
LIBERTY

A young park ranger with a soulful connection to animals locks a group of eclectic strangers in a cage, forcing them to confront the realities that innocent creatures face daily.
The clever dialogue juxtaposes the fragility of animals in captivity as Matt assigns an animal to each human prisoner. The underlying theme of Matt’s bullying slyly mirrors the psychological torture of animals and the imprisonment of his captives.
Nicholas Michael McGovern delivers a mesmerizing performance through narration and chilling direct-to-camera fourth wall breaks. His steady voice soothes the audience. It is melodic and informative, making his intentions more frightening. He is magnificent.
The unit set lends itself to a stage play. I would pay good money to witness this on Broadway. It’s immersive enough to captivate a live audience even more. LIBERTY could be a unique opportunity for Gravitas to enter the theatre world. If I were producing a screen-to-stage adaptation, I would edit live audience reactions during each performance, creating a curated, visceral experience for each ticket holder.
Philippe De Witte‘s clever allegory about animal rights takes the audience on an unexpected moral journey. Akin to the strangling anxiety of Saw without the gore, LIBERTY is a one-of-a-kind entry into the psychological horror/ environmental thriller subgenre. LIBERTY is dark and daring. It is an emotional roller coaster that twists and turns, loops and lurches with a quiet, raw intensity. De Witte unlocks a primal fear surrounded by poetic madness. You are not ready for this film.
Available on VOD November 21st, 2023
*Winner of Best Foreign Feature Film, Best Music Score – Musical Composition for a Feature Film, and nominee for Best Feature Film – 2022 Burbank International Film Festival
*Winner of Best Thriller – 2022 Montreal Independent Film Festival
*Winner of Best Feature Film, Best Thriller, Best Cast Ensemble, and Outstanding Achievement in Production Design – 2022 Lonely Wolf International Film Festival*
*Semi-finalist – 2022 Dumbo Film Festival*
*Official selection – 2022 Wildlife Conservation Film Festival*
Written and Directed by Philippe De Witte
Produced by Michel Gouzée de Harven, Jean-Christophe Van den Berg, Yves Merlin, and Michael Whalen
Featuring a breakout performance by Nicholas Michael McGovern and Starring Alice Barrett (“Another World”), Olan Montgomery (“Stranger Things”), Denny Dale Bess (“Law & Order: SVU”), Samantha Smart (“Katy Keene”), Jonathan Kirkland (“Tulsa King”) and Andrea McKinnon (Boyhood)
In the environmental thriller Liberty, an idealistic park guide holds six strangers captive, treating them like caged animals, to deliver his chilling message of freedom to the world. As his hostages run the gamut from confusion and disbelief to anger and hostility to grief and despair, our anti-hero compares their mental and physical breakdown to those of wild animals struggling in captivity.
RT: 103 minutes



Bradley Whitford is a veteran “participant” craving interaction. Each man gains knowledge from the other’s vastly different strategies for survival. Gregg discovers rewards flow when he either embarrasses or hurts himself. As one coaches the other, a mutually beneficial relationship develops. Alice Braga enters the scene as a woman on a mission, determined to find a way out. Her fiery passion counters Whitford’s stubbornness and Gregg’s growing popularity. When best intentions backfire, and another very influential participant butt heads with her, the consequences prove unthinkable.
The performances are magnificent. Whitford’s energy is manic. It is like hypnotic live theatre. Alice Braga brings her usual fierceness, rattling the day-to-day flow of events. Melvin Gregg is a one-man show that gets better and better by the minute. His flawed vulnerability pulls you into this mesmerizing plot. He is magnificent.
The first feature film to be shot entirely from one fixed camera angle, 
Various animation styles change from scene to scene, from hand-drawn to greenscreen, live-action to stop motion layer and mesmerize, forcing the audience to sit up and pay attention. QUANTUM COWBOYS‘ narrative timeline loops and shifts to give our protagonists a chance at redemption. Butterfly effects cling to each of them as “Memory” plays the storyteller and provides second chances disguised as a mysterious stone arc. This clever device keeps the audience enthralled, wondering how this might end.
The cast boasts faces familiar and iconic. Kiowa Gordon and John Way shine alongside David Arquette and Lily Gladstone ( a near-future Oscar winner IMHO). This one-of-a-kind film will undoubtedly delight with its wacky and meta climax. QUANTUM COWBOYS is an ambitious film that, while currently planned as a trilogy, could easily transition to a series at a major studio. Marslett gives audiences a choose-your-own-adventure-style story whose possibilities are endless.
A manipulative sociopath armed with a dangerously ambitious spirit, her wits, and an affinity for snorting wasabi voyages into the high-intensity game of stock market trading and wages war against the financial world. When she stumbles upon news of a monumental pharmaceutical trade, she risks everything to complete her ultimate success story no matter the cost.
Kimberly-Sue Murray owns every second of screen time. Her manic energy drives the narrative like a runaway freight train. The character is slick, interested only in the genuine long con. Murray masters everything from various accents to grounded emotional release through interpretive dance. She truly is the smartest person in the room. Filmmaker Corey Stanton gives the trader a backstory that slowly reveals itself, adding a new level to the complexity of TRADER. Just when you think you’ve got the story pegged, think again. TRADER is relentlessly tense. It is a conspiracy theorist’s wet dream.
TRADER is a one-woman show. I would love to see this live onstage, to feel the energy in person. TRADER is an indictment of capitalism and how, with the aid of the internet, the combination of the two may be the undoing of society. This twisted film is a one-of-a-kind ride. It’s an ever-evolving endgame that sucks you in. Don’t forget to unclench your jaw and draw a breath while you watch. TRADER is the ultimate disruptor.
Eva takes over as a Foley artist for her hospitalized sibling Zara. With no knowledge or self-esteem for the task, Eva endures shockingly abusive behavior from every angle; Zara, her boss, and the hospital nurse. When threatened with dismissal from Zara’s position, she becomes obsessed with the assigned commercial clip.
PIAFFE gives audiences a fever dream of imagery and sound. Music is an eclectic Giallo-inspired mix of ominous cello and techno. The color Red features symbolically in lipstick, a telephone, tinsel, roses, and lighting. Simone Bucio is fearless as Eva. Her palpable anxiety and social awkwardness pour off the screen, making her relatable in the most unexpected ways.
Utterly fascinating, this documentary horror hybrid effectively puts the fear of God into the audience. The film begins by sharing the history of each incarnation of what we now refer to as the “Ring” security camera, each inspired by a recurring nightmare. Historical recounting gets the creepy treatment with a random subject’s security footage playing in its fisheye lens version behind the storytelling text. There is no formal dialogue. This voyeuristic nightmare is unlike anything we’ve seen before, featuring videos of everything from natural disasters to doorstep theft and animal encounters to delivery people behaving badly and creatively.
The score is bone-chilling, with its piano cords striking. It’s something straight out of hell. But, the film is even scarier than it initially appears when we learn the global and societal impact of advancing technology. Cinematic tropes alone reflect the world’s potential terror. Fantasia 2023 audiences get a taste of a film that would be a perfect Fall statement at MoMA. HOME INVASION is exceedingly disturbing. If anything, it reminds you how quickly the scales of good and evil tip. It will haunt you.
The narrative flips when Katya becomes entangled with the son of the laptop owner. Her online sleuthing would put the cops to shame. It is millennial cyberstalking at its best. Liza Zaitseva gives a heart-stopping performance as Katya. Her relentless emotional investment is a rollercoaster ride. She is simply magnificent.
HEIGHTENED
TRIBECA FESTIVAL 2023 brings thrills, mystery, comedy, fantasy, you name it, there is something for everyone. This year’s lineup features Joe Lynch‘s latest, Suitable Flesh, Gabriela Cowperthwaite‘s I.S.S., and David Duchovny‘s Bucky F*cking Dent. Let’s get into a few of the films we are dying to get our eyeballs on this year.
Directed by: Steve Buscemi













Director Oscar Harding happened upon the tape as a child but had only had the pleasure of watching until his father hit stop on the VCR. It isn’t until the VHS reemerges in his adulthood that he feels compelled to dig deeper into the man beyond the vast amount of background provided by Charles along the way.


Like in The Blair Witch Project, each character goes by their real-life name. Banfitch is the sole cinematographer. The shaky handheld camerawork gives the film solid legitimacy. The sound editing varies based on the speaker’s proximity to the camera, lending to the validity of the experience. With the film opening with a horrifying 911 call, memory card number one contains relatively mundane introductions to the characters. Background information reveals itself in what is essentially Robbie’s private vacation footage. But, you’re so entranced by the opening audio, you become obsessed with discovering the cause of those screams. That, my friends, is compelling editing.
Card two introduces the mystery in earnest. Card three is chaos. 99.9% of the film occurs through Robbie’s lens’ perspective. Much of the explosive final hour is lit by nothing but a flashlight. Therefore, a great deal of what we can’t see paralyzes us. Don’t for a second think that the daylight is any safer. What we do get a glimpse of is gag-inducing and chaotic fear. Ultimately, the ear-piercing manipulation of sound grabs you by the throat. I forgot to breathe. Fair warning: Everything is so dizzying you may get queasy. The script evolves in such a clever and unique way I just resigned myself to yelling. “WTF?!” at each new reveal. It simply keeps going and going. I stopped trying to figure out which way was up. THE OUTWATERS‘ final few minutes made me gasp. If that’s not an endorsement, I don’t know what is. Robbie Banfitch is the next great horror auteur. No one can take that away from him.
DUNGEONS & DRAGONS: HONOR AMONG THIEVES TO OPEN FEST
Flamin’ Hot
Parachute
Angel Applicant
Down Low
A Disturbance in the Force
Brooklyn 45
Breaking Fast with a Coca Cola
I Probably Shouldn’t Be Telling You This
The Bus (Spain)
Beyond The Fringe (Spain)
Dead Enders
Breaking Silence
Aespa VR Concert at Kwangya (Republic of Korea, U.S.)
Eggscape (Argentina)

It’s the summer of 1948 in Redhook, Brooklyn, and the Trouth family exists in quiet peace until Louis Jr. appears after years away. Old wounds have festered, and now he’s back for revenge. Guilt is his weapon. Well, that and a unique knife with a Turkish inscription belonging to younger brother Charles. BRUTAL SEASON is like an immersive theater experience on film. This slow-burn thriller is not what I expected, in all the right ways.
Performances across the board are stellar. One is particularly inescapable. The subtle manipulation Houston Settle brings into the fray, you know he’s up to no good. Jr.’s bitterness is palpable. His passive-aggressive nature turns vicious.
There’s no denying that BRUTALSEASON has a similar energy to 



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