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.
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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Jim Sheridan also plays Juror #1, serving as a guide and sounding board. Sheridan’s attention to detail is award-worthy. Going as far as to take the jury on a tour of the key locations in the investigation. It’s hard to discern where Sheridan lies on the guilty spectrum personally. His extensive knowledge never feels coercive. He and Merriman skillfully make a case for confusion and conflict, mirroring the state of the evidence.
José Condessa creates a vibrant and charming character. He is sensitive and caring, everything a woman desires in a man. Condessa is dazzling. Ayden Mayeri gives June a true egocentric millennial with an unresolved emotional trauma vibe, which is precisely what Lilian T. Mehrel intended. Mayeri effortlessly glides into June’s arc. Amira Casar takes on Lela with a lived-in authenticity and passion. She holds each frame with her powerful presence. These two women share gorgeous chemistry. 
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Guy Pearce is a legend. Warren’s goal is emotional redemption for past transgressions, but reality outside forces him to save the only soul he can on the inside. Pearce is a quiet storm. His masterful ability to speak volumes with nothing but a breath proves vital to Warren’s arc. He is an unconventional guardian angel. Vincent Miller captivates as our young leading man. He comes with an unusually mature sense of self, and his comfort in front of the screen and alongside other screen titans is beyond impressive. 
Filmmakers 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.
How 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. 
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Mena’s score adds to the menacing feeling. The jump scares are legit. Mena executes thoughtfully written relationship-building while skillfully dropping clues to the mystery. Mena plays with small-town gossip, isolation, and a nurse’s instincts. THE RUSE boasts a twist that will f*ck you up. You are not prepared for the final 3rd of this film. This is a story about control. If you think you know where this screenplay is going, think again.
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The New York African Film Festival (NYAFF), now underway at Film at Lincoln Center, lands in Harlem on Thursday with a focus on documentaries.
ROSARIO
Carlos Osorio‘s production design brims with sumptuous, decaying jewel tones. The practical FX are fantastic. Carmen Cabana‘s cinematography is mesmerizing. With deliberate blink-and-you-won’t-miss-it moments, the jarring tilt of the camera, and each choice begs your attention.
David Dastmalchian is quickly becoming a Scream King. His towering presence as neighbor Joe adds a level of genre validity. The majority of the film relies on Emeraude Toubia‘s solo performance. She steps up to the plate with effortless presence and fierceness.
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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.
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