animal.
Author and personal trainer Zane Griggs guides us through an hour-and-a-half argument for a carnivore diet. Often called “The Caveman Diet,” a meat-led way of eating has been all the rage in certain circles for years now. ‘animal.’ features doctors and a select few nutritionists presenting the benefits of consuming a diet contradictory to generations of teaching. Griggs uses testimonials from those who tout the life-changing effects of red meat. 
The film feels like one lengthy infomercial with cherry-picked science for effect. There is no mention of pollution and the links to socioeconomics. I’m not arguing the diet is faulty. I would have loved to have seen unbiased medical charts. I’m suggesting that the food chain accessibility should be half of the film. The fact that the only two black individuals interviewed are UK residents, a former bodybuilder, and his health coach daughter, Eddie and Selina Abbew (dad has 4m Instagram followers) is glaring.
The nature footage and scientific recreation transitions are undeniably beautiful. Overall, the editing wavers between sharp and choppy. To make a more concise argument, speakers sometimes appear glitchy rather than inserting a scientific slide to smooth the transition. It’s incredibly distracting. The skulls in the background of each sit-down come off as hokey. 
My husband went on a Keto diet in preparation for his half-Ironman competition in 2015. I joined him a few weeks in. On the fourth day, once my body entered ketosis, my body looked entirely different in all the best ways. I was shocked. But remaining on the diet in the real world was incredibly challenging. After a single cheat day, my body fell out of ketosis. I had to restart the process. I became angry, and I was always hungry. It wasn’t a sustainable lifestyle for me. 
While it is easy to agree with the profit-driven motivation of the pharmaceutical and processed food industries, it’s challenging to accept that my organically grown vegetables are trying to poison me. It comes down to money and US standards. We allow chemicals, pesticides, dyes, and unregulated factory farming that other countries do not. You can taste the difference. The final 20 minutes encourage regenerative farming and environmental care. It’s a great message, even if the film never delves into food-drought areas. 
A Keto diet worked wonders for my husband, but that was in an intense training setting. I was able to see immediate physical results, even though it did not end up feeling ideal for me. I’m worried that omitting information curves the film into pseudoscience territory. ‘animal’ has good intentions, but withholding information on the healthiest countries and their varied diets feels skewed. Viewers will have to come to their own conclusions based on the information presented, personal health journey, and availability of resources. If nothing else, ‘animal.’ triggers a broader conversation about nutrition and sustainability.
Now Playing in the Following Theaters
NYC at the Village East Cinema
Los Angeles, CA at the Laemmle Santa Monica
Las Vegas, NV at the Downtown Cinemas
Austin, TX at the Violet Crown Cinema
Dallas, TX at the Galaxy Grandscape 15
Houston, TX at the Xscape Theaters Katy Fulshear
Written & Directed by JOSH FELDMAN
Executive Producer VINNY LINGHAM
Produced by VINNY LINGHAM, KEVIN CARTER, and JOSH FELDMAN
Featuring
DR. ANTHONY CHAFFEE, DR. KEN BERRY, DR. SHAWN BAKER, EDDIE ABBEW, STEAK AND BUTTER GAL, DR. ERIC BERG, JUDY CHO, DR. ROBERT CYWES, DR. ROBERT KILTZ, SALLY NORTON, DR. LISA WIEDEMAN, DR. CATE SHANAHAN and ZANE GRIGGS
SYNOPSIS
animal. unmasks a century-long conspiracy of political, economic, and religious forces that have twisted our natural bond with meat—enslaving us to ill health and Big Pharma dependency. Through bold interviews, historical revelations, and groundbreaking science, it shatters nutritional myths and dares us to reclaim the ancestral diet that fueled our evolution.
Documentary | 89 minutes | Not Rated | 2025 | English | USA animal.
The jury is exceptional as they move through measured recall to furious shouting matches. Their diligence in tracking down evidence and looking at all sides gives me hope that jurors take their duties seriously. Jack Thornton’s editing is a feat. The choice to keep Krieps in the frame for longer than seems normal has a chilling effect. RE-CREATION is akin to live theatre. It is an improvisation session strapped to a ticking time bomb. The audience is the 13th jury member. Sheridan provides newsreel footage, newspaper clippings, video testimony, and audio recordings at the precise times we might feel lost. It is a real-time exploration of possibilities. 
Jim Sheridan also plays Juror #1, serving as a guide and sounding board. Sheridan’s attention to detail is award-worthy. Going as far as to take the jury on a tour of the key locations in the investigation. It’s hard to discern where Sheridan lies on the guilty spectrum personally. His extensive knowledge never feels coercive. He and Merriman skillfully make a case for confusion and conflict, mirroring the state of the evidence.
José Condessa creates a vibrant and charming character. He is sensitive and caring, everything a woman desires in a man. Condessa is dazzling. Ayden Mayeri gives June a true egocentric millennial with an unresolved emotional trauma vibe, which is precisely what Lilian T. Mehrel intended. Mayeri effortlessly glides into June’s arc. Amira Casar takes on Lela with a lived-in authenticity and passion. She holds each frame with her powerful presence. These two women share gorgeous chemistry. 
It becomes clear early on that fear and unresolved trauma impede Mel’s release. He lashes out to prolong his release. Getting polar opposite advice from Mark and Warren, Mel enters a quiet tailspin of decision-making as the clock runs down. 
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. 
THE FILM IS SUPPORTED BY
Eshaghian and Jafari use the investigative narrative as a thread throughout the film. The film opens with the discovery of the body and the subsequent search for who and how. Crime photos are relatively tame if you are an avid Discovery ID watcher.
Defying 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.
Directed by: Steven Feinartz
Director: Oscar Boyson
While 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.
Directed by: Rick Gomez
Director: Karam Gill 
Director: Amy Scott
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As Tom, Michael Steger walks a razor-thin line between a good guy and a total creep. Steger is formidable. Equal parts charming and terrifying, it’s a compelling turn. Genre icon Veronica Cartwright gives Olivia everything she has. The performance is a beautiful balancing act of dementia and regal articulation. She is mesmerizing. Each beat is perfect. Madelyn Dundon plays Dale with a grounded familiarity. She is vulnerable and relatable. Mema puts her through the emotional ringer, and Dundon keeps up like a pro.
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.
Screenwriter Alan Trezza delivers twists and turns, not to mention some shocking but well-utilized fight scenes. However, I do think both Rosario and Joe deserved a happier outcome. ROSARIO is a mix of lore, denied culture, grief, and regret. Even our best intentions are no match for the universe’s plans.
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