RIDE BABY RIDE
Feminist companion for CARRIE lovers, Sofie Somoroff‘s short RIDE BABY RIDE finds a female mechanic in the new ownership of a possessed car. As the vehicle attempts to incapacitate and sexually assault her, she must fight for her life. Celina Bernstein effortlessly commands the viewer with what may amount to all five lines of dialogue. She acts her ass off. She is “final girl” magic. This metaphor for toxic masculinity and misogyny is as cathartic as it is bloody.
The Wyrm of Bwlch Pen Barras
Craig Williams slowly unravels the tale of the return of something mysterious. The townsfolk seem surprised at its appearance so soon after the last. They speak in vagaries, but it is made clear. Whatever it is cannot be good. The men gather to protect the land by offering a sacrifice.
A string-heavy, throwback slasher score plays over long, meandering, and scenic takes. The genius of this short lies within what we don’t see. Our imagination is our worst enemy.
Les Dents Du Bonheur (Sweet Tooth)
Filmed in my and Kind’s neighborhood of the Upper West Side, the film takes place as Chloe describes it, making the scenario even funnier. Do I want to see the feature-length version of this? Yup. Is this perhaps the most convincing actual proof of concept ever created? I think it might.
Troy’s vulnerability flows off the screen. Reenactments directly from Troy’s storytelling deliver every emotion possible. Have tissues on hand. It will be impossible to maintain a dry eye. I wept through this film, thinking about my child with autism. If I can be a fraction as supportive as Len Kotsur, imagine what Wes may be capable of achieving. In just over twenty minutes, this unforgettable film is an ode to a parent’s unconditional love.
Directed by: Steve Buscemi
FIRST WAVE OF TITLES FOR ITS 27th EDITION
ENDLESS SEA
Pure O
Raging Grace (United Kingdom)
Another Body
AIRHOSTESS-737
In AirHostess- 737, we meet Vanina, a 39-year-old flight attendant trying to hold it together. Self-conscious over her new braces, her anxiety rises as the film progresses, exacerbated by a passenger, the pilots, and strong turbulence. But there is far more on Vanina’s mind than her newfound hardware.
As a frequent flyer, I instantly grinned at actress Lena Papaligoura‘s deadpan demonstration of safety protocols. Her performance hits every note. She is funny, manic, dedicated, and pitch-perfect.
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)
Director Jordyn Romero bonded with Sanu over their love of surfing, a predominantly male-dominated sport. Sanu’s fearless pursuit of wanting to become the first female surf instructor from Sri Lanka lies beyond the horizon. In Sanu’s words, “We Are Like Waves. You cannot stop us.” This simple act of rebellion is certain to have a ripple effect. Romero brings audiences a relatable story told with grace. Boasting a beautifully encompassing score, WE ARE LIKE WAVES sees Romero and Sanu carve a path for the next generation.
Chris Zylka‘s vulnerability is award-worthy. The performance reminds me a lot of Cooper Raiff in 
Abigail Fuller’s short film Shepherd’s Song contemplates Earth’s interconnectedness through the eyes of California grazier Jenya Schneider. Climate change threats in the west frequently come in the form of severe droughts and wildfires. Jenya and her partner Jack have chosen a cyclically beneficial lifestyle for the Earth, their clients, and themselves. Four hundred ewes, recycled fencing, and unrelenting passion comprise their venture. Grazing becomes a service to the land, and the sheep produce wool and lanolin. The science behind grazing done right shows the value to the ecosystems it serves. It’s healing the land.
A beautiful score by Serena Goransson moves from subtle to soaring as the film progresses. It feels perfect. Carmen Delaney’s mix of handheld and drone cinematography gives the audience an idea of the landscape scale against Jenya and Jack’s figures through the mountainous grasslands. It is stunning. SHEPHERD’S SONG is part climate film, part nature film, and all heart. We can all learn a whole lot from Jenya and Jack. They are showing the world how to repair the damage we’ve done, one area of grassland at a time.
2D charcoal and pen animation and an ominous score (in fact, my six-year-old son heard it in the background and exclaimed, “That’s so scary!”) 
The ending of the film is a double twist. The first had me yelling at the screen. The second was so shocking I audibly exclaimed, “Okay, that’s AWESOME.” Writer-director-producers 
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