SUNLIGHT

I became familiar with Nina Conti through Instagram. Her hilarious ventriloquism act has me doubled over with each new clip. She improvises each live show in multiple voices and unpredictable audience member volunteers, and it will blow you away. Monkey is her original creation, and in her directorial debut, SUNLIGHT, Nina uses him as a vessel to mask incredibly dark trauma. The result is emotional brilliance and endless laughter.
Roy hates his life. He brings some serious childhood baggage, and his job as a radio interviewer sucks the life out of him. As he attempts suicide in a motel room, he catches a glimpse of a life-sized Monkey through his window. As he comes to, Roy finds said Monkey driving his airstream down the empty roads. The audience quickly comes to realize this is not a hallucination but a woman dressed in a costume and putting on a voice.
The woman in the suit is Jane. She uses Monkey as a coping mechanism to flee her stepfather, and the root of all her sadness. Both Roy and Jane have specific plans that are so outrageous that they agree to accompany one another on their journeys. Roy plans to dig up his abusive cop father and steal the watch he thought he had inherited. Jane wants to find a way to buy a pontoon boat and run banana boat rides as Monkey.
SUNLIGHT launches headfirst into one of the weirdest narratives I’ve ever seen. But simply calling it weird is a disservice to the complexity behind these characters. Conti and Allen co-wrote the story. It is easy to see why Christopher Guest executive produces. This creative pairing perfectly slots in with Guest’s brand of humor. The chemistry between Conti and Allen is instantaneous, even with the added physical barrier of Monkey. These are two pros bouncing weirdness off of each other.
Shenoah Allen gives Roy a lived-in exhaustion. There is a gentleness that pulls you into his sphere. Conti is phenomenal as she navigates comedy through the suit, but also manages to rip your heart out. She uses humor to convey the hurt. It is a love story between two deeply wounded adults. Allen and Conti do not hold back in the dialogue. They take risks in every beat.
SUNLIGHT is a wonderfully unique road movie that delves into the reality that most of us idle in our loneliness. Finding your people is essential for truly living. Packed with profound revelation and shocking twists and turns, SUNLIGHT is one of the most heartwarming and funniest films ever.
Sunlight Trailer:
A darkly comic love story between a man and a woman who doesn’t want to come out of a monkey suit
Coming To Theaters June 6, 2025
Sunrise Films is excited to announce the U.S. theatrical release of SUNLIGHT, the darkly hilarious and unconventional love story from acclaimed British actress, comedian, and ventriloquist Nina Conti, presented by Christopher Guest. Following its opening at the Edinburgh Film Festival, SUNLIGHT will debut in New York City theaters on June 6, followed by a Los Angeles premiere on June 13. Additional markets are to be announced.
Marking Conti’s feature directorial debut, SUNLIGHT reimagines “Monkey”—the iconic character from her renowned ventriloquist act—as the human-sized alter ego of a woman on the run from a toxic relationship. Conti, who began her career with the Royal Shakespeare Company before becoming an inventive comedy performer, co-wrote, directed, and stars in the film, delivering a bold dual performance as both the woman and the monkey.
Conti stars alongside her longtime creative collaborator Shenoah Allen, who also co-wrote the screenplay. Allen, a Barry Award-winning comedian and one half of the cult comedy duo Pajama Men, plays Roy, a suicidal radio host who becomes Jane’s unlikely companion.
Set against the quirky backdrop of Albuquerque, New Mexico, SUNLIGHT is a road movie with heart, humor, and absurdist flair. Jane (Conti) meets Roy (Allen) at a low point in both their lives. Disguised in a full-body monkey suit and eager to escape her past, Jane hits the road with Roy in his Airstream trailer. As they chase a fresh start—and hatch a risky scheme to fund it—Jane’s possessive ex looms close behind. Equal parts eccentric and emotionally resonant, SUNLIGHT is a natural, inspired extension of Conti’s sell-out stage act.
SUNLIGHT is produced by Sam Parker for Anyway Content, Will Machin for Metro International, Keagan Karnes for Inspirado, Tabitha McDonald and Conti, with Christopher Guest serving as executive producer. Cinematography is by James Kwan, with editing by Riaz Meer, composition by Christoph Bauschinger and music by Radiohead, Aphex Twin & The Pixies.
“We are delighted to bring Nina and Shenoah’s wonderfully funny and charming road trip movie to audiences in the U.S. and Canada,” said Andrew Nerger, Head of U.S. & International Distribution at Sunrise Films. “It’s a laugh-a-minute ride. We fell in love with the film from the very first screening and can’t wait for audiences to meet the mischievous Monkey and the world-weary Roy this summer.”
The U.S. distribution deal was negotiated by Andrew Nerger on behalf of Sunrise Films and Will Machin, CEO of Metro International.
ABOUT SUNRISE FILMS
Sunrise Films is a new, internationally focused production, distribution, and sales company launched by Rupert Preston and Nigel Williams.
The company produced high-stakes thriller THE ACCUSED, directed by BOILING POINT and ADOLESCENCE’S Philip Barantini, which debuted on Netflix in the UK, ANZ, and Canada in 2023. Sunrise also produced George Amponsah’s GASSED UP, which released theatrically in the UK through Vertigo Releasing in early 2024 and debuted afterwards on Amazon Prime.
On the distribution side, Sunrise has released a multitude of titles across North America including Luna Carmoon’s BAFTA-nominated debut HOARD featuring rising star Joseph Quinn, action thriller SUNRAY: FALLEN SOLDIER, which was created by and stars former Royal Marines Commandos, Julia Jackman’s coming of age queer rom-com BONUS TRACK, BAFTA-winning drama AFTER LOVE, and César-nominated Iranian crime drama LAW OF TEHRAN. Sunrise next plans to release Freddy Macdonald’s buzzy SXSW debut SEW TORN and coming of age drama LAST SWIM which premiered at the Berlin Film Festival in 2024 to wide acclaim.
Rupert Preston is also the CEO of Vertigo Releasing and he has produced over 25 films including BRONSON, THE SWEENEY, PUSHER, HORRID HENRY: THE MOVIE, and MONSTERS. Nigel Williams is the Chairman of Vertigo Releasing and Protagonist Pictures.

Tribeca 2025
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As Tom, Michael Steger walks a razor-thin line between a good guy and a total creep. Steger is formidable. Equal parts charming and terrifying, it’s a compelling turn. Genre icon Veronica Cartwright gives Olivia everything she has. The performance is a beautiful balancing act of dementia and regal articulation. She is mesmerizing. Each beat is perfect. Madelyn Dundon plays Dale with a grounded familiarity. She is vulnerable and relatable. Mema puts her through the emotional ringer, and Dundon keeps up like a pro.
Mena’s score adds to the menacing feeling. The jump scares are legit. Mena executes thoughtfully written relationship-building while skillfully dropping clues to the mystery. Mena plays with small-town gossip, isolation, and a nurse’s instincts. THE RUSE boasts a twist that will f*ck you up. You are not prepared for the final 3rd of this film. This is a story about control. If you think you know where this screenplay is going, think again.
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The 29th edition of the Fantasia International Film Festival is presented by MELS in collaboration with Concordia University and made possible by the financial support of Telefilm Canada, the Société́ de développement des entreprises culturelles (SODEC), the Ministère du Tourisme, the Ministère des Affaires municipales et de l’Habitation, the city of Montreal, the Conseil des arts de Montréal, Tourisme Montréal, and the Directors Guild of Canada (DGC).
THE MOOGAI
Barely tolerating her birthmother, Ruth, Sarah’s whitewashed existence comes to a halt when an ancient entity rears its ugly head. Sarah’s aggression heightens as her delusions increase. She quickly spirals out of control in every aspect of her life. Sarah’s husband, Fergus, embraces his culture and does his best to navigate his familial deterioration.
The break between Sarah and her first child, Chloe, is heartbreaking. There’s no denying her resemblance to Fergus has something to do with Sarah’s icy response. The connection between Chloe, Fergus, and Ruth burns Sarah’s limited understanding of her absent culture. Ruth tries her best to protect her family, but Sarah’s relentless resistance to her roots only makes them manifest quicker as lore becomes reality and history repeats itself.
Jahdeana Mary brings earnest innocence and hurt to Chloe. You want to hug her. Meyne Wyatt is great playing Fergus. He is charming and protective. He’s a real highlight. Tessa Rose is spectacular as Ruth, giving audiences lived-in knowledge and fear. She is the heart of the film. Shari Sebbens gives Sarah everything from elitism to postpartum depression, unbridled rage to superstitious anxiety. You simultaneously loathe and feel for her. Sebbens is truly a revelation.
Practical FX, makeup, and jump scares are solid. THE MOOGAI keenly delves into medical gaslighting and the pressure on women to “do it all.” While the film is also a creature feature, Jon Bell never shies away from showing viewers that the scariest monsters are humans. It is a surprising cultural reclamation.
The cinematography is something to behold. The sepia-toned lens locks you into a compelling plot. It creates this magical, borderline eerie feeling. The production design team is aces with children’s drawings and makeshift inventions. The post-apocalyptic aspects are relatively subtle but incredibly effective. The end credits are outstanding. The original song “Our People Need Our Help” is a certified banger.
EGGHEAD & TWINKIE

Asahi Hirano plays Jess with a comfortability that is chef’s kiss. Acting like an LGBTQ+ sensai for Twinkie, Hirano makes the conversation flow easily. She is a delight, someone who could carry a spinoff film. Louis Tomeo as Egghead is fantastic. He is laugh-out-loud funny in his natural delivery. The sass is perfection. Holland allows him to show his comedy chops through the script and hilarious editing from Anna DeFinis and Kristina League. Sabrina Jie-a-fa plays Twinkie with a perfect balance of audaciousness and hesitancy. We see authentic coming-of-age and coming-out stories in her journey. Together, Tomeo and Jie-a-fa are a spectacular duo. You will fall in love with them.
The teenage shenanigans ring true. That feeling of invincibility and daring reminds me of my crazy ideas and dumb decisions in the late 90s. Egghead and Twinkie take risks, make mistakes, hurt each other, get their hearts broken, and confess their fears. The film is a helpful guide for parents struggling to understand their kids’ feelings. Regardless of their core beliefs,
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UnBroken
Lane pieces together the Weber children’s story using archival footage, family photos, letters of eldest brother Alfons, and the foggy memories of the five remaining sisters. She travels to Berlin, stopping at each location where the siblings were hidden and nurtured. Lane discovers her grandfather’s original fascist concentration camp papers and the entry log of all seven children in a nunnery, finding that her mother Bela’s instinct about her middle name was correct.
Misfit delivers enchanting line-drawn animation to fill in the visual gaps. Aaron Soffin and Dina Guttmann’s editing is award-worthy. Jonathan Snipes’ score is haunting. The film plays out like historical fiction from one moment to the next.
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DADDY
The men are colored-coded with various shades of sweatsuits and matching household items. Each one has a unique personality, problem-solving strategies, and emotional intelligence. Kelley and Sherman escalate mundane scenarios mirroring the unpredictability of parenting. I would love to see the women’s retreat as a sequel.
Empathy, competition, and fear create a powder keg. DADDY is a superb companion watch for
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Two friends trudge through a Michigan forest 


Sophie Mara Baaden plays six-year-old Sadie with authentic innocence and sass. She has wonderful chemistry with Campbell. Lesley Ann Warren plays Nora’s waspy mother and provides the stereotypical artist’s parent doubtful “I told you so” tone. Nick Fink is fantastic as Sadie’s first-grade teacher Adam. He and Campbell are a striking duo. It doesn’t hurt that his singing voice Is delicious.
The script nails the loss of personal identity when a woman becomes a mother. The invisible labor and patriarchal structure often lead to isolation and lingering resentment. It delves into self-loathing and body changes. It tackles suburban social pressure, which can be a lot. On the flip side, she also perfectly captures the love-filled hyping up we do for our kids every single day.
Campbell is ceaselessly charming. She is funny, self-effacing, anxiety-ridden, and pottymouthed, just the way I like my fellow Moms. As a woman who gave up a career performing to be a supportive partner and mother, NORA fills my soul with a knowing. 
ZERO
Fast-paced editing and augmented sound effects keep you engaged from the first frame. The concept combines the adrenaline of SAW and SPEED, but it’s funnier and inevitably much darker. The soundtrack is fantastic. Gregory Turbellier‘s camerawork is immersive and sharp.
Leading players Hus Miller (who also co-writes) and Cam McHarg have fiery chemistry, each delivering fully flushed-out characters even if we know the most basic information about them. They make a great on-screen team. I would love to see this entire crew create more projects together.
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Nelson remarked, “This story felt personal to me, I felt a real connection to it because the Nelson family farm has been a working farm in South Dakota since the Civil War, and my wife’s family were also farmers. Green and Gold captures the tenacity of small-town farmers and the strength of family and community. I was honored to play Buck and highlight the dreams defining many lives in America’s heartland.”
This meaningful film is presented in collaboration with Culver’s and the Green Bay Packers, the nation’s only community-owned professional football team. Culver’s small-town Wisconsin roots give the restaurant franchise a true heart for agriculture and inspired the creation of its Thank You Farmers® Project, which has donated more than $6.5 million toensure a sustainable food supply for the future.
Green and Gold is directed by Anders Lindwall and produced by Davin Lindwall and Aaron Boyd. Dan Visser, Darren Moorman, Scott Pomeroy, Craig Cheek, and Brooks Malberg executive produce the feature film. The screenplay was written by Steven Shafer, Michael Graf, Missy Mareau Garcia, and Anders Lindwall.




However, the underlying generational trauma manifests in a contentious mother-daughter relationship. Mola uses humor and cutting words as shields. Patrick Kirst‘s score captures each beat, whether melancholy or joy. Sonam wishes for her to stay for all the reasons one would expect a loved one to feel.



The chance meeting of Fuentes and Luckey gives us insight into a music industry mystery. Diane, aka Q Lazzarus, tells us her history with music, beginning in her childhood Baptist church choir. She knew her tastes were different and embraced her unique and powerhouse presence.
With all the elements of a successful career at her fingertips, her romance with club promoter Richard slowly changed things for the worse. The lack of recognition took its toll. Richard’s leaving, combined with the Philadelphia soundtrack snub, was the final straw, and the drugs introduced by Richard led to Q’s world crumbling. But out of destitution and depression, Q rises from the ashes of sex work, crack addiction, rehab, finding her husband, getting clean, and fighting to bring her son James home.
James, now an adult, encourages his mother to reclaim her work. Eva, Q, and her former bandmates plan an upcoming concert. Chasing the dream of finally making her music and onstage persona a household name. Q’s newfound enthusiasm is infectious. Even though life had different plans, Q Lazzarus and Diane Luckey gave us one unforgettable story.
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