THE SCHOOL DUEL

Todd Wisemen Jr.’s heart-pounding feature debut, THE SCHOOL DUEL, gets its Canadian premiere at Fantasia 2025. Set in near-future Florida, they have outlawed gun control, and school shootings are at an all-time high. Students wear uniforms with patches on the shoulders. The emblem: a cross overlaid on top of the Liberty Bell. Hyper toxic masculinity is the curriculum. School is a training ground for far-right indoctrination.
Bullied 13-year-old student Sam Miller is the lowest rung on the school totem pole. Relentlessly harassed and physically abused, his only refuge is doom-scrolling through a list of Andrew Tate-like influencers, Call of Duty, and cosplaying with the contents of the gun safe at home.
Sam sees a video about something called School Duel, a government-run initiative where a group of militant children are used as props to promote gun sales, while calling it an outlet to prevent school shootings. The last one standing gets crowned King. This year, Sam’s county is hosting the event. The government comes into his school and selects him to participate. Eager to prove his worth in the wake of his military father’s death, Sam cannot wait to sign the papers. What he doesn’t know is that he’s a martyr, and not a hero.
The entire scheme is broadcast live at home and at school. There is no denying the similarities to Battle Royale and The Hunger Games, which is a compliment. It’s all a show, presented in rounds, each with a different gun chosen by chance on a prize wheel. Unsurprisingly, the game is rigged.

Oscar Nuñez plays Florida Governor, and he lives the role. AR and flag pin, flowery bullshit speech while saying the opposite behind closed doors. Christina Brucato is Sam’s mother. Never without her cross around her neck, her passive efforts to protect her son look all too familiar. Brucato gives her a passionate redemption arc.
Jamad Mays is Sam’s gym teacher, Coach Williams. Coach is the one redeeming character in the film, and Mays delivers much-needed fatherly concern and moral ferocity. Michael Sean Tighe plays School Duel recruiter, Captain Stegmann. His emboldened part in this charade makes him vile. Tighe brilliantly plays the role of sycophant, mascot, and hype man. It is an unforgettable turn.
Kue Lawrence gives Sam a terrifying authenticity. He is mesmerizing. Lawrence’s enthusiasm is matched only by deep trauma. It is a chilling performance.
The funny thing about THE SCHOOL DUEL is that it is not funny after all. An image of a neighbor in a wife-beater mowing his lawn with an AR-style weapon slung over his shoulder might seem like tongue-in-cheek. But, how many times have we seen these same idiots wearing a gun into a Dunkin’s? I forgot how dangerous Donuts are.
The small details are glaring alarm bells. Mothers and teachers dressed like 50s housewives. The Duel cheerleaders, yes, cheerleaders, are also in 50s uniforms. Oh, and their cheers? Wow. To counter that visual, Wisemen Jr. has Sam using an updated, clear-screened smartphone as a reminder that we are, in fact, on the doorstep of this reality. The black-and-white camerawork is fantastic. Kyle Deitz utilizes first-person shooter style imagery through the use of live-stream body cams during gameplay.
Somehow, even knowing where the script is going, witnessing the duel is a visceral experience. The finale is heart-stopping. If you think it is not possible to root for a winner by the end, think again. The film is a simmering pot of violence. It is almost a how-to guide to finding school shooters by not protecting the bullied children or teaching empathy.
THE SCHOOL DUEL is a parade of oversized red flags. The film tackles violent video games, toxic social media influence, faux patriotism, and the bastardization of Christianity, so essentially, it’s a film about today. We cannot take our eye off the kids. Every woman who cried on election night 2016 knows exactly what I mean.
The School Duel trailer:
Official selection
Deauville Film Festival 2024
Miami Film Festival 2025
Sunscreen Film Festival 2025
The School Duel
Honors
50th Anniversary Canal+ Award – Deauville Film Festival 2024
Best Film, Best Director, Best Screenplay – Sunscreen Film Festival 2025
The School Duel
For all things Fantasia, 

A father wishes to compliment the chef for his signature dish, only to discover that an actual shrimp is responsible for the deliciousness. In this mockumentary-style short, The Shrimp insinuates that his entire schtick was stolen by the Disney rat. The two then compete on a food competition reality show. The producers secretly chat with the man under The Shrimp, Chef Dave. Shrimp is a foul-mouthed asshole, for lack of a better word. Shenanigans ensue, confessions reveal themselves, and insults fly.
There are multiple Shrimp puppet creations. The smaller version sits on Yung’s head, and a larger-scale handheld puppet fills the screen for the sit-down interviews. The detail is award-worthy. Puppeteers Benjamin Fieschi-Rose, Kirsten Brass, and Amelia Blaine are spectacular.
Evy sits in front of a blurred open doorway as she listens. This trope alone keeps your heart in your throat. Graham Beasley‘s overall framing is jarring as hell. Darkness plays an important role. Beasley rarely places Evy in the center of the frame and uses odd angles and stationary camera pans to keep you off balance in every way. It almost suggests the camera is haunted.
Don’t get ahead of yourself in viewing. ANYTHING THAT MOVES is far more than a high-concept soft porn. I mean, it is also that. The cast fearlessly embraces full frontal nudity, which is incredibly rare for male actors, but more importantly, it honors kink. Audiences will not expect the hidden trauma. Phillips also addresses the demoralization of sex workers.
Shot in Super 16mm, its gritty look completes the homage to 1970s adult films. The Joshua Rains‘s artwork is diabolically genius. The bright spotlight device that denotes an orgasm is brilliant. Casting Nina Hartley and Ginger Lynn Allen was a superior move, as the two essentially served as the film’s intimacy coordinators. By the way, can we acknowledge the importance of that role on a set? I am thrilled we’re adding a Stunt category to next year’s awards season, but Intimacy Coordination is also an art.
Liz Atwater deserves applause for her role, but for the sake of the journey, I won’t say anything more. Todd Terry gives Clive a notable balance of paranoia and fear. It has a solid 10 Cloverfield vibe, with Terry playing the John Goodman role, a would-be savior with perhaps ulterior motives. The audience goes on a rollercoaster of emotions with Terry.
Production design is incredibly detailed inside the trailer. The soundtrack is fantastic. Handheld camerawork from Andrew Duensing is thrilling. It is Bodell’s script that holds you captive. Lena’s relationship with grief becomes an unexpected emotional stronghold. Genre aside, the film comes from a place of transformation and new beginnings.
The consequences of going down that rabbit hole, sometimes literally, are a barrage of repressed childhood memories and the instability of her mother’s treatment. Mia’s trips reveal a trauma monster, more specifically, one made of mom’s blond locks. This hair monster torments Mia throughout her jacked-up journey.
Caitlin Acken Taylor is everything. Mia Sunshine Jones is no easy role, but Taylor lives it. She even creates Mia’s paintings and sculptures. Her fourth wall break, and the precise moment at which it occurs, is jarring and genius. 

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.
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.
The complete nonchalance of the residents sets the tone for HOLD THE FORT. Nagley delivers over-the-top characters and laugh-out-loud one-liners from beginning to end. Creature builds are super fun, practical FX are decent, mostly throwing buckets of blood on Lucas, and one gnarly gunshot wound. Colored lights delineate each monster in a fashion similar to the 2000s Syfy network, and it is a perfect match for the film’s subgenre. The score reminds me of Ren and Stimpy, and that’s the best way to describe it.
Writer/director Addison Heinmann follows up his 2022 Fantasia hit
When a young woman faces a deadly diagnosis, she seeks dark magic from a witch in the woods… but every cure has costs. Written and directed by John and Zelda Adams and Toby Poser (The Adams Family), who also star, shot, edited, and scored, MOTHER OF FLIES is the latest creation from the filmmaking family behind such singular landmarks as
In one of 2025’s major genre breakouts, four college friends find themselves on an infinite, unending road, forcing each of them to decide how to confront their fate in an unnerving journey into the unknown. Writer/director Alex Ullom and his gifted cast work miracles and offer a compelling, constantly intriguing, and often terrifying road trip into adulthood. Official Selection: SXSW 2025, Overlook 2025.
Desperate to avenge her daughter’s murder, Irene Kelly (Michaela McManus) journeys through parallel dimensions to repeatedly track down and annihilate her killer (Jeremy Holm). A tense sci-fi vengeance thriller unlike any other, REDUX REDUX is the latest creation by Kevin and Matthew McManus, the Peabody award-winning writers and producers of AMERICAN VANDAL and COBRA KAI, and writers/directors of FUNERAL KINGS (Fantasia 2012) and THE BLOCK ISLAND SOUND (Fantasia 2020). Official Selection: SXSW 2025. Neuchâtel International Fantastic Film Festival 2025. 

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.
A woman (Dakota Gorman) wakes in the back of a moving camper trailer. A voice (Todd Terry) from the truck towing it tells her they must reach a mysterious doctor within the hour. Thus begins HELLCAT, the feature debut of writer/editor/director Brock Bodell, who previously cut the mind-bending 

Adam Finberg‘s narrative feature debut, STAR PEOPLE, arrives to engross Dances With Films LA 2025 audiences. The film follows a photographer who receives a tip about the same strange lights she witnessed in childhood. But, a heatwave and tensions between unexpected guests threaten everything.
The archival news footage sets a brilliant tone for STAR PEOPLE. Combining alien hunting with an immigration story is incredibly clever and entirely seamless. Finberg brilliantly tackles racism and the sick practices of border coyotes and anti-immigration militants. Everything is high stakes as temperatures rise to deadly levels, and the chance to solve Claire and Taylor’s biggest childhood mystery seems less and less likely.
McCabe Slye is Claire’s junkie brother Taylor. Slye is outstanding, tapping into Taylor’s manic PTSD like a pro. He steals every frame he’s in. Kat Cunning‘s Claire is desperately chasing answers from childhood. Her comfort in front of the camera is unmatched. She and Slye’s chemistry is movie magic.
For more coverage from Dances With Films, 


Nate Hilgartner brings a stylistically strong debut to Dances With Films LA 2025 in NO CHOICE. Amy struggles to keep her head above water in her small-town life. Working at a convenience store and riding her bike, she longs to make someone more of herself. An unexpected pregnancy is the result of a broken condom on a first date. Being financially responsible for her addict mother and impending college tuition, an abortion, and the lack of access have potentially deadly consequences for Amy.
For more Dances With Films coverage, 
![Fire at Will (2025) - [www.imdb.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Fire-at-Will-2025-www.imdb_.com_.png?resize=566%2C884&ssl=1)
FIRE AT WILL looks fantastic. Jared Levy‘s camerawork is most immersed and intimate. Kyle Moriarty‘s quick-take editing is perfect. The fast-paced dialogue filled with self-absorbed personalities is every kitchen table conversation featuring adult children and their parents. As the firstborn of four loud children in an Irish Italian household, I can attest to the authenticity in the chaos of Gruer’s script, right down to the mother storming out in emotionally exhausted dramatics and the unspoken connection between father and artistic daughter. The cast nails each ping-pong match beat. FIRE AT WILL is a spectacular treatment for a feature. I need to know what happens next.








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.
You must be logged in to post a comment.