh, almost binaural in its rhythms. While THE MAD WRITER follows Austin’s musical and surgical journey, it speaks universally to those suffering from depression and unsure of their place in the world. Austin says it best in the film. Everyone wants to feel “satisfied, clever, and useful.” He’s not wrong.
LAST STRAW
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.
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