TIGER
Tragedy follows a family of creatives. Dana Tiger‘s artist father was the creator of the t-shirt brand Tiger. After his untimely death, her mother pushed his art into the homes of millions in the 80s. The entire family begins silkscreening orders to JCPenney day and night. When the youngest sibling, Chris, unexpectedly passes the same way, the business halts, and hope fades. But the Tiger story does not end there.
Home videos, family photographs, original art, and a haunting ancestral voice carry us through the family’s past and present. Dreamlike editing, filled with dynamic choices, creates a mesmerizing 12 minutes. An extraordinary story of resiliency, loyalty, and validation, TIGER is an inspiring short about generational healing and legacy.
Credits
Director: |
Loren Waters |
|---|---|
Executive Producer: |
Loren Waters, Robert L. Hunter |
Producer: |
Dana Tiger, Loren Waters |
Screenwriter: |
Loren Waters |
Cinematographer: |
Robert L. Hunter |
Editor: |
Amanda Moy, Eva Dubovoy |
Sound Designer: |
Amanda Moy, Eva Dubovoy |
Music: |
Trevor Kowalski |
Principal Cast: |
Dana Tiger, Lisa Tiger |
Additional Credits: |
Senior Colorist: Andrew Francis, Associate Producer: Dylan Brodie, Post Sound Mixer: James Russell, First Assistant Camera: Marissa Shoemaker, Production Assistant: Serena Jones |
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Civil Rights Attorney for the Institute for Justice, Marie Miller, breaks down the law surrounding the retaliation for Angeli speaking out about her experience. Angeli was pulled over on trumped-up charges, threatened, and stalked by police.
Meanwhile, out of the blue, Angeli is sent to a correctional facility 7 hours away from Uvalde for allegedly violating her parole. While there are zero consequences for the failed police, Angeli is served with an injustice the audience will feel in their bones.
SEVEN VEILS
In SEVEN VEILS, filmmaker Atom Egoyan examines the exploitation of female trauma. The line of art and life blur completely as a protege director remounts her mentor’s production of Salome with an unusually intimate touch.
Egoyan’s editing is complex. It forces you to keep up. It is both the film’s best and worst aspect. If you drop focus, the film will run away from you in its artistic endeavor. The juxtaposition of Jeanine’s childhood, her marriage, and the play is a whirlwind of obsession. The play is a visceral therapy session and a reclamation of her past.
Amanda Seyfried has a knowing in her eyes. Her commitment to Salome’s text feels organic and seeped in trauma. Seyfried owns this character. It’s a brilliant and immensely heartbreaking turn.
It is far too simplistic to describe the film’s plot as a story of a suffering artist. SEVEN VEILS digs into gross power dynamics and the financial advantage of oppressing female truth. SEVEN VEILS emits a dangerous and formidable energy.
THE RULE OF JENNY PEN
After suffering a stroke, Stefan must convalesce in an assisted living facility that also houses a psychotic patient who tortures the residents with a creepy hand puppet. Based on Owen Marshall‘s short story, James Ashcroft brings THE RULE OF JENNY PEN to life in all its skin-crawling glory. 
THE STRESS IS KILLING ME
You know these characters. They are quirky, anxiety-riddled, moody, unhappy, hopeful, and exhausted. Ya know, all the things we are in our 40s. The cast has a fun chemistry. It’s easy to imagine that they are friends in real life, and they concocted this film throughout the weekend. Misery loves company. 
Each character delves into regrets and what-ifs. The script examines mortality, imposter syndrome, and the patterns we fall into with old friends. While it’s still slightly goofy and relatively predictable, THE STRESS IS KILLING ME is an enjoyable walk down memory lane. It’s a comfort watch. 
ONE REHEARSES, THE OTHER DOESN’T
The editing and camerawork celebrate the emotional chaos. In 15 minutes, you get bombarded with unbelievable stories and a mindblowing approach. ONE REHEARSES is art therapy mixed with the exploratory and revealing moments of the rehearsal space. It’s the magic of theatre and cinema and the effects of an open-minded director. This short is an exquisite give-and-take that captivates the viewer from every approach. 
Filmmaker Cory Santilli brings a film like no other to Slamdance 2025 with IN THE MOUTH. The script follows Merl, a housebound man down on his luck financially and mentally. When his landlady arrives to collect three months’ back rent, Merl decides to take on a roommate. Larry happens to be an escaped murderer, but that is not what scares Merl. It is the giant version of himself protruding from his front lawn. 
IN THE MOUTH is an absurdist comedy. Shot in stark black and white by Mike Magilnick, the cinematography boasts great closeups and one particularly memorable off-kilter angle that made me sit up straighter. Merl’s creative outside retrieval methods remind me of individual components of Pee Wee Herman‘s Rube Goldberg machine in his Big Adventure film. 
Colin Burgess, who also stars in another Slamdance 2025 film, 
THE BUILDOUT
Cameron and Dylan are not the first to set foot on the land. Timelines cross. The two friends document what they find on a camcorder. In the isolation, they discover more questions than answers, and the viewer travels down a rabbit hole of unnerving chaos.
Jenna Kanell gives Cameron a feisty edge that reminds me of Robin Tunney in Empire Records, appearance and all. There is a visible aversion to the hyper-religious nature that Dylan openly expresses. Hannah Alline (
The audience holds its collective breath with only drips of information at any given time. The eclectic camera work by Justin Moore is jarring in the best way possible, delivering a continuously menacing vibe. (Don’t think I missed your EP credit, 
MOM
![Mom Jared and Meredith - Rotten Tomatoes - [www.rottentomatoes.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Mom-Jared-and-Meredith-Rotten-Tomatoes-www.rottentomatoes.com_.png?resize=678%2C440&ssl=1)
As a mother of two, I will never forget those days of newborn life. Lack of sleep almost drove me to the edge. In MOM, Hampshire skillfully captures the nuance of first-time parenting like I have never seen portrayed onscreen before. Screenwriter Philip Kalin-Hajdu combines each new hardship with unresolved trauma, and the marriage of those two stories makes for the perfect storytelling storm.![Mom Pictures - Rotten Tomatoes - [www.rottentomatoes.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Mom-Pictures-Rotten-Tomatoes-www.rottentomatoes.com_.png?resize=678%2C499&ssl=1)
Emily Hampshire nails this role. Her chameleon abilities shine once again in Meredith. Hampshire is so compelling you cannot take your eyes off her. She delivers an emotional torrent that burrows into your psyche. It is truly startling.
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.
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.
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
BIRDEATER
Secrets, awkward first meetings, hyper-toxic masculinity, and ketamine collide in one of the most one of the most tension-filled narratives I’ve seen. A stag week, including Irene, goes off the rails when the past and present come to light.
The script is a complex push and pull of who knows what and when. Forty minutes in a massive cloud of mystery looms over this bachelor weekend. Clark and Weir deliver characters that crawl under your skin and burrow into your brain whether you like it or not. This is what happens when a control freak loses control. 
Aggressive straight-to-camera looks feel like an invasion of the audience. Each one is more jarring than the next. The camera work is dizzying and immersive. The upbeat, celebratory soundtrack comes off as sinister amongst the feral behavior. The editing deserves an award. 
Performances are extraordinary. The ensemble cast nails every beat. Each character is loathsome in their own way, either because they are self-righteous, weak, or revenge-driven. The final 30 minutes are explosive. BIRDEATER will f*ck you up. 
The structure is a mix of real-time anxiety about the airing episodes, Rex’s extraordinary ballet training, and unresolved childhood trauma. After her first win, Lady Camden’s popularity skyrockets. But the film never lets us forget the immense work that goes into this art. 
Delving into family and friend dynamics is vital to Rex’s well-being. There is an unfiltered honesty that hits you square in the chest. Transitions are eye-catching animation sequences that also serve as explanations for any viewer unfamiliar with Drag Race. Nina West, a darling of the show’s legacy, narrates. It is the perfect pairing for Lady Camden and Rex. 
The film is beautifully shot and emotionally edited. There is love infused in making this film. A visceral joy of becoming who we always dreamed we’d be bursts off the screen. LADY LIKE is a must-see. 
IT’S COMING
Ashley can see and hear spirits. The physical and mental toll is obvious, despite her shockingly calm demeanor. She has become so accustomed to her circumstances, and not much ruffles her feathers, until she realizes how deep the negative energy goes.
Ashley brings in medium Soledad Haren to cleanse the apartment. She provides viewers with paranormal canon, reasons, and triggers for an uptick in activity. It is a solid checklist if you aren’t a connoisseur of this genre. Like clockwork, incidents get worse. An acrid odor pervades their apartment, so intense it triggers CO2 alarms and multiple fire department visits. Soledad returns with her spirit box and performs an automatic writing session, providing few answers and more questions.
A husband and wife team of demonologists, Chris and Harmony DeFlorio, arrive with all the electronic bells and whistles. We see their footage intercut with Shannon’s. The results are undeniably unsettling. This is the point where Ashley finally breaks. It is the first time we see her cry and become physically unwell. When you witness the effect on Chris and Harmony, your heart rate increases tenfold. The comparisons to England’s most infamous haunting, The Enfield Poltergeist, are inevitable.
Javier’s personality slowly changes throughout the long months of filming. He describes a growing friendship with the black entity he calls Kitty. If you know anything about the paranormal, you understand how dangerous this is. You can track what looks like disassociation creeping onto his face. Something is affecting this child, whether it’s his mother’s energy or something genuinely sinister is up to the viewer, but I’ve not been this disturbed by a paranormal documentary in a long time. The final scene will send a shiver down your spine. IT’S COMING will haunt your mind long after the credits roll. You’ll question everything.
An unspoken competition begins between the two gentlemen, with Charlotte being the prize. Werther ingratiates himself into their lives based on his instant infatuation. That is what makes YOUNG WERTHER so intriguing. You cannot help but settle into the sheer audacity of a character, living vicariously through his fearless nature. 
Patrick J. Adams is endlessly charming as Charlotte’s fiance, Albert. Adams’ genuine demeanor and the fact that he plays a lawyer again (Thank You Suits) makes him perfectly cast. His mature approach makes Albert all the more inviting.
Werther is a wealthy eccentric walking a fine between swoon-worthy and obnoxious narcissist. Douglas Booth grabs your attention from the first frame. His authentic hyper-fixation of experiencing things here and now is infectious. Booth has the energy of a Golden Retriever who is happy to see you at the end of the day. He is captivating. 
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.
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.
PERSONA
Sophia Ali is Sam, a fiery, take no shit woman whose severe injury and unresolved trauma threaten to end her fight. Ali nails every beat. You are rooting for her every second she is on screen.
Shanti Lowry gives Tricia a hopeful nature. Underneath is a mess of cryptic hallucinations and garbled memories. Lowry moves through the character with grace amongst the unpredictable.
Ho’s editing is quick and clever. Some of the most effective moments come as the women imagine rescue scenarios for better or worse. PERSONA taps into every true-crime-obsessed female fear. It’s like some demented practice run for very real circumstances. The film boasts an explosive final act. This pulse-pounding, dark ending is worth the wait.
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