BEFORE YOU
Filmmaker Lauren Melinda‘s extraordinary short film BEFORE YOU is an emotional rollercoaster you must ride. The film follows a young couple’s journey in early pregnancy, including their undesired outcome.
I am intentionally being vague because BEFORE YOU should be vital viewing. In just under 13 minutes, Melinda taps into the visceral trauma connected to pregnancy. There exists a collective fear, anxiety, and guilt the moment you discover they are growing a life, and that is something that never fades with time.
From a filmmaking and technical perspective, the augmented sound pulses in your core. The editing is magnificent; a whirlwind of motion and time that feels outerbody and assaulting all at once. It is a subconscious deep dive into the psyche of a pregnant person’s brain and societal expectations. Actress Tala Ashe captures every emotion, often with little to no dialogue.
A physical manifestation of emotional trauma and a simultaneous catharsis, BEFORE YOU flips the narrative of abortion on its head, revealing the truth behind necessary health care access without ever mentioning politics. Women’s lives are at stake. Autonomy and family planning are at stake. This short film speaks volumes.
Inspired by writer-director Lauren Melinda’s own experience, Before You follows a couple in the aftermath of a decision they never imagined making: ending a planned pregnancy. Told with restraint and emotional clarity, the film explores the quiet, often invisible grief that can accompany reproductive loss.
Created in collaboration with Planned Parenthood Federation of America, Before You moves away from polarizing narratives and toward a more personal lens. It invites audiences to sit with the nuance, silence, and complexity of a choice that is so often politicized, yet deeply human.
Starring Tony nominee Tala Ashe (English on Broadway), the film gives voice to an experience many carry privately. Across from her, Adam Rodriguez (Criminal Minds) brings depth and warmth to a role that balances strength and uncertainty. Together, their performances anchor the film in something intimate and real.
Before You has been selected by several notable festivals, including the Oscar-qualifying St. Louis International Film Festival, Cleveland International Film Festival, deadCenter, and Film Independent’s Artist Development Showcase. During its run, Melinda received the Chaz Ebert Phenomenal Person in Film Award, and the film was recognized for Best Cinematography and Excellence in Editing.
In addition to screenings, Melinda and her team have partnered with Planned Parenthood chapters in Missouri, Idaho and Birmingham to host post-film conversations and panels. More are planned this fall, including upcoming screenings in Los Angeles, Catalina, Breckenridge and New York. Simbelle Productions, Melinda’s nonprofit production company, continues to support female-led narrative films with bold emotional stakes and meaningful social reach.
Simbelle’s recent projects include Sarah Friedland’s Familiar Touch, winner of the Orizzonti Best Director and Best Actress at the 2024 Venice Film Festival; Sophy Romvari’s Blue Heron, recipient of Locarno’s Swatch First Feature Award; and Alex Burunova’s Satisfaction, which premiered at SXSW. Before You marks Simbelle’s first in-house production.
Melinda is also developing a photography project alongside Before You, inviting individuals to visually express their experiences with abortion or reproductive loss, whether through portraiture or more abstract means. The goal is to create space for healing, connection, and storytelling.
Alanna Ubach plays Emily’s mother, Sam. A former addict seeking redemption, Ubach is a pro, settling into a weighty role. For me, Ubach created some of the most memorable sidekick roles of the ’90s and early 2000s, carrying a Lili Taylor vibe with her comedic timing. It is a dramatic departure that is phenomenal.
Brittany O’Grady owns this role. Emily is in almost every shot, and O’Grady powers through unresolved trauma with ferocity. This fearless portrayal of a daughter dying for answers will pull you in. There is an undeniable gravity to this performance.
The mostly handheld camerawork subconsciously forces the audience to participate in the mystery and the emotional turmoil. Beyond the genre fare, IN OUR BLOOD also acts as a viewfinder for the vibrant yet desolate aspects of Las Cruces, New Mexico. Screenwriter Mallory Westfall provides clues, if you pay attention, so I suggest you do. Even with that said, the twists are absolutely clutch. Currently boasting a rare 100% Rotten Tomatoes score, IN OUR BLOOD is a gripping mix of horror and thriller. True crime fans will eat this up for dinner. I’m demanding a franchise from Kos and Westfall, ASAP.
Genre: Thriller/Horror
I ONLY REST IN THE STORM
Portugal-born, Brazil-based filmmaker Pedro Pinho tackles racism in an unfiltered, confrontational manner. The dialogue is no-holds-bar and yet entirely calm in its honesty. Alongside Sergio, the audience is thrust into a lively group of queer friends, who argue among their own ranks about blackness and identity. It feels very intimate to witness. It’s a head-on white savior complex reckoning. The longer you watch and learn, white behavior feels very self-congratulatory, regardless of true intentions. 
Performances are spectacular. The immersive cinematography is a character all its own. The film often feels like a documentary with elders casually dropping facts about colonialism in social settings. I ONLY REST IN THE STORM captures you in its boldness, if you can hold on for the three and a half hour runtime. While it would undoubtedly benefit to cut that time in half, you cannot deny the meandering plot points. Each is strong, but as a whole, the film is a five-course gluttonous meal. 
Before we were married, my husband and I abandoned our lives in New York and moved to Hyderabad, India, so that he could work for a local microfinance institution. He and I, both white, served more as a spectacle, fully owning our privilege as we navigated endlessly intrusive questions and the knowledge of our ability to leave the city on our own accord. To be the minority was an eye-opening experience. I ONLY REST IN THE STORM plays for a predominantly white NYFF audience. I would have loved to be a fly on the wall after yesterday’s premiere. One can only imagine the justifications over cocktails.
HAPPYEND
This predominantly young cast is incredible. Yukito Hidaka is captivating as Kou. His brooding aura and genuine wonder are the perfect foil for Hayato Kurihara‘s intense Yuta. Each actor wears their heart on their sleeve.
![Lilith Fair_ Building a Mystery - [tiff.net]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Lilith-Fair_-Building-a-Mystery-tiff.net_.png?resize=678%2C344&ssl=1)
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.
For all things Fantasia, 
DROWNING DRY
The organic meandering of unplanned vacation time reads entirely authentic. The montage of the kids’ initial shenanigans and their mothers’ choreographed childhood dance are stand-out moments. At this point in the runtime (35 minutes), the audience could easily tap out. But the request for a swim and an innocent act of horseplay trigger a tonal shift.
The film’s deliberate observational pace builds discomfort, only exacerbated by non-linear storytelling. The moment you realize what’s happening, it is like a punch to the gut. This decision will either tantalize audiences or turn them off. Performances are outstanding from our cast of only six. Bareiša’s camerawork is perfect for his stylistic choices. DROWNING DRY is a meditation on loss, examining the varying emotional reactions between the sexes. It is a film that will have you talking about it long after the screen goes dark.
ALL TOGETHER NOW
This is the epitome of great indie filmmaking. Every aspect is genuinely impressive. Kaleb Manske‘s editing is jarring as hell, earning honest-to-goodness jump scares. The dynamic focus is incredibly effective. The soundtrack is fantastic. I’m obsessed with the repeated use of the “Always Forever ” track.
Alex Nimrod has a presence that reminds me of a cross between a young Matthew Broderick and bonafide Scream King, Justin Long. The camera loves him. He gives Lincoln charming discomfort at first. Nimrod has the chance to show his acting chops through through the subtle building of creepiness throughout the film. Lincoln’s perception of reality is thoroughly warped, sending the audience into a tailspin alongside him. Nimrod, who also pens the screenplay, goes there and never hesitates. A particular bathroom scene, one that would give any script supervisor a heart attack, is award-worthy. 
ALL ALONE TOGETHER is a physical manifestation of unresolved trauma and suicidal ideation. The film is an undeniably slick piece of psychological horror. While it’s a deliberately dark journey down the rabbit hole and straight into hell, it’s also a sharp commentary about art as therapy.
DON’T TELL LARRY
Dot-Marie Jones and Ed Begley Jr. serve up pro performances that most certainly elevate DON’T TELL LARRY. Kiel Kennedy has a genuine Will Ferrell energy. His portrayal of Larry is cringe, uncomfortable, and entirely unhinged. It’s wild and wonderful. I won’t say more because seeing is believing. Kennedy gives Larry a larger-than-life persona, mastering the comedy and terror. 
Kenneth Mosley is Patrick, Susan’s work bestie and equally fabulous sidekick. Do yourself a favor. Watch Mosley’s reel on IMDB. You will wonder why he isn’t on every screen in your home. His performance as Patrick immediately catches you off guard in the best way. He’s magnetic. Patty Guggenheim is unforgettable as the hyper-ambitious Susan. Guggenheim is a star. She has a similar energy to Julia Louis-Dreyfus. Her comic timing and charisma pull you in. Her chemistry with Mosely makes me want a sequel/spin-off/whatever!
![New York African Film Festival 2025 NYAFF - [www.filmlinc.org]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/New-York-African-Film-Festival-2025-NYAFF-www.filmlinc.org_.png?resize=678%2C382&ssl=1)
The New York African Film Festival (NYAFF), now underway at Film at Lincoln Center, lands in Harlem on Thursday with a focus on documentaries.
THE MOOGAI
Barely tolerating her birthmother, Ruth, Sarah’s whitewashed existence comes to a halt when an ancient entity rears its ugly head. Sarah’s aggression heightens as her delusions increase. She quickly spirals out of control in every aspect of her life. Sarah’s husband, Fergus, embraces his culture and does his best to navigate his familial deterioration.
The break between Sarah and her first child, Chloe, is heartbreaking. There’s no denying her resemblance to Fergus has something to do with Sarah’s icy response. The connection between Chloe, Fergus, and Ruth burns Sarah’s limited understanding of her absent culture. Ruth tries her best to protect her family, but Sarah’s relentless resistance to her roots only makes them manifest quicker as lore becomes reality and history repeats itself.
Jahdeana Mary brings earnest innocence and hurt to Chloe. You want to hug her. Meyne Wyatt is great playing Fergus. He is charming and protective. He’s a real highlight. Tessa Rose is spectacular as Ruth, giving audiences lived-in knowledge and fear. She is the heart of the film. Shari Sebbens gives Sarah everything from elitism to postpartum depression, unbridled rage to superstitious anxiety. You simultaneously loathe and feel for her. Sebbens is truly a revelation.
Practical FX, makeup, and jump scares are solid. THE MOOGAI keenly delves into medical gaslighting and the pressure on women to “do it all.” While the film is also a creature feature, Jon Bell never shies away from showing viewers that the scariest monsters are humans. It is a surprising cultural reclamation.
ZERO
Fast-paced editing and augmented sound effects keep you engaged from the first frame. The concept combines the adrenaline of SAW and SPEED, but it’s funnier and inevitably much darker. The soundtrack is fantastic. Gregory Turbellier‘s camerawork is immersive and sharp.
Leading players Hus Miller (who also co-writes) and Cam McHarg have fiery chemistry, each delivering fully flushed-out characters even if we know the most basic information about them. They make a great on-screen team. I would love to see this entire crew create more projects together.
For more Beyond Fest 2024, 
Nelson remarked, “This story felt personal to me, I felt a real connection to it because the Nelson family farm has been a working farm in South Dakota since the Civil War, and my wife’s family were also farmers. Green and Gold captures the tenacity of small-town farmers and the strength of family and community. I was honored to play Buck and highlight the dreams defining many lives in America’s heartland.”
This meaningful film is presented in collaboration with Culver’s and the Green Bay Packers, the nation’s only community-owned professional football team. Culver’s small-town Wisconsin roots give the restaurant franchise a true heart for agriculture and inspired the creation of its Thank You Farmers® Project, which has donated more than $6.5 million toensure a sustainable food supply for the future.
Green and Gold is directed by Anders Lindwall and produced by Davin Lindwall and Aaron Boyd. Dan Visser, Darren Moorman, Scott Pomeroy, Craig Cheek, and Brooks Malberg executive produce the feature film. The screenplay was written by Steven Shafer, Michael Graf, Missy Mareau Garcia, and Anders Lindwall.
The chance meeting of Fuentes and Luckey gives us insight into a music industry mystery. Diane, aka Q Lazzarus, tells us her history with music, beginning in her childhood Baptist church choir. She knew her tastes were different and embraced her unique and powerhouse presence. 
With all the elements of a successful career at her fingertips, her romance with club promoter Richard slowly changed things for the worse. The lack of recognition took its toll. Richard’s leaving, combined with the Philadelphia soundtrack snub, was the final straw, and the drugs introduced by Richard led to Q’s world crumbling. But out of destitution and depression, Q rises from the ashes of sex work, crack addiction, rehab, finding her husband, getting clean, and fighting to bring her son James home. 
James, now an adult, encourages his mother to reclaim her work. Eva, Q, and her former bandmates plan an upcoming concert. Chasing the dream of finally making her music and onstage persona a household name. Q’s newfound enthusiasm is infectious. Even though life had different plans, Q Lazzarus and Diane Luckey gave us one unforgettable story.
SXSW 2025
Director: Gerard Johnson, Producers: John Jencks, Isabel Freer, Matthew James Wilkinson, Patrick Tolan, Screenwriters: Gerard Johnson, Austin Collings
Director: Elaine Epstein, Producers: Elaine Epstein, Robin Hessman
Directors/Screenwriters: Helena Ganjalyan, Bartosz Szpak, Producers: Maria Gołoś, Monika Matuszewska
Director/Screenwriter: Alex Scharfman, Producers: Drew Houpt, Lucas Joaquin, Alex Scharfman, Lars Knudsen, Tyler Campellone, Tim Headington, Theresa Steele Page
Director: Yana Alliata, Producer: Jack Forbes, Screenwriters: Yana Alliata, Amy Miner
Director: Jessica Earnshaw, Producers: Holly Meehl Chapman, Jessica Earnshaw
Director: Eli Craig, Producers: Marty Bowen, John Fischer, Wyck Godfrey, Screenwriters: Carter Blanchard, Adam Cesare, Eli Craig
Director/Screenwriter: Kaspar Astrup Schröder, Producers: Maria Helga Stürup, Katrine A. Sahlstrøm
Director/Screenwriter: Amy Landecker, Producers: Amy Landecker, Bradley Whitford, Valerie Stadler, Jenica Bergere, James Portolese
Director/Screenwriter: Geremy Jasper, Producers: Michael Gottwald, Noah Stahl
Director: Kahane Corn Cooperman, Producers: Innbo Shim, Kahane Corn Cooperman
Director: Anayansi Prado, Producers: Ina Fichman, David Goldblum, Screenwriters: Anayansi Prado, Pablo Proenza
Director: Matt Johnson, Producers: Matthew Miller, Matt Greyson, Screenwriters: Matt Johnson, Jay McCarrol
Director: Ari Gold, Producers: Michelle Stratton, Starr Sutherland, Screenwriters: Ari Gold, Ethan Gold, Lara Louise, Brian Bell, Herbert Gold, Tongo Eisen-Martin, John Flanigan
Director/Screenwriter: Chelsea Christer, Producers: Clinton Trucks, Alexa Rocero, David B. Lyons
Director/Screenwriter: Lucy Davidson, Producers: Vanessa Batten, Amy Upchurch
Cameron and Dylan are not the first to set foot on the land. Timelines cross. The two friends document what they find on a camcorder. In the isolation, they discover more questions than answers, and the viewer travels down a rabbit hole of unnerving chaos.
Jenna Kanell gives Cameron a feisty edge that reminds me of Robin Tunney in Empire Records, appearance and all. There is a visible aversion to the hyper-religious nature that Dylan openly expresses. Hannah Alline (
The audience holds its collective breath with only drips of information at any given time. The eclectic camera work by Justin Moore is jarring in the best way possible, delivering a continuously menacing vibe. (Don’t think I missed your EP credit, 
Eric McGinty‘s STOCKADE follows Ahlam, a Lebanese woman trying to get her artist’s visa extended in NYC. To pay her lawyer, she agrees to deliver a package upstate. 
Halfway through the story goes in an entirely bizarre direction when Richard doesn’t show up, Paul isn’t answering the phone, and two strangers appear in the house demanding the contents of the package. Suddenly, easy money is not so easy after all.
While the rest of the cast is mediocre at best, Sarah Bitar is spectacular. She has a commanding presence about her. Ahlam holds unspoken trauma and guilt from leaving her family in Beruit. Bitar holds you captive with her fierce energy. She is the reason to watch this film.
EVERY LITTLE THING
Worthy of a National Geographic seal of approval, Sally Aitken‘s EVERY LITTLE THING boasts stunning cinematography by Ann Johnson Prum. Alongside Caitlin Yeo’s lovely score, it is a captivating viewing experience.
We meet several birds by name. One particularly injured little one named Cactus captures our hearts. Juxtaposed with the deep trauma from her childhood, Terry explains how selfishness affects the rehabilitation process.
The film makes it effortless to root for these tiny birds. Terry’s relentless determination and patience, her ability to be so in tune with these creatures, is mesmerizing. It’s incredibly powerful.
There is an overall sweetness to the film that can only be felt upon viewing. It is simultaneously heartbreaking and joyful. A meditation on grief and healing, EVERY LITTLE THING is a light in the darkness and the example of compassion we all need at this moment in time.
GRAND THEFT HAMLET
Sam and Mark try to entice an audience while simultaneously playing the game. GRAND THEFT HAMLET is hands down one of the most entertaining documentaries ever. Guns blazing, blood spraying, and lines of Shakespeare flying willy-nilly, it’s brilliant madness.
Having only witnessed clips of Grand Theft Auto through the years, I was blown away by the ability to customize the experience. It was both exhilarating and terrifying. It is something akin to a virtual vision board. (Yes, my theatre nerd girl roots are showing.) Could this be a new way to rehearse actors? The director in me has all the thoughts currently rushing into my brain.
On the technical side of things, the editing and soundtrack are award-worthy. The film exemplifies the power of human connection when it was not possible in the physical world. It is a light in the ongoing darkness that often feels all-consuming. Sam’s plea from the film’s audition recruitment segment says it all. “You can’t stop art, motherfuckers!” GRAND THEFT HAMLET is the epitome of the creative community’s ability to bring hope.
The structure is a mix of real-time anxiety about the airing episodes, Rex’s extraordinary ballet training, and unresolved childhood trauma. After her first win, Lady Camden’s popularity skyrockets. But the film never lets us forget the immense work that goes into this art. 
Delving into family and friend dynamics is vital to Rex’s well-being. There is an unfiltered honesty that hits you square in the chest. Transitions are eye-catching animation sequences that also serve as explanations for any viewer unfamiliar with Drag Race. Nina West, a darling of the show’s legacy, narrates. It is the perfect pairing for Lady Camden and Rex. 
The film is beautifully shot and emotionally edited. There is love infused in making this film. A visceral joy of becoming who we always dreamed we’d be bursts off the screen. LADY LIKE is a must-see. 
You must be logged in to post a comment.