‘The Serpent’s Skin’ (2026) The sixth spooky and spellbinding film from Alice Maio Mackay.

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The Serpent’s Skin

The Serpent's Skin poster

Alice Maio Mackay has established herself as a powerhouse in indie filmmaking, cranking out stylized horror films that capture your attention from the very first frame. In her 6th feature film, the 21-year-old trans director tackles queer horror romance. The Serpent’s Skin follows Anna, a young trans woman who finally left her judgmental parents and moved in with her sister in the city. But Anna’s meek exterior hides secret supernatural abilities she shares with her new lover and tattoo artist, Gen. Their passion accidentally summons a demon, making relationship building way more complicated.

Jordan Dulieu (Danny) gives us an emo rocker heartthrob and villainous mayhem with equal fire. He is genuinely mesmerizing. Avalon Fast (Gen) is great. Her delivery is so natural, you might think she’s in a documentary. Alexandra McVicker (Anna) brings innocent ingénue energy. The three have stellar chemistry. I not-so-secretly wanted a threesome scene between them. Shout out to Intimacy Coordinator, Zoe Taylor, for the overall hotness.

The Serpent's Skin 2MacKay has a neon-saturated visual calling card and always provides a kick-ass soundtrack. Another genius collab with The Adams Family in H6LLB6ND6ER. Iris Mcerlean‘s costumes are all effortless cool girl. Mackay tackles self-harm, identity, sex, and magic; it’s a lot to balance. If I’m being nitpicky, the film’s pacing slows slightly in the second act, making it feel a bit long before the momentum picks up again in the final Act, which cooks. High five to my girl, Vera Drew, for her editing. Can we discuss the connection between power and orgasm? Yes. The final two lines of The Serpent’s Skin are smirkworthy perfection.


The Serpent’s Skin Trailer:

Opening in: 
New York, March 27 | Los Angeles, April 3

** With filmmaker and special guests in attendance **
More dates below & to be announced

85 mins / Australia / 2025
Directed by: Alice Maio Mackay
Written by: Alice Maio Mackay, Benjamin Pahl Robinson
Produced by: Alice Maio Mackay, Louise Weard
Starring: Alexandra McVicker, Avalon Fast, Jordan Dulieu, Scott Major, Charlotte Chimes
Edited by: Vera Drew
Cinematography by: Aaron Schuppan
Composers: Alexander Taylor, Eduardo Daniel Victoria
Music by: H6LLB6ND6ER

Festivals: Beyond Fest, BFI Flare: London LGBTIQ+ Film Festival, Brooklyn Horror Film Festival, Fantasia Film Festival, Frameline: San Francisco International LGBTQ Film Festival, Frightfest, Melbourne Queer Film Festival, NewFest – The New York LGBTQ+ Film Festival, SXSW Sydney, and more

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Dark Star Pictures has released the new theatrical trailer for Alice Maio Mackay’s The Serpent’s Skin ahead of its upcoming North American theatrical release, which kicks off on March 27 in New York City and on April 3 in Los Angeles

At only 21-years-old, the trans Australian filmmaker has announced herself as a talent to watch, and her latest film had a celebrated world premiere at San Francisco’s LGBTQ+ film festival Frameline and enjoyed a buzzy run with stops at Beyond FestFantasia Film Festival, London’s FrightfestNewFest, and more.

The Serpent’s Skin is Maio Mackay’s most ambitious film to date, combining her distinct filmmaking voice—known for channeling genre tropes through a trans lens, her innovative approach to aesthetics, and a unique wit—with a larger scope that leans into a darker storyline and a loving influence of 90s cult television like Buffy the Vampire Slayer and Charmed

The film will open in New York at the Alamo Drafthouse Downtown Brooklyn on March 27 and in Los Angeles at the Alamo Drafthouse DTLA on April 3—as part of a special Fantastic Fest Presents showcase—with Mackay and special guests in attendance for opening nights.

Additional screenings with director Q&As include the Roxie Theater in San Francisco on April 2 and Vidiots in Los Angeles on 4/4, with further cities and dates to be announced.

For more Alice Maio Mackay films, click here!

‘Seekers of Infinite Love’ (SXSW 2026) Unresolved sibling trauma on the road.

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Products of wealthy narcissistic novelist parents, three siblings set out on a mission to rescue their sister from a woo-woo cult. Filmmaker Victoria Strouse delivers an oddball road movie in Seekers of Infinite Love.

Kayla is an anxiety-ridden writer. Wes is a gambling graphic novelist. Zack is a lawyer and aspiring songwriter. The fourth sibling, Scarlett, has joined a cult. Mom and Dad hired a deprogrammer to assist them. Following Kayla freaking out while boarding their flight, this eclectic group must drive halfway across the country to track down their missing sister before things get worse.

The Bachman siblings face absurd challenges along the way. Think The Hangover. As circumstances become more complicated, everyone’s insecurities are compounded by Rich’s extreme problem-solving suggestions. Three emotionally inept adults and one questionable weirdo must deal with their issues before they can approach Scarlett.

Justin Theroux plays our deprogrammer, Rich, a complex former cult member who now retrieves current victims for hire. His guru aura perfectly counters The Bachman’s manic energy, until his suspicious past changes the dynamic. Theroux is hilarious in this borderline caricature performance. Hannah Einbeinder, Griffin Gluck, and John Reynolds have an authentically charming chemistry.

Act Three features a surprising cameo as our cult leader. The script takes pages out of history’s doomsday cults, which is genuinely funny if they’re not happening to you. The overall tone of the film is goofy, and that’s the intent. The title serves as a clever double entendre in true dramedy fashion. At its heart, Seekers of Infinite Love is a story about the consequences of unresolved childhood trauma, the power of unconditional love, and proves that humor is the ultimate defense mechanism.


Seekers of Infinite Love
Director:Victoria Strouse
Executive Producer:Hannah Einbinder, Alexa Faigen, Nicole Flores, Hal Sadoff, Patrick Gogerchin, Tyler Zacharia, Gabby Zemer
Producer:Dylan Sellers, Chris Parker, Marty Bowen, Wyck Godfrey
Screenwriter:Victoria Strouse
Cinematographer:Tim Suhrstedt
Editor:Kheireddine El-Helou, Jess Brunetto, ACE
Production Designer:Rusty Smith
Cast:Hannah Einbinder, Justin Theroux, John Paul Reynolds, Griffin Gluck, Justine Lupe, Greg Kinnear
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For all things SXSW 2026, click here!

‘I Got Bombed At Harvey’s’ (SXSW2026) A truly explosive heist

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i got bombed at Harvey'sSXSW 2026 true-crime doc I Got Bombed at Harvey’s tells the off-the-wall tale of a casino, a ransom note, a homemade bomb with 1000 pounds of dynamite, and 24 hrs. Your jaw will drop as one absolute narcissistic lunatic’s spiral brings his kids down with him.
 
The film follows the 1980 story of a giant bomb appearing inside a very busy Lake Tahoe casino office. With local law enforcement and nationwide news media coverage, the perpetrators were doomed, but not from the start. The film’s structure consists of archival reels, sit-down interviews with the bomb squad members, photographs, blueprints, physical evidence, and reenactments. Oh, and one of the men involved. The only crystal clear aspect of this crazy endeavor is the mastermind. The absolute havoc and ripple effect of one man’s ego is diabolical.
 
The footage is genuinely shocking. I jumped out of my seat at one point. The number of times I audibly exclaimed WTF should be outlawed. Without spoiling the outcome, I will say that the complexities of this case will have you shaking your head. This entire scheme sounds like a movie script. Motivated by spite, revenge, mental illness, addiction, trauma, and fear, I Got Bombed at Harvey’s gets wilder by the minute. Just when you think the story could not possibly get any nuttier, think again.
 
I Got Bombed at Harvey’s is a romp through madness, money, and mayhem worth your eyeballs.

I Got Bombed at Harvey’s

Director:
Amy Bandlien Storkel, Bryan Storkel
Executive Producer:
Chris Smith, Andrew Corkin, Howard Owens, Ben Silverman, Theo Love, Michael Driscoll, Robert Marshall, Brian Lazarte, James Lee Hernandez
Producer:
Bo Butterworth, Karen Bowlin
Cinematographer:
Britton Foster
Editor:
Evan Vetter, Scott Evans, Amy Storkel, Dava Whisenant, ACE
Production Designer:
Adam Henderson
Music:
Michael James Lee
Cast:
Igor Grbesic, Ethan Riley, Ian S. Peterson, Michael Solarez, Jennylyn Caterina, Marianne Wiedeman, William Swartzbaugh

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For all things SXSW 2026, click here!

‘And Her Body Was Never Found’ (SXSW 2026) Two people. Real danger?

sxsw 2026 cartoon vectorAnd Her Body Was Never Found

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Real-life couple Polaris Banks and Mor Cohen create one of the most cringeworthy hybrid movies ever. When I use that term to describe their SXSW 2026 film And Her Body Was Never Found, it is a genuine compliment.

The audience follows Mor and Polaris, also the only two crew members, on an isolated camping trip, recreating their actual volatile discussions. Not since watching The Human Centipede have I felt this uncomfortable witnessing something so intensely personal on film. It’s the only film that similarly made my insides churn in a way I did not ask for.

The string-heavy score is reminiscent of Hitchcock. Although that’s not the only thing that leaves you with a spine-tingling sensation. Our leads pull the rug out from under the audience by suddenly breaking the fourth wall, plunging us into this meta horror aspect of their filmmaking. Blurring the lines is creepy as hell.

The film’s premiere comes at a particularly auspicious time as cases of “Alpine Divorce” are suddenly in the news. If you are unfamiliar with this phenomenon, I will explain. Men lead their significant others deep into the wilderness, then abandon them. The term comes from the 1893 short story “An Alpine Divorce” by Robert Barr, which follows a man plotting to murder his wife by leaving her on a Swiss Alp. More women are expressing on social media that this is happening to them. It is somehow insane, and yet entirely believable.

From a technical standpoint, it is incredibly impressive that each point of coverage maintains energy from cut to cut. As we pivot from movie-making mode to relationship mode, cell phone footage, framing, and jarring blackouts play mind games.

This is a shockingly visceral watch. Every beat is a glaring example of the vast differences in communication styles between genders. Semantics, blaming, gaslighting, lies, unresolved trauma, it all plays a part in the toxic cycles of arguing. It is impossible not to feel heated as you witness inevitably familiar turns of phrase and emotional escalation. And Her Body Was Never Found does its job, acting as a terrifyingly aggressive form of immersion therapy. By the end, I wanted to crawl out of my skin.


Director: Polaris Banks
Executive Producer: Tristan Barr, Josh Doke
Producer: Polaris Banks, Mor Cohen, Hilarion Banks
Screenwriter: Polaris Banks, Mor Cohen
Cinematographer: Polaris Banks, Mor Cohen
Editor: Polaris Banks
Production Designer: Polaris Banks
Sound: Zach Goheen
Music: Nathan Schram
Cast: Mor Cohen, Polaris Banks, Grae Drake
Crew: Camera Operator: Hilarion Banks, 1st Camera Assistant: Michael Schnick, Sound Recordist: Cruz Thomas, Hair and Make-Up: Kari Koerper, Re-Recording Mixer: Juan Campos, Score Mixer: Chris Botta
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For all things SXSW 2026, click here!

‘Same Same But Different’ (SXSW 2026) Fiercely funny coming-of-age

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same-same-but-different-352382In Lauren Noll’s SXSW 2026 dramedy, Same Same But Different, we follow three Persian childhood friends: a personal trainer, a lawyer, and an aspiring writer, grappling with identity and their ever-evolving relationships.

Rana has had her visa application denied three times. Working as a home care nurse in order to stay in the country. When her wealthy client’s son, and part-time hookup, agrees to marry her for her green card, Rana invites her best friends to Cape Cod to support her sham wedding. This beach house weekend brings drama and all the feelings as each woman deals with unresolved feelings.

This ensemble cast hits every beat. You will love each one of them. Screenwriter Dalia Rooni delivers equal parts authenticity and genuine wit. The entire Bachelorette party is hilarious perfection. It is genuinely a lovely balance of chaos and laughs.

Three different women. Three varying personalities. Three best friends. All the insecurities, baggage, and unfiltered honesty mix to create a beautiful portrait of identity and growth.

There’s a shared catharsis and joy that only shows itself in the purest of female relationships. Same Same But Different is about letting go of the good, the bad, and the ugly. Stick around for some hilarious bloopers during the credits. Brilliant.

When Rana’s visa application is denied, she faces the reality of returning home to Iran. That is, until Adam – her wealthy boss’s son and her summer fling – proposes a green card wedding. Wrestling with the implications of his offer, Rana enlists help from a questionable shaman, Adam’s pure-hearted mom, and most importantly her two Iranian best friends Nadia and Setareh, who arrive on Cape Cod for a wedding weekend full of opinions, chaos, and drama with their own American boyfriends. Just as total disaster approaches, the three women come together in a transformative moment of acceptance, growth, and coming of age – evolving this weekend into one that will change them all forever.

Same Same But Different Credits

Director:

Lauren Noll

Executive Producer:

Emily Reach White, Chris White

Producer:

Dalia Rooni, Lauren Noll, Zein Khleif, Medalion Rahimi, Emily Reach White

Screenwriter:

Dalia Rooni

Cinematographer:

Nathaniel Krause

Editor:

Stephanie Williams

Production Designer:

Sadra Tehrani

Sound:

Sam Costello

Music:

Neuman Jody Mannas

Cast:

Medalion Rahimi, Logan Miller, Layla Mohammadi, Dalia Rooni, Richie Moriarty, Michael Baszler, Danielle Pinnock, Lauren Noll, Nicholas Coombe, Kevin Nealon, Joey Lauren Adams


sxsw 2026 banner black whiteFor all things SXSW 2026, click here 

‘One Another’ (SXSW 2026) Exploring the evolution of friendships in universally relatable doc.

sxsw 2026 cartoon vectorOne Another

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Losing a relationship comes with aspects of anguish, emotional destabilizing moments, unresolved trauma, and, if we’re lucky, reconciliation. Amber Love’s SXSW 2026 documentary One Another follows the evolution of three friendships over the course of three years.
 
Joe, Giorgia, and Lorri confront the state of personal connections with longing, healing, and change. Featuring different generations deepens the viewers’ understanding that we are all so much more alike on the inside. You may find yourself nodding your head, reliving moments from your past (or present). One Another grabs you with its archival footage. We reminisce alongside our trio, gazing at photo albums and hand-written letters. It is beautifully nostalgic.

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SXSW 2026, a sneak peek at the films and TV you want to see

SXSW-2026-ArtworkSXSW 2026 Watchlist

Every year, I look forward to the incredible lineup at SXSW. This year feels particularly curated to my personal, off-the-wall taste, and I am here for it, Baby. Here are just 13 of the films and TV pilots I am stoked to get my eyeballs on starting this week!!

SXSW 2026 runs from March 12-18th. Do. Not. Miss. It.


THE SNAKE

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When Jamie, ungovernable 40-something wild child collides with her venomous mother, Anne, her life blows up spectacularly leaving her evicted and single. This sends Jamie on a pig in a hurricane journey for “home”; breaking into her Nana’s house to prove it should be hers, a rejected bid to move in with her van-dwelling punk rock ex, and a stint in her best friends pied a terre, which ends with Jamie hooking up with her husband.

I like to think I am ungovernable, I whisper to myself as I go grocery shopping and run the PTO. I can surely live vicariously through Anne’s shenanigans. 


EDIE ARNOLD IS A LOSER

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Timid Catholic school dork Edie Arnold is dragged to a punk show where a mishap lands her on stage behind the drums. She’s mortified… but a natural. Convinced by her best friend, she secretly forms a band called The NunDead. Her newfound confidence leads to a date with the altar boy but also a fight that gets her suspended. Thinking she bailed on their first gig, her bandmates bust her out of the house just in time to win a Battle of the Bands. But when she faces expulsion and her mother’s wrath at a disciplinary hearing, footage of her kick-ass performance has an unexpected effect on her mom.

Hi! Former Catholic school kid here. Hi, former punk band member. Battle of the Bads? Almost. I hosted. In spirit, another film that makes beautiful misfits like me feel seen. Do not miss it.


NEVER AFTER DARK

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A wandering medium, Airi spends her life guiding restless spirits out of the world of the living. Summoned to an isolated country house, she comes face to face with a grotesque apparition with powers that defy Airi’s experience. As she digs deeper into the house’s past, a secret comes to light — and Airi finds herself hunted by a far more unpredictable force. For the first time, her greatest adversary is not the supernatural, but the living.

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‘SAUNA SICKNESS’ (Sundance 2026 short) Hot and bothered.

Sundance 2026 LogoSauna Sickness

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If you told me that Malin Barr had studied the DSM-5-TR before writing her short film Sauna Sickness, I would not bat an eye. Revealing it is based on a past relationship would carry equal weight in terms of its emotional impact. Barr is a master storyteller, regardless of inspiration. The film follows a woman staying at her mother’s country home on New Year’s Eve. After visiting the outdoor sauna with her boyfriend, they discover they are now locked out of the house with only their flimsy robes and clogs.
 
Immediately, Tobias blames Cleo. His visible annoyance quickly gives way to whining, shaming, and accusing. Cleo’s attempts to find a spare key are unsuccessful, but Tobias only offers cruelty. Sauna Sickness is a snapshot of narcissistic gaslighting bullshit. Tobias relies on her problem-solving skills to induce guilt. Cue the screaming, then crying. Once consoled, his tone softens, but not before a jab gets slipped into the conversation, just to subconsciously remind her she is not better than him.

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‘GLENDORA’ (DWF NY 2026) Small town history lesson for all.

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The DWF NY 2026 documentary delivers a portrait of a small village in the Mississippi Delta. GLENDORA follows the lives of a community steeped in the true identity of America. It shows the good, the bad, the ugly, and the hope of a population often forgotten about.
 
Glendora is the epitome of tight-knit. They honor the past and present every single day. They cherish relationships on a level that Gilmore Girls fans would envy. Their annual event on May 30th finds the community celebrating with food, bounce houses, balloons, and music. The day is called J Day, named after a 23-year-old killed by violence. A group of young creatives in town makes music with the understanding that they are the sole purveyors of their success. Prom is celebrated with the same enthusiasm as a bustling city, complete with balloons and parade floats, even if only a few. The adults involved with Partners In Development (PID), a nonprofit organization in town focused on kids, see how early intervention can change everything.
 
Children playing in Isabelle Armand's GLENDORA (Credit_ Isabelle Armand)The oldest generation speaks about the legacy of Emmett Till and the importance of passing on that history from one generation to the next. Glendora created the Emmett Till museum in 2005 as a way to apologize to the Till family for their lack of engagement. They recount the abhorrent entitlement of white people and the aggression and violence they brought to the doorsteps of the African American community members.
 
Tamiris Lourenço‘s intimate editing and filmmaker Isabelle Armand‘s camerawork, the sit-down interviews on a front porch, the static shots on the corner of a room at PID, in a field, or at a wedding, all create a sense of affection for the townfolk. You feel as if you know them all. That’s what makes the film’s final moment hit the hardest. Armand includes an in memoriam list of locals, and the names and images are a one-two punch to the heart that ignites a deep contemplation.
 
Florida B. Smith in Isabelle Armand's GLENDORA (Credit_ Isabelle Armand)Glendora is a snapshot of America’s authentic history of racial atrocities and economic disparity, but the strength of Black culture, excellence, empathy, and community shine brightest in Glendora. Their genuine pride is infectious. This country can learn from its relentless spirit to equally honor the past and change the future.
 

Isabelle Armand’s powerful documentary GLENDORA will have its World Premiere at Dances With Films: NY THIS WEEK



Feature Documentary Film
(World Premiere, 74 mins)
A film by: Isabelle Armand and Glendora Collaborative

DWF: NY 2026 OFFICIAL SCREENINGS

Friday, January 16 at 4:45 PM
Location: Regal Union Square (850 Broadway, New York, NY 10003)

In the heart of the Mississippi Delta, the village of Glendora may seem quiet and remote. But beneath its stillness lies a vibrant, tightly knit African-American community whose strength, resilience, and creativity thrive despite chronic scarcity. GLENDORA is the result of five years of close collaboration between filmmaker and townspeople—an intimate portrait of life where economic fragility meets profound cultural wealth.

Told through the voices of multiple generations, the film weaves personal testimonies with daily rituals—birthdays, graduations, weddings, funerals— capturing the rhythm of a town that continuously rises above its circumstances. As the Mississippi landscape shifts, so do the stories, revealing both the universality of human experience and the distinct textures of rural Southern life.

More than a place, GLENDORA reflects a larger American history shaped by racial injustice, economic neglect, and structural inequality. The film underscores the community’s efforts to stay connected and shape its future amid ongoing challenges.

GLENDORA is a film made with—and by—the people who live there. It amplifies voices too often unheard, offering a powerful story of culture, resilience, creativity, and collective memory from a town long overlooked—but not easily forgotten.

ISABELLE ARMAND (Filmmaker, Cinematographer, Writer)

Isabelle Armand is a New York–based documentary photographer and filmmaker whose work interweaves photography, film, and oral testimonies to explore the complex layers of people whose histories, lives, and potential have long been undervalued. Her acclaimed book Levon and Kennedy: Mississippi Innocence Project (powerHouse Books, 2018), which documents the wrongful convictions of two men, has received wide recognition. Her images are held in the collections of the Brooklyn Museum, Akron Art Museum, and Portland Museum of Art. Armand’s work has been featured in The New York Times, Art in America, The Economist, The Daily Beast, and others. She recently completed her first feature documentary, Glendora, and is currently editing a photo book by the same title.

GLENDORA WEBSITE

Railroad Tracks in Isabelle Armand's GLENDORA (Credit_ Isabelle Armand)

For more DWF coverage, click here!

‘ONCE MORE LIKE RAIN MAN’ (2025) Neurodiverse authenticity and laughs. Bravo.

ONCE MORE LIKE RAIN MAN

Once More, Like Rain Man (2024) - [www.imdb.com]

Director Sue Ann Pien‘s short film ONCE MORE LIKE RAIN MAN tells the story of an autistic teen pounding the pavement for an acting gig, all while navigating stereotypes from those behind the camera and life in general. In 14 minutes, Bella Zoe Martinez gives Zoe the vibrant, hilarious, raw, and unfiltered qualities that I have come to experience in the wide world of neurodiversity. Her comic timing is chef’s kiss. The script, penned by Martinez and her parents, Melissa Martinez-Areffi and Andrew J. Areffi, does an exquisite job at tackling the culmination of everyday existence as an individual on the spectrum.
 
Martinez gives audiences a tangible example of overstimulation in public places. Sometimes it’s scary, other times it’s not. It’s often separating yourself from the space to take a breath. As a neurodivergent Mom of two neurospicy children, Zoe is every aspect of my kids and me. Her need to follow rules, literal thinking, and penchant for justice are all things that simply exist for us. Oh, and her counting of curse words? Yeah, that too.
 
once more like rain manPerformance was my safe place from a young age. I got to disappear into someone else. I got to escape the anxiety of being myself. Hell, even speaking other people’s words made me feel more confident. I was better at being someone else. And yeah, I know now that was my way of studying to mask. I became extremely confident because I was good at everything, but what people didn’t see was the endless fear that I felt. It was all to cover my Rejection Sensitivity Dysphoria. Weeee. This entire short is a metaphor for my childhood.
 
Ryan Shelstad‘s editing is fun and fast-paced. Zoe’s costume is colorful and quirky in a way that makes complete sense. Martinez effortlessly owns each beat and frame. It was awesome to see familiar industry faces throughout the film. Make sure you stay through the credits for one final earned guffaw.
 
ONCE MORE LIKE RAIN MAN manages to tap into the extraordinary nuance of autism with authentic humor while showing the frustrating ignorance of the neurotypical population. The short is both a teaching tool AND a genuinely fantastic piece of storytelling about a determined girl chasing her passion. Bravo.

 

ONCE MORE LIKE RAIN MAN Trailer:

ONCE MORE LIKE RAIN MAN

For more short films, click here!

‘100 NIGHTS OF HERO’ (2025) A tantalizing feminist fable

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Filmmaker Julia Jackson delivers one of the year’s best with her luscious tale of female power in 100 NIGHTS OF HERO. A wager between two scheming friends becomes a wicked love triangle. Cherry is a lonely wife whose husband has yet to bed her. Her husband intentionally abandons her with his tawdry friend, and the ruse is afoot. Cherry feels lost and overwhelmed. Her wise maid, Hero, steps in with storytelling to save her mistress from straying.

100 NIGHTS OF HERO - Still 1Religious and political parallels are undeniable magic. The dialogue is a modern version of a bawdy Shakespeare comedy, cleverly tongue-in-cheek and playing right into toxic masculinity. Even our three main characters’ names are pure, double-entendre delight. 100 NIGHTS OF HERO weaves fable, witchcraft, and feminism seamlessly.

100 NIGHTS OF HERO - Still 9Xenia Patricia‘s cinematography is exceptional. Gorgeously framed tableaus pull you into this world. Sofia Sacomani‘s sumptuous, eye-catching production design features jewel-toned walls and exquisite (and intentionally cartoonish and morbid) stained glass. Susie Coulthard‘s costuming mesmerizes with an almost sci-fi twist on medieval garb. Every visual aspect is delicious.

This cast is extraordinary. Felicity Jones plays both Narrator and Moon, her voice the consummate guide. Charli xcx is unrecognizable as the elegant and vital Rosa. Nicholas Galitzine is philanderer Manfred. His audacity perfectly walks the line between funny and obnoxious. Each oversexualized beat is chef’s kiss.

100 NIGHTS OF HERO - Still 5Maika Monroe is a genre icon. The role of Cherry finds Monroe as a naive, virginal wife attempting to ward off her new guest’s forward wooing. This sexual awakening suits her chameleon talents beautifully. Emma Corrin plays the titular Hero. Her take-no-shit persona is a hilarious set against the shenanigans. Corrin captivates with her quick wit, oftentimes with little more than a glance.

100 NIGHTS OF HERO is the epitome of indie storytelling. It makes a statement about the patriarchal fear of a woman’s power. You will lose yourself in this film.

Ps Stay through the credits for one final treat.


100 NIGHTS OF HERO Trailer:

100 NIGHTS OF HERO – In Theaters THIS FRIDAY

Written and Directed by Julia Jackman

Based on Isabel Greenberg’s graphic novel The One Hundred Nights of Hero

The New York Times Bestseller Is Available Now Wherever Books Are Sold

Starring

Emma Corrin (NOSFERATU, “The Crown”)

Nicholas Galitzine (RED, WHITE & ROYAL BLUE, THE IDEA OF YOU)

Maika Monroe (LONGLEGS, IT FOLLOWS)

Amir El-Masry (LIMBO)

Charli xcx (THE MOMENT, ERUPCJA)

Richard E. Grant (CAN YOU EVER FORGIVE ME?, SALTBURN)

Felicity Jones (THE BRUTALIST, THE THEORY OF EVERYTHING)

For more IFC coverage, click here!

‘MERCHANTS OF JOY’ (DOCNYC 2025) The holiday hustle.

Docnyc logoMERCHANTS OF JOY

The Merchants of Joy - Prime Video - [press.amazonmgmstudios.com] Celia Aniskovich‘s DOCNYC film, MERCHANTS OF JOY, brings audiences behind the scenes of an annual venture most of us take for granted. For the five families that dominate the Christmas Tree market in NYC, the Holiday Season is a business of mayhem and memories. Dive into the underworld of a tradition where vendors battle it out for prime positions and quality product in hopes of making each year better than the last.

merchants of joy interviewsThe film is a collection of personalities all jockeying to outdo each other. Greg looks like Santa and is happy to dress as such for the local kids. His son, Little Greg, is poised to take over the family business as his father battles cancer. Brooklynite George (who used to work for Greg) hopes to find love this season and brings bravado to the group. Heather is nine years sober. You will find her supporting those struggling on a similar path. Ciree takes the reins from her parents after 30 years. All of them find themselves under the thumb of the mysterious Kevin Hammer. Think of him as the Christmas Tree Mafia Boss.

merchants of joyThe film is a countdown to Christmas, tracking the complicated and expensive logistics of purchasing trees, trucking them sometimes across the country, bidding on street corner permits, setting up shop, all while navigating weather, workforce, and the economy. It’s a risky business that can be rewarding in the end. The job is physically taxing and emotionally exhausting, but its impact on building family traditions is worth its weight in gold.

merchantsofjoy mainb598Aniskovich intersperses sit-down interviews with action on the ground. The pièce de résistance are the scenes mimicking the stop-motion animation in Christmas classics like Rudolph the Red-Nosed Reindeer (1964), Santa Claus Is Comin’ to Town (1970), and The Year Without a Santa Claus (1974). In fact, Kevin Hammer only appears as an incognito character with phone interview audio. It is a perfect touch, wrapping MERCHANTS OF JOY with a nostalgia bow.

It is a film that will touch your heart. It is a delightful, warm hug, a movie about human connection, and a perfect segway for the holiday spirit.

MERCHANTS OF JOY – Coming to Prime Video Dec 1st!

 

WORLD PREMIERE- MERCHANTS OF JOY

Directed by Celia Aniskovich (Burn It Down!Call Me Miss Cleo), the film captures the cast of characters behind the city’s Christmas tree stands– small business owners who bring holiday cheer to the streets each season, along with a healthy dose of friendly (and sometimes not-so-friendly) competition with each other.

A lifelong Christmas lover, Aniskovich first discovered the story after reading Epic Magazine and NY Mag’s article “Secrets of the Christmas Tree Trade” and immediately knew this was a story she wanted to tell. Drawn to the community, pride, and hidden labor, she started filming within days of meeting “Big Greg,” – one of the film’s central figures – and eventually Amazon MGM Studios and Artists Equity came aboard the project as well. What began as a portrait of holiday hustle evolved into a story about faith, family, and resilience as she continued following the families. Merchants of Joy

https://www.dialtonefilms.com/merchantsofjoy

Director: Celia Aniskovich
Producer: Celia Aniskovich, Zoe Vock, Arthur Spector, Joshua Davis, Joshuah Bearman
Executive Producer: Todd Lubin, Ivan Schneeberg, David Fortier, Douglas Banker, Gillian Brown, Ben Affleck, Dani Bernfeld
Cinematographer: Carrie Cheek
Editor: Brett Banks, Samuel Kun
Composer: Jackson Greenberg
Language: English
Year: 2025
Accessibility: Sound-Amplification Headphones upon request
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FOF JOY

 

‘ARREST THE MIDWIFE ‘ (DOCNYC 2025) A powerful look at another reproductive right being mandated by ignorance.

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ARREST THE MIDWIFE

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Filmmaker Elaine Epstein follows the case of Elizabeth Catlin, a midwife charged with 95 felony counts after the death of one baby. However, Liz is not the first or last midwife to find themselves in court.

The Mennonite community uses midwives as per tradition. Liz is part of a tight group of women that serve these mothers and their families. Suddenly, Yates County begins targeting one midwife after another, putting further stress on the health and safety of women.

The state of NY has increased the requirements of education to maintain accreditation. Liz and her fellow care providers are CPMs (Certified Professional Midwives), each assisting in 100s of births, but according to NY State, that isn’t enough to exist legally.

We don’t get the details of Liz’s specific case until halfway through. When you hear them, your jaw will drop. No one in their right legal mind would ever bring charges against Liz. Going against their tradition of staying within their community, the Mennonite women come to court, write letters, and travel down state in drives to support advancing legislative change. Women supporting other women move the needle.

As a mother who had two births in Manhattan, I envy the homebirth experience 9 years after my first birth. At 35, the term geriatric pregnancy was insulting enough. After numerous ultrasounds and tests, when my son was in crisis during my 16 labor, all that science went out the window, leading to an emergency c-section. Birth trauma is real.

The film is a beautifully structured freight train of activism. Our rights are under attack. This is another example that most of us weren’t even aware of. ARREST THE MIDWIFE is a prime example of how a state’s rights governance hurts its population. Whether it’s midwifery or abortion, this causes care deserts, leading to a high likelihood of deaths. You cannot watch this film and tell me this isn’t a story about body autonomy. ARREST THE MIDWIFE is a fierce feminist film about choice in the face of another oppressive patriarchal and capitalist structure. Let women choose.

Director: Elaine Epstein

Producers: Elaine Epstein & Robin Hessman

Running Time: 82 minutes

 

Caught between the law and the well-being of the Amish and Mennonite families they serve, midwives in upstate New York operate in a healthcare desert—risking jail time simply for providing critical care. As their midwives are arrested, the women from these insular communities break from their traditions to become unexpected activists, fighting for systemic change.

With exceptionally rare and intimate access, director Elaine Epstein crafts a powerful David-and-Goliath story of resilience and resistance. Set against the backdrop of America’s maternal health crisis and the erosion of reproductive rights, ARREST THE MIDWIFE is both a poignant portrait of a community in crisis and an urgent call to protect every woman’s right to choose how she brings the next generation into the world.

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ARREST THE MIDWIFE

‘BEFORE YOU’ (2025) Emotional short leaves a lasting impact

BEFORE YOUBefore 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.

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‘V/H/S/HALLOWEEN (2025) Another franchise hit filled with tricks and treats.

shudderV/H/S/HALLOWEEN

V/H/S/HALLOWEEN posterAnother glorious notch in the V/H/S/ franchise, Shudder presents the Halloween version.

V/H/S/HALLOWEEN DietPreviously, each film played out in a single time period. Based on the reference in Coochie Coochie Coo, that segment takes place in the aughts, but KidPrint specifies 1992, and Home Haunt must occur in the 80s. That’s a nice departure from the rest of the films. Sticking to tradition, each movie features a homebase framework to work around. In V/H/S/HALLOWEEN, it’s a lab that disguises itself as a focus group company in a segment called “Diet Phantasma.” Ghost-infused soda wreaks havoc on its tasters. Bryan M. Ferguson strings us along for a gore-tastic good time.

V/H/S/HALLOWEEN CoochieIn “Coochie Coochie Coo,” two high school seniors celebrate their final Halloween together with utter shenanigans. After entering a particularly creepy house, the girls find themselves trapped and tormented. Filmmaker Anna Zlokovic brings a local urban legend to life. With touches of Barbarian, it is undeniably disturbing.

Paco Plaza‘s “Ut Supra Sic Infra” follows the aftermath of a Halloween party massacre at a nightclub. We find a rattled Enrivo, the only survivor in the interrogation room of a police station. Officers take him back to the crime scene for a recreation. Editing is king in this segment. Slow clap for Plaza’s structure and the back-and-forth lens style. It is relentless dread and intrigue.

V/H/S/HALLOWEEN Fun sizeFun Size” finds filmmaker Casper Kelly following two couples trying to find the best treats on the block. When a lone bowl filled with candy they’ve never heard of sucks them into a portal. This one is captured via a GoPro camera attached to the couple dressed as found footage characters, literally. Now, in some demented candy factory, Fun Size is the most campy, laugh-out-loud mindfuck.

V/H/S/HALLOWEEN KidPrintAlex Ross Perry‘s “KidPrint” tells the tale of a small town with a child serial killer. Tim, the electronic store owner and KidPrint consenesuer (short videos identifying kids in case they go missing), always has a camcorder running. This year, festivities are run by the police in the town square. In an effort to find the latest victim, Tim runs back to the store in search of her video, only to discover the gruesome footage taken on the floor. This segment is by far the most upsetting. Children in peril is always a bold choice, and Perry goes there.

V/H/S/HALLOWEEN Home HauntHome Haunt” is our only filmmaking double team. Micheline Pitt and R.H. Norman recount a crumbling father-son relationship. Keith and Zack used to connect over their annual, elaborate haunted house builds, but time and cruel kids kill the Halloween spirit for Zack. Desperate for a dazzling theme, Keith swipes a record from a local oddities shop. The house takes on a life of its own, and mayhem and blood are real this time. This fast-paced, coordinated chaos is genre magnificence. Zack acts as videographer, capturing every wild kill as he, his parents, and neighbors wander from room to room. Home Haunt is nonstop, devilish delight.

V/H/S/HALLOWEEN reigns supreme. Fx and creature builds, across the board, are spectacular. Performances rule. Writing, directing, and cinematography have no loose threads. The anthology format lets fans get an annual take that is equal parts trick and treat.

Thank you, Brad Miska.


V/H/S/HALLOWEEN Trailer:

 

V/H/S/HALLOWEEN is now Exclusively Streaming on Shudder

DIET PHANTASMA directed by Bryan M. Ferguson

FUN SIZE directed by Casper Kelly

HOME HAUNT directed by Micheline Pitt-Norman and R.H. Norman

KIDPRINT directed by Alex Ross Perry

UT SUPRA SIC INFRA directed by Paco Plaza

COOCHIE COOCHIE COO directed by Anna Zlokovic


V/H/S/HALLOWEEN Synopsis: A collection of Halloween-themed videotapes unleashes a series of twisted, blood-soaked tales, turning trick-or-treat into a struggle for survival.

Directors: Anna Zlokovic, Paco Plaza, Casper Kelly, Alex Ross Perry, Micheline Pitt-Norman & R.H. Norman, Bryan M. Ferguson

Writers: Anna Zlokovic, Paco Plaza & Alberto Marini, Casper Kelly, Alex Ross Perry, Micheline Pitt-Norman & R.H. Norman, Bryan M. Ferguson

Producers: Roy Lee, Steven Schneider, Derek Dauchy, Josh Goldbloom, Michael Schreiber, Brad Miska

Music: Nick Chuba

Genre: Horror

Country: United States

Languages: English, Spanish

Runtime: 115 minutes

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‘THE CRAMPS: A Period Piece’ (Fantastic Fest 2025) Tangible taboo with a horror twist

fantastic Fest 2025 bannerTHE CRAMPS: A Period Piece
Photo 1-Lauren Kitchen In Brooke H. Cellars' THE CRAMPS_ A Period Piece (Credit_ Warped Witch Cinema)

Brooke H. Cellars’ campy new horror comedy THE CRAMPS: A Period Piece comes to Fantastic Fest 2025 to leave audiences in a state of giggling discomfort. The story follows Agnes, a young woman from a strict household who gets a job at the local salon. When her period cramps manifest into monsters, life gets a lot more complicated than a little menstrual conversation.

Agnes navigates her monthly tormentor as she starts a new job as a shampoo girl with big dreams. Defying her weirdly fanatical widowed mother, Agnes goes on her first date, visits a gynecologist, and helps the gals at the shop enter a hair show against their salon nemesis. All while her cramps come to life and wreak havoc on those most deserving.

The Cramps stillThe Hairbrained Salon’s owner is a bawdy broad named Laverne. Martini Bear is one hell of a force, slinging f-bombs on top of the already kitschy, 60s-inspired dialogue. John Waters and Mario Bava are all over this film; think Cry Baby or Hairspray meets Blood and Black Lace. There’s no doubt Teddy is inspired by Grease’s Beauty School Dropout herself, Frenchy, except that in The Cramps, Teddy is a satanist. She (a fabulous Wicken Taylor) and fellow forgetful stylist, Holiday, played by hilarious Michelle Malentina, have the best chemistry. I would watch an entire spinoff about Laverne, Teddy, and Holiday.

Lauren Kitchen gives Agnes an authentic awkwardness and pure heart that we need to fall in love with her. Diving headfirst into this role and trusting Cellars’ vision, Kitchen captures your heart and grosses you out, all while making a cultural point.

Photo 5-Misty Richard and Jared Bankens in Brooke H. Cellars' THE CRAMPS_ A Period Piece (Credit_ Warped Witch Cinema)The costumes, hair, and makeup are spectacular. The vivacious colors and sparkles pop on the 35mm film. The hyper-augmented sound editing will make you cringe. The script cleverly weaves in menstruation shame, medical gaslighting, and consent, while also playing into the adage that a period is a monthly curse. The ending is perfection. THE CRAMPS: A Period Piece has midnight madness cult classic written all over it.


THE CRAMPS: A Period Piece (Warped Witch Cinema) Teaser Trailer:

 

Feature Film
(World Premiere, 89 mins)

Directed by: Brooke H. Cellars
Producers: Brooke H. Cellars, Madeleine Yawn, Wicken Taylor, Michelle Malentina, Levi Porter and Vincent Stalba
Starring: Lauren Kitchen, Brooklyn Woods, Harlie Madison, Martini Bear, Wicken Taylor, Michelle Malentina

A blossoming young woman, Agnes Applewhite (Lauren Kitchen), gets a job as a shampoo girl at a lively beauty salon, which goes against the wishes of her traditional family including her sanctimonious mother and tightly wound sister. As she begins this newfound journey to find her true self, she suffers from debilitating menstrual cramps, which blur the line between reality and nightmare for her and those around her.

Part comedy, part fantastical horror and wholly unforgettable, Brooke H. Cellars’ THE CRAMPS: A Period Piece takes the audience on a mesmerizing trip where John Waters’ irreverence meets the macabre stylings of Mario Bava, all wrapped in the dreamlike allure of Federico Fellini.

Brooke H. Cellars (she/they) is a multifaceted filmmaker. She has directed 8 short films since 2018. Her adoration for all things horror started when she was a kid. Her father was a children’s book writer and starting early on has been writing stories that were always horror themed. Her first screenplay, which she turned into a short film called THE CHILLS, won Best Screenplay at Houston Horror Fest in 2020. Her most recent short film VIOLET BUTTERFIELD: MAKEUP ARTIST FOR THE DEAD has screened in over 30 film festivals worldwide and has won multiple awards including the Abby Normal Award at Portland Horror Fest, the Audience Award at Final Girls Berlin, and both the Jury and Audience awards at Overlook Film Festival.

USA, Feature Film, 35mm, 89 Minutes, Not Rated, 2025

FF logo black and white 2025

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‘MEADOWLARKS’ (TIFF 50) A meditation on collective grief and healing

tiff-toronto-international-film 2025 posterMEADOWLARKS

meadowlarks_stills_tiff_2.49.2Based in part on her 2017 film BIRTH OF A FAMILY, Tasha Hubbard brings her scripted narrative debut to TIFF 50. MEADOWLARKS stars Michael Greyeyes, Carmen Moore, Alex Rice, and Michelle Thrush as four Cree siblings who were separated by the Sixties Scoop, who are meeting for the first time as adults.
 
Human complexity, set against a stunning backdrop, never overshadows the tragedy in their collective truth. Hubbard dives headfirst into the Scoop’s hideous history, but never shoves our faces in it. Her approach is gentle. For any viewer who somehow has zero knowledge, you’re about to learn the hard way. You will feel compelled to go down a Google search rabbit hole.
 
meadowlarks 2Performances are fantastic. Each character is incredibly nuanced. Four siblings with varying goals for the trip and vastly different personalities. But what links them is far deeper than the ways in which they were raised by white families.
 
Each sibling chooses connection in small ways. Hubbard taps into the unconscious need for space when emotionally overstimulated, and it is awe-inspiring. MEADOWLARKS is an experiment in empathy and grief through shared trauma. The quiet compassion will undoubtedly take you on a journey through sadness and hope.

Director:
Tasha Hubbard is a Cree filmmaker from Peepeekisis Cree Nation, Saskatchewan. She is a director and writer, known for Two Worlds Colliding (04), nîpawistamâsowin: We Will Stand Up (19), and Singing Back the Buffalo (24). Meadowlarks (25) is her feature debut.

Smiling person wearing Arctic Fox winter hat and headset microphone in black and white portrait

 

 

Cast
Michael Greyeyes
Carmen Moore
Alex Rice
Michelle Thrush
Cinematography
James Klopko
Editing
Simone Smith
Executive Producer
Betty Ann Adam
Producers
Tyler Hagan
Julia Rosenberg
Production Companies
Experimental Forest Films
January Media
Production Designer
Louisa Birkin
Costume Designer
Carmen Thompson
Screenplay
Tasha Hubbard
Emil Sher
Sound
Coby DeGroot
Original Score
Todor Kobakov
Publicist
Star PR
Canadian Distributor
Mongrel Media

Tiff 50 logoFor more TIFF coverage, click here!

TIFF 50 is here and it’s bigger and better than ever.

TIFF 50

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This year’s lineup is on fire. Outside the hotly anticipated Colin Hank’s doc, John Candy: I Like Me, and Rian Johnson’s latest, Wake Up Dead Man: A Knives Out Mystery, here are 5 films we’re keeping our eyes on in the festival’s 50th year!

 

  • Honorary Chair and Award Winners: Actor Brendan Fraser is this year’s Honorary Chair. Other award winners include Idris Elba, Jodie Foster, Guillermo del Toro, and Channing Tatum.
  • The 50th Toronto International Film Festival, presented by Rogers, will run September 4–14, 2025. Celebrate with the best of Canadian and global cinema, special events and talks with stars, plus TIFF’s Industry Conference. TIFF 50

DUST BUNNY

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SYNOPSIS: In visionary creator Bryan Fuller’s (Hannibal, Pushing Daisies) fantastical and wickedly inventive feature directorial debut DUST BUNNY, a 10 year-old girl who joins forces with her hitman neighbor to confront each other’s monsters.

Ten year-old Aurora has a mysterious neighbor (Mads Mikkelsen) who kills real-life monsters; he’s a hitman for hire. So when Aurora needs help killing the monster that she believes ate her entire family, she procures his services. Suspecting that Aurora’s parents may have fallen victim to assassins gunning for him, the neighbor guiltily takes the job. To protect her, he’ll need to battle an onslaught of assassins and accept that some monsters are real.



IN THEATERS: December 5, 2025

DIRECTOR: Bryan Fuller

WRITER: Bryan Fuller

CAST: Mads Mikkelsen, Sigourney Weaver, David Dastmalchian, Sophie Slone

RUN TIME: 106 minutes TIFF 50


CAROLINA CAROLINE

Carolina-Caroline

In his latest slice of anarchic Americana, writer-director Adam Carter Rehmeier first introduces us to the always effervescent Samara Weaving (Guns Akimbo, TIFF ’19) as Caroline. Listless and living a small life in a small town, she dutifully cares for her single father (Jon Gries) though she longs to break from her dusty and dull world. But when she observes a handsome drifter (Kyle Gallner) pull a sly con for a few bucks, her curiosity sparks an introduction that ignites an apprenticeship. Before long, their lucrative, if untenable, criminal enterprise dovetails into a passionate romance.

DIRECTOR:  Adam Carter Rehmeier
 
WRITER: Tom Dean
 
CAST: Samara Weaving, Kyle Gallner, Kyra Sedgwick, Jon Gries
 
RUNTIME: 105m TIFF 50
 

CALIFORNIA SCHEMIN’
California_schemin
 
Actor James McAvoy makes his directorial debut with this irresistible, feel-good underdog tale about two Scottish men pretending to be Americans to achieve their dreams of hip-hop stardom. It’s based on a true story that’s stranger than fiction.
 
DIRECTOR:  James McAvoy
 
CAST: Séamus McLean Ross, Samuel Bottomley, Lucy Halliday, Rebekah Murrell, James McAvoy
 
WRITERS: Archie Thomson, Elaine Gracie
 
RUNTIME: 107m TIFF 50

 


LILITH FAIR: Building a Mystery
Lilith Fair_ Building a Mystery - [tiff.net]

This galvanizing documentary from director Ally Pankiw (I Used To Be Funny) takes us behind the scenes of Sarah McLachlan’s legendary all-women music festival and features interviews with performers including Bonnie Raitt, Erykah Badu, Olivia Rodrigo, and Emmylou Harris.

DIRECTOR:  Ally Pankiw
 
FEATURING: Sarah McLachlan, Sheryl Crow, Erykah Badu, Paula Cole, Jewel, Bonnie Raitt, Natalie Merchant, Indigo Girls, Emmylou Harris, Brandi Carlile, Olivia Rodrigo
 
RUNTIME: 99 Mins TIFF 50

 


TUNER

Tuner (2025)

A talented piano tuner’s meticulous skills for tuning pianos lead him to discover an unexpected aptitude for cracking safes, turning his life upside down.

DIRECTOR: Daniel Roher
 
WRITERS: Robert Ramsey, Daniel Roher
 
CAST: Leo Woodall, Dustin Hoffman, Havana Rose Liu, Lior Raz, Tovah Feldshuh, Jean Reno TIFF 50
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TIFF 50

 

 

‘SOMNIUM’ (2025) Where dreams coming true is a double entendre.

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SOMNIUM

SOMNIUM poster

Aspiring actress Gemma leaves behind her small town and moves to LA. Upon discovering the harsh reality of pounding the pavement in Hollywood, from failed auditions to a dwindling bank account, Gemma desperately takes a position at a dream studies lab, Somnium. After accidentally meeting a producer, things are looking up. Until her graveyard shift, severe lack of sleep, and the discovery of questionable lab practices, cause her new life to shift into a waking nightmare.  Read More →

‘LUCID’ (Fantasia 2025) A short gets a long, dizzying, drug-fueled feature.

Fantasia 2025 posterLUCIDLucid Poster

Directors Deanna Milligan and Ramsey Fendall‘s 2022 short film LUCID gets the feature treatment, and Fanatsia 2025 audiences are its first test subjects. The film follows Mia, a misunderstood art student who delivers more performance art than quality visual art. She’s stressed and overly dramatic, but that’s pretty much a requirement for us artsy folk. At risk of being ousted from her program, Mia turns to a lucid dream elixer to inspire her work.

Lucid 3The consequences of going down that rabbit hole, sometimes literally, are a barrage of repressed childhood memories and the instability of her mother’s treatment. Mia’s trips reveal a trauma monster, more specifically, one made of mom’s blond locks. This hair monster torments Mia throughout her jacked-up journey.

Determining between trip and reality becomes increasingly dizzying, but filmmakers utilize 35mm and 16mm film to keep it gritty and keep you guessing. If I have one complaint, the runtime could use a trim, but the soundtrack is life.

LUCID 2Caitlin Acken Taylor is everything. Mia Sunshine Jones is no easy role, but Taylor lives it. She even creates Mia’s paintings and sculptures. Her fourth wall break, and the precise moment at which it occurs, is jarring and genius. 

If Jennifer Kent and Alice Maio Mackay had a movie baby, it might look something like LUCID. The entire film feels like a 90s music video, or a punk version of Jacob’s Ladder. LUCID is an exploration of generational trauma through art and original music. It won’t be for everyone, but there is undeniable confidence in style.

LUCID Teaser Trailer:

After coming to Fantasia as a short film selected for the Frontierés Market Shorts to Features Lab in 2022 and Sitges Fanpitch that same year, directing duo Deanna Milligan and Ramsey Fendall expand the world of Mia Sunshine Jones in their darkly trippy feature, LUCID. Mia is a rebellious art student who struggles to create the ultimate project for a demanding professor. Desperate to find her artistic voice, she takes Lucid, a candy elixir, to access her creativity, but taps into something much darker. Starring Caitlin Acken Taylor, who reprises her role from the short, and Georgia Acken (star of the 2023 Fantasia hit THE SACRIFICE GAME), Milligan and Fendall create a surreal nightmare with a vintage look that fully embraces the 90s grunge era with a punk art aesthetic. Using live on-set music, an eclectic cast, and loads of experimental and haunting visuals, the World Premiere of LUCID will be a nightmare-come-true. 

Team: The film is co-written and directed by actor turned filmmaker Deanna Milligan (21 Jump Street, The X-Files) and cinematographer turned director/writer Ramsey Fendall (Ethan Hawke’s Seymour: An Introduction).

Cast: Caitlin Acken Taylor (Pistol) and Georgia Acken (Under the Bridge, The Sacrifice Game), Vivian Vanderpuss from RuPaul’s Drag Race is in the film and also designed the Hair Monster and Ayla Tesler Mabe one of the Goth Girls a is a real life guitar god! She has been featured in Rolling Stone and formerly part of the band Calpurnia with Finn Wolfhard.

Soundtrack features: Marta Jaciubek McKeever (Fan Death), James Wollam (Tears for Fears), Ayla Tesler Mabe (Calpurnia). Recording sessions were hosted at James Wollam’s Salt Spring Island studio. Wollam also co-wrote “If You Love Me”, a recurring folk-rock theme woven through the film as a relic of the fictional 1970s band Sweetbird, tied to the protagonist’s family mythology. 

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