Tribeca Film Festival is back and it’s the 20th anniversary, baby. This year’s lineup not only features a slew of incredible new films but will also include titles that didn’t get the chance to screen at the 2020 festival due to Covid. Audiences can experience Tribeca in a multitude of ways. You can enjoy outdoor screenings or watch from the comfort of your couch with Tribeca At Home. There are podcasts, live talks, immersive programs, and so much more. This festival is reliable for churning out crowdpleasers and this year is no exception. Here is a mere handful of films we are excited to share with our readers.
Werewolves Within
SYNOPSIS:After a proposed gas pipeline creates divisions within the small town of Beaverfield, and a snowstorm traps its residents together inside the local inn, newly arrived forest ranger FINN (Sam Richardson) and postal worker CECILY (Milana Vayntrub) must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community.
Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23
Poser
Lennon exists timidly on the sidelines of the thriving Columbus, Ohio indie music scene, yearning for a personal connection that might shepherd her into the inner sanctum of warehouse concerts, exclusive backstage, house parties and the cutting-edge art scene. As she fuels her desire for entrée into a podcast featuring live music and conversations with the artists she so fervently admires, Lennon finds inspiration for her own musical ambitions…and a growing sense of misdirected identity. Enter Bobbi Kitten, an enigmatic, striking and talented half of a popular, indie pop duo, who takes Lennon under her confident wing—unwittingly entangling herself in a dark obsession.
Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23.
Settlers
Remmy and her parents, refugees from Earth, have found peace on the Martian outskirts—until strangers appear in the hills beyond their farm. Told as a triptych, the film follows Remmy as she struggles to survive in an uneasy landscape.
An unexpected feminist tale, Settlers script makes the heart beat faster, ceaselessly begging the question, “What would you do to survive?”
Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23
How It Ends
In this feel-good apocalyptic comedy, Liza (Zoe Lister-Jones) embarks on a hilarious journey through LA in hopes of making it to her last party before it all ends, running into an eclectic cast of characters along the way.
Having a massively successful run on the festival circuit, Zoe Lister-Jones stars in a cameo-filled, riotous, and thoughtful film about coming to terms with the traumas of our childhood. You will laugh (a lot) and cry. This one will undoubtedly hit all the right notes.
Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23
We Need To Do Something
After Melissa and her family seek shelter from a storm, they become trapped. With no sign of rescue, hours turn to days and Melissa comes to realize that she and her girlfriend Amy might have something to do with the horrors that threaten to tear her family – and the entire world, apart.
This is one of the first titles to get picked up before its premiere. That always makes a film extra buzzy. The idea of being trapped in a bathroom with my family already gives me anxiety. Add on the horror element and you’d push anyone’s nerves beyond their breaking point.
Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23
Ultrasound
**World Premiere** – Midnight
Driving home late at night during a heavy rainstorm, Glen experiences car trouble. Near where his car gets stuck, he spots a house, knocks on the door and is greeted by an oddly friendly middle-aged man, Arthur, and his younger wife, Cyndi. The strange couple pours him a drink, and then more drinks, followed by an unexpected offer that Glen can’t refuse. Elsewhere, a young woman, Katie, is feeling emotionally weighed down by a secret romantic arrangement that feels like a textbook case of gaslighting. And at the same time, in a nondescript research facility, medical professional Shannon begins questioning her role in a bizarre experiment, fearing that she’s doing more harm than good.
When I tell you that you aren’t ready for Ultrasound, I mean that as the highest compliment. This is a film best viewed totally unaware of the plot. Frankly, that’s not too difficult as the script provides dizzying twists over and over again. This is a film that people will be talking about. It’s one you’ll want to watch again and again.
Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23
Claydream
A modern day Walt Disney, Will Vinton picked up a ball of clay and saw a world of potential. Known as the “Father of Claymation,” Vinton revolutionized the animation business during the 1970s, ’80s, and ’90s. But after 30 years of being the unheralded king of clay, Will Vinton’s carefully sculpted American dream came crumbling down at the hands of an outside investor, Nike’s Phil Knight.
The poster alone screams nostalgia for a generation brought up on Saturday morning cartoons. With sitdown interviews and behind-the-scenes clips, fall in love with Will Vinton and his creations all over again.
Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23
No Man Of God
In 1980, Ted Bundy was sentenced to death by electrocution. In the years that followed, he agreed to disclose the details of his crimes, but only to one man. NO MAN OF GOD is based on the true story of the strange and complicated relationship that developed between FBI agent Bill Hagmaier and an incarcerated Ted Bundy in the years leading to Bundy’s execution.
Streaming Tribeca at Home is not available outside the USA. This purchased film will remain available to stream on demand from the above date through 6/14 at 6 PM EST
Creation Stories
Creation Stories charts the true story of the rise and fall of Creation Records and its infamous founder, Alan McGee; the man responsible for supplying the “Brit Pop” soundtrack to the 90s, a decade of cultural renaissance known as Cool Britannia. From humble beginnings to Downing Street soirées, from dodging bailiffs to releasing multi-platinum albums, Creation had it all. Breakdowns, bankruptcy, fights and friendships… and not forgetting the music. Featuring some of the greatest records you have ever heard, we follow Alan through a drug-fueled haze of music and mayhem, as his rock’n’roll dream brings the world Oasis, Primal Scream, and other generation-defining bands.
Drugs, music, risk, and passion drove Allen McGee to change the face of music in the 90s. Creation Stories comes at you like a freight train with a visceral energy that makes you wanna get up and dance. If you are a fan of Trainspotting, also penned by Irvine Welsh, this is right up your alley. Be on the lookout for our upcoming interview with director Nick Moran!
Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23
My Heart Can’t Beat Unless You Tell It To
Two mysterious siblings find themselves at odds over care for their frail and sickly younger brother.
This is another film that is best experienced without prior knowledge of the plot. My Heart Can’t Beat Unless You Tell It To comes out of left field in a genre-bending tale of morality. The emotional gut-punch that the film becomes will consume you.
TRIBECA FILM FESTIVAL 21 runs from June 9th to the 20th. For more information visit https://tribecafilm.com/festival and stayed tuned to Reel News Daily for reviews and updates.
Romania’s hit film Two Lottery Tickets is the most enjoyable buffoonery you can think of. In his second feature, writer/director Paul Negoescu takes a story from writer Ion Luca Caragiale and sends us on a €6 million fool’s errand. Local pushover Dinel’s wife fled to Italy with her boss two years ago. He is depressed and going broke trying to raise enough money to bring her back home. Drinking buddy Sile, a womanizing gambler, convinces him to spend his last few euros on a lotto ticket. Against all logic, Dinel’s idiotic chosen numbers end up being the winner. After two thugs steal his bum bag with the ticket inside, Dinel, Sile, and local conspiracy theorist Pompiliu must follow the clues by annoying neighbors, evading the police, and generally being ridiculous. It’s the sincerity of these three men simply being themselves that makes Two Lottery Tickets both loveable and hilarious. Actors Dorian Boguță, Dragoș Bucur, and Alexandru Papadopol all deliver lines in a way that makes you smirk and cringe. This is a film that has such comic ease to it. Once in a while, you come across a film that is like a cinematic hygge (because that’s a thing I just made up but you totally know what I mean, so whatever). Two Lottery Tickets has all the makings of that film you want to tell your friends about. Negoescu and cast have given viewers such relatable characters. In fact, if you watch it in a group setting, someone in the room is probably a Dinel, a Sile, or a Pompiliu. It is truly that delightful.
Wendell is an ex-con whose parole officer enjoys berating him over the phone. When a new handyman job brings him to the door of Suzanne, a quirky woman with dementia, he’s in for more than unclogging her pipes. The set-up gets weirder and weirder. Secrets and lies live in this house, but not for long. Wendell’s path to freedom is dean on arrival. Do not get comfortable for a single minute of Dementia Part II.
Graham Skipper plays such an asshole. It’s incredible to watch. Najarra Townsend, who was phenomenal in 
Shout out to Matt Mercer and Mike Testin for normalizing a runtime of 1 hour and 5 minutes. Good storytelling doesn’t need to be overstuffed with unnecessary nonsense. The dark comedy of Dementia Part II mixed with the very serious underlying mental health issues makes this film ripe for midnight screenings. I can already hear the audience yelling out Wendell’s many alternative names, making lewd gestures with pipes, and throwing $100 bills at the screen. You cannot go wrong with its vomit-inducing practical fx and outstanding performances from the entire cast.
Transitioning from your college bubble to adulthood is hard enough. Add a breakup and no sense of direction and you’ve got yourself a basic outline for a film. Based on a story by screenwriter Chris Molinaro and directors Brandon LaGanke and John Carlucci, DRUNK BUS gives us a coming-of-age buddy comedy that you won’t see coming. This film is unexpectedly guffaw-inducing. I was knocked off my feet watching the chemistry of this cast. This film is about overcoming fear, anxiety, latent rage, guilt, you name it. DRUNK BUS has it all without ever getting too heavy.
The score immediately reminded me of The Goonies. It is a perfect mix of ominous and whimsical. Dylan’s reading voice is costar Rob Brownstein’s voice. As a mute boy, Dylan’s internal vocal reference would most certainly be that of his father. This moment of specificity from Charbonier and Powell is magic. The entire film’s sound design is award-worthy. Dylan’s hearing is likely acutely sharp due to developmental adaptation. The audio is jarring in a way that places the viewer in his constant state of hyper-awareness. His panic is our panic and it is palpable.
It’s a fresh take on the legend and more shudder-inducing than you’d expect. The pacing is perfection. All the tropes are there but with a hell of a twist. The Djinn‘s main conflict plays out within an hour, making the stakes feel higher as we count down the minutes alongside Dylan. Speaking of our leading young man, Ezra Dewey is a star. His chemistry with Rob Brownstein is charming and genuine. Dewey’s ability to own this entire film sans dialogue is the stuff of dreams. Mark my words, he will be everywhere. The Djinn is a very scary bedtime story warning us all to be careful what we wish for.
The mockumentary style is unbelievably hilarious. Every single cast member is a damn laugh riot. I don’t know how much of this film is improvised and how much is scripted, either way, you will be entertained from start to finish. Handheld camera work and snarky voiceovers push 15 Things to some next-level hilarity, but also a legit gorgeous looking movie. The editing and cinematography are ridiculously stunning. If you put it on mute, you’d never know the difference between this and Vice. It’s scary good. Is this the first of a franchise for these guys? I would not be mad at that. 15 You Didn’t Know About Bigfoot is now available In Theaters + on VOD. 
While the action revolves around the accident, these characters are fully fleshed-out people we recognize. The remarkable performances in SILO might even suggest that this film was a documentary and not a narrative. The cast has a chemistry that genuine. It’s astounding. You won’t have a moment to breathe once things go awry. Even within a 76-minute runtime, the writing is so great that we have enough backstory for every person on the scene to feel the emotional pull. We understand why they’re there and how they’re connected. SILO doesn’t simply address farming safety but gives us a compelling drama about small-town dynamics. It is impossible to watch this and not be consumed by the relationships in this film. That’s what happens when you have the perfect storm of acting, writing, and directing. This is a film that will resonate with a massive audience, regardless of their background. It sheds a light on a culture that is often taken for granted and the very real dangers of farming. SILO is a harrowing film about safety and an undeniably important watch.
What I loved about this film was watching the tenacity of a woman pushed past the breaking point. Using wit and pure gumption, Inga helps a community that’s being taken advantage of. Arndís Hrönn Egilsdóttir‘s performance is out of this world. She is funny, powerful, gutsy, and yet completely vulnerable and grounded. The film doesn’t simply rely on the natural cinematic landscape but smartly uses its scope to tell this story. The script has a beautiful flow to it. 
Greg Bryk
This eclectic documentary traverses from the inception to the nuance of programming this iconic television show. Everything from the production design to intimate interviews with the actors, from the musical guests to the writers’ room is in this film. It hits on the social, racial, and educational impact of the show. The show’s schedule was one of the most intense I’ve ever heard of. 100 episodes per year filled to the brim with original sketches (both muppet and street scenes), animation, and original songs, Sesame Street has changed the lives of countless families across the globe.
Some of the most charming bits in the film are the blooper reels. The genius, off-the-cuff moments between cast members staying in muppet character will slay you. One very poignant time in the show’s history was anything but unscripted. The death of Mr. Hooper was a carefully curated scene. It sticks with me still today. In 1990, when Jim Henson passed at the age of 53, the world mourned alongside the cast and crew of Sesame Street. Caroll Spinney as Big Bird singing “It’s Not Easy Being Green” at Jim’s funeral is heartbreaking and eternal.
What could go wrong with attempting to play God? Only everything. Instincts suppressed lead to one dangerous boiling pot of hormonal and phenomenally intelligent young people. It’s all one big morality question. Putting these unsuspecting kids in this position to save the entirety of the human race is a lot to ask. Then to lie to them, control them, use them without allowing them to be fully human themselves is cruel. And yet it’s not that simple. Limited resources forced this scenario. The likelihood of its success already feels like an uphill battle. All hell breaks loose when something attacks Richard, the only adult on board. Will these 30 young people fight their instincts or one another?
Colin Farrell as Richard is remarkable. He is the father figure. Loving, protective, and genuinely wanting these kids to succeed. Lily-Rose Depp as Sela is astonishing. She walks the perfect line of innocence and strength. Her journey, like Sheridan’s, is fascinating to watch evolve. Fionn Whitehead plays Zac with terrifying aggression. His portrayal of unhinged, pure testosterone-driven rage is all too familiar in the best way possible. Tye Sheridan plays Christopher with a curiosity and a growing intensity that makes him the perfect protagonist. He is levelheaded, kind, and determined to survive. Sheridan easily owns his leading man status.
Voyagers becomes a near-future version of Lord Of The Flies. It’s chaos created and chaos inevitable. The set is cool as hell. It feels immense and claustrophobic all at once. Trevor Gureckis‘ score is gorgeous. Writer-director Neil Burger has given audiences a heart-pounding and brilliant film. This one will stick with you long after the credits roll.
The visual progression of horrifying imagery is stunning. The sleep experiment costumes have a Tron meets Captain EO vibe and I really dig them. The script is solidly disturbing. In all honesty, I was locked in until the very final scene which for me stepped into “Huh?” territory. I’ve now watched this film twice. The second viewing was a lot more telling. I have new theories. That being said, the rest of the film is so powerful, Come True is completely worth your attention. Thoroughly engrossing original visuals and storytelling are ramped up by Electric Youth and Pilotpriest’s synth score. It manages to wrap itself around you and immerse you in fear. Each of these elements creates an experience making Come True its own entity. It may give you your own new set of nightmares.
The 110% commitment to the absolute absurd is what makes Keep An Eye Out (Au Poste!) so phenomenal. It has an authentic Monty Python level of rapid-fire, totally ridiculous tone to the dialogue. You’re just smirking the entire time. Whatever these guys were selling I was buying. I gutturally laughed out through the entire 73-minute run. Also, can we please normalize these kinds of runtimes? Great, concise storytelling. I’m here for it.
Chief Inspector played by Benoît Poelvoorde is a real prick but in the best way possible. The perfect foil for Ludig. He isn’t really listening to anyone and meanders between genius and complete moron. His presence is commanding. Grégoire Ludig plays the completely unsuspecting Fugain. His character goes on the journey of a lifetime. Ludig is the “straight man” of the cast, which isn’t saying much. In an American version, he’d be played by Paul Rudd; genuine comic timing in an everyman sort of way. His charming panic becomes our panic. It’s a true testament not only to his talents but the magnificent script. The nonchalance of the entire thing will floor you. Enter Philippe, the underling assigned to watch Fugain when the Chief is called away. Actor Marc Fraize was honestly my favorite thing about the entire film. I wanted to put him in my pocket and take him with me. His loveable, quirky oaf delivery was something unto itself. He really completed the circle of greatness for me, personally.
The storytelling style is a mix of interrogation and creative recreations of Fugain’s official statement. All while attempting to hide another matter in plain sight. The cinematography is beautiful; something akin to a Wes Anderson film with its very distinct color palette. The visual gags are to die for. You will not know which end is up. It’s dizzying and meta, and once it takes off it doesn’t let up for a minute. It’s like watching a tennis match of wit and weirdness. I could not recommend KEEP AN EYE OUT more.
There’s an intense charm about Tom Holland. He commands the screen with his ability to both put you at ease and surprise you. You just believe him. If that’s not the very definition of great acting, I’m not sure what is. His narration controls the overall atmosphere of the film from the get-go. While Holland gets to explore the dark humor in it all, you’re constantly waiting for the other shoe to drop for Cherry. The military PTSD exacerbates his already existing sadness which inevitably leads to addiction… Which leads to a string of bank robberies.
Cherry is a self-destructive story of a young man with no sense of direction, controlled by impulse rather than logic. It could just as easily been an entire series. There’s a lot jammed into its two hour and twenty-minute run. If I’m being perfectly honest, it’s almost too much. With 30 minutes left, I had to pause and come back later. To clarify it was very engaged it was just a lot to ingest in one sitting. Had this played in theaters, I worry an audience wouldn’t be able to stick with the length. Outside of that one concern, Cherry is highly entertaining thanks to Holland’s full commitment to Jessica Goldberg, and Angela Russo-Otstot‘s phenomenal screenplay, and the stylistic choices of The Russo Brothers’ overall aesthetic choices.
Based on the book of the same name by Naoki Higashida, The Reason I Jump is an emotional rollercoaster. I was already welling up listening to the opening monologue. The echolalia, the sensory overstimulation, the hand flapping, and ear covering all punched me in the gut when presented on screen. I’m a lucky Mom. At 5 years old, my child is now very verbal, he’s hyperlexic which means he’s been reading since he was two. He loves hugs, sleep, and eats well. On the autism spectrum, he would be closer to Asperger’s, if that were a diagnosis recognized nowadays. None of these facts lessen the fear, frustration, exhaustion, and pure elation in raising an exceptional human being. The Reason I Jump is tailor-made from the words of a nonverbal 13-year-old boy’s experiences from the inside out. In film form, it’s simply triumphant.
In the doc, we are introduced to 5 unique young people with autism.
Joss -(UK)
Jestina – Sierra Leone
The narrated excerpts from the book directly correlate with whichever child is being highlighted at that time. Voiced by Jordan O’Donegan, they have a poetic feel to their profundity. Naoki writes, “Making sounds with your mouth isn’t the same as communication.” That quote did me in. When you hear that, truly hear it, you will be taken aback. Jestina, Ben, Emma, Joss, and Amrit all communicate in a different way, we just had to learn how to listen. The heightened sound design immerses you into the world of an autistic person. We do not understand what it is like to be utterly overwhelmed not being able to be fully understood. The cinematography is breathtaking. Quick cuts, predominantly in close-up form combined with a gorgeous soundtrack put you in an alternate headspace. The editing takes all these elements and blends them into a viscerally stunning documentary.
As a mother of a child on the autism spectrum, I feel like I can see I want to broadcast this film to the world so that neurotypical individuals can understand my son and every other person on the spectrum. The label of autism, whether people realize it or not, creates implicit bias. We are missing out on the potential and impact of an entire faction of our society. It is our duty to meet each other in the middle. The Reason I Jump is a captivating peek behind the autism curtain. Don’t look away now. Thank you Naoki Higashida for writing this book. Thank you David Mitchell for translating it for your son. Thank you Jerry Rothwell for directing such an important film. Thank you to the families that shared their lives. Watch this film, then choose to listen and learn in a new way.
The contentious relationship between Devon Sawa and Camille Sullivan is what makes the initial framework of this film so intriguing. With Anne longing for more traditional stability for her family, Joe thrives in the wilderness. Trapping is just not meeting their monetary needs any longer. With their daughter Renee to protect, they are in for a bigger surprise than running out of food and a rogue wolf on the prowl. Hunter Hunter goes to a place so dark, you won’t be able to get it out of your head.
The survivalist and tracker methods ring true. Sawa, who has been churning out films the past few years, once again holds the audience captive with his presence. I’ve stated before that his talent is often overlooked. His commitment to a role is stellar and he’s a lovely human in real life. Here his portrayal of Joe is steadfast and loyal, with a side of heroic intention. His chemistry with Summer H. Howell as daughter Renee is a touch reminiscent of Ben Foster and Thomasin McKenzie in Leave No Trace. Howell gives a “raised off the grid”, tough as nails, but thoroughly innocent age-appropriate performance. It’s just right. Nick Stahl and Devon Sawa in one movie together, have made my schoolgirl fantasies a reality… in the most satisfying, genre nerd girl way. Stahl is downright scary. You can read the unspoken backstory he’s given himself in his posture and gaze. It’s startling.
Camille Sullivan has been written as a fully nuanced woman, forced to activate her Mother Bear instincts. The power she brings to this film is unmatched. This cast has to not only contend with a terrifying script but the elements of filming in the wilderness. I have so many questions since the credits rolled but the mystery that remains isn’t even relevant when the screen goes black. You are simply left in shock.
That sharp turn in the plot blows up everything you think you know about how this story will end. Your heart will be in your throat for the final 3rd. Writer/director Shawn Linden has given us one of the most disturbing films of 2020. The utter carnage, both emotional and physical, inflicted on this cast is brutal. The visceral horror of that befalls the viewer is skin-crawling and nausea-inducing. Hunter Hunter is complex and precisely crafted. Camille Sullivan‘s performance will go down as one of the most iconic final girls, ever.
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