animal.
Author and personal trainer Zane Griggs guides us through an hour-and-a-half argument for a carnivore diet. Often called “The Caveman Diet,” a meat-led way of eating has been all the rage in certain circles for years now. ‘animal.’ features doctors and a select few nutritionists presenting the benefits of consuming a diet contradictory to generations of teaching. Griggs uses testimonials from those who tout the life-changing effects of red meat. 
The film feels like one lengthy infomercial with cherry-picked science for effect. There is no mention of pollution and the links to socioeconomics. I’m not arguing the diet is faulty. I would have loved to have seen unbiased medical charts. I’m suggesting that the food chain accessibility should be half of the film. The fact that the only two black individuals interviewed are UK residents, a former bodybuilder, and his health coach daughter, Eddie and Selina Abbew (dad has 4m Instagram followers) is glaring.
The nature footage and scientific recreation transitions are undeniably beautiful. Overall, the editing wavers between sharp and choppy. To make a more concise argument, speakers sometimes appear glitchy rather than inserting a scientific slide to smooth the transition. It’s incredibly distracting. The skulls in the background of each sit-down come off as hokey. 
My husband went on a Keto diet in preparation for his half-Ironman competition in 2015. I joined him a few weeks in. On the fourth day, once my body entered ketosis, my body looked entirely different in all the best ways. I was shocked. But remaining on the diet in the real world was incredibly challenging. After a single cheat day, my body fell out of ketosis. I had to restart the process. I became angry, and I was always hungry. It wasn’t a sustainable lifestyle for me. 
While it is easy to agree with the profit-driven motivation of the pharmaceutical and processed food industries, it’s challenging to accept that my organically grown vegetables are trying to poison me. It comes down to money and US standards. We allow chemicals, pesticides, dyes, and unregulated factory farming that other countries do not. You can taste the difference. The final 20 minutes encourage regenerative farming and environmental care. It’s a great message, even if the film never delves into food-drought areas. 
A Keto diet worked wonders for my husband, but that was in an intense training setting. I was able to see immediate physical results, even though it did not end up feeling ideal for me. I’m worried that omitting information curves the film into pseudoscience territory. ‘animal’ has good intentions, but withholding information on the healthiest countries and their varied diets feels skewed. Viewers will have to come to their own conclusions based on the information presented, personal health journey, and availability of resources. If nothing else, ‘animal.’ triggers a broader conversation about nutrition and sustainability.
Now Playing in the Following Theaters
NYC at the Village East Cinema
Los Angeles, CA at the Laemmle Santa Monica
Las Vegas, NV at the Downtown Cinemas
Austin, TX at the Violet Crown Cinema
Dallas, TX at the Galaxy Grandscape 15
Houston, TX at the Xscape Theaters Katy Fulshear
Written & Directed by JOSH FELDMAN
Executive Producer VINNY LINGHAM
Produced by VINNY LINGHAM, KEVIN CARTER, and JOSH FELDMAN
Featuring
DR. ANTHONY CHAFFEE, DR. KEN BERRY, DR. SHAWN BAKER, EDDIE ABBEW, STEAK AND BUTTER GAL, DR. ERIC BERG, JUDY CHO, DR. ROBERT CYWES, DR. ROBERT KILTZ, SALLY NORTON, DR. LISA WIEDEMAN, DR. CATE SHANAHAN and ZANE GRIGGS
SYNOPSIS
animal. unmasks a century-long conspiracy of political, economic, and religious forces that have twisted our natural bond with meat—enslaving us to ill health and Big Pharma dependency. Through bold interviews, historical revelations, and groundbreaking science, it shatters nutritional myths and dares us to reclaim the ancestral diet that fueled our evolution.
Documentary | 89 minutes | Not Rated | 2025 | English | USA animal.
Filmmakers Kasper Bisgaard and Mikael Lypinski bring Tribeca 2025 audiences documentary, THE END OF QUIET, a thought-provoking exploration of human connectivity. In an isolated town in West Virginia, the world’s largest radio telescope can pick up the murmurings of signals across the universe. To achieve this, the telescope resides in the Quiet Zone, the only place in the U.S. where Wi-Fi and cell phone signals are not permitted.
How do they fight the boredom? Brionna and her gun enthusiast grandfather, David, spend time together shooting his 37 guns and rifles and blowing things up. Choosing to reside in The Quiet Zone due to electromagnetic hypersensitivity, Clover and her dog, Beautiful, live for landline phone calls from her husband, who lives abroad. Her original poetry also serves as beautiful transition audio. A lonely but contented elderly vet named Willard spends his days drinking a lot of coffee and attending local funerals. Kirsten, 17, and Frankie, 23, are a young, engaged couple who dream of having a child. 
THE FILM IS SUPPORTED BY
Eshaghian and Jafari use the investigative narrative as a thread throughout the film. The film opens with the discovery of the body and the subsequent search for who and how. Crime photos are relatively tame if you are an avid Discovery ID watcher.
Defying all the odds and the lawyers’ advice, Fernando gathers a local Quechua cast, including little Dylan as young Simba, creating a dazzling version of the beloved tale in his studio. The result is a triumph.
Directed by: Steven Feinartz
Director: Oscar Boyson
Directed by: Lauren Meyering
While waiting at the airport for her husband, Aya (Sarah Adler) is mistaken for someone else. Intrigued, she decides to pick up a complete stranger (Ulrich Thomsen) on a whim. Their encounter sparks an unexpected intimacy that unsettles Aya’s sense of certainty and awakens a yearning she neither fully understands nor knows how to fulfill. Her quiet search for meaning unfolds in a hotel room, a customer service chat and in subtle disruptions to her daily routine, as we are taken through a woman’s delicate and honest search for something meaningful.
Directed by: Jim Sheridan & David Merriman
Directed by: Rick Gomez
Director: Karam Gill 
Director: Amy Scott
UnBroken
Lane pieces together the Weber children’s story using archival footage, family photos, letters of eldest brother Alfons, and the foggy memories of the five remaining sisters. She travels to Berlin, stopping at each location where the siblings were hidden and nurtured. Lane discovers her grandfather’s original fascist concentration camp papers and the entry log of all seven children in a nunnery, finding that her mother Bela’s instinct about her middle name was correct.
Misfit delivers enchanting line-drawn animation to fill in the visual gaps. Aaron Soffin and Dina Guttmann’s editing is award-worthy. Jonathan Snipes’ score is haunting. The film plays out like historical fiction from one moment to the next.
One particularly intriguing moment happens as Beth runs into a small group of young people listening to music outside the siblings’ old apartment. After she tells them what the film is about, she asks if they would hide her if history repeats itself. Their honesty will burn into your memory. The echoes of trauma and triumph rear their ugly heads in many ways, but the knowledge that in saving seven siblings, there are now 72 thriving Weber family members is something to celebrate.
The similarities to the systematic dismantling of the United States’ democracy should serve as a stark warning, but UnBroken also shines a light on the goodness of the human heart. One phrase from the film perfectly captures the message. “When you’re faced with adversity, who do you become?”
![Mola_ A Tibetan Tale of Love and Loss_ - [schedule.sxsw.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Mola_-A-Tibetan-Tale-of-Love-and-Loss_-schedule.sxsw_.com_-1.png?resize=678%2C381&ssl=1)
However, the underlying generational trauma manifests in a contentious mother-daughter relationship. Mola uses humor and cutting words as shields. Patrick Kirst‘s score captures each beat, whether melancholy or joy. Sonam wishes for her to stay for all the reasons one would expect a loved one to feel.
The chance meeting of Fuentes and Luckey gives us insight into a music industry mystery. Diane, aka Q Lazzarus, tells us her history with music, beginning in her childhood Baptist church choir. She knew her tastes were different and embraced her unique and powerhouse presence. 
With all the elements of a successful career at her fingertips, her romance with club promoter Richard slowly changed things for the worse. The lack of recognition took its toll. Richard’s leaving, combined with the Philadelphia soundtrack snub, was the final straw, and the drugs introduced by Richard led to Q’s world crumbling. But out of destitution and depression, Q rises from the ashes of sex work, crack addiction, rehab, finding her husband, getting clean, and fighting to bring her son James home. 
James, now an adult, encourages his mother to reclaim her work. Eva, Q, and her former bandmates plan an upcoming concert. Chasing the dream of finally making her music and onstage persona a household name. Q’s newfound enthusiasm is infectious. Even though life had different plans, Q Lazzarus and Diane Luckey gave us one unforgettable story.
Tragedy follows a family of creatives. Dana Tiger‘s artist father was the creator of the
Home videos, family photographs, original art, and a haunting ancestral voice carry us through the family’s past and present. Dreamlike editing, filled with dynamic choices, creates a mesmerizing 12 minutes. An extraordinary story of resiliency, loyalty, and validation, TIGER is an inspiring short about generational healing and legacy.
Civil Rights Attorney for the Institute for Justice, Marie Miller, breaks down the law surrounding the retaliation for Angeli speaking out about her experience. Angeli was pulled over on trumped-up charges, threatened, and stalked by police.
Meanwhile, out of the blue, Angeli is sent to a correctional facility 7 hours away from Uvalde for allegedly violating her parole. While there are zero consequences for the failed police, Angeli is served with an injustice the audience will feel in their bones.
Life Coaching has become a rather broad term in our culture, akin to “Wellness.” Director Annie St-Pierre explores the various methods in her SXSW 2025 film YOUR HIGHER SELF. Everyone is looking for enlightenment, even if it means wading through the good, the bad, and the ridiculous.
SXSW 2025 documentary DEAR TOMORROW delves into the epidemic of loneliness. Filmmaker Kaspar Astrup Schröder follows two Japanese citizens who suffer from severe loneliness. Schröder quietly observes them through their physical and emotional isolation and a subsequent few conversations with the mental health hotline, “A Place For You.”
Director: Gerard Johnson, Producers: John Jencks, Isabel Freer, Matthew James Wilkinson, Patrick Tolan, Screenwriters: Gerard Johnson, Austin Collings
Director: Elaine Epstein, Producers: Elaine Epstein, Robin Hessman
Directors/Screenwriters: Helena Ganjalyan, Bartosz Szpak, Producers: Maria Gołoś, Monika Matuszewska
Director/Screenwriter: Alex Scharfman, Producers: Drew Houpt, Lucas Joaquin, Alex Scharfman, Lars Knudsen, Tyler Campellone, Tim Headington, Theresa Steele Page
Director: Yana Alliata, Producer: Jack Forbes, Screenwriters: Yana Alliata, Amy Miner
Director: Eli Craig, Producers: Marty Bowen, John Fischer, Wyck Godfrey, Screenwriters: Carter Blanchard, Adam Cesare, Eli Craig
Director/Screenwriter: Amy Landecker, Producers: Amy Landecker, Bradley Whitford, Valerie Stadler, Jenica Bergere, James Portolese
Director/Screenwriter: Geremy Jasper, Producers: Michael Gottwald, Noah Stahl
Director: Matt Johnson, Producers: Matthew Miller, Matt Greyson, Screenwriters: Matt Johnson, Jay McCarrol
Director: Ari Gold, Producers: Michelle Stratton, Starr Sutherland, Screenwriters: Ari Gold, Ethan Gold, Lara Louise, Brian Bell, Herbert Gold, Tongo Eisen-Martin, John Flanigan
Director/Screenwriter: Chelsea Christer, Producers: Clinton Trucks, Alexa Rocero, David B. Lyons
Director/Screenwriter: Lucy Davidson, Producers: Vanessa Batten, Amy Upchurch
FIST BUMP
ABOUT SLAMDANCE
LIFE AFTER
Canadian Bill C-7 allowed for the Right To Die. The expansion of MAiD (Medical Assistance in Dying) remains controversial. Davenport offers every angle of the process. This alone is an emotional roller-coaster, from perceived propaganda to Disability Rights Advocates, both for and against the legislation. 
Dr. Ramona Coelho speaks about the cost savings of moving forward with the passing of C-7. The film tackles the abuse of the law. Davenport interviews advocates who worry that this could be used as a justification tool to end the lives of disabled people, in other words, eugenics. 
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