AZI
Montana Mann‘s Sundance 2025 short film AZI is an intriguing cat-and-mouse game of power. A weekend trip away takes an odd but intriguing turn when a challenge presents itself. Seemingly harmless fun turns into something (perhaps) more sinister in a matter of hours.
The dynamic between 17-year-old Azi and her best friend’s father’s new girlfriend moves from passive-aggressive to outright challenge. You can cut the tension with a knife. Mann delivers enough longing looks between Wool and Goodjohn to wager guesses about each woman’s motivation. You’re dying to know what happens next once the screen goes black.
Breeda Wool has a talent for choosing juicy roles in indie films. Any cinephile of the genre knows her work, and her turn as Elizabeth is no exception. Wool brings an aura that is generally unexplainable other than to say you feel compelled to watch her. Dior Goodjohn is utterly captivating in the titular role. Where has she been all my life? Her ability to match Wool’s energy and presence should make heads turn. They make a dazzling pair.
Thankfully, a feature-length version of AZI is already in the works. Sundance 2025 audiences are in for one hell of a tease. These are guaranteed seats in butts whenever production is complete. Count me very much in.
Remaining Screening of AZI:
Park City
Feb 3, 6:55 AM EST
Inspired by director and writer Montana Mann’s own coming-of-age experience, AZI tells the intimate and timely story of a Persian-American teenager contending with her identity and sexuality. The short follows seventeen-year-old Azi (Dior Negeen Goodjohn) on a weekend away with her best friend’s family, where she unexpectedly forms a mysterious and electric connection with another woman on the trip, Elizabeth (Breeda Wool), resulting in a psychological game that raises complex questions about their motives, power dynamics and the ability to take control of one’s own agency.
Montana Mann is a Persian-American award-winning writer/director from Virginia. Her most recent narrative short film, AZI, world premiered at Palm Springs International Shortfest, and won the SAGindie Award at HollyShorts. The feature adaptation of the same short participated in the 2024 Film Independent Fast Track program. As part of the MENA/SWANA diaspora, her work explores the journey of finding one’s identity as a female living between two cultures.
Producer Steven Snyder is an independent producer who most recently worked with Jim Burke at his company, Innisfree Pictures. There, he worked on the production of Green Book, which won three Academy Awards including the Oscar for Best Picture. He is an executive producer on Dreamin’ Wild, which world premiered at the 2022 Venice Film Festival and was released through Roadside Attractions. He is a 2024 Film Independent Fellow and was selected to participate in Inside Out’s International Finance Forum promoting queer creatives.
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Canadian Bill C-7 allowed for the Right To Die. The expansion of MAiD (Medical Assistance in Dying) remains controversial. Davenport offers every angle of the process. This alone is an emotional roller-coaster, from perceived propaganda to Disability Rights Advocates, both for and against the legislation. 
Dr. Ramona Coelho speaks about the cost savings of moving forward with the passing of C-7. The film tackles the abuse of the law. Davenport interviews advocates who worry that this could be used as a justification tool to end the lives of disabled people, in other words, eugenics. 
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.
EVERY LITTLE THING
Worthy of a National Geographic seal of approval, Sally Aitken‘s EVERY LITTLE THING boasts stunning cinematography by Ann Johnson Prum. Alongside Caitlin Yeo’s lovely score, it is a captivating viewing experience.
We meet several birds by name. One particularly injured little one named Cactus captures our hearts. Juxtaposed with the deep trauma from her childhood, Terry explains how selfishness affects the rehabilitation process.
The film makes it effortless to root for these tiny birds. Terry’s relentless determination and patience, her ability to be so in tune with these creatures, is mesmerizing. It’s incredibly powerful.
There is an overall sweetness to the film that can only be felt upon viewing. It is simultaneously heartbreaking and joyful. A meditation on grief and healing, EVERY LITTLE THING is a light in the darkness and the example of compassion we all need at this moment in time.
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.
THE DAMNED
Young widow Eva endures a particularly harsh winter on an Icelandic fishing island. After the small population witnesses a shipwreck off their coast, Eva discovers a barrel of rations that have washed up on the beach. In desperation, our hungry villagers row their dingy through the icy waters in search of any further rations. Instead, they come upon a shocking number of survivors that swarm the boat. The fallout proves terrifying. Welcome to THE DAMNED.
The chill of the environment flows through the screen. You cannot help but shiver and feel the inherent dread. THE DAMNED initially drips with melancholy but quickly navigates into total fear. Screenwriter Jamie Hannigan gives us a surprising feminist dynamic with Eva having the final say in the men’s actions. The narrative beautifully balances lore and madness. 
Odessa Young is captivating. As the horror progresses, so does her appearance. The sleepless nights and ceaseless tragedy take their toll physically. Young effortlessly commands your attention at every turn. What a star.
The cinematography swings from bleak, overcast skies to the darkest of nights, lit only by lanterns. The stark visual contrast provides a subconscious isolation. Practical FX are meticulous and brutal. THE DAMNED is a highly effective psychological horror, delving into fisherman’s superstitions, survival instincts, and guilt—a must-watch in the new year.
Distributed By: Vertical
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 MAN IN THE WHITE VAN
The script has an underlying “Boy Who Cried Wolf” (but with a young girl at the center) while simultaneously reminding audiences to believe women. It is a clever mix. The film cuts back and forth in time, showing us glimpses of abductions of women and girls by the mostly faceless serial perpetrator. Years crank by forwards and backward in a creative transition of rusted numbers.
Sean Astin and Ali Larter, playing Annie’s traditional parents, deliver pitch-perfect portrayals of the times. Brec Bassinger is fantastic as the eldest daughter, Margaret. Deemed the pretty people pleaser, her chemistry with Madison Wolfe solidifies the emotional stronghold of the family dynamic. Wolfe gives Annie all the vulnerability, pure innocence, and bravery we want from this character. She is endlessly fierce and a joy to watch. Wolfe owns the film.
There is no escaping the terror. It is a meticulously crafted script of anxiety-drenched moments. THE MAN IN THE WHITE VAN is a film every parent needs to see, every husband who thinks his wife is being paranoid. It is a warning and a perfect example of gaslighting women experience daily. Stick around for the credits.
FILTHY ANIMALS
This oddball team of modern-day outlaws fearlessly tracks down society’s worst with hypnotic nonchalance. It is no wonder the film had a field day on the festival circuit—the cast rules. Raymond S. Barry is phenomenal as Lester. Mena Elizabeth Santos is equally deranged, letting the intrusive thoughts win.
Ryan Patrick Brown delivers an unexpectedly gentle turn as Freddy. Focusing on gains rather than violence, his love for his Baba and adoration for Westerns fit perfectly into this weird puzzle. Austan Wheeler delivers a comedically unhinged performance playing Lars. He is a coked-up loose cannon and motivator/bad influence for Freddy. Wheeler’s toxic aggression gets a pass due to his vigilante goals.
Robby Ngai‘s editing is applause-worthy. North provides enough meat to expand into a series. There is much to explore within these characters. Each one deserves an entire episode for their backstory.
The film celebrates the morally grey areas of life. The fantasy sequences bleed into the narrative like a gift. Memorable, singular, and sensorial FILTHY ANIMALS is the epitome of cult indie filmmaking.
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Amy Carlson and Jordan Bridges are a joy to watch as Laurie and Gordan. Their chemistry is spot on. Kirrilee Berger is a pure delight as Joey. She has a natural star quality akin to Jane Levy or Rachel Sennott. She brings an effervescent energy to the screen. 
HIPPO
Beautiful camera work has an immersive feel. Eccentric production design initially mirrors Anx’s graphic artist occupation, eventually morphing to match the ever-evolving circumstances of the disease. There is a Tim Burton/JimHenson-esque quality to the creature fx. A grotesque whimsy that makes it difficult to look away.
Matthieu Sampeur and Edith Proust give us magnificent performances. The script possesses a dark inevitably the longer they are together. Director Thibault Emin, alongside co-writers Alice Butaud and Emma Sandona, delivers a surprising link to childhood trauma in Anx. The existential aspect creeps up on you and burrows under your skin. The psychosexual element is bonkers. ELSE is a genre-obliterating love story.
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.
Based on the 1957 stage play The Kitchen by Arnold Wesker, filmmaker Alonso Ruizpalacios brings LA COCINA to the big screen. This exquisite drama follows the staff at a restaurant in Times Square and the coordinated (and uncoordinated) chaos behind the scenes. It is a beautiful character study that will punch you in the gut.
SYNOPSIS: It’s the lunch rush at The Grill in Manhattan, and money has gone missing from the till. All the undocumented cooks are being investigated, and Pedro (Briones) is the prime suspect. He’s a dreamer and a troublemaker, and in love with Julia (Mara), an American waitress who cannot commit to a relationship. Rashid, The Grill´s owner, has promised to help Pedro with his papers so he can “become legal”. But a shocking revelation about Julia compels Pedro to spiral into an act that will stop the production line of one of the city’s busiest kitchens once and for all.
Stories from staff, families, and residents tell tales of daily transgressions that build over time, ranging from laundry, food choice, incontinence care, medication changes, falls, and worker burnout due to understaffing. The film utilizes beautiful, childlike drawings as transitions and storytelling devices. Cell phone videos of neglect will break your heart. Photos of resulting abuse may take your breath away.
Then COVID-19 and 2020 made things so much worse. Once their failures are exposed, the government protects nursing homes from lawsuits sighting the pandemic and loss of workers. In each case, once regulations appear, they apply only to staff and never to the corporations behind the individual homes. These workers are the essential piece of the puzzle between a new standard of care and honoring their relentless efforts to do the right thing. The film delves into racism, the reductive overview of the profession, the label “women’s work,” and how simple changes would make all the difference.
The corporate lawyers use vile tactics to diminish their role, often attacking the family members with shaming language. Melissa explains this by giving her clients mock cross-examination examples to emotionally prepare them for what is coming in litigation. Another way they try to determine litigation is to delay and then drown Melissa and her team in documents. By giving her the runaround, they hope she will give up. They don’t know Melissa Miller.
The personal connections between legislation and privatization will shock no one. STOLEN TIME lays it out for you. The systemic failure, profit over people, no regulatory oversight, long-term residents are unnecessarily suffering. STOLEN TIME is about accountability and justice. The goal is an overhaul of the system. When we say long-term care, the keyword should still be “Care.”
What begins as a favor to one morphs into a financial opportunity for Lynn. Using her staggering math skills, Lynn initially creates a secret code to pass test answers to a small group of acquaintances. As the scheme grows, so does the danger. The stakes get even higher when the SATs come around. Lynn must recruit help from the only other student needing tuition funds. A borderline insane plan comes with a price tag bigger than any dollar amount.
This cast is fantastic. Benedict Wong plays Lynn’s hardworking widower father. He is a lovely addition to the film. Performances from Jabari Banks and Callina Liang are the anchors. Banks delivers vulnerable energy that perfectly mirrors his character’s backstory. Liang effortlessly leads, giving Lynn a slick confidence from start to finish. Focusing on a whip-smart female lead is a winning strategy.
The script begs the broader question, “Why should three hours on a Saturday morning determine the rest of our lives?” In a system that is entirely rigged by and for the wealthy, why not beat them at their own game? Some systems deserve to break. BAD GENIUS will captivate audiences who have testing PTSD and parents who know it’s coming for their kids. It boasts a deliciously satisfying finale. Tens across the board. A must-see.
Shadowland’s initial 38 minutes drag with long, meandering shots, particularly of Iranon (“chaos magician) doing what I would lovingly refer to as “witchy shit.” As a self-professed spooky girl, I mean no disrespect by that term. Frankly, it’s narratively monotonous.
Stanley’s response is to call the women hysterical and spew conspiracy theories rather than take accountability for his actions. Iranon reenters the fray to detail when he discovers Richard’s allegations and their ensuing physical confrontation. It’s damning.
As a contrary view, Richard’s sycophant protege and priestess, Anaiya, believes that baptism will cleanse his past. Witnessing these women embrace him feels icky. It is challenging to know if her intentions are pure or an act. But Anaiya’s journey does not end there.
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