GIVE ME AN A
A wild ride of an anthology reacting to the overturning of Roe v Wade through horror, dark comedy, and sci-fi. Created by an all-female filmmaking team, this 17-segment series focuses on the visceral gut reactions of each filmmaker to expand conversations about women’s reproductive rights and the importance of bodily autonomy and also addresses the issues of a democracy that does not protect the needs of the majority of the population.
A kickass self-aware cheer squad presents this all-female-created feminist horror anthology. Each of the shorts is introduced by a call and response board, football game style, featuring the title on one and writer(s)-director(s) on the other. This phenomenal group of films made me want to scream, “Hell yeah!” But it also scared the shit out of me.
The Voiceless
A terrifying body horror short is a supernatural and bloody physical manifestation of body autonomy.
DTF
A dating app couple has a straightforward conversation but during foreplay. Hilariously respectful and legal chat about consent and expectation. This one turns the tables on reality.
Good Girl
This short is a direct takedown of religious indoctrination that women exist to produce children. It features Catholic school girls in a warped version of sex education class.
Our Precious Babies
This laugh-out-loud short, backed up by a laugh track, is a sitcom version of a fertility facility. It speaks to the extremism since the overturning of Roe and what could be coming next.
The Walk
A young woman attempts to make it to the front door of an abortion clinic only to be swarmed by frenzied protestors.
Medi-Evil
The cultivation of women’s bodies like that of a beehive was a visceral and disturbing watch. It made me squirm.
Sweetie
This complex short tackles the familial fallout and generational effects of forced birth.
Abigail
Alyssa Milano plays Abigail Adams reading her letters to her husband and his colonial cronies. Who knew she was such an eloquent badass?!
Plan C
This one is a mock commercial for government-approved birth control. It’s a real nightmare that simultaneously tackles abuse. Molly C. Quinn is riveting.
Hold Please
A secret support group for women I wish existed in real life. It’s a visual and emotional powerhouse.
God’s Plan
A pregnant woman is pulled over and threatened with a ticket. The dialogue is ripped from the headlines.
Crone
A woman harassed in her car has vengeful fantasies. Or maybe they’re flashbacks.
Crucible
Reality competition show spoof. Jackie Tohn hosts a show the men are less than thrilled about the “prize.” This is a vicious reality check, and I want to watch this show. Who’s your Daddy?
The Last Store
Ten years into the future, Gina Torres stars as a store owner with a particular set of skills, hounded by a local cop. It made my palms sweat.
Traditional
This sci-fi short brings conspiracy theories surrounding IVF to gestation.
GIVE ME AN A: The Cheerleaders
Writer-director-creator Natasha Halevi leaves us with the film’s creative finale, featuring our beloved cheer squad (oh, and some dudes.) A choreographed dance from Stephanie Landwehr is deliciously sinful.
directors
Justin P. Lange‘s The Visitor is an immensely enjoyable horror film populated by a protagonist who has certainly never heard this joke. Things pretty quickly go amiss when Robert (Finn Jones) relocates from London to his wife’s small town. While settling into her childhood home, Robert finds a mysterious portrait in her attic. It is of a man referred to only as “The Visitor”, and he bears a striking resemblance to Robert.
There is still much to like in The Visitor. The core performances are uniformly strong. Jones and McNamee have nice unforced chemistry, and I wished the film had given us more time with them. It is effectively paced (86 minutes!) and contains several genuinely frightful and inventive scares. I especially loved the way the film leveraged the biblical plagues without feeling the need for too much supporting exposition.
[Viewfinders] 
[Viewfinder] 
[MUBI Spotlight] 
[Debuts] 
[Debuts] 
This Halloween, MUBI presents 
Legendary horror master George A. Romero returns to MUBI with a gruesome double feature with a generous amount of blood, guts, and sociopolitical allegory to satisfy any zombie movie cravings. From the final two chapters of Romero’s epic five-decade long Dead series: the “found-footage” shot 
This October, as the days grow shorter and the air grows colder, MUBI presents a double feature celebrating some of the very best of contemporary Icelandic cinema, which has recently experienced a resurgence of sorts in the international festival circuit. In 
To celebrate the Halloween spirit, this October MUBI presents Michio Yamanto’s aptly titled 
British experimental artist, critic, and writer Morgan Quaintance explores cinema as collective memory. Through his texturally rich short films, Quaintance focuses on hidden or forgotten history through the reconstruction of archival materials, moving image, photographs, written text and disconnected sounds. This month MUBI presents a double bill of his most recent work: 
To celebrate the release of 
This month, MUBI continues its ongoing retrospective of misunderstood French master Maurice Pialat with 
The script is relentlessly chilling. Because the audience has more information than anyone else, it feels as though the characters are sitting ducks. We are right alongside Sara as she witnesses her tormentors thrown into the back of a serial killer’s van. She says nothing, both out of fear and perhaps relief. Those that have ever been on the receiving end of horrible words and despicable actions will undoubtedly wince throughout the film.
PIGGY also speaks to the weight of parental support. We find Sara’s mother to be a nagging, uncaring shrew, while her father pays attention to her with genuine love. Her woes are exacerbated by her parents owning the local butcher shop, leading vile peers to dub her “Piggy.” One of the girls, Claudia, has a deeper connection to Sara based on her delay tactics in teasing and a matching bracelet with Sara.
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 
You immediately fantasize about all the fun things you would do together. There’s an undeniably brilliant poker scene. But things get weird, and Clay has second thoughts about helping Whit for eternity. The chemistry between Whitmer Thomas and director Clay Tatum is otherworldly. Pun intended. They make awkward endearing.
The script, penned by our two leads, might seem straightforward at first but do not get comfortable with the buddy comedy genre. The Civil Dead goes in a direction I did not see coming, though, in retrospect, I should have. From hilarious to shockingly dark, the film tackles loneliness in a brutally honest way. This one is going to haunt you in the best way possible.
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 
The townspeople are religious fanatics, believing María José triggered the apocalypse years ago with the birth of her son. Exacerbated by nosy neighbors, weak church figureheads, and zealots with a modicum of power, fear takes hold when little Lucía appears to use supernatural powers in gruesome acts of revenge. Everyone Will Burn culminates in a violent confrontation that’s intensely rewarding as a genre fan. Do not move a muscle when the credits roll. The best moment is yet to come.
Macarena Gómez brings a manic energy to the films. Warranted by the emotional torture of everyone in her life, her deliberate descent into pure red hot chaos is glorious. As Lucía, Sofía García skillfully walks the line between vulnerable and terrifying. She is nothing short of captivating. Her chemistry with Macarena Gómez is perfection.
Bravo to the costume and lighting teams. The no holds bar fight choreography is shocking and applause-worthy. EVERYONE WILL BURN harkens back to classic European horror and still manages to remain fresh and fantastic.
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.
As a writer, this script is essentially a dream, pun intended. Leading lady 
Natascha McElhone is elegant and effortlessly charming. CARMEN is essentially a later coming-of-age tale. McElhone’s wide-eyed exploration of life is enchanting, funny, and honest. Shot on the beautiful island of Malta, which if you’ve never been, I suggest you visit. The script’s structure utilizes flashbacks of Carmen’s elusive backstory. Writer-director Valerie Buhagiar brings unbridled joy and hidden complexity to audiences. CARMEN is a delight.
Essie Davis helms this tale of morality, redemption, and love. Davis’ no holds bar performance of raw reactive emotion will have you on your feet. You cannot help but root for Bunny. Every opportunity comes with an unexpected challenge, but Davis’ slick attitude and ingenuity keep the audience in the palm of her hand. Bunny’s backstory is heartbreaking. The weight of her unresolved trauma is in every breath. It’s a stunning turn.
Uncork’d Entertainment has acquired SAWED OFF, a new supernatural horror feature based on a comic anthology story and starring Eva Hamilton (RUIN ME, DEATH KISS), Jody Barton (UGLY SWEATER PARTY), and Trae Ireland (13/13/13).
Hunter Johnson (IRRATIONAL FEAR) produces and directs. The screenplay is by Barton, Johnson, and Chuck Wagner, based on Wagner’s Eclipse Comics story “Bag Limit,” published in TALES OF TERROR in 1986.
Youssouf arrived on the shores of Naples in a rubber dinghy from the Ivory Coast in 2016. Alone and with nothing to his name, he endured discrimination, educated himself, and began to work. Engaged and with a child, his goal is to be present for her. Adopted at the age of five from Moscow, Larissa found herself bullied for her appearance, leading her to abuse alcohol. Resiliency and self-love push her forward in life.
An aspiring clown grappling with her gender identity combats a fascistic caped crusader, in writer-director Vera Drew’s uproariously subversive queer coming-of-age origin story.
Vera Drew‘s TIFF22 Midnight Madness feature, THE PEOPLE’S JOKER, is a visual explosion of mixed media deliciousness. Creatively autobiographical, watching the film is like taking ecstasy while simultaneously receiving an important message. Drew’s script overflows with biting satire about gender politics, comedy, and emotional healing. While we’re busy laughing and wondering how she got away with parodying DC, Disney, and other trademarks, she slyly exposes cyclical and deep-seated trauma.
I have to mention Nathan Faustyn by name. He plays Penguin with an unfiltered edge. Faustyn has incredible comic timing, and his chemistry with Vera is perfect. I want to see more of him in anything. Vera Drew speaks truth to power in a raw and undeniably hilarious manner. The writing is fearless, the performance is vulnerable, and her vision as a filmmaker is endlessly engrossing and quirky.
I adored the “bleeping” to avoid deadnaming. It was a quietly powerful device allowing Drew to address it head-on later in the film. Keep your ears sharp for voice cameos from Tim Heidecker and Bob Odenkirk. The original music is super catchy. Stick around through the credits for some extra treats. You’ll finally realize how expansive THE PEOPLE’S JOKER is. Each visual aspect comes from a different creative’s brilliant mind. This wild fandom mash-up is part confessional therapy session and another part cult coming-of-age indie.
How do you keep a nine-year-old from spilling the beans? Jean Costa brings the perfect amount of sass to the role of young Jean. His performance is so natural you might think he’s improvising each line. 
Maeve Jinkings plays Irene with slick confidence and a fearless attitude. She is never intimidated by Juan’s presence. On the contrary, she sees him as a nuisance and a necessary means to an end. Jinkings casual delivery under pressure makes Markowicz’s screenplay shine. It’s a real wow.
You must be logged in to post a comment.