
SPAGHETTI JUNCTION

August lives with her troublemaker sister and a father stuck in mourning. Navigating the world with a newfound physical disability, she discovers a mysterious traveler needing her help. Filmmaker Kirby McClure brings BUFF23 audiences an otherworldly story of belonging with SPAGHETTI JUNCTION.
With music by HEALTH and the constant din of cicadas, an overarching ominous feeling follows August from start to finish. The lighting plays a beautiful role, from sunsets to firelight, natural light to pink hues surrounding Shiny. DP Kristian Zuniga creates a dizzying and awe-inspiring perspective with a mix of drone and handheld camerawork.
Eleanore Miechkowski plays Shiny with manic energy. She is perfectly loathsome, and that is a compliment. Jesse Gallegos is Antonio. His entire aura is punchable but perfect.
Cameron McHarg plays August’s father with equal parts empathy and fury. His performance brings the story back down to Earth (pun intended). Tyler Rainey is The Traveller. I could not keep my eyes off him. His theater training serves this role perfectly.
Cate Hughes plays August with a grounded curiosity and natural delivery. From beat to beat, her ability to adapt is breathtaking. She’s a star. Her chemistry with Rainey creates an undeniably captivating emotional journey.
The script is complex. I have so many questions. Breaking it down to its most basic concept, two wounded souls seek a tranquil existence. The further into the story, the more intriguing. So much so that I exclaimed, “Oh, shit!” at one unexpected revelation. SPAGHETTI JUNCTION might fair better as a limited series, but there is much to explore in McClure’s creation, and surely enough to grab viewers’ attention.
BOSTON UNDERGROUND FILM FESTIVAL 2023


SHATTER BELT
From director James Byrkit (Coherence) comes a collection of stories from the other side of consciousness.
A young Chinese-American rapper from New York struggles with her identity and career path in the thought-provoking short SLICK TALK. Balancing culture, passion, and parental pressure, Kiki responds to a manager who messages her online after watching her music video.
Animated short film SPROUT sees an agoraphobic scientist accidentally create a baby-like plant. As the creature rapidly grows, so does its curiosity to explore the outside, upending life in more ways than one. Written, directed, and animated by Zora Kovac, this sweet and child-friendly film tackles anxiety, bravery, human connection, and of course, growth. Watch it with the entire family.


Pure O
Raging Grace (United Kingdom)
Another Body




















One of the most extraordinary and exciting cinematic experiences of the year, GRIMMFEST 2023 audiences got a taste of the uniqueness of Moon Garden. A five-year-old girl’s trauma manifests as bizarre and visceral images as she sits in a coma. The audience hears the real-time action as the doctors and her parents navigate their tumultuous relationship. Guided by her parents’ voices, Emma attempts to escape her mysterious prison world, wading through creatures of good and evil. Moon Garden is an industrial steampunk fairy tale that is relentlessly haunting and undeniably riveting.
Moon Garden is character and world-building at its best. Fascinating and terrifying all at once, we are right alongside Emma in this frightening in-between existence. A bit of Return To Oz with a touch of Pan’s Labyrinth, the magic of Moon Garden grows with each passing second. The editing is stunning. In addition to the monstrous action, writer-director Ryan Stevens Harris incorporates memories, giving Emma the tools to survive in her strange surroundings. It’s a beguiling screenplay tackling love and fear. 

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)
Steve Balderson‘s films are rather distinctive. Their lush visual impact sticks in your brain. His newest film, Alchemy of the Spirit, is no exception. Possessing a dreamy, even otherworldly look, Balderson makes the mundane glow. The quiet becomes claustrophobic. As the film begins, the sound editing alongside the score creates an unsettling feeling. The audience resides inside the manic mind of a grieving man. At 23 mins and 10 seconds into the film, we get a shot that elicits every emotion tied to this film. The symmetry, artistic and of two souls as one, is breathtaking. You will not miss it. There is a Picasso-esque madness to it. Balderson thought about its impact as it is the current key art for the film. Very smart. That sense of panic eases once introduced to a languid score of Debussy, Bach, and other classical beauty. While the darkness lies just under the surface, the screenplay’s nuances extend beyond what I expected from the first third of the film.
Sarah Clarke, as Evelyn, is chilling and beautiful. Her voice, combined with soul-piercing imagery, is haunting. The grounded chemistry between Clarke and Xander Berkeley plays with a familiarity of real-life lovers, which makes sense as the two actors have been married since 2002. Berkeley, who I recently lauded in
The idea of “the proper way to grieve” is front and center. How do we honor the dead? How do we mark the life we have? Oliver creates a literal death mask both as a means to stop time and keep Evelyn’s spirit alive. We get to explore the meaning of life through memory. The film easily could have been a stage play. It is dripping with theatricality. Alchemy of the Spirit is a genre-bending ode to art and romance. It’s a visual love poem.

Benson and Moorhead’s use of science is a running theme in their films. It is always clever. In SOMETHING IN THE DIRT, history and math (specifically the Pythagorean theory) are quite literally written on the walls. The quick-take editing holds your attention like a vice with a mix of home videos, documentary-style sit-down interviews, visuals of whatever topic Levi and John reference, and handheld cinematography allow the audience to teeter on the edge of doc and sci-fi narrative. This is what Benson and Moorhead do; keep you on your toes from start to finish.

Paula Gallego plays Marta and brings everything we need from sass to “final girl” greatness. Her chemistry with Ramiro Blas takes you by surprise. It is one hell of a pairing. Speaking of Ramiro Blas, as Blasco, he manages to be slimy and loveable all at once. There’s a reason he won The Grimm Reaper award for Best Actor. You’ll love to hate him and hate and love him. 


The script tackles guilt, a longing for acceptance, prejudice, and a willingness to take a chance. The otherworldly score by Sebastián Zeluta is hypnotic. It’s a touch transcendent. The handheld camera work, particularly during emotionally wrought scenes between our two leads, is a specific and keenly impactful choice. It also highlights the progressing surreal chaos occurring along Peter’s journey.
Alone in a cruel near-future world, 13-year-old Vesper experiments with what’s left of her surroundings to nourish her and her paralyzed father. Abandoned by her mother, Vesper keeps Darius’ body alive with her bio-hacking skills and uploads his full consciousness into a small droid. While she and others suffer immensely, the wealthy exist in private, enclosed spaces called “Citadels.” They produce seeds that the remaining poor vie for to survive in the harsh environment. After someone sabotages their generator, she reaches out to her Uncle, the leader of a group that cultivates children’s blood for seed trade. When Vesper discovers a young woman from the nearby Citadel passed out in the woods, she imagines a way out. VESPER is a gorgeous film about control and climate change wrapped in a glorious sci-fi narrative.
Rosy McEwan plays Camellia with a complex mix of yearning and practicality. She is a slick foil for Vesper. McEwan’s grace and control are all the more stunning when given the opportunity to break. Our titular role comes to life with the sensational performance of Raffiella Chapman. Her raw vulnerability jumps off the screen. There is no denying she is a star. Her ability to carry this film from beginning to end is a wonder.
Fantastic Fest 2022 feature from Luis Tinoco,
Leading lady Andrea Trepat captures your attention from the very beginning. She has the task of carrying this film on her shoulders, as other actors appear only via video call or voice. She nails it. Anyone with a loved one who works unconventional hours understands the emotional complexity of ambition. It often comes at a great sacrifice of relationships. It is the risk we take in search of an unknown reward. In The Antares Paradox, Alex dreams of proving there is life beyond our universe. Her father understood this, even if no one else ever did.
Writer-director Luis Tinoco worked extensively with José Luis Crespo (Quantum Fracture), a YouTuber and science communicator with millions of followers. The script, while technical, is laid out concisely and understandably for all audiences. The entire film takes place in one location. The film’s sumptuous score from Arnau Bataller is perfect.
It’s no secret that all the best genre films come through Fantasia Film Festival. 2022’s fest comes just in time to distract us from all the actual horrible things happening in the world.
Six films we’ve seen at previous festivals and their reviews can be found below. Highly recommend each of them for a myriad of reasons.















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