What Is To Come
Director Ruthy Pribar‘s sophomore film, What Is To Come, follows a sheltered 60-year-old woman who unexpectedly loses her husband and travels to Eilat, first to disappear, ut then to reclaim her identity.
The film begins with great darkness, as Yehudit’s husband Michael has decided they will commit suicide together. When Yehudit survives and hides the fact, she must contend with the emotional and financial fallout.
The reality of Yehudit’s existence becomes crystal clear almost immediately. She has lived a life of isolation and control. She had no idea Michael had borrowed so much money from others, so as debtors come looking for repayment, Yehudit runs. When the funds finally run out, the hotel manager’s kindness rekindles faith in herself.
Renting a small apartment in a not-so-great part of town, Yehudit comes face to face with a small refugee family who claim the apartment is theirs. They agree to share the space. Yehudit befriends the pregnant mother and her young child, while her relationship with her boss develops. But Yehudit’s past cannot stay hidden forever.
Ronit Yudkevitch is extraordinary as our leading lady. The range of emotions, the physical performance, all nuanced with elegance and female strength. It is a masterclass.
The sound editing is crisp and meaningful. The camera often follows Yehudit’s back, making the audience quite literally a companion on her journey. This is a story of self-discovery, a late-in-life coming of age. So many women find themselves financially hostage. Pribar creates an authentic portrait of a woman fumbling towards a new beginning. What Is To Come is a quietly revelatory story.
International Narrative Competition
Feature Narrative | Israel, United Kingdom | 82 MINUTES | Hebrew, English | English subtitles
Rob Burnett brings a wicked take on mortality and legacy in Tribeca 2026’s dark comedy In Memoriam. When a known TV actor, Langston Stanfield, gets a terminal cancer diagnosis out of the blue, his entire goal for his remaining six months to live is to make it into the Oscars Death Montage.
Daniel Blake Schwartz‘s very personal Tribeca 2026 drama Cotton Fever explores the trappings of addiction. The film follows the lives of interconnected drug users in Massachusetts. 
Director Andrew Neel uses Witold Szablowski‘s book as the basis of his Tribeca 2026 doc How To Feed A Dictator. Call it food porn meets a global authoritarian playbook. This is a brilliant film, if you can stomach it.
Director Allison Sloan Berg‘s Tribeca 2026 doc Time Warp, and I see you shiver with Antici… pation. September 2022 in Rock Springs, Wyoming, a small theatre dares to put on a Shadow Cast production of The Rocky Horror Picture Show. Theatre director, producer, choreographer, house manager, and star of the show, Kenny Starling, brings us into the industrious, loving, and hardworking theatre company that delivers excitement and love to an otherwise quiet, conservative, and seemingly forgotten town. 
Theatre has always been a safe space, long before that became a political buzzword. Time Warp appears relatively straightforward in its initial presentation. Berg features cast members’ backgrounds, rehearsals, and most surprisingly, a city council meeting that does not go the way we think it will. 
Huge ups to music supervisor Doug Bernheim for the soundtrack, which features the OG Frank-N-Furter, Tim Curry, Siouxsie, Betty Davis, and Jobriath. Frank Keraudren’s editing, particularly the five-day-out rehearsal montage, opening night, and the credits, is delicious. Loved seeing huge Broadway stars line up as Executive Producers! Berg boasts Josh Gad, Billy Porter, and John Cameron Mitchell.
Remaining Tribeca screenings of General Admissions:
Filmmaker Rob Rice‘s incredibly uncomfortable Tribeca 2026 film Ponderosa follows Zeke, a young man targeted by a wealthy patron as his mother’s restaurant chain falters. George thinks he’s mentoring Zeke, but the reality is a collection of bizarre, forced encounters.
![Holo - 2026 Tribeca Festival - Tribeca - [tribecafilm.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Holo-2026-Tribeca-Festival-Tribeca-tribecafilm.com_.png?resize=678%2C383&ssl=1)
![Zelda Williams in HOLO_[JULIAN LOMAGA]_20](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Zelda-Williams-in-HOLO_JULIAN-LOMAGA_20-scaled.jpg?resize=678%2C367&ssl=1)
Shane West, heartthrob to a generation of women like me thanks to A Walk To Remember, still exudes an effortless charm that leaps off the screen. As Jared, he taps into a terrifying rage. Morgan Kohan gives Claire every bit of herself. It’s the arc we die for. Bravo to Zelda Williams for playing Jared’s human counterpart (more of her, please), and to director Alexander DeSouza and Ashley Brandon for the seamless editing. Magali Lafeur nails the production design.![Morgan Kohan in HOLO_[JULIAN LOMAGA]_5](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Morgan-Kohan-in-HOLO_JULIAN-LOMAGA_5-scaled.jpg?resize=678%2C367&ssl=1)
DeSouza creates an ominous atmosphere. Screenwriter Alexander Hernandez-Maxwell pulls on our darkest desires and intrusive thoughts. Fans of Severence, Westworld, and the 2024 doc, ![Shane West In HOLO_[JULIAN LOMAGA]_32](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Shane-West-In-HOLO_JULIAN-LOMAGA_32-scaled.jpg?resize=678%2C367&ssl=1)
The film sucks you in by introducing the horrid history, but then allows the present attraction to act as a reclamation of power for the atrocities once committed there. Archival newspaper clips, alongside a perfectly ominous score, highlight the sickening language and mindset of Pennhurst’s 1907 origin. The film begins with a warning. Fifteen minutes in, the viewer will recognize its necessity. 
Confessional lyrics that make you cry (that’s a warning for around the 20-minute mark, but not the last), paired with gorgeously cut close-ups in the church studio, sweep you away. It feels like a live concert just for you. Alexandra delivers the organic revelations of creation. 
In this rhythmic psychological thriller, a lonely aspiring teen actress finds herself drawn to an acting teacher who pulls her into a web of desire and control, blurring the lines of seduction and obsession.
After a breakup, rudderless millennial Jane hires a team of Gen-Z consultants to reinvent her life. But what begins as a makeover soon spirals into a sharp social media satire about image, app culture, and the cost of becoming someone else.
In Cold Light
Hellbent on backsliding into her old ways, Ava’s tough exterior hides a chasm of wounds. As her brother softens to her requests for drug connections, all hell breaks loose when she becomes a target and scapegoat for murder. Now, with the innocent lives of her family members in harm’s way, Ava must decide who she can trust and how far she will go to bargain for their safety.
Oscar winner
While the “why” takes longer to get to than I would have liked, and feels somewhat disjointed, In Cold Light is a definitive, gritty crime thriller. Helen Hunt briefly appears, and introducing her sooner would change everything. Both the editing and handheld camerawork are hypnotic. But it’s the visceral father-daughter dynamic that gets under your skin and stays there. Screenwriter Patrick Whistler delivers unresolved trauma on an astonishing level. Monroe and Kotsur make an undeniably compelling duo. I would love to see them back together, doing anything literally.
SHE LOVED BLOSSOMS MORE
The boys flitter between trials, doing whatever drugs they can procure, speaking with utter nonchalance about their intentions. Hedgehog, clearly consumed by sadness, eagerly claws his way towards his ultimate goal. Obsession takes hold.
Cinematographer Christos Karamanis brings the viewer inside their drug trips, of which there are many, blurring the lines of reality. Fair warning: if you are sensitive to light or sound, the film can be overwhelming, but inarguably hypnotic. Performances, particularly Panos Papadopoulos, are fantastic.
Sci-fi extravagance aside, Veslemes takes audiences on a visceral and emotional ride into darkness. There is no denying SHE LOVED BLOSSOMS MORE is a WTF, jaw-dropping watch.
As he prepares to self-fund his hefty two-act drama with his theatre “besties,” Griffin’s theatrical passion is further fueled by a tumultuous homelife. Colia delivers a truly tangible script. Griffin’s mom seems overwhelmed with her go-getter and rather demanding son, but under the surface, something else is simmering. She hires a neighbor’s son to help with yard cleanup. What begins as an annoyance to Griffin transforms into a sexual awakening, a test of relationships, and a piece of art that mirrors his unresolved trauma.
Owen Teague plays Brad with an initial aloofness that perfectly contrasts Griffin’s overzealous nature. As Teague taps into Brad’s motivation, *no pun intended,* the performance captivates in an entirely unexpected way. Everett Blunck is a star. His portrayal of Griffin feels like a documentary rather than a performance. It is one well beyond his years. He exudes fierce confidence that is infectious. Teague and Blunck have magnetic chemistry. Colia skillfully creates a subtle doppleganger effect between the two. It is an incredibly nuanced balance of characterization and performance.
Colia cleverly speaks to art as catharsis, the plight of a tortured artist, and the meaning of authentic friendship. Existing between childhood and adulthood is wrought with emotional chaos, impossible questions, self-loathing, fear, and awkwardness. GRIFFIN IN SUMMER playfully touches on each of these with unfiltered heart and humor.
You must be logged in to post a comment.