‘JIMMY & THE DEMONS’ (Tribeca 2025) A dazzling career of creation.

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Jimmy and the demons Jimmy & the demons

Cindy Meehl brings the life of larger-than-life artists to Tribeca 2025 audiences in JIMMY & THE DEMONS. James Grashow‘s work has been seen by millions, even if his name is unknown. From album art to 30 years of weekly drawings in The New York Times, his massive installations of cardboard sculptures appear around the world. Jimmy’s work can best be described as if Tim Burton’s stop-motion creations were life-sized and brimming with color. 

In Meehl’s documentary, one of Jimmy’s prominent collectors commissions a piece based on his deep connection to religion. Having never worked with wood in this way, Jimmy is winging it. You’d never know. The intricacy of the work is astounding. The piece evolved over the years into a one-of-a-kind sculptor of demons, tortured souls, and Christ carrying a Cathedral on his very back. Each piece is mocked up in cardboard and then hand-carved. 

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All the while, Meehl features intimate sitdowns with Jimmy and his wife, Guzzy, as they talk about his work. During Jimmy’s in-school cardboard workshops over the years, he says you can pinpoint the moment an artist is born and how the entire class lights up at the realization of talent.

Jimmy’s art is immersive and brimming with joy. Scott Ruderman does a beautiful job capturing the minute details and the wonder of Jimmy’s creations. The film culminates in a grand retrospective of his pieces, and the result is like being transported to a living storybook. Grashow’s ability to manifest pure wonder is breathtaking. JIMMY & THE DEMONS simultaneously feels like a nostalgic hug and a whimsical journey.


Jimmy & The Demons: World Premiere – 2025 Tribeca Festival – Spotlight Documentary

SYNOPSIS
A magical journey into the artistic life and inner mind of celebrated sculptor James Grashow, who, at age 79, devotes four years to creating his magnum opus.


DIRECTED BY
Cindy Meehl (“Buck”, “The Dog Doc”)

PRODUCED BY
Elizabeth Westrate

ASSOCIATE PRODUCER
Jennifer Wastrom

CINEMATOGRAPHY BY
Scott Ruderman

FEATURING
James Grashow, Guzzy Grashow

RUN TIME: 93 Minutes


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‘HORSEGIRLS’ (Tribeca 2025) Heartfelt dramedy.

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Horsegirls

Representation Matters. Filmmaker Lauren Meyering brings Tribeca 2025 audiences a unique and yet wholly relatable story with HORSEGIRLS. The film follows Margarita, a 25-year-old woman with Autism Spectrum Disorder. Margarita lives with her ailing mother at her wits’ end, as her daughter seems entirely unmotivated to find a job. Margarita navigates adulthood, friendship, and stepping out of her comfort zone in a whirlwind of tumultuous circumstances.

Margarita’s energy is infectious. She is lovable, curious, and the perfect amount of sass. Begrudgingly, she gets a job at a Halloween store, but her passion for hobby horses becomes a bit of a distraction when she stumbles upon a competitive troupe of girls in town. Trying her best to juggle her hours at the store, choreography, her mother, and social-emotional dynamics in the group, Margarita must come to terms with this moment in time, for better or worse.

HORSEGIRLS shines in its authentic performances. Iqbal Theba and Matthew Schwab are pure delight as Margarita’s boss and co-worker.  Jerod Haynes plays Coach with genuine passion and kindness. 

Gretchen Mol delivers a heartfelt turn as a cancer-stricken mother, Sandy. She exemplifies the unconditional love, burnout, and relentless fear that special needs parents experience every minute of the day. We worry about how our kids fare when they are out of our sight, how others treat them, and most heavily, who will care for them when we are gone. In truth, our most impossible challenge is letting them go. Mol walks that delicate line of exhaustion and support like a pro. It’s a lived-in performance. 

Lillian Carrier nails the lead role. She steals every second of screen time with her fierce energy, whether through excitement, frustration, or earnest innocence. Margarita is a star-making moment for Carrier. You will not be able to take your eyes off of her. She is pure joy. 

Margarita displays all the same ASD traits as my 9-year-old son: unfiltered honesty, sensitivity to loud sounds, difficulty with figurative language, a fervent work ethic, and empathy that surpasses the average neurotypical individual. Based on the film’s description, HORSEGIRLS might feel like an overwhelming mashup of ideas. In reality, it is an accurate depiction of daily chaos. Cancer has managed to infiltrate every family I know in some way. Grief is universal. The battle over neurodivergence acceptance rages on. I’ll repeat it- Representation Matters.

Natalie Kingston‘s beautifully thoughtful camerawork perfectly encapsulates the spirit of the film. Erin Orr‘s costumes are delightful. “The Fastest Girl In The World” is an uplifting original song you will fall in love with. With stunning moments of magical realism, Meyering creates an undeniable gem. HORSEGIRLS captures the essence of finding your people. If you aren’t crying by the end of this film, check your humanity. Tribeca 2025 audiences are lucky to see it first.


Director
Lauren Meyering
Producer
Michael Sherman, Alix Madigan-Yorkin, Mackenzie Breeden
Screenwriter
Lauren Meyering
Cinematographer
Natalie Kingston
Editor
Stephanie Filo
Composer
Dan Romer
Executive Producer
Rachael Moton, Corie Adjmi, Betsy Sherman
Co-Producer
Blair Skinner
Cast
Gretchen Mol, Jerod Haynes, Lillian Carrier, Tony Hale, Matthew Schwab, Iqbal Theba Horsegirls
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‘RE-CREATION’ (Tribeca 2025) A head spinning deep dive into an unsolved case.

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Co-directors Jim Sheridan and David Merriman give Tribeca 2025 audiences a truly extraordinary viewing experience with RE-CREATION. Based on the failed attempt to convict a self-professed murderer in the Irish courts, Sheridan gathers forensics experts, police interviews, evidence, and a fictional jury to see what might have happened if history had played out differently. A spectacular cast assumes the roles of the barristers, the accused, and the lead witness. Sheridan digs into the questions of the case and the delicate nature of one person’s truth.

In 1996, French filmmaker Sophie Toscan Du Plantier arrived at her holiday home in Toormore, West Cork. A witness described a man in a long, dark coat following Sophie for two days. On the third morning, Sophie was found brutally murdered in the lane outside her home. Irish authorities investigated British journalist Ian Bailey. He never faced trial in Ireland despite being tried and convicted in absentia by the French government. It is considered one of Ireland’s most shocking unsolved crimes, and now I know why.

Re-Creation evidenceThe 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. 

Colm Meaney plays Ian Bailey. He is weary and entirely silent. Meany speaks not a single word, but his presence is vital. Vicky Krieps plays the outlier juror #8. She elicits pure, unfiltered emotions by poking the bear and sewing doubt. Krieps is sometimes intentionally antagonistic to prove a point. This role adds to her long resume of chameleon roles. She is relentlessly compelling.

Re-Creation Colm as BaileyJim 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.

This hybrid fact and fiction roleplay is intoxicating. True crime fans will eat it up. RE-CREATION is a physical manifestation of every podcast, thriller novel, and Dateline episode come to life. People would pay to participate in something this immersive. Gather all your armchair detectives and get ready to hold your breath. RE-CREATION is one of Tribeca 2025’s best films.


Director: Jim Sheridan, David Merriman

Producer: Fabrizio Maltese, Tina O’Reilly

Screenwriter: Jim Sheridan, David Merriman

Cinematographer: Carlo Thiel

Composer: Anna Rice

Editor: Jack Thornton

Executive Producer: Jim Sheridan

Associate Producer: Gráinne Carroll, Mark Ward

Line Producer: Solveig Harper

Production Designer: Christina Schaffer

Costume Design: Magdalena Labuz

Funding Partners: Fís Éireann / Screen Ireland, Film Fund Luxembourg, Eurimages, Latido FIlms and Doha Film Institute

Sound Engineer: Carlo Thoss

Cast: Vickey Krieps, Jim Sheridan, Aidan Gillen, Colm MeaneyRe-Creation
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‘HONEYJOON’ (Tribeca 2025) Mother, daughter, mayhem.

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On the anniversary of the family patriarch, mother-daughter team Lela and June find themselves on a vacation together. Lilian T. Mehrel‘s HONEYJOON arrives at Tribeca 2025 with humor, heart, and healing.

Persian-Kurdish Lela longs to connect in the wake of her grief. American June wants some no strings attached vacation ass. Lela remains deeply connected to her heritage and global events. June is self-absorbed. After booking a private tour, each woman forms a different bond with their guide, João. Lela and June relive their long goodbye through the experiences of his dementia-ridden grandmother. Their relationship organically evolves through sadness, miscommunication, honesty-drenched barbs, and heartfelt laughter. 

honeyjoon 2José 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. 

Cinematographer Inés Gowland delivers thoughtful framing and takes full advantage of natural light. The work heightens the overall feeling of the film.

HONEYJOON is perfect for adult children and their parents. It is a gorgeous example of generational nuance and the unspoken turmoil within every mother-daughter relationship. Tribeca audiences will undoubtedly connect on every level.

Written & Directed by Lilian T. Mehrel
Producers: Andreia Nunes, Lilian T. Mehrel, Wonder Maria Filmes, Bärli Films
Production Companies: Wonder Maria Filmes, Bärli Films 
Screenwriter: Lilian T. Mehrel

Director of Photography: Inés Gowland

Starring Ayden Mayeri & Amira Casar, José Condessa

Tribeca AT&T Untold Stories Award 2024 Winner

HONEYJOON is a sexy, emotional comedy about… a mother-daughter trip. 

Persian-Kurdish Lela (Amira Casar) and her sensual American daughter June (Ayden Mayeri) travel to a romantic Azorean island, for the one-year anniversary of Dad’s death. They planned this trip to be together, but Lela & June have opposite views about why they’re there, how to grieve, and June’s tiny bikini. Surrounded by honeymooners, doom-scrolling for Woman Life Freedom, and taken on a tour by their hot philosophical guide, João (José Condessa); Lela and June find each other… coming back to life.

 Supported by the SFFILM Rainin Grant.

Script developed at the TorinoFilmLab and Cine Qua Non Lab.

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‘THE WOLF, THE FOX, AND THE LEOPARD’ (Tribeca 2025) Thought-provoking and exquisite, in every way.

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THE WOLF, THE FOX, AND THE LEOPARD

THE WOLF, THE FOX, AND THE LEOPARD

David Verbeek takes Tribeca 2025 audiences on a journey of connectivity, science, and identity in THE WOLF, THE FOX, AND THE LEOPARD.

Beautiful close-ups combined with Jay Cheng‘s haunting score, a Hitchcockian narrative bait-and-switch draw you in. A yet unknown narrator guides us through chapters. The film opens with a young man struggling to find his way in life. Then, we meet her, a young girl raised by wolves in the middle of the forest. Our mystery narrator turns out to be a scientist she has a brief connection with during her initial captivation, Tanaka.

Jumping two years, we discover One under the care of two progressive scientists, Wynona and Ellias, AKA – Mother and Father, AKA – The Fox and The Leopard. Their teachings are heavily philosophical, climate-focused, and predominantly behavioral reprogramming. They live on what appears to be an old oil rig they call The Sea Palace, entirely isolated from the outside world. They tell One a tale of societal downfall and the poisoning of the Earth, giving her a darkly skewed version of herself and the world.

One discovers an imprisoned Indian sailor below and begins to learn more about what her “parents” describe as the Old World. One slowly begins to realize that she has been taken from everything she’s known to a place far more dangerous.

THE WOLF, THE FOX, AND THE LEOPARD shifts one final time in Chapter 3. Renamed Alice, One navigates the real world. It is evident that her faux parents have lied to her. Her interpersonal skills are what most would consider lacking, but that could not be further from the truth. In a final twist, Tanaka reappears in Alice’s life, much to her chagrin.

Naomi Kawase serves predominantly as the narrator, playing Tanaka. What little screentime she has is dazzling. Her gentle storytelling guides the viewer along this strange journey. Marie Jung and Nicholas Pinnock play our Fox and Leopard, respectively. Both are fierce, toxic, and incredible.

Jessica Reynolds is extraordinary. Wolf Girl endures unimaginable change from a wild being to humanity and back again. Her feral instincts are utterly mesmerizing. As she accompanies Elias and Wynona, she moves into toddler-like behavior, wide-eyed wonder, inquisitive exploration, and unbridled rage. Renamed One, she still craves affection like a canine, ultimately leading to the collapse of her Sea Palace existence. Alice’s final act is a masterclass in acting.

Structurally, the film is part fairytale and part science fiction. The story thrives in the morally grey. As a parent of neurodivergent children, THE WOLF, THE FOX, AND THE LEOPARD felt like watching an ABA therapist work with my son at two years old. Tanaka’s narration further explores this parallel notion. Verbeek delves into exploitation and then delivers a conclusion that is nothing short of perfect. Tribeca 2025 audiences will never stop talking about this film.

Director: David Verbeek THE WOLF, THE FOX, AND THE LEOPARD

Producer: Erik Glijnis, Leontine Petit, Judy Tossell

Screenwriter: David Verbeek

Cinematographer: Frank van der Eeden

Composer: Jay Cheng

Editor: Matthieu Laclau

Production Designer: Elsje de Bruijn

Executive Producer: Remy Mulder, Niki Leskinen, Roosa Toivonen, Ari Tolppanen, Greg Martin

Co-Producer: Alexandra Hoesdorff, Desirée Nosbusch, Jessie Fisk, Patrick Mao Huang, Siniša Juričić, Dries Phlypo

Sound Editor: Greg Vittore

Cast: Jessica Reynolds, Nicholas Pinnock, Marie Jung, Naomi Kawase, Lucas Lynggaard Tønnesen THE WOLF, THE FOX, AND THE LEOPARD

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‘THE END OF QUIET’ (Tribeca 2025) Hardwired disconnection.

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The end of quiet Poster_WEBFilmmakers Kasper Bisgaard and Mikael Lypinski bring Tribeca 2025 audiences documentary, THE END OF QUIET, a thought-provoking exploration of human connectivity. In an isolated town in West Virginia, the world’s largest radio telescope can pick up the murmurings of signals across the universe. To achieve this, the telescope resides in the Quiet Zone, the only place in the U.S. where Wi-Fi and cell phone signals are not permitted.

Part 1: The Quiet

Through the everyday lives of its residents and the beauty of the sound design by Freja Printz and Mathias Gaarde Mikkelsen, the audience experiences what the world might be like without round-the-clock communication. Dr. Jay Lockman, an astronomer at The Green Bank Observatory, has lived in town for over two decades with his wife. He has accepted that technology could eventually disrupt any messages from beyond our atmosphere.

the end of quiet stillHow do they fight the boredom? Brionna and her gun enthusiast grandfather, David, spend time together shooting his 37 guns and rifles and blowing things up. Choosing to reside in The Quiet Zone due to electromagnetic hypersensitivity, Clover and her dog, Beautiful, live for landline phone calls from her husband, who lives abroad. Her original poetry also serves as beautiful transition audio. A lonely but contented elderly vet named Willard spends his days drinking a lot of coffee and attending local funerals. Kirsten, 17, and Frankie, 23, are a young, engaged couple who dream of having a child.

Part 2: The Noise

Halfway through the film, we jump three years, only to discover that there are 70-80 Wi-Fi Hotspots within 2 miles of the Observatory disrupting the data. Oh, how times have changed. Willard has passed away. Clover is now almost entirely estranged from her long-distance husband. Our young couple now has a tiny toddler, Leo. It is unclear if they are still together. Our grandfather figure has tumbled down the right-wing rabbit hole, beginning a rift between him and his granddaughter, Brionna. It is honestly such a cliche.


The film delves into disconnection and isolation as much as the bleak effects of doom-scrolling. What would happen if the global grid ceased to exist? With so much new technology dependent on Wi-Fi, would society remain civil? A study of connection in every sense, THE END OF QUIET begs some of the most massive questions in the universe and beyond.

World Premiere

The End of Quiet

Documentary Competition

Feature | Denmark | 83 MINUTES | English | English subtitles The end of quiet

the end of quiet brionna and davidTHE FILM IS SUPPORTED BY
DANISH FILM INSTITUTE
THE SWEDISH FILM INSTITUTE
DEN VESTDANSKE FILMPULJE DR

WRITTEN AND DIRECTED BY Kasper Bisgaard & Mikael Lypinski

PRODUCED BY Sara Stockmann
CO-PRODUCED Daniel Pynnönen
CINEMATOGRAPHY BY Mikael Lypinski
MUSIC COMPOSED BY Uno Helmersson
EDITED BY Charlotte Munch Bengtsen, Johan Löfstedt SFK
SOUND DESIGN BY Freja Printz, Mathias Gaarde Mikkelsen

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‘TAKE THE MONEY AND RUN’ (Tribeca 2025) Masterpiece or Mastermind. Either way, it’s brilliant.

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TAKE THE MONEY AND RUN

TAKE THE MONEY AND RUN- Spotlight Documentary 

In his Tribeca 2025 doc, TAKE THE MONEY AND RUN, Ole Juncker takes us behind the scenes of a story that rocked the art world. Jens Haaning is internationally known for his tongue-in-cheek approach to art. The Kunsten Museum commissions Haaning to recreate an original piece for an exhibit centered on labor. They gave Jens half a million kroner, meant to be displayed. When the frames showed up at the museum, the canvases were empty. Kunsten decides to sue. The flurry of international press sparks a broader debate about paying artists and who determines the value of art.

Editor Lars Juul utilizes animation sequences, home videos, and photos as transition packages under Haaning’s narration. Jens describes a rather sad childhood, and when we discover he is coping with bipolar, the manic behavior he exhibits up until this point in the film suddenly makes sense. Jens is a whirling dervish, both physically and in erratic decision-making. The camera almost struggles to keep up with him, pacing the room as he tries to find 800,000 kroner in a few hours. With his new assistant, Ditte, a woman with the patience of a saint, we observe Jens yelling at the bank, unloading ideas onto his agents, and offloading one of his pieces for half price. The audience begins to question their reality.

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TAKE THE MONEY AND RUN is wildly immersive. Rune Palving‘s sound design heightens the chaos by piping in high-frequency tones over Jens’ manic episodes, while Juul’s quick-take editing that mimics his brain is brilliant.

Is Take The Money And Run a work of genius or a scam? Jens is adamant that his art comes from a damn-the-man mentality, and his argument is entirely valid. Once Juncker reveals more about Jens’ previous exhibits, all of them unsold, a clearer picture comes into view. Or does it? Alongside this head-spinning race for cash, Kunsten’s trial against Jens rapidly approaches. The verdict sends him spiraling. It is then, and only then, in the final few minutes of the film, that we discover what inspired the piece. But is it the truth?

Ole Juncker puts us inside the dizzying mind of an artist. If you’re an art fan, you will love it. If you weren’t one before, I defy you to say no to a gallery visit. TAKE THE MONEY AND RUN allows the viewer to decide what art is and who the potential villain is. It will have everyone talking, and isn’t that the point? What a perfect match of film and festival.


Directed by Ole Juncker
Director: Ole Juncker
Producer: Mette Heide
Screenwriter: Ole Juncker
Cinematographer: Ole Juncker
Editor: Lars Juul
Co-Producer:Bjarte Tveit Mørner


DIRECTOR’S STATEMENT
By Ole Juncker

Documentaries can be an escape into a completely different world and another person’s mind. TAKE THE MONEY AND RUN is just such a film. If you live an ordinary life like me, it’s liberating and intoxicating to enter the twisted mind and tumultuous life of artist Jens Haaning as he does what we all dream of but dare not: namely, run with all the money. Jens’ action set off a firework inside my head. For me personally, it was an escape from everyday life to follow Jens’ adventure. Are you crazy or a genius if you dare to change the rules so drastically? I was immediately fascinated by Haaning and the story, which was both humorous and thought-provoking, and I love how an art-piece ended up being widely discussed in all parts of society and around the world.

ABOUT JENS HAANING

Jens Haaning (born 1965) is a Danish conceptual artist who graduated from the Royal Danish Academy of Fine Arts. He has had solo exhibitions at Wiener Secession, San Francisco Art Institute, and Gallery Nicolai Wallner, among others, and has participated in group exhibitions around the world, such as Documenta XI in Germany, the Istanbul Biennial, MoMA in New York, and the Sydney Biennale. TAKE THE MONEY AND RUN

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‘BIRD IN HAND’ (Tribeca 2025) Generational trauma and family secrets.

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bird in hand


Melody C. Roscher’s incredible feature debut comes to Tribeca 2025 audiences. BIRD IN HAND follows a newly engaged young woman returning to her Mom’s house to view a local wedding venue. But, it quickly becomes apparent that Bird has ulterior motives.

Carlotta treats her as an inconvenience, constantly criticizing Bird and being openly hostile if things do not go her way. She controls the narrative. Bird tries her best to connect and longs for an ounce of compassion. But the truth is more complicated than fiction.

An accidental meeting with her mother’s new neighbors sparks a unique relationship and a quest to confront the past. Will hiring a wedding band be the answer to all her childhood hurt?

James Le Gros nails Dennis’ wildly erratic arc. Jeffrey Nordling is entirely charming as Carlotta’s longtime boyfriend, Dale.

Christine Lahti plays Bird’s mother. Self-described as “woo woo,” pretty much covers her untraditional take on life. It’s sort of a miracle Bird survived emotionally with such a kooky narcissist at the helm. Lahti is a force of nature. You have to love/hate her. Alisha Wainwright is spectacular in the titular role. Her vulnerability and ability to slide from wounded creature to absolute badass are impeccable.

Roscher dives headlong into racism, beginning with small-town microaggressions, then boldfaced offensive moments surrounding plantation history, all barreling towards her mother’s heart-shattering feelings. But, deep momma bear instincts and Bird’s unwieldy plan flip the script.

BIRD IN HAND is about healing, identity, and the messy path there and back. Tribeca 2025 audiences are lucky to see it first.


Directed by: Melody C. Roscher

Starring: Alisha Wainwright, Christine Lahti, James Le Gros, Annabelle Dexter-Jones, Jeffrey Nordling, K. Todd Freeman

Written by: Melody C. Roscher

Produced by: Craig Shilowich, Alex Schepsman, Danielle Massie, Cody Ryder, Sam Bisbee, Saba Zerehi

Executive Produced by: Jackie Kelman Bisbee, Lance Acord, John Craighead, Muwaffaq Salti

Bird in Hand follows Bird Rowe, a biracial bride-to-be who arrives unannounced at her charismatic hippie mother Carlotta’s rural home, to plan her wedding. As the two scout wedding venues, their attempts at bonding quickly unravel as buried truths surface, revealing an emotionally complex and fraught relationship. Bird enlists the help of the new neighbors who have recently bought a nearby plantation, sparking an unlikely connection. A darkly comedic and emotionally raw exploration of race, family, and identity, Bird in Hand is a sharp portrait of a young woman’s desperate search for connection—no matter how messy it gets.

 

RT: 87 Minutes

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‘LEMONADE BLESSING’ (Tribeca 2025) In the name of the hormones, holiness, and home life.

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LEMONADE BLESSING

Chris Merola brings Tribeca 2025 audiences a film about the communal commiseration of growing up. LEMONADE BLESSING follows the product of divorce, John, as he tries his best to navigate the complexity of raging hormones, an overbearing, devout mother, and Freshman year at a private Catholic School.

Torn between his deeply religious mom, a self-centered father, horny friends, and the rebel girl who pushes his mortality to the brink, John must decide what matters most, who he is, and where to draw the line.

Skye Alyssa Friedman gives Lilith the extravagant sass she requires to exert increasing control over John’s behavior. But in reality, Lily is a feminist. She tells John what she likes and how she feels and dreams beyond the oppressive male-dominated culture that surrounds her. Friedman owns this role with a ferocity that dazzles. Jake Ryan is relentlessly charming. John wavers between guilt, anxiety, and hormone-driven, sacrilegious stunts. Ryan lives in this character. His vulnerability makes him an absolute star. Friedman and Ryan have perfect chemistry. They are deliciously awkward and authentically connected in their side-by-side self-discovery.

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As a product of eight years of Catholic school, I decided early on that my values did not align with the monotonous rituals, ancient books, and the close-minded teachings inside. I saw, even at 14, the misogyny and patriarchal structure, and knew it was not what I wanted. As droves of people of all generations abandon organized religion, LEMONADE BLESSING challenges a system hellbent on rules often ignored by the men in charge of enforcing them.

While the film is definitely about power, your moral compass, and the perversion of religion, LEMONADE BLESSING delves into the chaos and bumbling of teenage years with grace, humor, and lived-in experience as a Catholic kid. Merola deftly tackles blame, manipulation, defiance, honesty, and the complexity of unconditional love, delivering a delightfully nuanced coming-of-age story to Tribeca 2025 audiences.


Feature | United States | 100 MINUTES | English

Director: Chris Merola

Producer: Chris Merola, Raza Rizvi, Aruba Sülzana, Samuel Ashurov

Screenwriter: Chris Merola

Cinematographer: Harrison Kraft

Composer: Daniel Futcher

Editor: Abhineet Kumar, Edouard Fan

Executive Producer: Chris Merola

Associate Producer: Cameron Olsen

Co-Producer: Taryn Gates

Sound Design: Shubhi Sahni

Cast: Jake Ryan, Jeanine Serralles, Skye Alyssa Friedman, Miles J. Harvey, Michael Oloyede, Todd Gearhart, Keith William Richards

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‘RUNA SIMI’ (Tribeca 2025) A beautiful story about inclusion and the preservation of language.

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RUNA SIMI

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Augusto Zegarra‘s heartwarming first feature follows a father who yearns to bring the joy of The Lion King to millions of children in their language, Quechua. RUNA SIMI is a bona fide David and Goliath story.

Voice actor and radio host Fernando Valencia lives in Cusco, Peru, with his young son, Dylan. After his dubbing clips went viral, Fernando embarks on a journey to have Disney agree to let him dub the entirety of Simba’s story. It is an uphill battle.

Quechua has slowly been branded a lower-class language. Some children are still teased for speaking it. In reality, there are approximately 10 million Quechua speakers across six South American countries.

We meet Fernando’s mother. We discover the parallels between his childhood and Simba’s. Fernando tries to call Disney but reaches the legal department’s voicemail again and again. After a barrage of DMs to all corporate arms, it is one message to The Lion King’s director, Rob Minkoff, that finally gets traction. Minkoff gives Fernando the reality check we fear in our gut, but he does think the idea has legs and comes from the right place.

To any Disney fan or parent watching, this idea seems like a no-brainer. If you expose more people to films, your revenue and brand thrive. As a former employee of the company (on the performance side), I can tell you their contracts are ironclad and very lengthy. You will undoubtedly find yourself rooting for Fernando’s mission.

Runa_Simi-Clean-16x9-02Defying all the odds and the lawyers’ advice, Fernando gathers a local Quechua cast, including little Dylan as young Simba, creating a dazzling version of the beloved tale in his studio. The result is a triumph.

I am fully aware of the irony of how I know Cusco. It is the setting for the Disney film The Emperor’s New Groove. Renzo Rivas‘s camerawork is patient and breathtaking. In wide shots of the Peruvian landscape, Fernando honors the spirits of nature and has deep discussions with his son. Fernando is the kind of parent we all strive to be. He imbues the importance of all things, big and small, creating a safe place for empathy and learning.

Fernando is trying to preserve not just the Quechua language but his people’s culture and identity. RUNA SIMI is a celebration of family and the importance of our past. One of the film’s most poignant moments comes at a dubbing conference where Fernando shows clips to an audience of Indigenous speakers. The pure delight on the faces of the viewers is beyond magic.

RUNA SIMI is another stunning example of why representation matters. If a child can see themselves on the screen, they can dream bigger. But it is also about access and equity. Indigenous voices are vital in our quest for authentic storytelling. Tribeca 2025 audiences, get ready for a warm hug of nostalgia while cheering for a genuine hero. “Every child in the world has a right to entertainment.” Full stop.


RUNA SIMI. Peru, 2025, 81 min. In Spanish, Quechua, and English with English
Subtitles.

Written and directed by Augusto Zegarra

Producers: Claudia Chávez Lévano
and Paloma Iturriaga

Executive Producers: Ellen Schneider, Benjamin Bratt, Peter
Bratt, Alpita Patel,Dominique Bravo, Bill and Ruth Ann Harnisch.

 

Production Company: Alaska 88

Director of Photography: Renzo Rivas

Editor: Carlos Rojas Felice

Composer: Pauchi Sasaki.

Main subjects:
Fernando Valencia, Dylan Valencia.

About the Director:

Augusto Zegarra is a Peruvian filmmaker based in Lima with a BFA in Film and Media Arts from the University of Utah. His first short film, Wiñaymanta, was one of the winners of the Ministry of Culture of Peru National Prize in 2014. With a deep passion for storytelling, he uses film as a tool to explore identity, language, and memory. In 2017, he started the research for his first feature-length film Runa Simi, later produced with support from the Ministry of Culture of Peru, the Sundance Institute, the Embassy of Switzerland in Peru, CineLatino of Rencontres Toulouse and Storyboard Collective. Runa Simi has participated at the IDFA Forum (Rough Cut), GLAFF WIP, DocsBarcelona, ChileConecta, ARCA Residency in Cabo de Hornos, and FIFDH Impact Lab.

Tribeca 2025 iconFor all things Tribeca, click here!

 

Tribeca 2025 is almost here. Get ready for the buzz to get loud with world premieres galore.

Tribeca 2025 rainbow logoTribeca 2025

Tribeca is back with a vengeance. This year, the festival features new and exciting storytellers who break barriers, make us laugh, and spark conversations. This year’s fest runs from June 4th to the 15th. 

 

ABOUT THE TRIBECA FESTIVAL
The Tribeca Festival, presented by OKX, brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, music, audio storytelling, games, and immersive. With strong roots in independent film, Tribeca is synonymous with creative expression and entertainment. Tribeca champions emerging and established voices, discovers
award-winning talent, curates innovative experiences, and introduces new ideas through exclusive premieres, exhibitions, conversations, and live performances.

The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World
Trade Center. The annual Tribeca Festival will celebrate its 24th year from June 4–15, 2025, in New York City.

In 2019, James Murdoch’s Lupa Systems bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.

ABOUT THE 2025 TRIBECA FESTIVAL PARTNERS
The 2025 Tribeca Festival is presented by OKX and with the support of our partners: AT&T, Audible, Bulleit Frontier Whiskey, Canva, CHANEL, City National Bank, Don Julio Tequila, Indeed, KLM Royal Dutch Airlines, NBC4 and Telemundo 47, NYC Mayor’s Office of Media and Entertainment, National CineMedia, New York Magazine, Spring Studios New York, The Wall Street Journal, Variety, Vulture, and Whalar.


Take a look at a few Tribeca 2025 films, long and short, and pilots we’re keeping our eyeballs peeled for. For the entire lineup, click here!



THE BEST YOU CAN – World Premiere – Spotlight Narrative Tribeca 2025
The Best You Can
Directed & written by: Michael J. Weithorn
Starring: Kyra Sedgwick, Kevin Bacon, Judd Hirsch, Brittany O’Grady


Reuniting Kyra Sedgwick and Kevin Bacon on screen for the first time in twenty years, THE BEST YOU CAN is a sharp, touching, and laugh-out-loud exploration of change, losing our bearings, and finding connection in the most unexpected places. This character-driven comedy is a reminder that sometimes the people who understand us best are the ones who are nothing like us.

RT: 103 Minutes


ARE WE GOOD? – New York Premiere – Spotlight+ Tribeca 2025

Are We GoodDirected by: Steven Feinartz
Starring: Marc Maron


An intimate portrait of comedian and podcast pioneer Marc Maron, following the sudden loss of his partner and filmmaker Lynn Shelton. Maron struggles with grief, disillusionment, and a shifting comedy landscape.

RT: 95 Minutes Tribeca 2025


OUR HERO, BALTHAZAR -Viewpoints

Our Hero BalthazarDirector: Oscar Boyson

Cast: Jaeden Martell, Asa Butterfield, Chris Bauer, Jennifer Ehle, Anna Baryshnikov, Noah Centineo, Becky Ann Baker, Avan Jogia, Pippa Knowles

Wealthy New York City teenager Balthazar “Balthy” Malone (Jaeden Martell) has a crush on a classmate who organizes gun control protests. To gain her attention, he creates dramatic social media videos pleading for stricter gun laws. When an online troll (Asa Butterfield) begins mocking his videos, Balthy becomes convinced that he is communicating with a potential mass shooter and impulsively decides to travel to Texas to confront him in person. What starts as a misguided hero’s journey evolves into a complex encounter between two young men from vastly different worlds, each struggling to find their place in a divided America. 

91 MINUTES Tribeca 2025


BIRD IN HAND – World Premiere – US Narrative Competition Tribeca 2025
bird in hand
Directed by: Melody C. Roscher
Starring: Alisha Wainwright, Christine Lahti, James Le Gros, Annabelle Dexter-Jones, Jeffrey Nordling, K. Todd Freeman

Bird in Hand follows Bird Rowe, a biracial bride-to-be who arrives unannounced at her charismatic hippie mother Carlotta’s rural home, to plan her wedding. As the two scout wedding venues, their attempts at bonding quickly unravel as buried truths surface, revealing an emotionally complex and fraught relationship. Bird enlists the help of the new neighbors who have recently bought a nearby plantation, sparking an unlikely connection. A darkly comedic and emotionally raw exploration of race, family, and identity, Bird in Hand is a sharp portrait of a young woman’s desperate search for connection—no matter how messy it gets.

RT: 87 Minutes Tribeca 2025


HORSEGIRLS – World Premiere – US Narrative Competition Tribeca 2025
HorsegirlsDirected by: Lauren Meyering
Starring: Lillian Carrier, Gretchen Mol, Jerrod Haynes
Produced by: Alix Madigan, Michael Sherman, Mackenzie Breeden

After her mother’s illness returns, 22-year-old Margarita, a young woman with autism, discovers the world of hobbyhorsing and sets out to prove her independence to her mother—stick horse and all.

RT: 101 Minutes

“As a mother of neurodivergent children, this film’s authenticity screams off the screen. It is a must-see.”


JIMMY & THE DEMONS – World Premiere – Spotlight Documentary Tribeca 2025

Jimmy and the demons Jimmy & the demonsDirected by: Cindy Meehl

A magical journey into the artistic life and inner mind of celebrated sculptor, James Grashow, who, at age 79, devotes four years to creating his magnum opus.

RT: 93 Minutes

 


DEAD LANGUAGE – Viewpoints

large_Dead_Language-Clean-16x9-0While waiting at the airport for her husband, Aya (Sarah Adler) is mistaken for someone else. Intrigued, she decides to pick up a complete stranger (Ulrich Thomsen) on a whim. Their encounter sparks an unexpected intimacy that unsettles Aya’s sense of certainty and awakens a yearning she neither fully understands nor knows how to fulfill. Her quiet search for meaning unfolds in a hotel room, a customer service chat and in subtle disruptions to her daily routine, as we are taken through a woman’s delicate and honest search for something meaningful.

Director: Mihal Brezis, Oded Binnun

Cast: Sarah Adler, Ulrich Thomsen, Yehezkel Lazarov, Lars Eidinger

110 MINUTES Tribeca 2025


RE-CREATION – World Premiere – Spotlight Narrative
re-creationDirected by: Jim Sheridan & David Merriman
Starring: Vicky Krieps, Jim Sheridan, Aidan Gillen, and Colm Meaney


In a fictitious trial, twelve members of a jury must decide whether British journalist Ian Bailey is guilty of the murder of French filmmaker Sophie Toscan Du Plantier in 1996. Based on real events, the film reconstructs, through the discussions between these twelve people, a case that ultimately invites the viewer to draw their own conclusions.

RT: 89 Minutes


SHE DANCES – World Premiere – Spotlight Narrative Tribeca 2025
She dancesDirected by: Rick Gomez
Starring: Steve Zahn, Audrey Zahn, Mackenzie Ziegler, Ethan Hawke, Sonequa Martin-Green, Rosemarie DeWitt


Forced to reconnect on the road to her final dance competition, a father and daughter must confront their fractured relationship. As they navigate a shared tragedy, the whirlwind of the Young Miss Southeast Regional Dance Finals becomes the backdrop for their journey toward healing. She Dances is a story about rediscovering family and finding yourself—about accepting what is, letting it shape you, and recognizing who you are through the memories of those you love most.

RT: 93 Minutes


LEMONADE BLESSING (Section: US Narrative Competition) Tribeca 2025

LEMONADE BLESSING

WORLD PREMIERE

Directed and written by: Chris Merola

Starring: Jake Ryan, Jeanine Serralles, Skye Alyssa Friedman, Miles J. Harvey, Michael Oloyede, Todd Gearhart, and Keith William Richards

Freshly tossed into a private Catholic high school by his devout mother, John (Jake Ryan) falls head over heels for a devious classmate ready to push his faith (and morals) to the brink with a series of increasingly uncomfortable actions, all in the name of love. ‘

100 MINS

“This former Catholic school product approves of all the messaging and coming-of-age authenticity!”


DEEP COVER – Spotlight Narrative

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Directed by Tom Kingsley

Cast: Bryce Dallas Howard, Orlando Bloom, Nick Mohammed, Paddy Considine, Sonoya Mizuno, with Ian McShane and Sean Bean

DEEP COVER is a fast-paced action comedy starring Bryce Dallas Howard as Kat, an improv comedy teacher beginning to question if she’s missed her shot at success. When an undercover cop (Sean Bean) offers her the role of a lifetime, she recruits two of her students (Orlando Bloom and Nick Mohammed) to infiltrate London’s gangland by impersonating dangerous criminals.

Coming to Prime Video June 12, 2025

109 MINUTES Tribeca 2025


THE WOLF, THE FOX AND THE LEOPARD (International Narrative Competition)

The_Wolf_the_Fox_and_the_L

A film by David Verbeek

 Starring: Jessica Reynolds, Nicholas Pinnock, Marie Jung and Naomi Kawase

A feral young woman raised by wolves is captured and thrust into modern society, only to be rescued by a radical couple who isolate her on an abandoned oil rig. As she uncovers the lies of her new “parents”, she is forced to stand on her own two feet and ultimately decide whether to integrate into society or return to the wild.

124 MINUTES

“This hybrid fairytale about trauma is not to be missed.”


WIZKID: LONG LIVE LAGOSSpotlight+

WIZKID: LONG LIVE LAGOSDirector: Karam Gill 

Subjects: Femi-Anikulapo Kuti, Ayodeji Balogun, Jada Pollock, Julie Adenuga, Seni Saraki, Sunday Are, Matthew Temitope Solomon, Karen Binns, Adosu Segan, Tops Bademosi

From Lagos to London, this powerful documentary follows Wizkid’s rise as a global icon reshaping how Africa is seen — and heard — around the world. Blending intimate moments, explosive performances, and cultural commentary, the film captures how Wizkid is using his platform to change perceptions, reclaim African identity, and inspire a new generation. Directed by Karam Gill. Produced by Karam Gill, Daniel Malikyar. An HBO Documentary Films Release.

83 MINUTES  Tribeca 2025


HONEYJOON (Viewpoints)

Honeyjoon-Clean-16x9-01

Written & Directed by Lilian T. Mehrel

Starring Ayden Mayeri & Amira Casar, José Condessa

HONEYJOON is a sexy, emotional comedy about… a mother-daughter trip. 

Persian-Kurdish Lela (Amira Casar) and her American daughter June (Ayden Mayeri) take a trip to a romantic Azorean island, for the one-year anniversary of Dad’s death. They planned this trip to be together, but Lela & June have opposite views about why they’re there, how to grieve, and June’s tiny bikini. Surrounded by honeymooners, doom-scrolling for Woman Life Freedom, and taken on a tour by their hot philosophical guide, João (José Condessa); Lela and June find each other… coming back to life.

75 minutes Tribeca 2025


AN EYE FOR AN EYE (Documentary Competition)

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Directors: Tanaz Eshaghian, Farzad Jafari

Convicted of murdering her husband, Tahereh served her sentence and now faces a ticking clock to negotiate with her in-laws who, under Sharia law in Iran, have the legal right to either execute her or forgive her- for a price.

84 MINUTES


THE END OF QUIET (Documentary Competition)

the end of quiet still

Directors: Kasper Bisgaard, Mikael Lypinski

A meditative documentary that offers a glimpse into one of the few inhabited places on Earth where Wi-Fi and phone signals are not allowed to reach.

83 MINUTES


TAKE THE MONEY AND RUN- Spotlight Documentary 

TAKE THE MONEY AND RUN- Spotlight Documentary 

Director/Producer: Ole Juncker

Brilliance or bold-faced theft? In 2021, the Kunsten Museum got more than it bargained for when Danish artist Jens Haaning borrowed $83,000 for a commissioned piece—then delivered an empty frame. Titled with brazen wit, Take the Money and Run ignited a global firestorm: was it a scathing critique of capitalism, or the slickest art-world heist in history?

82 MINUTES


COUNTING CROWS: HAVE YOU SEEN ME LATELY? – Spotlight Documentary

COUNTING CROWS: HAVE YOU SEEN ME LATELY? Director: Amy Scott

Subjects: Adam Duritz, Cyndi Lauper, Steve Kerr, Chris Martin, Jeff Ross, Mary-Louise Parker

Catapulted into overnight fame by their massively successful debut album, San Francisco indie rock band Counting Crows and their introspective frontman Adam Duritz were suddenly the biggest rockstars in the world, defiantly facing whatever came next. Counting Crows: Have You Seen Me Lately? captures this pivotal crossroads through revealing interviews and evocative 1990’s archival to craft a rare story of artistic integrity in the spotlight. Directed by Amy Scott. Produced by Brian Morrow, Jonathan Lynch. An HBO Documentary Films Release.

90 MINUTES Tribeca 2025


YANUNI (Closing Night Gala)

Yanuni still 1

Directed by RICHARD LADKANI 

Produced by ANITA LADKANI, RICHARD LADKANI, JUMA XIPAIA, LEONARDO DICAPRIO, JENNIFER DAVISSON, PHILLIP WATSON

Executive Producers include JOANNA NATASEGARA, LAURA NIX, ERIC TERENA, DAX DASILVA, MARTIN CHOROBA, PHILIPP SCHALL

YANUNI is a cinematic portrait of Juma Xipaia, an Indigenous chief from the Brazilian Amazon who rises from a remote village to the frontlines of climate justice. After surviving six assassination attempts, she is appointed Brazil’s first Secretary of Indigenous Rights—while her husband, a federal IBAMA agent, leads dangerous operations against illegal gold miners. As Juma navigates political power, growing threats, and impending motherhood, she is forced to confront the personal cost of resistance. At once intimate and epic, YANUNI is a powerful story of Indigenous sovereignty, love, and the urgent fight to protect the planet we call home.

112 MINUTES 


SEASONED (World Premiere — Indie Episodic (NOW)

seasoned

Directed by Ewen Wright

Written by Gideon Grody-Patinkin, Ewen Wright

Starring Mandy Patinkin, Kathryn Grody

Synopsis: Based on the real lives of Mandy Patinkin and Kathryn Grody, “Seasoned” follows the delightfully tumultuous relationship and life of this successful, gregarious, deeply committed, slightly insane married couple. They’re each other’s greatest cheerleaders and harshest critics. The source of their unending magic is the same as their unending woe: that they’ve stayed together all these years. They struggle, they fail, they forgive, they learn, they remain bewildered, and most importantly, they hold everything together through love. As they navigate a society that feels as if it’s crumbling around them, will they remain standing?

Pilot Episode “Hangry” Synopsis: When Mandy and Kathryn miss their anniversary dinner reservation, they’re forced to try and find a new place to eat. Wandering New York City in an effort to salvage the occasion, 40 years of marital dynamics are laid bare as everything falls short – first with the food, then with each other.

96 MINUTES


84 MINUTESbeca 2Tribeca 2025 icon

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‘UVALDE MOM’ (SXSW 2025) One mother’s courageous journey to fight through tragedy and for all families.

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UVALDE MOM

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1 shooter. 77 minutes. 376 officers on sight. 21 lives gone. The Uvalde mass school shooting was one of the deadliest in the world. As gunfire rang out and the police didn’t move, the parents tried to get their children. Under the threat of arrest, one mother jumped the fence and got her kids out. UVALDE MOM is the story of national hero Angeli Rose Gomez and the community still fighting for justice through their grief.

Cell phone footage from Angeli and her mother shows the harassment by the police of the Robb Elementary School parents. Her escape with the boys was captured on surveillance footage. Her sons’ reactions as they reach safety across the street speak volumes. The trauma on their faces is still there today. The moment Angeli defied the police and told the world, the living nightmare only got scarier.

UVALDE MOM_Aurelius Achilles Gomez Martinez_Angeli Rose Gomez_Vladimir Jorge BazanCivil Rights Attorney for the Institute for Justice, Marie Miller, breaks down the law surrounding the retaliation for Angeli speaking out about her experience. Angeli was pulled over on trumped-up charges, threatened, and stalked by police.

Uvalde is a small town in Texas. There is a clear socioeconomic divide within its borders. The Mexican-American population grew up understanding the invisible town line between the white part of town and everyone else.

The film dives into Angeli’s childhood and tumultuous relationship with her children’s father. Anyone in their right mind would see a victim of domestic abuse, but the fallout from her history gives vengeful police a twisted talking point.

The ever-evolving details of the shooting remain one of the most disgusting parts- The lack of action, cops on their phones, and the subsequent coverup and blame game. The 21 families of the victims advocate for new gun laws, but the backlash from the 2nd Amendment fans and Governor Gregg Abbott stalls any forward movement.

uvalde-momMeanwhile, out of the blue, Angeli is sent to a correctional facility 7 hours away from Uvalde for allegedly violating her parole. While there are zero consequences for the failed police, Angeli is served with an injustice the audience will feel in their bones.

The argument for gun safety seems like a no-brainer. But, like we’ve said in the past, if Sandy Hook didn’t move the needle, I’m not sure anything will. The desperation for change is real. I watched Columbine unfold in real-time as a senior in high school, practicing my first lockdown drill three days later. My two small children have been doing drills since they were two years old. This is not the life I ever imagined for any of us.

UVALDE MOM is hard to watch but vitally important. Something has to give. It should not be another child’s life.


Credits

Director:

Anayansi Prado

Executive Producer:

Davis Guggenheim, Julie Parker Benello, James Costa, Rahdi Taylor, Patty Quillin

Producer:

Ina Fichman, Anayansi Prado, David Goldblum

Screenwriter:

Anayansi Prado, Pablo Proenza

Cinematographer:

E.J. Enríquez, M.J. Johnston

Editor:

Pablo Proenza

Music:

Ramachandra Borcar

Principal Cast:

Angeli Rose Gomez, Arnulfo Reyes, Tina Quintanilla, Lavonne De Leon



UVALDE MOM follows the extraordinary story of Angeli Rose Gomez, a farm worker and single mother who risked everything to save her two sons during the May 2022 mass shooting at Robb Elementary in Uvalde, TX. While nearly 400 armed officers waited 77 minutes to act, Angeli ran into the school, pulled her children to safety, and became a viral symbol of courage. But as she spoke out against law enforcement’s inaction, she faced intense harassment from authorities, who weaponized her past to discredit and silence her.

From award-winning director Anayansi Prado (Maid in America, The Unafraid), UVALDE MOM is a powerful, heart-wrenching look at Angeli’s relentless fight for justice. As Uvalde confronts systemic failures and the U.S. Department of Justice launches an investigation, conflicting narratives emerge, deepening the town’s grief and anger. With the first anniversary of the tragedy approaching, Angeli must navigate the weight of what happened to her community while continuing her personal battle for truth and accountability.



Remaining SXSX screenings for UVALDE MOM:

PREMIERE: Monday, March 10 at 5:45 PM CT – Rollins Theatre at The Long Center

Tuesday, March 11 at 5:00 PM CT – AFS Cinema

Friday, March 14 at 6:00 PM CT – SXSW Film & TV Theater at the Hyatt Regency

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‘THE SURRENDER’ (SXSW 2025) Grief, delusion, and the supernatural collide in one hell of a debut.

SXSW 2025_Website-SEO-3THE SURRENDER

The Surrender (2025) - [www.imdb.com]

Filmmaker Julia Max‘s feature debut, THE SURRENDER, comes to SXSW 2025 in all its haunted glory.

With her father bedridden and dying of cancer, Megan returns home to help her mother in his 24-hour care. Each woman has vastly differing opinions on his end-of-life plans. Barbara has fallen into the “spiritual” lifestyle as a means to cope with impending grief, while Megan desires his pain to stop. When Robert passes, and their relationship stretches to its limits, Megan reluctantly agrees to participate in a resurrection ritual.

THE SURRENDER opens with an undeniably jarring image. The audience feels an immediate sense of foreboding. Max weaves in forgotten memories from Megan’s childhood, giving us insight into the reality of their family unit. The delay of these scenes shifts the entire narrative. The choice is brilliant.
the-surrenderVaughn Armstrong delivers a nuanced turn as Robert. Max allows him the opportunity to play multiple roles within one character. Kate Burton (Grey’s Anatomy) and Colby Minifie (The Boys) knock it out of the park. Their loaded dialogue gets more and more biting and honest. Their scenes are a masterclass in communication. Whether driven by confession or fear, Burton and Minifie are perfect together.

Technically, the film is superb. The lighting, editing, production design, and practical FX create a sinister narrative. There is no predicting where this script goes. Max pulls the rug out from under us again and again. The final act is emotional torture. THE SURRENDER is a brutal dive into grief, unresolved trauma, and the lengths we will go for love. It’s the weirdest therapy session I’ve ever witnessed.


Remaining SXSW screenings of THE SURRENDER:

Mar 14, 2025
 
9:30pm  11:00pm
 
 

Credits

Director:

Julia Max

Executive Producer:

Susan Gelb, Adam Maffei, Rob Massar

Producer:

Mia Chang, Lovell Holder, Julia Max, Ian McDonald, Robert J. Ulrich

Screenwriter:

Julia Max

Cinematographer:

Cailin Yatsko

Editor:

Sushila Love

Production Designer:

Tahryn Justice Smith

Sound Designer:

AJ Pyatak, Josh Atwell

Music:

Alex Winkler

Principal Cast:

Colby Minifie, Kate Burton, Neil Sandilands, Vaughn Armstrong, Mia Ellis, Pete Ploszek, Chelsea Alden, Alaina Pollack, Riley Rose Critchlow, Lola Prince Kelly

Additional Credits:

Co-Producer: Brenden Rodriguez, Co-Producer: Daniel Schwab

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For all things SXSW, click here!

‘BROTHER VERSES BROTHER’ (SXSW 2025) A wild and personal familial musical odyssey.

SXSW 2025_Website-SEO-3BROTHER VERSES BROTHER

Brother Verses Brother sxsw posterBROTHER VERSES BROTHER comes from director Ari Gold. (The Song of Sway Lake) This hybrid bonanza of music, storytelling, and familial exploration of Ari and Ethan Gold in their search for their father, Herbert Gold, is perfect for the SXSW 2025 audience.

The film is mind-blowing. It is a technical feat of magic, music, and movie-making, filmed in one continuous shot and entirely improvised. The brothers walk around San Francisco looking for both gigs and signs of their dad along the way.

brother-verses-brother

Ari and Ethan are dazzling as foils for each other. Ari is a freight train seeking love and approval, while Ethan is more somber and works through his grief and anxiety through song. I would watch them banter and create live on stage any day. Take my money.

Deeply personal and ceaselessly intriguing, the film is a celebration of the unique chemistry and songwriting between two vastly different men AND an ode to their father and each other. Inject this entire soundtrack into my veins immediately. BROTHER VERSES BROTHER is one giant smirk-inducing dopamine hit.


Remaining SXSW screenings of Brother Verses Brother:

Mar 12, 2025
 
6:30pm  8:01pm
 
Mar 12, 2025
 
6:30pm  8:01pm
 
 

Credits

Director:

Ari Gold

Executive Producer:

Francis Ford Coppola

Producer:

Michelle Stratton, Starr Sutherland, Maya Browne

Screenwriter:

Ari Gold, Ethan Gold, and the Cast

Cinematographer:

Stefan Ciupek, Frazer Bradshaw

Editor:

Dan Loghin

Production Designer:

The Streets of San Francisco

Sound Designer:

Jim McKee

Music:

Ethan Gold

Principal Cast:

Ari Gold, Ethan Gold, Lara Louise, Brian Bell, Herbert Gold, Tongo Eisen-Martin, John Flanigan

Additional Credits:

Colorist: Frazer Bradshaw, VFX : CR Green, Music Mixer: Tony Hoffer, Music Mixer: Justin Bates, Associate Producer: Natasha Nua

 

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‘CREEDE U.S.A ‘ (SXSW 2025) The powerful hope between theatre and politics.

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CREEDE U.S.A.CREEDE U.S.A.

A mining boomtown wanted to expand their minds by inviting a repertory theatre to establish themselves in the 1960s. Kahane Corn Cooperman SXSW 2025 is a peak behind the curtain of the country’s political landscape. Leave your judgment at the door. Welcome to a genuine snapshot of small-town America. Welcome to CREEDE U.S.A. 

A town of roughly 300 asks the hard national questions, from guns to LGBTQ curriculum inclusion. CREEDE U.S.A. features school board meetings that seem to put empathy on trial as the months pass, but discussions occur with the utmost civility and open ears. Sit-down interviews with the residents are charming, insightful, and raw. The cinematography by Jilann Spitzmiller and Graham Willoughby is stunning, and Osei Essed‘s score feels like home. 

Boasting theatre legend alum Mandy Patinkin, Creede Repertory Theatre is a machine with three productions in a single season, with a local audience from every street in town. Deliciously diverse casting and productions that challenge preconceived notions. 

The positive impact of the rep theatre is undeniable. Like all theatre spaces, it is a safe and inclusive place filled with new ideas, challenging an audience to think. One does not usually equate theatre and conservative values. As a graduate of The American Musical and Dramatic Academy in NYC, a homeowner in the city and CT, a children’s theatre director, and a writer, I speak from firsthand knowledge over my 44 years. We’ve seen the national impact over the past 10 years, with groups like Moms For Liberty infiltrating school boards and banning books in counties they don’t even live in. 

CREEDE U.S.A. is an unbelievably fascinating microcosm of the country. Big ideas are not abstract because the town is so small and close. Civility is the key to communicating. They are the perfect example of how important local government remains. CREEDE U.S.A is a how-to guide to getting involved, listening, authentic problem-solving, and open-mindedness. This community obliterates political bias and cliché. We should all aspire to be more like them. The film is a celebration of tradition and art. It honors the complexity of humans.


Director: Kahane Corn Cooperman

Producer: Innbo Shim, Kahane Corn Cooperman

Running Time: 94 mins 

In Kahane Cooperman’s lyrical CREEDE U.S.A., a remote Colorado mountain mining town becomes an unexpected model for public discourse. For generations, Creede’s residents have held tightly to their heritage and values. But when the town brought in a theater company to revitalize the economy, the citizens were introduced to new ideas and perspectives—creating an ongoing tension between tradition and change.

Nearly 60 years and countless performances later, Creede is a stunning microcosm of America’s national divisions. Issues like guns in classrooms and gender pronouns spark tense debates, yet the town remains bound by a shared sense of place and community. Through intimate portraits, charged town meetings, and a rich historical lens, CREEDE U.S.A. explores how this evolving community continues to find common ground – both inside and outside of the mining shafts, ranches and the Creede Repertory Theatre. Hopeful and urgent, the film offers a poignant reflection on the challenges and possibilities of coexistence in an increasingly polarized world.

 

REMAINING CREEDE U.S.A. SXSW SCREENINGS:

  • PREMIERE: Sunday, March 9 at 9:00 PM CT – SXSW Film & TV Theater at the Hyatt Regency
  • Monday, March 10 at 5:00 PM CT – AFS Cinema
  • Thursday, March 13 at 9:30 PM CT – Violet Crown Cinema theaters 2 and 4 

 

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‘GLORIOUS SUMMER’ (SXSW 2025) Sumptuous, sinister, and aptly named.

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GLORIOUS SUMMER

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Three young women live a seemingly carefree life within the walls of a stunning estate. Their daily routine has regimen and free time, and the women submit to language tests by the unknown robotic voice guiding their waking hours. Are these women muses, are they assassins, are they replicas, or are they prisoners? We’re not quite sure.

Filmmakers Helena Ganjalyan and Bartosz Szpak bring their striking feature debut, GLORIOUS SUMMER, to SXSW 2025 audiences. The film is as unsettling as it is intriguing. There is an overarching feeling of inevitable doom. Questions whirl in your brain as small clues drop into their enigmatic conversations. The mystery immediately grabs hold.

The film could have been filmed in the 60s with 16mm cinematography by Tomasz Woźniczka. The costumes scream quiet luxury in their airy, simplistic cuts, sun-soaked pastels, and flowy fabrics. The setting is a beautifully crumbling chateau estate with fresco-painted walls and lush blooming meadows.

Each character is firmly delineated. There is a clear hierarchy. The tawny-skinned woman (Helena Ganjalyan) appears quietly cunning. The tallest, pale-skinned woman (Magdalena Fejdasz-Hanczewska) is the most openly rebellious, while the youngest, the redhead (Daniela Komędera), has a childlike need to please.

They plan to rebel. They rehearse a faux demise and all it entails, trying their hardest to keep their plans from whoever or whatever keeps them docile. Fifty minutes in, a crack in the system delivers insight to the women and the audience with just enough to keep us baited.

The cast is spectacular. Magdalena Fejdasz-Hanczewska, Helena Ganjalyan, and Daniela Komędera knock it out of the park with carefully curated specificities and physical work. Their chemistry makes your heart race. Bravo. The audience is rooting for these women. It slowly reveals the narrative revolves around free thinking and choice. GLORIOUS SUMMER is the sleeper sci-fi feminist film you never knew you needed. It lives up to its name.


GLORIOUS SUMMER Credits:

Directors: Helena Ganjalyan, Bartosz Szpak

Producers: Maria Gołoś, Monika Matuszewska

Screenwriters: Helena Ganjalyan, Bartosz Szpak

Cinematographer: Tomasz Woźniczka

Editor: Alan Zejer

Production Designer: Katarzyna Tomczyk

Sound Designer: Marcin Jachyra, Maciej Amilkiewicz

Music: Bartosz Szpak

Principal Cast: Magdalena Fejdasz-Hanczewska, Helena Ganjalyan, Daniela Komędera, Weronika Humaj

Co-financed by: Polish Film Institute



SXSW Screening Schedule GLORIOUS SUMMER:

Violet Crown Cinema 2 – Saturday, March 8 at 3:00 pm w/ Filmmaker Q&A
Violet Crown Cinema 2 – Monday, March 10 at 11:30 am w/ Filmmaker Q&A
Alamo Lamar 7 – Thursday, March 13 at 6:45 pm

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‘ARREST THE MIDWIFE ‘ (SXSW 2025) A powerful look at another reproductive right being mandated by ignorance.

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ARREST THE MIDWIFE

arrest-the-midwife

Filmmaker Elaine Epstein follows the case of Elizabeth Catlin, a midwife charged with 95 felony counts after the death of one baby. However, Liz is not the first or last midwife to find themselves in court.

The Mennonite community uses midwives as per tradition. Liz is part of a tight group of women that serve these mothers and their families. Suddenly, Yates County begins targeting one midwife after another, putting further stress on the health and safety of women.

The state of NY has increased the requirements of education to maintain accreditation. Liz and her fellow care providers are CPMs (Certified Professional Midwives), each assisting in 100s of births, but according to NY State, that isn’t enough to exist legally.

We don’t get the details of Liz’s specific case until halfway through. When you hear them, your jaw will drop. No one in their right legal mind would ever bring charges against Liz. Going against their tradition of staying within their community, the Mennonite women come to court, write letters, and travel down state in drives to support advancing legislative change. Women supporting other women move the needle.

As a mother who had two births in Manhattan, I envy the homebirth experience 9 years after my first birth. At 35, the term geriatric pregnancy was insulting enough. After numerous ultrasounds and tests, when my son was in crisis during my 16 labor, all that science went out the window, leading to an emergency c-section. Birth trauma is real.

The film is a beautifully structured freight train of activism. Our rights are under attack. This is another example that most of us weren’t even aware of. ARREST THE MIDWIFE is a prime example of how a state’s rights governance hurts its population. Whether it’s midwifery or abortion, this causes care deserts, leading to a high likelihood of deaths. You cannot watch this film and tell me this isn’t a story about body autonomy. ARREST THE MIDWIFE is a fierce feminist film about choice in the face of another oppressive patriarchal and capitalist structure. Let women choose.

Director: Elaine Epstein

Producers: Elaine Epstein & Robin Hessman

Running Time: 82 minutes

 

Caught between the law and the well-being of the Amish and Mennonite families they serve, midwives in upstate New York operate in a healthcare desert—risking jail time simply for providing critical care. As their midwives are arrested, the women from these insular communities break from their traditions to become unexpected activists, fighting for systemic change.

With exceptionally rare and intimate access, director Elaine Epstein crafts a powerful David-and-Goliath story of resilience and resistance. Set against the backdrop of America’s maternal health crisis and the erosion of reproductive rights, ARREST THE MIDWIFE is both a poignant portrait of a community in crisis and an urgent call to protect every woman’s right to choose how she brings the next generation into the world.


 SXSW SCREENINGS:

  • PREMIERE: Sunday, March 9 at 2:15 PM CT – Alamo Lamar 5 and 6
  • Tuesday, March 11 at 2:45 PM CT – Alamo Lamar theaters 2 and 7
  • Thursday, March 13 at 2:45 PM CT – Violet Crown Cinema theaters 2 and 4

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‘BABY DOE’ (SXSW 2025) A shocking and complex case of pregnancy denial and the trauma is stems from.

SXSW 2025_Website-SEO-3BABY DOE

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BABY DOE explores the nuanced case of Gail Ritchey and the baby she left in the woods over 30 years ago. Director Jessica Earnshaw skillfully brings the audience into the inner circle of Ritchey and her conservative Christian community in rural Ohio while digging into the psychological trauma behind it all. 

When I tell you your jaw will be on the floor in the first five minutes, it is not an exaggeration. It will not be the last time the facts surrounding this case give you pause or take your breath away. Earnshaw uses a mix of police footage, news clips, and sit-down interviews with every family member, including the father of the child- her current husband. She brings cameras into the meetings with Gail and her defense team as they ask all the right questions. It is a gateway to the deep-seated trauma.

The most fascinating aspect has to be religion. Gail’s connection to Christianity is complex as hell. Her daughter’s church welcomes her into their community while she awaits trial, but part of me believes that had she approached these sane people 30 years ago as an unwed mother, she would have been shunned. The home video of her Baptist youth group and the story of her relationship with Mark honestly explain everything. 

Her lawyers struggle to reconcile Gail’s lack of memories, but to women who have ever been involved with the church, the shame associated with premarital sex, pregnancy, and abortion, not to mention the patriarchal structure, all scream off the screen. The psychological complexity of pregnancy denial is connected to all these issues. Earnshaw uses other cases to draw parallels in Gail’s story. It is a powerful insight. 

I give a lot of credit to Mark for never wavering in his support for Gail. Audiences must go into the film with an open mind and honestly, taking a page from Mark’s playbook in unconditional love. My heart breaks for the guilt carried by Gail. I cannot imagine her burden. I would be remiss if I did not acknowledge her church community. At the very least, their current support genuinely surprised me in the best way.

Endlessly compelling, BABY DOE has you in its grip from start to finish. SXSW audiences will not stop talking about this film.


Credits

Director:

Jessica Earnshaw

Executive Producer:

Jenny Raskin, Kelsey Koenig, Geralyn White Dreyfous, Debbie L. McLeod, Jamie Wolf, Nathalie Seaver, Meadow Fund, Peggy Case, and Tom Meadows

Producer:

Holly Meehl Chapman, Jessica Earnshaw

Cinematographer:

Jessica Earnshaw and Emily Thomas

Editor:

George O’Donnell and Leah Boatright

Music:

Gil Talmi

Principal Cast:

Gail, Mark, Courtney, Evan, Steven, Mark M.

Additional Credits:

Co-Producer: John Rudolf, Co-Executive Producer: Rebecca Lichtenfeld and Chandra Jessee for InMaat, Co-Executive Producer: Drew Scott , Co-Executive Producer: Chris Boeckmann, Co-Executive Producer: Erika A. Christensen, Contributing Producer: Chicken & Egg Films , Assistant Editor: Jessie Adler, Associate Producer: Liz Yong Lowe


Remaining Screenings of BABY DOE:

 

Baby Doe at Violet Crown Cinema 2

Mar 9, 2025

 5:00pm — 6:40pm

 

Baby Doe at Violet Crown Cinema 4

Mar 9, 2025

 5:00pm — 6:40pm

 

Baby Doe at Alamo Lamar 1

Mar 13, 2025

 9:30pm — 11:10pm

 

Baby Doe at Alamo Lamar 8

Mar 13, 2025

 9:30pm — 11:10pm

BABY DOE (Documentary Feature Competition) – Thirty years ago, Gail Ritchey, a young woman from a conservative Christian community in rural Ohio, gave birth alone and left her newborn in the woods. Now a devoted mother of three, her quiet suburban life is shattered when DNA evidence links her to the infamous cold case of “Geauga’s Child,” leading to her arrest for murder. Authorities dismiss her claim that the baby was stillborn, and the media swiftly vilifies her.

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‘DEAR TOMORROW’ (SXSW 2025) Raw and important, a doc about the epidemic of loneliness will crack the hardest of hearts.

SXSW 2025_Website-SEO-3DEAR TOMORROW

dear-tomorrow-SXSW 2025SXSW 2025 documentary DEAR TOMORROW delves into the epidemic of loneliness. Filmmaker Kaspar Astrup Schröder follows two Japanese citizens who suffer from severe loneliness. Schröder quietly observes them through their physical and emotional isolation and a subsequent few conversations with the mental health hotline, “A Place For You.”

The film features chat text scrawling across the screen. Masato and Shoko seem to lead similar lives. Both in their forties with no family around them to cushion the blow of isolation, they try different things to lessen the sadness. Masato gets a pet owl, while Shoko takes the advice of a volunteer and reaches out to a former classmate. While these momentary actions provide a dopamine hot and hope, the underlying echoes of doubt remain steadfast.

Founder Koki Ozara uses data to prioritize calls, but with over 1000 a day, the demand far outreaches their ability to serve the population. Nationally, Ozara works in tandem with the Japanese government to address the problem with a global symposium. But, as the film progresses, the most basic solutions prove complicated. Red tape, like everywhere else in the world, stands in the way of genuine help.  

The exquisite music instills a deep longing that beautifully mirrors the desire to connect with the two subjects. The film’s structure forces us to slow down and authentically watch.

DEAR TOMORROW is an excellent companion watch for Steve Buscemi‘s THE LISTENER. Viewing is a mix of emotions, from crestfallen to hopeful. All I kept thinking about in the film’s quiet moments were hastily put-together solutions brought about by my fixer mentality. I understood much of what Masato and Shoko felt, as I am a mother in my forties who now contemplates daily feelings of isolation and identity. It can feel like a vice. 

Masato and Shoko are undeniably brave to share their most intimate fears. Mental health often comes with a stigma that becomes politicized and kept at arm’s length out of fear. If Covid-19 lockdowns taught us anything, we cannot continue to sweep it under the rug. Humanity must do better for each other. DEAR TOMORROW puts all of these things front and center in a universally relatable way. Revealing, raw, and relentlessly touching SXSW audiences will be moved. 


Director/Screenwriter: Kaspar Astrup Schröder, Producers: Maria Helga Stürup, Katrine A. Sahlstrøm


In Japan, where loneliness has become a national crisis, the film follows three individuals battling isolation. Through a volunteer chat service, compassionate connections, and government initiatives, they find hope and paths to reclaim their lives. (World Premiere)


Remaining Dear Tomorrow Screenings:

Dear Tomorrow at Violet Crown Cinema 1

Mar 9, 2025

 9:30pm — 11:01pm

 

Dear Tomorrow at Violet Crown Cinema 3

Mar 9, 2025

 9:30pm — 11:01pm

 

Dear Tomorrow at Alamo Lamar 5

Mar 13, 2025

 11:00am — 12:31pm

 

Dear Tomorrow at Alamo Lamar 6

Mar 13, 2025

 11:00am — 12:31pm


Credits

Director:

Kaspar Astrup Schröder

Executive Producer:

Katrine A. Sahlstrøm, Kaspar Astrup Schröder, Katrine Philp, Patricia Drati, Boris B. Bertram

Producer:

Maria Helga Stürup, Katrine A. Sahlstrøm

Screenwriter:

Kaspar Astrup Schröder

Cinematographer:

Kaspar Astrup Schröder

Editor:

Laura Skiöld Østerud, Kaspar Astrup Schröder

Sound Designer:

Ted Krotkiewski

Music:

Jon Ekstrand

Additional Credits:

Co-producer: Michael Krotkiewski, Co-producer: David Herdies, Co-producer: Huang Yin-Yu

 

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SXSW 2025: This year is all about kicking ass and making names with new filmmakers taking the leap.

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SXSW 2025 is back with a vengeance. Brimming with talent new and old, the festival grows each year, giving audiences what they love. This year is no exception with Film and TV’s coolest, latest, and greatest. On the docket are hotly anticipated titles like DEATH OF A UNICORN with its insane ensemble cast, Anna Kendrick and Blake Lively return in ANOTHER SIMPLE FAVOR, and Peter Cilella‘s Midnighter DESCENDENT. Take a peek at some of the films we’re watching this year…

For more info on SXSW 2025 click here!


ODYSSEY

odyssey SXSW 2025Director: Gerard Johnson, Producers: John Jencks, Isabel Freer, Matthew James Wilkinson, Patrick Tolan, Screenwriters: Gerard Johnson, Austin Collings


Natasha Flynn is an estate agent on a mission—and she’s going to make a killing. Cast: Polly Maberly, Mikael Persbrandt, Jasmine Blackborow, Guy Burnet, Ryan Hayes, Charley Palmer Rothwell, Kellie Shirley (World Premiere)


ARREST THE MIDWIFEarrest-the-midwifeDirector: Elaine Epstein, Producers: Elaine Epstein, Robin Hessman


The arrest of midwives in a rural healthcare desert ignites an unexpected rebellion: Amish and Mennonite women who break from tradition, and emerge as fierce political activists fighting for reproductive justice and birthing rights. (World Premiere)


GLORIOUS SUMMER (Poland)

glorious-summer Directors/Screenwriters: Helena Ganjalyan, Bartosz Szpak, Producers: Maria Gołoś, Monika Matuszewska


A sun-drenched renaissance palace. Three women remain in a carefree state of limbo, tended to by an unseen, all-providing system. But as cracks in the paradise begin to appear, they are faced with a choice: escape or remain in the perfect illusion? Cast: Magdalena Fejdasz, Helena Ganjalyan, Daniela Komędera, Weronika Humaj (World Premiere)


DEATH OF A UNICORN

death-of-a-unicorn SXSWDirector/Screenwriter: Alex Scharfman, Producers: Drew Houpt, Lucas Joaquin, Alex Scharfman, Lars Knudsen, Tyler Campellone, Tim Headington, Theresa Steele Page


A father and daughter accidentally hit and kill a unicorn while en route to a weekend retreat, where his billionaire boss seeks to exploit the creature’s miraculous curative properties. Cast: Paul Rudd, Jenna Ortega, Will Poulter, Téa Leoni, Richard E. Grant, Anthony Carrigan, Sunita Mani, Jessica Hynes (World Premiere)


REELING

reeling SXSW 2025Director: Yana Alliata, Producer: Jack Forbes, Screenwriters: Yana Alliata, Amy Miner


After a life altering accident, Ryan struggles to fit in with old friends and family at a birthday luau but the celebration boils over when he uncovers the missing memory of when his life took a tragic turn. Cast: Ryan Wuestewald, Hans Christopher, Nikki DeParis, Fabrizio Alliata, Makena Miller, Nyah Juliano, Michael Carter (World Premiere)


BABY DOE

baby doe SXSW 2025Director: Jessica Earnshaw, Producers: Holly Meehl Chapman, Jessica Earnshaw


At 22, Gail gave birth alone and left her newborn in the woods. Decades later, she’s arrested for murder, even though she says the baby was stillborn. Baby Doe explores the fallout when young women cannot accept the reality of an unplanned pregnancy. (World Premiere)


CLOWN IN A CORNFIELD

clown-in-a-cornfieldDirector: Eli Craig, Producers: Marty Bowen, John Fischer, Wyck Godfrey, Screenwriters: Carter Blanchard, Adam Cesare, Eli Craig


A fading midwestern town in which Frendo the clown, a symbol of bygone success, reemerges as a terrifying scourge. Cast: Katie Douglas, Will Sasso, Cassandra Potenza, Aaron Abrams, Carson MacCormac, Verity Marks, Dylan McEwan, Daina Leitold, Vincent Muller, Kaitlyn Bacon (World Premiere)

TEASER TRAILER LINK:

 


DEAR TOMORROW (Denmark, Japan, Sweden)dear-tomorrow-SXSW 2025Director/Screenwriter: Kaspar Astrup Schröder, Producers: Maria Helga Stürup, Katrine A. Sahlstrøm


In Japan, where loneliness has become a national crisis, the film follows three individuals battling isolation. Through a volunteer chat service, compassionate connections, and government initiatives, they find hope and paths to reclaim their lives. (World Premiere)


FOR WORSEForWorse-1440x810-1Director/Screenwriter: Amy Landecker, Producers: Amy Landecker, Bradley Whitford, Valerie Stadler, Jenica Bergere, James Portolese


Fresh off a messy divorce, a 50-year-old sober mom tries to rebuild her life and stumbles into a new beginning after finding herself at a Gen Z wedding behaving like a 25-year-old drunk bridesmaid. Cast: Amy Landecker, Bradley Whitford, Nico Hiraga, Gaby Hoffmann, Ken Marino, Missi Pyle, Kiersey Clemons, Claudia Sulewski, Simon Helberg, Liv Hewson (World Premiere)


O’DESSA

ODESSADirector/Screenwriter: Geremy Jasper, Producers: Michael Gottwald, Noah Stahl


Set in a post-apocalyptic future, O’Dessa is a rock opera about a farm girl on a quest to recover a family heirloom. Her journey leads her to a dangerous city, where she must use the power of destiny and song to save her true love’s soul. Cast: Sadie Sink, Kelvin Harrison Jr., Murray Bartlett, Regina Hall, Pokey LaFarge (World Premiere)


CREEDE U.S.A.

creede-u-s-aDirector: Kahane Corn Cooperman, Producers: Innbo Shim, Kahane Corn Cooperman


Welcome to Creede – a remote mining town with no stop light, a theater company and 300+ folks at 9,000 feet. This unlikely setting – with its miners, ranchers and theater people – offers an unexpected lens on divisions felt by Americans everywhere. (World Premiere)


THE SURRENDER

the-surrender
Director/Screenwriter: Julia Max, Producers: Mia Chang, Lovell Holder, Julia Max, Ian McDonald, Robert J. Ulrich


When the family patriarch dies, a grieving mother and daughter risk their lives to perform a brutal resurrection ritual that will bring him back from the dead. Cast: Colby Minifie, Kate Burton, Neil Sandilands, Vaughn Armstrong, Mia Ellis, Pete Ploszek, Chelsea Alden, Alaina Pollack, Riley Rose Critchlow, Lola Prince Kelly (World Premiere)


UVALDE MOMuvalde-momDirector: Anayansi Prado, Producers: Ina Fichman, David Goldblum, Screenwriters: Anayansi Prado, Pablo Proenza


When a school mass shooting rocks a small town in Texas, a mom desperate to save her kids is launched into the public eye. She speaks out against a system that never protected her. The community challenges these powers and exposes those who failed to protect its most vulnerable – children. (World Premiere)


IDIOTIKAidiotka
Director/Screenwriter: Nastasya Popov, Producers: Tess Cohen, Camila Mendes, Rachel Matthews, Saba Zerehi, Nastasya Popov


In this sharp, irreverent comedy, a disgraced fashion designer with a dangerously low credit score, Margarita (Anna Baryshnikov) enters a reality show with a six-figure cash prize to save her babushka’s West Hollywood apartment. But as the competition intensifies, slick producer Nicol (Camila Mendes) pushes her to spin her family’s struggle into spectacle, forcing Margarita to decide whether to play along or take control of her own narrative, one unhinged look at a time.

Cast: Anna Baryshnikov, Camila Mendes, Julia Fox, Benito Skinner, Saweetie, Owen Thiele, Galina Jovovich, Mark Ivanir, Nerses Stamos, Ilia Volok (World Premiere)


NIRVANNA THE BAND THE SHOW THE MOVIE (Canada)nirvanna-the-band-the-show-the-mDirector: Matt Johnson, Producers: Matthew Miller, Matt Greyson, Screenwriters: Matt Johnson, Jay McCarrol


When their plan to book a show at the Rivoli goes horribly wrong, Matt and Jay accidentally travel back to the year 2008. Blah blah blah blah blah.  Cast: Jay McCarrol, Matt Johnson (World Premiere)


BROTHER VERSES BROTHER


brother-verses-brotherDirector: Ari Gold, Producers: Michelle Stratton, Starr Sutherland, Screenwriters: Ari Gold, Ethan Gold, Lara Louise, Brian Bell, Herbert Gold, Tongo Eisen-Martin, John Flanigan

Synopsis: Inspired by Francis Coppola’s concept of Live Cinema, Brother Verses Brother is a radically personal musical odyssey. Combative twin musicians hunt for their dying poet father, in an improvisation performed by the director’s own family, and presented as an unbroken real-time shot through the streets of San Francisco.


One brother seeks love, while the other seeks an audience. But as night falls and their father remains missing, their increasingly frantic safari leads them from the secret haunts of the Beat poets into the heart of their family. Their tale becomes a testament to the power of music, the bonds of brotherhood, and the lifeblood of a city – experienced by the viewer in real-time.


Cast: Ari Gold, Ethan Gold, Lara Louise, Brian Bell, Herbert Gold, Tongo Eisen-Martin, John Flanigan (World Premiere)


OUT FOR DELIVERYout-for-delivery-3Director/Screenwriter: Chelsea Christer, Producers: Clinton Trucks, Alexa Rocero, David B. Lyons


When terminally ill Joanna makes the difficult decision to pursue end of life options through the Death With Dignity law, the systems set up to make her death peaceful and dignified become the opposite. (Texas Premiere)


BAGGAGE (Australia, United Kingdom)

baggage-SXSW 2025Director/Screenwriter: Lucy Davidson, Producers: Vanessa Batten, Amy Upchurch


Anthropomorphic suitcase best friends bring their emotional baggage on holidays. (International Premiere)


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