
THE FATED HOUR

Based on “The Relationship with the Spirit-World” by Friedrich Laun, filmmaker Peter Hengl‘s Fantasia 2026 atmospheric period short THE FATED HOUR begins in Austria, 1810. Florentine recounts her deceased sister’s supernatural predilections to her fiancé, ultimately warning him of her potential impending destiny.
Seraphine was gifted or afflicted with telepathy, astral projection, and an overwhelming melancholy air. Her inexplicable connection to the spirit world and her ability to receive messages from beyond create a rather chilling existence in 1810. But Florentine’s eternal love for her sister reigns supreme.

Costumes are beautiful. The camerawork, editing, and candlelit rooms lend to a haunting atmosphere. Every aspect of production is divine. Alina Schaller is incredibly compelling as Florentine. You truly hang on every word. Fanny Altenburger, who also provides stunning songwriting and vocals for the film, is mesmerizing as Seraphine, with an ethereal aura.
THE FATED HOUR delves into grief, the indescribable bond between sisters, and even believing women. It’s a genre delight, and extra delicious for us bookish, gothic-loving girlies to get lost in.

Director
Peter Hengl
Executive Producer
David Gregory
Producer
Lola Basara, Kier-La Janisse
Writer
Peter Hengl
Cast
Fanny Altenburger, Daniel Holzberg, Cornelius Obonya, Alina Schaller




















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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. 
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.
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Samara Weaving plays Caroline with both a curious innocence and a ferocious need. A woman with deep-seated mommy issues and supposed free will looking to feel seen. Kyle Gallner, AKA My Music Boyfriend (IYKYK), AKA Scream King, is our charming bad influence, Oliver. A whip-smart, observant, effortless hustler, his journey is just as complex as Weaving’s. Gallner always makes it look easy. The two share a goo-goo-eyed chemistry that makes the knees weak. You are buying every dangerous and sensual beat.
As their crimes progress from petty to armed, Caroline’s conscience creeps in, and a close call digs a deeper hole for her and Oliver. Rehmeier keeps the audience on their toes from the get-go, using Oliver’s teaching techniques to lure you into his game, but suspect a potential long con. But Rehmeier and writer Tom Dean are smarter than that with a script that knocks it out of the park.
Of course, the score god Chris Bear did the music. Bear, Rehmeier, and editor Justin Krohn understand the emotional impact of a strategically placed song. The red, white, and blue costumes (which match the opening credits) are iconic. Rehmeier’s ability to create a visual identity in his films is truly chef’s kiss. 


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 backing out of a suicide pact that leaves her husband dead, a sheltered farmer’s wife flees the shame and hidden debts that destroyed their life together and disappears into the port city of Eilat, where an unexpected bond with migrants, refugees, and a compassionate hotel manager forces her to rebuild herself from nothing and discover a life beyond the one she was told to live.
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.
Seven years after her Grammy Award-winning Amidst the Chaos, Sara Bareilles reunites with her closest collaborators to record a new album. What emerges is an intimate, cinematic process that lays bare the musician’s deep connections and inspirations in Tribeca alum Josh Alexander’s moving music documentary.
Omaha
Molly Belle Wright and Wyatt Solis play Ella and Charlie. These two young actors will blow you away. Their chemistry with John Magaro is something from the movie gods. Wright bears the weight of being the eldest daughter, exquisitely. A performance immediately clocked by those who have lived it.
Christopher Bear‘s music is akin to an American folktale, almost echoing Taylor Swift. Paul Meyers‘ camerawork and Jai Shukla’s editing create a tangibility that touches your soul. The film’s deliberate pacing and lingering shots allow the audience to be in the moments of realization, joy, and grief of this little family.
Mabel
Nicholas Ma‘s darling coming-of-age film Mabel follows Callie, a 6th-grade botany-obsessed girl who struggles to adjust to her family’s move. 
Judy Greer is a gem. Having worked with and for scientists, Greer nails the bluntness and often curt tone in Ms. G’s delivery. It’s a performance that wins in its specificity. Newcomer Lexi Perkel‘s raw turn will undoubtedly hit the core of anyone raising a headstrong leader. Perkel settles easily into Callie’s hyper focus. You can see the light in her eyes as the two become one. Perkel is so effortless, you’d think she were the subject of a documentary.
Mabel struggles slightly with pacing, even at a satisfying 84-minute runtime, but its relatable storytelling keeps it a breezy watch. Anyone who has ever felt different, misunderstood, or any parent of a child on the spectrum (even though Callie is specifically not) will relate to the desire to find connection and genuine friendship. Mabel is a solid family film. 
Sam finds musician David’s absence a subconscious excuse for connecting with the beautiful but aloof Dianne. As the months roll on, Dianne is working out her midlife crisis shit with Sam as her newfound bestie. Crashing out, and rightfully so, over aging, a waning acting career, and deepening depression. Sam, managing the eclectic needs of the three girls, a seemingly narcissistic husband, and his own feelings of inadequacy, must navigate new feelings and old fears.
Something that really stood out to me from an acting and writing standpoint in Fantasy Life warrants a mention. Eating scenes are actually quite rare in film. I don’t mean sitting at a table doing dialogue, I mean actually consuming food as the actors speak. It’s one of the most natural actions in our everyday lives, but we don’t often get treated to genuine relationship-building when actors have their mouths full of food. That simple and very specific choice by Shear has such an impact. It solidifies an immediate intimacy between Sam and Dianne. Bravo.
For all the reasons, Shear and Peet have the most electric chemistry. They share a beautiful, “will they, won’t they” energy, far beyond the trope itself. It’s so very easy.
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