THE BEARDED GIRL

Jody Wilson delivers a special film to Fantasia 2025 audiences with THE BEARDED GIRL. Cleo is the heir to a sideshow as the next Bearded Woman. Feeling conflicted about her future, Cleo rejects familial expectations to find herself.
Inheriting a legacy from an overbearing and proud mother, Cleo wants to choose her path. After discovering a secret about her past, Cleo abandons her assigned responsibilities and heads out into the world, much to the chagrin of her bitter mother.
After a bus ride on her way out of town gets cut short by a sighting of her local crush, Cleo’s infatuation becomes a way of life that maybe isn’t what she intended. Her mother, Lady Andre, comes looking for her and mistakes a passing moment for the end of her legacy.
There’s a subplot involving the sale of sideshow land to a greedy developer. If the heir apparent does not sign papers, Andrea loses the land. Cleo begins to understand cyclical trauma, and it doesn’t feel good.
Jessica Paré delivers a vivacious performance as Lady Andre. She is eccentric and demanding, but is undoubtedly battling unresolved wounds. Skylar Radzion is Josephine, the hairless sibling in the bearded family. She is a spitfire and a slick foil for Cleo.
Anwen O’Driscoll is magnificent. She owns her sass, nails the angsty comedy, and commands your attention in every scene. It helps that she is surrounded by a fantastic ensemble of fully fleshed-out characters. O’Driscoll attacks the role with a beautiful balance between quirk, awkwardness, and authentic innocence.
The production design, from Danny Vermette, deserves all the accolades. The circus tents, trailers, and stages all boast vintage jewel-toned draperies and props. In the outside world, the repeated pops of yellow are striking.
The dialogue is hilarious, particularly set against the nostalgic sweetness of the score. It reminds me of Pee-Wee’s Big Adventure. There is a timeless feeling about the entire film. You can’t pin down a year, and that somehow makes everything more satisfying.
THE BEARDED GIRL is a one-of-a-kind coming-of-age tale. The story is a fantastic metaphor for superficiality and a fierce feminist anthem for self-love.
The Bearded Girl Teaser Trailer:
Director
Jody Wilson
Producer
Amber Ripley
Writer
Jody Wilson
Cast
Anwen O’Driscoll, Jessica Paré
Cinematographer
François Dagenais
Composer
Cayne McKenzie
Editor
Fredrik Thorsen
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ZENITHAL
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DON’T TELL LARRY
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Shenoah Allen gives Roy a lived-in exhaustion. There is a gentleness that pulls you into his sphere. Conti is phenomenal as she navigates comedy through the suit, but also manages to rip your heart out. She uses humor to convey the hurt. It is a love story between two deeply wounded adults. Allen and Conti do not hold back in the dialogue. They take risks in every beat. 
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EGGHEAD & TWINKIE

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.
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ZERO
Fast-paced editing and augmented sound effects keep you engaged from the first frame. The concept combines the adrenaline of SAW and SPEED, but it’s funnier and inevitably much darker. The soundtrack is fantastic. Gregory Turbellier‘s camerawork is immersive and sharp.
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Credits
Alicia Blasingame is a superb foil for her onscreen rival. There is a comfort level that makes you buy into Aura from the moment you see her. Rosemary Hochschild is magnificent in her final film role as Gladys. Her fearless performance sends chills down your spine, then giggling with delight. What a pleasure to witness this level of talent.
WHITCH subconsciously makes fun of women who call themselves witches, but in reality, they love the ideas and decor, not the literary canon. Would I adore a feature-length version? The answer is a resounding YES. Do I also believe it is delicious in its current form? It has undoubtedly cast a spell on me.

Every single cast member nails it. I do not know if any dialogue is improvised, but every beat feels like a Groundlings sketch. It is akin to watching living muppets. Slow clap for this fully committed, genuinely awe-inspiring ensemble cast.
BROTHER VERSES BROTHER comes from director Ari Gold. (The Song of Sway Lake) This hybrid bonanza of music, storytelling, and familial exploration of Ari and Ethan Gold in their search for their father, Herbert Gold, is perfect for the SXSW 2025 audience. 
THE STRESS IS KILLING ME
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