JUNE ZERO
Jake Paltrow brings audiences to a fascinating thread of history that might not be common knowledge. Israel 1961, days after the trial of Adolf Eichmann, a young boy discovers the quiet plot involved in disposing of the body of one of the most notorious organizers of the Holocaust.
Performances from the entire cast are magnificent. Yoav Levi is Captain Hayim Amzalag, the prisonguard tasked with orchestrating the clandestine plans for the most valuable prisoner of war. Hayim’s anxiety manifests in a toothache, a burst blood vessel, and digestive issues as he dodges the press. Levi brings a dazzling physicality to the role. You will not soon forget him.
Noam Ovadia is David, a precocious, tenacious, Lybyan-Israeli who identifies as an Arab and Sephardic Jew learning perspective on the Nazis. Procuring an after-school job, David uses his quick-witted brain to solve problems. Ovadia is a star. It is an award-worthy turn. He outshines every other cast member.
Tom Shoval and Paltrow wrote the screenplay. In the third storyline, we explore Micah (Tom Hagi), a Polish Holocaust survivor, now a tour guide of the former ghettos. This narrative kicks off a profound discussion of mixing grief and capitalism. It is a history lesson and fearless think piece amongst the ongoing fight in Gaza and global Jewish trauma.
One of the most poignant decisions is that Paltrow never shows Eichmann’s face. This subtle gesture speaks volumes. JUNE ZERO allows audiences to weigh varying perspectives without ramming anything down their throat. It is emotionally wrought and undeniably powerful.
OPENING IN NYC JUNE 28TH AND LA JULY 5th
ADDITIONAL SCREENINGS CAN BE FOUND HERE.
Entirely shot on 16mm film, JUNE ZERO follows events set in motion from the 1961 trial of Adolf Eichmann, a principal architect of the Holocaust. June Zero is told from the unique perspectives of three distinct figures: Eichmann’s Jewish Moroccan prison guard, an Israeli police investigator who also happens to be a Holocaust survivor and a precocious and clever 13-year-old Libyan immigrant. As the film delves into the complexities of the human experience during this pivotal trial, it serves as a poignant reminder that history’s impact can be both diverse and unifying.
Upon his upcoming release from a specialized mental hospital in Scandinavia, a man suddenly reveals his connection to a string of murders. His therapist and the police officer on the case go down the rabbit hole, putting all three of them in a precarious relationship. 
Gustaf Skarsgård is Mads a deep sadness. His gentle nature is at odds with his confessions, although his true motivations feel evident from the beginning. Nevertheless, Skarsgård delivers an emotionally wrought performance. 
Haunting takes in the gloomy natural light of a rainstorm or afternoon in an unlit room, capturing the dark essence of the narrative. The true story behind the film is one of the most unusual in criminal history. In the 1990s, Sture Ragnar Bergwall (later known as 
Goodnight Mommy filmmakers Severin Fiala and Veronika Franz‘s latest film, The Devil’s Bath, opens with a 
SYNOPSIS – In 1750 Austria, a deeply religious woman named Agnes has just married her beloved, but her mind and heart soon grow heavy as her life becomes a long list of chores and expectations. Day after day, she is increasingly trapped in a murky and lonely path leading to evil thoughts, until the possibility of committing a shocking act of violence seems like the only way out of her inner prison. Giving a voice to the invisible and unheard women of the rural past; THE DEVIL’S BATH is based on historical court records about a shocking, hitherto unexplored chapter of European history.
VERONICA FRANZ (Writer & Director) studied German and philosophy and worked as a journalist. She has also worked as an artistic collab-orator with Ulrich Seidl since 1997 and co-wrote the screenplays for all of his films including DOG DAYS (2001), IMPORT EXPORT (2007), the PARADISE trilogy (2012/13) and WICKED GAMES – RIMINI SPARTA (2023). In 2003 she also founded the Ulrich Seidl Filmproduktion GmbH with him.
Beth’s protective best friend Julia, played by Alex Essoe, balances Emma’s anxiety-ridden nature. Essoe’s level-headed portrayal feels authentically grounded. Juliette Kenn de Balinthazy as Lex is extra cool as writers David Blair and Vida give her character a rare disease, making her unable to sense physical pain. Juliette Kenn de Balinthazy is a star.
Jane Badler plays Mona with an eccentric personality, fully tapping into her career toolbox. Wise and mesmerizing, curious and terrifying, Badler delivers an intriguing villain like the pro she is. Beth Million is Emma. She is timid, paranoid, and desperate for cash. Million is relatable and quietly powerful.
A celebration of family-friendly indie filmmaking, Invaders From Proxima B has arrived to delight the budding cinephile. Ward Roberts brings audiences a whimsical story of intergalactic mayhem.
Bo Roberts is a natural as daughter Ruby. Her comic timing is a hoot. Samantha Sloyan is effortlessly charming as Mom, Jane. We get both sitcom motherly goodness and slackstick joy from Sloyan. She is a dynamo.
The inspiration from Disney’s Lilo and Stitch is unmistakable, but Invaders From Proxima B has an edgier narrative. I’m not exaggerating when I tell you Chuck’s first line of dialogue elicited a genuine guffaw from my mouth. Incredible Seusian animation acts as transition storytelling. The editing and use of GoPro add to the kid-centric perspective. This alien invader, body-swapping comedy is a laugh-out-loud, enchanting watch for the weekend. Check it out!
The narrative shifts into a visionary anthology of stories as Nathan moves through the levels of Hell. The progression feels like the dark films by Jim Henson in the 80s, but PANDEMONIUM takes it to an entirely new level of demented. It is the definition of French Extreme Cinema.
Hugo Dillon is Nathan. He is the only constant in PANDEMONIUM. We have pieces of his story, but only what he reveals. Dillon delivers a brilliant performance filled with fear, disdain, and bargaining. He’s phenomenal. 
An imaginative descent into the personal Hell we create, PANDEMONIUM is like nothing you’ve seen before. 
On the eve of their parents revealing a planned separation, a brilliant boy and his two older siblings use an enchanted grandfather clock to manipulate time and get them back together. Director Christian Ditter has audiences reconnect with his latest film, THE PRESENT. This lovely film, filled with silliness and life lessons, is a must for the holiday weekend.
Nowadays, if you can find an operating mall, you might still come across an AS SEEN ON TV store. A small display remains at Bed, Bath, and Beyond locations. Back in the 1950s, Atlantic City was the hub of Pitchmen. Future American celebrities like Ed McMahon, of Star Search fame, began on the boardwalk. 
Between local television spots and fairgrounds, pitching products was (and still is) a lucrative career. Only the best survive and put bundles of cash in their pockets. In a world of MLMs, this intimate energy exchange is the oldest truck in the book, and it works. The modern version comes in the form of TikTok influencers, but those 10-30-second uploads have nothing on the original masters.
The film starts with a bang. Bravo to Casper Kjær Jensen for one hell of a performance. Nikolaj Coster-Waldau returns as Martin. We now know he and Kalinka married and had a daughter named Emma. After Kalinka’s suicide, Martin is distraught. Emma discovers the newspaper clippings about her parents’ traumatic ordeal. Seeking answers, she takes her father’s old job on night watch. 
Kim Bodnia is the same thoughtless jackass settling right back into the role of Jens. The character’s development feels darker and more insensitive than before, but Bodnia’s chemistry with Nikolaj Coster-Waldau is still dazzling. 
Ole Bornedal makes the sequel a true family affair. His daughter, Fanny Bornedal, plays Emma. She is a pro. Ole gives her characteristics of Martin and Kalinka. Emma is a bold, bright, and fearless medical forensics student. Fanny commands each frame. She’s a star. 
The effervescent joy of being in the room fully translates from the screen. You’ll find yourself smiling until it hurts. LAUGH PROUD features multigenerational comics. The sets range from serious to hysterical. Many comics discuss childhood trauma, coming-out stories, dating, technology, patriarchal structure, aging, and everything in between. A loving and supportive energy is beaming between the performer and the audience. It is an inviting and celebratory special.
Corrine Britti gives Psychic Claire a great quirkiness. Schrack and co-writer Jordan Friedber‘s screenplay allows her to play a dual role. Her commitment is applause-worthy. Andrew Roth does a fantastic job at filling the screen with his presence. His optimism and generally ridiculous “always be selling” persona keep the film in the horror comedy subgenre. Once again, Friedberg and Schrack mix it up in the final act so Roth can show off his acting chops. 
The soundtrack is fun. A handful of sharp jump scares had my heart racing. I wish Schrack and Friedberg had leaned into Mason’s unresolved trauma earlier in the film. That emotional pull hits another level, heightening the dark threats, but I respect them for introducing a redemption arc. While the pacing is uneven, the visuals and sound editing are phenomenal. Essentially, what is good is extremely good. FOR SALE ends with one final genuine gafaw.
Founded in 2004, Big Beach is a Los Angeles-based
THE LAST STOP IN YUMA COUNTY
Jim Cummings proves once again that his high-strung straight guy routine is gold. His eye for unique projects as an executive producer remains top-notch. His entire look, down to his Archie comic red hair, is perfection for The Knife Salesman. (Yes, that is his actual character’s title).
Jocelin Donahue brings authenticity to small-town waitress Charlotte. She is so watchable. Sierra McCormick (We Need To Do Something) is a delight as aspiring bank robber Sybil. She’s another bright spot in this wild ensemble cast. 
Faizon 
Richard Brake
BLOOD FOR DUST
Years after some shady dealings haunt a group of business associates, Cliff tries to provide for what’s left of his family. As a floundering traveling salesman, his past finally catches up, forcing his hand into a new scheme with an old friend.
Scoot McNairy gives Cliff a palpable desperation and a fearlessness that captivates. He does not flinch. McNairy effortlessly carries the entire film. Kit Harington is unrecognizable as Ricky. His ultra-toxic masculinity drips off the screen. His physical and vocal work are unreal. His deliciously standoffish chemistry with Scoot McNairy makes the film.
This crime drama brings fantastic performances and a well-developed script. Cliff’s character has baggage and secrets that fuel his ultimate motivation. The slow-burn thriller pays off in spades with an explosive finale. Keep your friends close and your enemies closer. BLOOD FOR DUST challenges your idea of both. An unexpected story of redemption, it is a solid genre entry. Slow clap for the last frame.
The fragility of Jeanne’s station and extraordinary influence are beautifully nurtured by Lavernhe’s continuous narration.
Benjamin Lavernhe delivers an unforgettable performance as La Borde. He is Jeanne’s guide to life at court and the only entirely human interaction anyone encounters. Lavernhe is the emotional stronghold of the film. 
Maïwenn gives Jeanne a ceaselessly passionate and curious air. Her gentle elegance and care for her fellow actors beam off the screen. She is nothing less than captivating. Depp and Maïwenn’s chemistry is off the charts. She and Lavernhe take your breath away.
One of the most surprising aspects of dementia is the unfiltered confessions of an exhausted brain. Kathy is an open book, always willing to share her innermost thoughts with Max on camera. Max is an angel in her presence. His unconditional love and relentless patience are the things we can only hope to instill in our children. And because he is the primary caretaker, he must suffer the brunt of Kathy’s sporadic disdain. 
Delving into the science behind the rise and cause of Alzheimer’s is fascinating. Food is a 
DIRECTED BY CAITLIN CRONENBERG
In Caitlin Cronenberg‘s HUMANE, 
Alanna Bale is an aspiring actress and the youngest family member, Ashley. Her selfishness and loose lips cause nothing but chaos. Sebastian Chacon plays Noah York, adopted son, recovering alcoholic, and piano prodigy. Chacon is sensational, bringing a humanity that stands out among the ensemble cast.
Emily Hampshire, whose film cred has exploded since the Schitt’s Creek finale, is the eldest York daughter, Rachel. She is abrasive, unfiltered, and fearless. Hampshire owns every moment of screen time. 
The set is stunning, a stone mansion with deep jewel-toned walls and carved mahogany. The use of solar-lined umbrellas in the brief periods exposed to the sun and the implementation of solar film on the windows make a massive impact. The characters each comment on the ingredients their stepmother has procured, suggesting the food chain has affected every socioeconomic corner. It is all very carefully curated, and undeniably brilliant. 
Director Jennifer Takaki includes sweet animation sporadically playing under Corky’s narration. The film mixes personal footage and stills from Corky, the camera always in hand on the streets of Chinatown, old news interviews, and scenes of his relentless kindness towards the younger generation of aspiring photographers. 
PHOTOGRAPHIC JUSTICE: THE CORKY LEE STORY comes at a time in American history when Asian hate crime continues its uptick. Logging the cyclical violence and ignorance of the general population is vital to understanding the importance of the film. 
PRATFALL
Filmmaker Alex Andre captures an unusual connection between two strangers. PRATFALL walks a highwire of intimacy, trust, and confession. It’s a powerfully human story through the lens of two culturally diverse individuals. 
Filmed predominantly on the Upper West Side (trust a local gal to recognize every street corner in the opening scene), moving its way east, then south through midtown and back, the hand-held cinematography lends to the intimacy and claustrophobia of Eli and Joelle’s inner turmoil. The classical score lulls you during the long follow shots. The upbeat soundtrack is a fantastic foil. 
The notion of invisible labor rears its ugly head around 15 minutes in, but it’s what happens 4 minutes later that is so horrific you won’t believe what you’re eyes are telling your brain. THE COFFEE TABLE pulls no punches. Its first brutal images are so disturbing you won’t know what to do next. With Maria dutifully shopping for her idiot husband, the audience can only wait with bated breath for her reaction and what Jesús plans to do next. Admittedly, his behavior will break you.
David Pareja gives Jesús a shockingly calm demeanor when forced to speak with the other cast members. It will, no doubt, upset the viewer tenfold. The lies flow out, and poor Maria continues to berate him without knowing a damn thing. His subsequent management of trauma drives the entire film.
You must be logged in to post a comment.