
EGGHEAD and TWINKIE
EGGHEAD AND TWINKIE is an instant classic. After coming out to her parents, two best friends go on an impromptu road trip to meet a crush. This genre-bending film is one of the most fun selections at Outfest: LA.
Jill Cefalo-Sanders provides quirky animation, giving us adorable hand-drawn anime-inspired visuals for emotions, sounds, and transitions. It’s very Lizzie McGuire, and that’s an absolute compliment. It’s almost its own character in the film. The script kicks close-minded conservatism to the curb, much like a Mini Katana cutting through outdated beliefs with precision and style. Writer-director Sarah Kambe Holland makes Twinkie a total badass. She is funny, brave, awkward, fearless, and (to use a Gen Z word) fire. Holland gives Egghead all the qualities to balance his best friend. He is nerdy, loyal, thoughtful, and unequivocally at Twinkie’s mercy. The script doesn’t shy away from sexual fluidity but directly addresses it in an accessible way.
Asahi Hirano plays Jess with a comfortability that is chef’s kiss. Acting like an LGBTQ+ sensai for Twinkie, Hirano makes the conversation flow easily. She is a delight, someone who could carry a spinoff film. Louis Tomeo as Egghead is fantastic. He is laugh-out-loud funny in his natural delivery. The sass is perfection. Holland allows him to show his comedy chops through the script and hilarious editing from Anna DeFinis and Kristina League. Sabrina Jie-a-fa plays Twinkie with a perfect balance of audaciousness and hesitancy. We see authentic coming-of-age and coming-out stories in her journey. Together, Tomeo and Jie-a-fa are a spectacular duo. You will fall in love with them.
The teenage shenanigans ring true. That feeling of invincibility and daring remind me of my crazy ideas and dumb decisions in the late 90s. Egghead and Twinkie take risks, make mistakes, hurt each other, get their hearts broken, and confess their fears. The film is a helpful guide for parents struggling to understand their kids’ feelings. Regardless of their core beliefs, EGGHEAD AND TWINKIE is undeniably relatable. A modern-day romcom-buddy comedy-road movie we all needed to see. It is easily one of the year’s best films. Hey Netflix! This one is right up your alley. Do not sleep in it!
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Director:Sarah Kambe Holland
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Screenwriter:Sarah Kambe Holland
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Producer:Danielle Fountaine, Sarah Kambe Holland, Valerie Starks
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Executive Producer:Simon Holland, Torye Kambe, Dan Pastewka, Kathleen Weldon
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Cast:Sabrina Jie-A-Fa, Louis Tomeo, Asahi Hirano, Ayden Lee
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Cinematographer:Olivia Wilson
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Editor:Kristina League, Anna Definis, Sarah Kambe Holland
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Animator:Jill Cefalo-Sanders
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Production Design:Luke Sanders
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Composer:Ben Thornewill
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Sound Design:Bo Li
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Music:Arielle James Harris



Following her rise to fame in shows like Orange is the New Black, The Handmaid’s Tale, and
The main all-white set plays a dual role, subconsciously reminding you of white power and allowing your eye to focus on Brewer and the green plants she tends in her quiet time. The practical FX are gag-inducing. The score is ominous. It is easily one of the most affecting and unsettling things I’ve seen this year. 


Filmed in my and Kind’s neighborhood of the Upper West Side, the film takes place as Chloe describes it, making the scenario even funnier. Do I want to see the feature-length version of this? Yup. Is this perhaps the most convincing actual proof of concept ever created? I think it might.
Peppergrass
Chantelle Han

Young Je’Vida comes to life through the eyes of Agafia Niemenmaa. This personification of innocence is captivating against the stark quiet of Finnish snow and ice. She is a star. Sanna-Kaisa Palo gives present-day Lida a palpable lived-in trauma and definitive rage. Dismissive at the beginning, her healing journey comes with the shedding of shame and reclamation of identity through the next generation.

Writer-director-producer-DP-and editor Evan Marlowe brings Panic Fest 2023 audiences, hands down one of the most twisted films in recent history with ABRUPTIO. A maniacally bizarre and wholly disturbing film, this story of coping mechanisms, humanity’s darkness, and unrelenting guilt will knock you off your feet.
Robert Englund plays Mr. Salk, an OCD accountant dressed entirely in white. A genius move on Marlowe’s part to include his vocal stylings. Darren Darnborough gives Clive a perfectly sinister intonation. I would happily watch a spinoff following his character’s shenanigans. BUFFY loves of my life James Marsters voices Les. He is outstanding. His subdued nature makes you all the more uncomfortable. 






Mesmerizing closeups of body parts beading with sweat captured with static and handheld camerawork beautifully complement the conversations and place the audience inside the room. Haunting vocals during transition moments captivate the audience. Images of south Estonian matriarchs are projected on the sauna smoke as their voices recall tales from their lives. It is another stunning addition to an already visually sumptuous film.
Topics like cancer, women’s rights, body shaming, unresolved trauma, sex, and sexuality swirl freely. It is a safe space I envy. Smoke Sauna Sisterhood brings a contagious joy. There is a raw elegance I think Sundance 2023 audiences, specifically female viewers, will welcome. This film is a celebration of our complexities, highlighting the tender care we take with one another. It is revelatory to rediscover the interconnectedness of women and our shared experiences, good and bad. It is an astonishingly rewarding emotional catharsis.
Anna Hints is an Estonian film director with a background in contemporary art and experimental folk music. Having deep roots in the distinct culture of South Estonia, Hints’ second home is in India. As an active dumpster diver, Hints’ short documentary For Tomorrow Paradise Arrives initiated public discussion and growth of new grassroot movements against food waste in Estonia.
Imagine a scenario, if you will, where the federal government controlled the entirety of the media. Ask North Korea and China’s citizens how well that works for them. Native American tribes are sovereign nations. They do not have freedom of the press. In the Sundance 2023 documentary from Rebecca Landsberry-Baker and Joe Peeler, BAD PRESS exposes the crushing actions of tribe leaders to remain in power. MVSKOKE MEDIA journalists are under attack while the Chief manipulates the Muscogee community with misinformation. Who will protect the truth?
The biggest question becomes, “What do you have to hide?” BAD PRESS is the perfect Sundance 2023 companion to watch with
Memory preservation, emotional resonance, exploration, and exposure of truth, FANTASTIC MACHINE
The power of curated messaging in politics is something we know well. The film features a breathtaking 1993 interview with a filmmaker that changed the face of WW2 and modern-day filmmakers. In 1934, The Nazi Party hired Leni Reifenstahl to show the movement as powerful and attractive. She speaks about the entertainment factor, how a two-hour speech must be compressed to five minutes with a beginning, middle, and thrilling middle, despite the subject. As I witnessed the pride in her technical work, my mouth was agape. Juxtapose those images with the Sidney Bernstein footage from the final day of the war in 1945. Charged with proving the atrocities of war ever existed, Bernstein brings humanity, suffering, and truth. In the end, it is a product. In most cases, it is void of morality.
Maximilien Van Aertryck narrates with a profound statement: “A lack of perspective can distort what the world looks like.” There is such a fine line between propaganda and truth. We are all too familiar with this tactic. The results of media manipulation are monumentally dangerous but immensely lucrative. Instagram is rewiring young brains in a similar manner fashion magazines impacted our self-esteem in the 90s. It, quite literally, changes brain chemistry. The editing from Mikel Cee Karlsson and writer-directors Axel Danielson and Maximilien Van Aertryck is award-worthy. As the saying goes, they understood the assignment.

The film opens with Jeb Berrier and a glorious 10-plus minute monologue of stories and advice. His delivery lands somewhere between stoic and hypnotizing. It is an extraordinary turn. Charlie Plummer never ceases to amaze me with his grounded portrayals. It’s like watching a documentary. Plummer settles into Nate without missing a beat. His calming demeanor, similar to Berrier’s, grabs you instantly. Rutherford’s script allows Plummer to break free as the story progresses, and again, he nails it. There is a purity to the performance.
Cinematographer Alfonso Herrera Salcedo‘s work is beautiful. The combination of black-and-white and thoughtful framing captures your attention immediately. I adored the stationary swings. Long takes allow the audience to focus on the dialogue, heightening the emotional investment. The location is a cemetery and the surrounding open plains. Something about this choice speaks volumes on a metaphoric level. Short intercut scenes surprise and delight.
The film is a perfect fit for Slamdance 2023. Writer-director Jeff Rutherford offers an intimate portrait of attempted redemption and connection. Complete with full-circle moments, A Perfect Day for Caribou is a mesmerizing character study brimming with complexity.
The editing combined with the score creates a charming and deeply affecting quality. Confessional diary logs place us in Ella’s headspace. She uses home videos and sit-down chats with her Mum and Dad about what it was like to raise her. Seeking specialists and families with the same disability offers Ella more questions than answers. We follow Ella through an unexpected pregnancy. Her gorgeous son River and the Covid 19 pandemic change how she views potential surgery options. As she speaks to others via Zoom, she contemplates the appreciation of her body.
The discussion of ableism is paramount to understanding Ella’s life and any family with a differently abled member. I am the mother of a seven-year-old son with Autism Spectrum Disorder. I suspect that with his off-the-charts cognitive abilities, the more precise diagnosis is Aspergers. I appreciated Ella and her best friend Naomi’s honest discussions about her autism and the challenges of an invisible disability. Each admits they cannot fully understand the inner workings of one another’s feelings and worry they have inadvertently said horrible things to one another. Understanding the staring, judgment, and how it pierces the heart cannot be ignored. That is also why the conversations with Ella’s parents resonated with me. Like Ella seeking someone to connect to, her Mum and Dad were touchstones for me.
IS THERE ANYBODY OUT THERE? tackles outdated stereotypes and deep-seated trauma, but also optimism. I hope Ella Glendining understands the gravity of her film. I have to thank her for sharing her life, and I look forward to sharing her story with my son when he is a bit older. IS THERE ANYBODY OUT THERE? celebrates individualism and isn’t that the ultimate goal?
The thrill of taking the otherworldly hand becomes like a drug to the group. This shockingly dangerous behavior throws me back to my teen years, forcing this horror fan to wonder if I would suffer the same fate. A goody two shoes concerning drugs and alcohol does not negate my risky excursions in the New England woods in the pitch black of summer nights. As Mia and her friends battle the typical parental control and need to fit in, their heightened chase of danger spells nothing but doom. Writers Bill Hinzman and Daley Pearson, with concept by Danny Philippou, give us all the background we need to get sucked into this wild scenario, leaving just enough mystery to keep us salivating.
The practical fx are solid. The film’s special effects makeup team does a remarkable job of creeping the audience the fuck out. The work becomes more elaborate as the story progresses. It is spectacular. 
The film looks beautiful. Fran Fernández Pardo‘s cinematography highlights the rich colors in fabrics and paint and captures extraordinary angles in fantasy sequences. The commentary on religious oppression and desire is unmissable. The performances are outstanding. Kiti Mánve breathes vulnerability and quiet ferocity into the role of Mari Cruz. It is a stunning, award-worthy turn.
Screening Times
The competition does not occur annually, making it all the more exclusive. Here is how it works: Stage One: 87 participants, Stage Two: 46, Stage Three: 23, Stage Four: 12. The film bounces from the competition to our pianists’ hometowns before competing. A peek beyond the bench, we witness rehearsals, family life, and personal confessions.
An undeniably shocking level of emotional investment comes with experiencing PIANOFORTE. The amount of pressure is unimaginable. The film’s final edit is a masterpiece. Undoubtedly, the audience may suddenly find themselves unexpected piano enthusiasts.
In AirHostess- 737, we meet Vanina, a 39-year-old flight attendant trying to hold it together. Self-conscious over her new braces, her anxiety rises as the film progresses, exacerbated by a passenger, the pilots, and strong turbulence. But there is far more on Vanina’s mind than her newfound hardware.
As a frequent flyer, I instantly grinned at actress Lena Papaligoura‘s deadpan demonstration of safety protocols. Her performance hits every note. She is funny, manic, dedicated, and pitch-perfect.
Living in New York has its ups and downs. No matter how expensive your apartments are, the walls are always paper thin. You come to know your neighbors for better or for worse. Director Mike Donahue and writer Jen Silverman give Sundance 2023 audiences so much in their 15-minute short film TROY.
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