IN THE MOUTH
Filmmaker Cory Santilli brings a film like no other to Slamdance 2025 with IN THE MOUTH. The script follows Merl, a housebound man down on his luck financially and mentally. When his landlady arrives to collect three months’ back rent, Merl decides to take on a roommate. Larry happens to be an escaped murderer, but that is not what scares Merl. It is the giant version of himself protruding from his front lawn. 
IN THE MOUTH is an absurdist comedy. Shot in stark black and white by Mike Magilnick, the cinematography boasts great closeups and one particularly memorable off-kilter angle that made me sit up straighter. Merl’s creative outside retrieval methods remind me of individual components of Pee Wee Herman‘s Rube Goldberg machine in his Big Adventure film.
Doug Moss‘ augmented sound editing highlights the isolation of Merl’s environment while simultaneously ticking the boxes of sensory issues he may also be affected by. I recognize the triggered body language as someone with misophonia, specifically with metal on metal. 
Colin Burgess, who also stars in another Slamdance 2025 film, LOCKJAW, and designed the titles, delivers a fascinating performance as Merl. Burgess’ commitment to the genre and the world Santilli has created is applause-worthy. You would never know Burgess was the same actor, which is the ultimate compliment. I would happily watch him create more Merl shenanigans. *Cory, I’m talking to you here.*
Understanding that Merl is Cory in real life is key to the film’s profundity. The metaphor of turning fear into power is so intriguing. IN THE MOUTH‘s finale lands, quite literally, like a breath of fresh air. Slamdance is the key demographic for a story with this breadth of style and bravery.
In The Mouth Teaser Trailer:
-
Year:2025
-
Runtime:84 minutes
-
Language:English
-
Country:United States
-
Premiere:World Premiere
-
Genre:Dark, Comedy, Thriller
-
Subtitle Language:English
-
Director:Cory Santilli
-
Screenwriter:Cory Santilli
-
Producer:Jesse Muro, Tatiana Bears
-
Cast:Colin Burgess, Paul Michael
For more Slamdance coverage, click here!
Addison Heimann is a queer genre filmmaker currently residing in Los Angeles. His first feature, Hypochondriac, premiered at the 2022 SXSW Film Festival and was distributed by XYZ Films. His goal is to tell queer stories that explore mental health in the genre space.
Evan Twohy was raised on Hitchcock and opera on the edge of a forest outside Berkeley, California. From an early age, he found himself drawn to absurdist theater and began writing plays in New York City prior to making his first feature, Bubble & Squeak.
GRAND THEFT HAMLET
Sam and Mark try to entice an audience while simultaneously playing the game. GRAND THEFT HAMLET is hands down one of the most entertaining documentaries ever. Guns blazing, blood spraying, and lines of Shakespeare flying willy-nilly, it’s brilliant madness.
Having only witnessed clips of Grand Theft Auto through the years, I was blown away by the ability to customize the experience. It was both exhilarating and terrifying. It is something akin to a virtual vision board. (Yes, my theatre nerd girl roots are showing.) Could this be a new way to rehearse actors? The director in me has all the thoughts currently rushing into my brain.
On the technical side of things, the editing and soundtrack are award-worthy. The film exemplifies the power of human connection when it was not possible in the physical world. It is a light in the ongoing darkness that often feels all-consuming. Sam’s plea from the film’s audition recruitment segment says it all. “You can’t stop art, motherfuckers!” GRAND THEFT HAMLET is the epitome of the creative community’s ability to bring hope.
Footage from those rescued from collapsed buildings, unimaginable loss, children caught in a tornado of violence, every film is immersive and visceral. The bravery and passion of the filmmakers are on full display. The viewing experience is heavy, inspiring, and vital, particularly for those who believe we should stop funding humanitarian efforts abroad. Amongst turmoil on American soil, we should thank our lucky stars for the privilege of honoring the ongoing courage, compassion, and unity of the Gazan people. FROM GROUND ZERO is a must-watch. 
THE HOUSE FROM
The editing is clever. For example, one former owner of Jesse’s house in Breaking Bad house was a teacher, so Avallone cuts to scenes of Walter White in his chemistry classroom. She was able to buy her son his first car from the profits of filming. On the opposite end of the spectrum, the current owner of Walter White’s house aggressively hates tourists.
THE HOUSE FROM counters this negative fan experience with the owner of The Goonies‘ home. Susan Preston got a bad rap. This redemptive story is authentically heartwarming. Bushnell Ave, in South Pasadena, is the ultimate film fan’s dream. From Back to the Future to Old School, it boasts several famous houses, and the owners love the fans. The Rubio House in Altadena is iconic. I lost track of the number of films and television shows listed by the owner, Liz. Ethan Embry visits the house, and his excitement and nostalgia are infectious.
The doc also uses TikTok and other social media clips of fan visits. The behind-the-scenes footage from Home Alone takes the cake. The lovely neighbors across the street took camcorder video from their front yard during the 1990 production, and it is a coup for Gen X and Millennials.
2. The varying visual aspects are so cool, from the black and white to the halo effect. Those specificities keep the audience relatively grounded in Jack’s chaotic “space and time.” What did this storyboarding look like? With all the elements involved, I imagine it was a huge wall or an entire room.
4. Can you tell us about casting Kelly Marie, Chris, and Jack? Their chemistry is magic. Did you let them play with dialogue during the shoot?
5. The set is incredible. As a theatre nerd, it was immersive enough for the imagination to fill in the blanks and for the cast to play on. How did you decide on a unit set?
6. Would you and Nik consider a franchise with new characters? I would be the first person watching the interactions of other people’s minds swirling with what-ifs!
GHOST GAME
I have mad love for 
As an Autism Parent, Vienna Maas does a lovely job portraying Sam, a child on the spectrum. Writer Adam Cesare handles it with such care. I genuinely appreciated both the delicate touch and the representation, so cheers.
Aidan Hughes is hands down one of the best players in this ensemble. His chameleon shifting is bone-chilling. Kia Dorsey gives Laura a fearless passion. She begs your attention in the morally grey area she exists in. She effortlessly leads this large cast, and I look forward to whatever comes next. Casting directors, get your eyes on her ASAP.
The entire cast nails each beat. Kelly Marie Tran oozes charm as Mia. She is so watchable and gives Mia a genuine heart. Chris W. Smith delivers honest best-friend vibes. He’s got that sitcom aura in the best way possible. Jack De Sena is spectacular, running through the emotional gambit. He reminds me of Jack Black, with a loveable quality that draws you in. Discovering that Smith is De Sena’s comedy partner in their popular sketch comedy channel Chris and Jack and now the world makes more sense.
The script is whip-smart. It is a ping-pong match of wits between best friends through self-doubt, anxiety, and depression. The film is a dizzying whirlwind of meta-purgatory, tackling the incredible nuance in relationships and the importance of communication. It’s about owning your shit. Me, Myself, & the Void is one of the best indie gems of the year.
GIRL INTERNET SHOW: A KATI KELLI MIXTAPE
Kelli is a star. She has that sardonic wit you see in Aubrey Plaza. Frankly, if you told me they were blood relatives, I would accept that as fact. Also, it’s impossible to ignore how stunning she is.
The film ends with Kati’s short film, finished three days before her passing. The subject is both ironic and eerie. Going in with the understanding that Kati is no longer with us weighs heavy in the back of your mind. Knowing what a massive star she was and how much bigger she could have been leaves a sting, but GIRL INTERNET SHOW: A Kati Kelli Mixtape celebrates an artist in all her magnificence. It’s an unforgettable film. Kelli lives forever, an eternal celluloid angel. She flies.
VIKTOR
Viktor wants to be a soldier, but his deafness prevents it. His late father instilled “the military spirit,” and by Miyamoto Musashi’s canonical The Strategy of the Samurai, Viktor aspires to a noble warrior philosophy. Facing rejection after rejection, he finally convinces the local army to take him on as a volunteer field photographer. This opportunity to pursue his talent changes his path forever.
The heightened sound editing by Andrew Siedenburg and Nikolay Antonov is a character in the film. There is no better way to articulate its effect. The camera work from Lidia Nikonova swings from following closeups to static long takes, and it is nothing short of magnificent.
There is a theatrical delivery of much of the dialogue. Deragh Campbell is marvelous playing Katy. She delivers a compelling performance, reminding us how much we rely on the family matriarch to set our boundaries. Campbell’s pervasive anxiety flows on the screen.
The film brilliantly captures the poetic chaos of family gatherings. A myriad of intimate vignettes are all swirling together in an authentic picture where time loses all meaning. FAMILY PORTRAIT is haunting in so many ways. It will leave you breathless and wanting more.
DEATH PERCEPTION
CATHARSIS
Summoning Sylvia
Everything from the lighting, the lens, costumes, set design, the score, hair and makeup, and the jokes nail the era. Along with the live tape, black and white behind-the-scenes footage shows us what the at-home audience missed. 
David Dastmalchian owns every frame as Jack Delroy. A delicious mix of genuine and fame-hungry, his effortless performance is mesmerizing. He has the audience in the palm of his hand. You cannot take your eyes off of him. 
Filmmaker Kailee McGee shares snapshots of her innermost thoughts on her journey with breast cancer. Tongue in cheek, manic, clever, stream of consciousness, unfiltered, and hilariously meta, CAN feels revelatory. It is celebratory irreverence. McGee makes her situation relatable and palpable. She is raw and funny as hell. I would 1000% watch a feature-length version. It has that “it” factor, and McGee owns every bit of its magic.
Dr. Franklin Caul has created a simulated consciousness with the dead. The DOJ wants it, but Caul has ulterior motives. The tech uses data from the deceased to have conversations or seek answers. In the mix is a swirl of overlapping thoughts and confusion that get under your skin. You cannot help but listen to them, and they are chilling. Caul observes that when suicide is the cause of death, the deterioration of self slows.
What might sound crazy is that this tech already exists. Customers can pay several different companies worldwide to build an AI version of their past loved ones. A recent Sundance documentary, 
The film takes place in a single location where The Interviewer records her podcast. The secluded and expansive modern mid-century estate allows her to wander, but most of the action happens at a desk or in front of the wall of windows that contain her discoveries. Our journalist creates an episode of her first phone calls. Editing the calls at her will, the audience questions her culpability. This small moment puts your morality compasses in a tailspin. It is a slick move from writer Lucy Campbell. Podcasts are my nightly ritual, cleaning motivation, and my travel companion. Since SERIAL, the industry has exploded. In MONOLITH, the story goes viral. People begin contacting her directly with their stories, always warning her to stop.
At some point, the danger reaches the front door of our journalist’s secluded location when she receives a package related to the mysterious story. The darkness attached to the object feels slightly Faustian and not of this planet. No one remembers how they received their object, but each reaches a point in questioning where they feel compelled to hang up out of fear.
Is this a case of mass hysteria? In many ways, the plot mirrors today’s conspiracy groups like QAnon. Our leading lady goes down the rabbit hole, and the audience follows. MONOLITH boasts a jaw-dropping final ten minutes. This is one hell of a sci-fi thriller. It is a must-see.
You must be logged in to post a comment.