‘SAINT CLARE’ (2025) Good vs Evil vs Structure.

Quiver LogoSAINT CLARE

SaintClare_Key Art

Mitzi Peirone gives audiences a mashup of ideas in SAINT CLARE. The film follows a college student who has a penchant for taking out bad guys in her sphere. A story of the morally gray, good vs evil, it’s something entirely different.

Girls keep going missing in her new town, and Clare wonders why no one seems to be focusing on the clues. Dealing with heavy childhood trauma, she discovers some seedy photos featuring her friends and one of the missing girls. This Nancy Drew on mushrooms narrative will have your head spinning.

Saint Clare (2024) - [www.imdb.com]Visually and technically stunning, if not a touch confusing storytelling-wise. The script has a Freighteners and Civil Dead meets The Sixth Sense vibe. The camerawork suggests potential mental illness in Clare. The audience constantly questions what is real.

SAINT CLARE_7Ryan Phillipe makes the best of a weird situation. Rebecca De Mornay is a fantastic addition. Frank Whaley made my heart skip a beat. He deserved way more screentime!

More Dexter than Joan of Arc, Bella Thorne‘s spitfire attitude makes SAINT CLARE compelling through the confusion. I could easily see her captivating in a role similar to Jennifer Garner in ALIAS. Honesty, Thorne could easily slot into a new season of Marvel’s Jessica Jones alongside Krysten Ritter. They would kick major ass together.

SAINT CLARE_2The film doesn’t know what genre it wants to be. There is comedy akin to Idol Hands (which is some of the strongest), drama like Pretty Little Liars, and mystery that is as whirlwind as Memento. It feels like a YA graphic novel with panels missing. If anything, SAINT CLARE does make me want to read Don Roff‘s source material, “Clare At Sixteen,” if only for some potential clarification.

OFFICIAL SAINT CLARE TRAILER

SAINT CLARE will be in theaters and on demand and on digital on July 18, 2025.

 

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Fantasia 2025 is on its way to slay.

Fantasia 2025 posterFantasia 2025

The literal moment a certain NYC festival closes, I begin to get hyped for Fantasia. If you are a genre nerd like I am, this is the festival that I’m talking about all year. Home of upcoming filmmakers that ultimately become household names, Fantasia boasts some of the coolest, scariest, weirdest, goriest, and most shocking films of the year. At least three consistently make it into my annual Top 10. The Adams Family‘s latest bit of macabre magic, MOTHER OF FLIES, Michel Gondry‘s animated feature MAYA, GIVE ME A TITLE, and filmmaking team Deanna Milligan and Ramsey Fendall return, having expanded their 2022 short LUCID into a feature. If you want a guaranteed good time filled with new and inventive films, Fantasia 2025 has more than you can handle. Here are just a few films we’ve got our eyes on this year. Fantasia 2025


TOUCH ME Fantasia 2025

Touch Me (2025) - [www.imdb.com]Writer/director Addison Heinmann follows up his 2022 Fantasia hit HYPOCHONDRIAC with Touch Me.

The path to peace and happiness is an arduous one for Joey (Olivia Taylor Dudley of THE MAGICIANSSHE DIES TOMORROW and CRAWLSPACE), as she also needs to navigate her shitty best friend Craig (Jordan Gavaris of HACKS and ORPHAN BLACK) and her cosmically problematic ex-boyfriend Brian (Lou Taylor Pucci of the 2013 EVIL DEAD and SPRING). To make matters worse, Joey and Craig are forced back into the grasp of the openly alien-jumpsuit-wearing ex who dispenses a euphoric toxin to all those he touches. The two dysfunctional slackers descend into a strange love triangle filled with dependence, violence, intoxication, and tentacles. But once the narcissistic alien’s motives take shape, a web of lies is revealed and a nefarious, Earth-threatening plan may be on the horizon.


MOTHER OF FLIES

MOTHER OF FLIESWhen a young woman faces a deadly diagnosis, she seeks dark magic from a witch in the woods… but every cure has costs. Written and directed by John and Zelda Adams and Toby Poser (The Adams Family), who also star, shot, edited, and scored, MOTHER OF FLIES is the latest creation from the filmmaking family behind such singular landmarks as THE DEEPER YOU DIG, HELLBENDER, and WHERE THE DEVIL ROAMS, each of which has World Premiered at Fantasia. Described by the filmmakers as their fairytale manipulation of the darkly shadowed, yet love-lined pathways between a human life and death, MOTHER OF FLIES is an extraordinary work of personal genre storytelling, gestated through the family’s own experiences battling and surviving cancer. It stands with the strongest of their work, a poetic, haunting, and moving film that glows with otherworldly imagination, exploring the concept of necromancy in connection with two women who have very intimate relationships with death. 

World Premiere. Fantasia 2025


IT ENDS 


It Ends (2025)In one of 2025’s major genre breakouts, four college friends find themselves on an infinite, unending road, forcing each of them to decide how to confront their fate in an unnerving journey into the unknown. Writer/director Alex Ullom and his gifted cast work miracles and offer a compelling, constantly intriguing, and often terrifying road trip into adulthood. Official Selection: SXSW 2025, Overlook 2025. 

International Premiere. Fantasia 2025


REDUX REDUX Fantasia 2025


redux-reduxDesperate to avenge her daughter’s murder, Irene Kelly (Michaela McManus) journeys through parallel dimensions to repeatedly track down and annihilate her killer (Jeremy Holm). A tense sci-fi vengeance thriller unlike any other, REDUX REDUX is the latest creation by Kevin and Matthew McManus, the Peabody award-winning writers and producers of AMERICAN VANDAL and COBRA KAI, and writers/directors of FUNERAL KINGS (Fantasia 2012) and THE BLOCK ISLAND SOUND (Fantasia 2020). Official Selection: SXSW 2025. Neuchâtel International Fantastic Film Festival 2025. 

Canadian Premiere. Fantasia 2025


MAYA, GIVE ME A TITLE Fantasia 2025

MAYA, GIVE ME A TITLE

In high demand for his cleverness and creativity, French director Michel Gondry (THE SCIENCE OF SLEEP, BE KIND REWIND, and legendary music videos for the likes of Björk, Daft Punk, and the White Stripes) is often away from home for work. To keep connected with his beloved daughter Maya, he made nightly calls with requests for story titles, to prompt quick, rough little animations crafted with colored paper, markers, and scissors, always starring Maya herself, with MAYA, GIVE ME A TITLE assembling an assortment of these little vignettes. Whether she’s a mermaid, a ship’s captain, an earthquake investigator, or just herself shrunk by “cucumber-reducing solution”, Maya’s tales are told in true Gondry style—wry, inventive, and tactile, favoring the excitement of process over polished final product. Oh, and it’s all voiced and narrated by Pierre Niney, star of last year’s Fantasia hit THE COUNT OF MONTE-CRISTO! 

My First Fantasia and Animation Plus Sections. North American Premiere. Fantasia 2025


NESTING Fantasia 2025

NESTING

A familiar name to Fantasia audiences, Chloé Cinq-Mars returns to the festival with her debut feature, NESTING (PEAU À PEAU). Delving into the quiet horrors of early motherhood, the film opens with a scream in the night. Pénélope (Rose-Marie Perreault, FAKE TATTOOS), a new mother grappling with sleep deprivation and postpartum depression, finds herself unable to separate dream from reality. After witnessing a violent hold-up in a convenience store, her already fragile psyche begins to crack. Sensitive and haunting, NESTING offers an intimate, unsettling portrait of a mother unraveling. Perreault delivers a career-defining performance, capturing Pénélope’s disintegration and tender attempts at self-reclamation. Denied the idealized “glow” of new motherhood, she’s left to drift in darkness, slowly losing her grip on reality. What emerges is a chilling and deeply human exploration of identity, isolation, and the aching silence surrounding maternal mental health

Les Fantastiques Week-Ends du Cinéma Québécois Section. World Premiere. Fantasia 2025


ANYTHING THAT MOVES Fantasia 2025

ANYTHING THAT MOVES

80 mins | 2025 | USA | English Fantasia 2025

Synopsis: An avant-gutter psychedelic dream, ANYTHING THAT MOVES is an erotically charged, blood-soaked thriller set in the sticky corridors of Chicago. Shot on fleshy Super 16mm, director Alex Phillips’ rust belt giallo continues on his trajectory of taboo-shattering horror cinema with this tense, funny, and absolutely twisted murder mystery. The film follows nubile sex worker Liam who bikes with his girlfriend—his partner in both business and pleasure—through the city delivering snacks and divine satisfaction to his love-hungry clients. Meanwhile, a serial killer’s gory murders are piling up and all the evidence seems to point back to the lover’s bed… Produced in collaboration with cult home video outfit Vinegar Syndrome, the film features stand-out supporting performances from erotic film legends Ginger Lynn (The Devil’s Rejects) and Nina Hartley (Boogie Nights). With an original instrumental score by Chicago-based artists Cue Shop calling to mind the lush orchestrations of Bruno Nicolai and lurid visuals by acclaimed cinematographer Hunter Zimny (The Scary of Sixty-First, Funny Pages), ANYTHING THAT MOVES provides an immersive throwback to 70s exploitation flicks.

World Premiere: Fri July 25, 9:30pm, Salle J.A. De Seve 

Tue July 29, 11:45am, Salle J.A. De Seve 

Written and Directed By: Alex Phillips

Introducing: Hal Baum, Jeremy Everett, Andrea Huber, Maxton Koc, Jiana Nicole, Jade Perry and Cooper Whittlesey

Featuring: Ginger Lynn Allen, Trevor Dawkins, Jack Dunphy, Paul Gordon, Nina Hartley and Frank V. Ross


LUCID Fantasia 2025

Lucid PosterAfter coming to Fantasia as a short film selected for the Frontierés Market Shorts to Features Lab in 2022 and Sitges Fanpitch that same year, directing duo Deanna Milligan and Ramsey Fendall expand the world of Mia Sunshine Jones in their darkly trippy feature, LUCID. Mia is a rebellious art student who struggles to create the ultimate project for a demanding professor. Desperate to find her artistic voice, she takes Lucid, a candy elixir, to access her creativity, but taps into something much darker. Starring Caitlin Acken Taylor, who reprises her role from the short, and Georgia Acken (star of the 2023 Fantasia hit THE SACRIFICE GAME), Milligan and Fendall create a surreal nightmare with a vintage look that fully embraces the 90s grunge era with a punk art aesthetic. Using live on-set music, an eclectic cast, and loads of experimental and haunting visuals, the World Premiere of LUCID will be a nightmare-come-true. 

World Premiere at Fantasia, feature debut, July 31

The film is co-written and directed by actor turned filmmaker Deanna Milligan (21 Jump Street, The X-Files) and cinematographer turned director/writer Ramsey Fendall (Ethan Hawke’s Seymour: An Introduction).

Cast: Caitlin Acken Taylor (Pistol) and Georgia Acken (Under the Bridge, The Sacrifice Game), Vivian Vanderpuss from RuPaul’s Drag Race is in the film and also designed the Hair Monster and Ayla Tesler Mabe one of the Goth Girls a is a real life guitar god! She has been featured in Rolling Stone and formerly part of the band Calpurnia with Finn Wolfhard.

 


FOREIGNER Fantasia 2025

Foreigner stillFor her debut feature film, FOREIGNER, Ava Maria Safai (Zip) expertly harnesses the power of identity, social acceptance, horror, and comedy. It’s 2004, and Iranian immigrant Yasamin, or Yasi, is the new girl. Her high school experience is daunting, as she tries to improve her English by watching her favorite sitcom and befriends a trio of pastel-clad girls who feed Yasi’s need to fit in. Desperate for acceptance, she dyes her hair blonde and, in doing so, also attracts a demonic force. With a fun retro setting, great performances by Rose Dehgan as Yasi, Chloë MacLeod as the creepy high school “Queen Bee” Rachel, and a blend of our favorite teen horrors, FOREIGNER takes up space as a new entry to “bubblegum horror,” bringing a fresh narrative to the Canadian immigrant experience. The film has been referred to by some as Mean Girls meets The Exorcist and Ava is definitely a young director to watch. 

World Premiere at Fantasia, feature debut, July 21

Writer/director Ava Maria Safai is a Canadian-Iranian multidisciplinary artist from Vancouver, known for her work in acting, music, writing, and directing. She is a Dean’s List graduate from UBC’s BFA in Acting program and the artistic director of The Harlequin Theatre Society. She is also an accomplished musician and songwriter, with over 40 original songs and a Canada Council-funded musical. Her short film Zip won numerous awards on the festival circuit and her debut single “Finding Hope” was picked up on Lifetime’s Dance Moms. Ava Maria has released three albums and five singles and she co-wrote music for Unmasked (which premiered at the Cannes Film Festival). Ava Maria recently shadowed directors Zach Lipovsky and Adam Stein on Final Destination Bloodlines. 

Cast: Rose Dehgan (Musician & TikTok star), Chloë MacLeod, Ashkan Nejati (Director of Tonight’s Homework which premiered at IDFA)


HELLCAT Fantasia 2025

HELLCATA woman (Dakota Gorman) wakes in the back of a moving camper trailer. A voice (Todd Terry) from the truck towing it tells her they must reach a mysterious doctor within the hour. Thus begins HELLCAT, the feature debut of writer/editor/director Brock Bodell, who previously cut the mind-bending ULTRASOUND (Fantasia 2021), among others. Bodell doesn’t take a wrong turn, delivering a twisty thrill ride of strong characters, shredding tension, and real surprises that takes viewers deep into unexpected places. Featuring SNL’s James Austin Johnson as the voice of a late-night DJ on a supernatural call-in show, and gripping performances from supporting cast Jordan Mullins and Liz Atwater. 

World Premiere. Fantasia 2025

 


HOLD THE FORT Fantasia 2025

HOLD THE FORT

A HOA turns out to be more troublesome than usual in this wildly amusing, FX-heavy freak-out about newly minted suburbanites unexpectedly forced to take part in a struggle against monstrous forces. Narratives about motley groups of ill-equipped characters battling forces of evil are a staple of the modern horror/comedy world, but HOLD THE FORT, from writer/director William Bagley, is many yuks above the norm. With very funny dialogue, outrageous circumstances, and plenty of stylish splatstick as both the human and inhuman are dispatched in gruesome, sometimes giggle-worthy ways, with heaps of spurting, splashing gore and a nonstop parade of practically-created creatures and zombies. Starring Chris Mayers (OZARK), Haley Leary, sketch comic YouTube creator Julian Smith, and Tordy Clark (GLORIOUS), and featuring a charismatic turn from veteran stunt performer Hamid-Reza Benjamin Thompson (BLACK PANTHER, AVENGERS: ENDGAME). 

World Premiere. Fantasia 2025


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 festival would like to thank all its private partners, friends of the event, as well as official suppliers, venues, and all participating filmmakers, sales agents, and distributors for their invaluable support.

Fantasia 2025

Fantasia 25 bw logo
Tickets to the festival can be found here!
 
For all things Fantasia 2025, click here!

‘DANIELA FOREVER’ (2025) Grief, guilt, and grace. Nacho Vigalondo delivers another stunner.

well go usa logoDANIELA FOREVER

daniela forever poster

Following the death of his beloved, Nicolas enters a visionary drug trial that lets him explore his relationship with new eyes and the boundaries of physics. Nacho Vigalondo‘s DANIELA FOREVER is an emotionally complex, visually stunning deep dive into grief.

daniela forever 3As Nicolas learns to navigate and control his time and environment with Daniela, real life pales in comparison. He selectively shares information with the scientists, and suddenly Daniela’s behavior evolves, allowing Nicolas to control her newly created memories. With each evolution of his dream states, Nicolas destroys the dimensions of reality, while also coming to terms with his selfish behavior.

daniela forever 2The lighting is dazzling. The stark visual contrasts, including varying aspect ratios, between the memory and the present, are incredible. The grainy, Super 8 camera effect screams sadness, while the sharp, CGI-enhanced dream state envelops the audience from every angle and emotion.

Henry Golding easily carries the film. He is brave, funny, and authentic. His chemistry with Beatrice Grannò is tangible. Nicolas’ emotional arc is fascinating, and Golding lives every beat. He is effortlessly charming and vulnerable.

daniela forever 1Fans of Eternal Sunshine of the Spotless Mind will instantly vibe with DANIELA FOREVER. Vigalondo delves into selfishness, manipulation, and jealousy through his penchant for magical realism, sci-fi, and visual spectacle. If you are familiar with his resume, you understand how perfectly this film slots into his catalog. This exploration of anguish is undeniably extraordinary, but more importantly, DANIELA FOREVER is about rediscovering what makes life glorious, cherishing the details, honoring the mundane, and remembering how much joy still exists. It very much tackles the adage, “If you love something, set it free.”

Daniella Forever Trailer:

DANIELA FOREVER
In Select Theaters July 11
and On Digital July 22

 

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‘ALL ALONE TOGETHER’ (2025) Zero budget and immense talent. A fresh filmmaking team comes to life.

Ethos logoALL TOGETHER NOW

All-Alone-Together Poster

Maximus Jenkins delivers a twisted tale in the indie horror ALL TOGETHER NOW. A clever bait-and-switch, the film opens in a very meta way, with aspiring filmmaker Lincoln hitting it big following a festival screening. Real-world success gets complicated when the lines between his creation and trauma quickly blur.

All Alone Together 4This is the epitome of great indie filmmaking. Every aspect is genuinely impressive. Kaleb Manske‘s editing is jarring as hell, earning honest-to-goodness jump scares. The dynamic focus is incredibly effective. The soundtrack is fantastic. I’m obsessed with the repeated use of the “Always Forever ” track.

All Alone Together 2Alex Nimrod has a presence that reminds me of a cross between a young Matthew Broderick and bonafide Scream King, Justin Long. The camera loves him. He gives Lincoln charming discomfort at first. Nimrod has the chance to show his acting chops through through the subtle building of creepiness throughout the film. Lincoln’s perception of reality is thoroughly warped, sending the audience into a tailspin alongside him. Nimrod, who also pens the screenplay, goes there and never hesitates. A particular bathroom scene, one that would give any script supervisor a heart attack, is award-worthy.

all alone together 5ALL ALONE TOGETHER is a physical manifestation of unresolved trauma and suicidal ideation. The film is an undeniably slick piece of psychological horror. While it’s a deliberately dark journey down the rabbit hole and straight into hell, it’s also a sharp commentary about art as therapy.

All Alone Together Teaser Trailer:

ALL ALONE TOGETHER is now on VOD from Ethos Releasing

 

ALL ALONE TOGETHER is the debut feature film from 4085 Productions, a student-run production company that began during the COVID-19 pandemic when four Los Angeles college students decided to combat their isolation through the art of filmmaking. 

Their first film made waves at Panic Fest, Popcorn Frights, and the Chicago Horror Film Festival, with Morbidly Beautiful raving, “Creative, engrossing, smartly scripted, and masterfully executed on a shoestring budget, ALL ALONE TOGETHER is meta-movie magic at its best.”

As a tormented filmmaker reaches new levels of success, the horrors of his film start to creep into his life. This shocking creepfest is at once a harrowing psychodrama of a broken man spiraling into paranoia, trauma, and guilt – all of which manifests as a monstrous entity – while also presenting a fascinating reflection on the cathartic power of filmmaking itself.

 

For more horror coverage, click here!

 

 

‘ZENITHAL’ (2025) Martial arts, mayhem, and a mechanical penis? And it all works brilliantly.

darkstarlogoZENITHAL

Zenithal Theatrical Poster

With my mouth agape at the absurdist plot, I guffawed 2 minutes into ZENITHAL, a bizarre love triangle that turns to murder, maniacal mayhem, and one mad surgeon. Director Jean-Baptiste Saurel has a hit on his hands that is unforgettable. 

Ti-Kong is an action star who suffered from a freak mutation resulting in a giant penis. Dry cleaner Francis and martial arts teacher Sonia’s relationship has become strained as they agreed to be celibate for a year. Oh, and all three are also former co-stars. Following a humiliating breakup between Sonia and Francis, someone kills Ti-Kong most violently and unusually. He is “dickapitated,” and the tiny brain in the head of his giant penis is stolen.

ZENITHAL #1 © Jean-Baptiste Saurel _ 2024 - KAZAK PRODUCTIONS (2)Francis believes Sonia has told the police he is responsible, causing him to flee from the authorities. In his desperation, he finds solace in a laundry client who always seems to be wooing Francis away from his station. Turns out this man is no eye-fucking mechanic but a supervillain, woman-hating, mad surgeon named Doctor Sweeper, who wants to upgrade Francis with a massive robotic, brain-implanted penis and blow up the moon to disrupt menstrual cycles. (Still with me?)

ZENITHAL #5 ©Louis Lepron (2)Now, Sonia, Francis’ business partner Marcus, and a few ladies from Sonia’s Sexkido class (a method of martial arts that takes advantage of men’s depravity and returns power to women. While meant to be silly, I think it’s brilliant), must find Doctor Sweeper, save Francis, and clear his name.

Did you get all that? That’s only the first 38 minutes. ZENITHAL is like reading a graphic novel while on a mushroom trip but in the best way. The dialogue is a delicious, hypersexual double entendre. The comedy comes not only in the words but perfectly timed slapstick comedy pushed to the nth degree.

ZENITHAL #4 ©Louis Lepron (2)Performances from the entire cast are phenomenal. They land somewhere in between Austin Powers and Zoolander, with incredible one-liners and a 1000% commitment to the gag.

The cinematography is rom-com sharp. The fight choreography is hilarious. The use of “Behind Blue Eyes” is genius. Beyond all the chaos, ZENITHAL is a love story wrapped in incel culture. It’s a wildly funny, sex-positive crowdpleaser.

Watch the ZENITHAL Trailer:

Dark Star Pictures will release ZENITHAL, the upcoming French eccentric comedy from Jean-Baptiste Saurel (Paramount+’s Zorro), which made a splash at Fantastic Fest, on VOD July 1st. The film stars Franc Bruneau, Sonia, Vanessa Guide, Marcus Cyril Guei (Hitman), and Bruno Gouery (Emily in Paris).

Dark Star Pictures is a new-age North American distribution company, focused on bringing unique and targeted content to audiences across the country. We are committed to releasing auteur-driven, original cinema in the theatrical, digital and home video space. Our goal is to create original marketing campaigns directly catered to audiences who will embrace our brand of thought-provoking cinema. Dark Star also services distribution companies and producers in the theatrical, digital, and festival space.

 
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‘STAR PEOPLE’ (DWFLA 2025) There is destiny in the stars in Adam Finberg’s compelling debut.

Dances-With-Films-logo 2025STAR PEOPLE


Poster- STAR PEOPLE (Blue Harbor Entertainment)Adam Finberg‘s narrative feature debut, STAR PEOPLE, arrives to engross Dances With Films LA 2025 audiences. The film follows a photographer who receives a tip about the same strange lights she witnessed in childhood. But, a heatwave and tensions between unexpected guests threaten everything.

Star PeopleThe archival news footage sets a brilliant tone for STAR PEOPLE. Combining alien hunting with an immigration story is incredibly clever and entirely seamless. Finberg brilliantly tackles racism and the sick practices of border coyotes and anti-immigration militants. Everything is high stakes as temperatures rise to deadly levels, and the chance to solve Claire and Taylor’s biggest childhood mystery seems less and less likely.

Connor Paolo plays influencer Justin with a precise amount of self-absorption. Similar to his performance in 13 Reasons Why, Paolo elevates his scene partners with his presence. You will love to hate him in this role. Eddie Martinez is the perfect foil for Paolo, playing the dedicated father, Ricardo. He is passionate and kind, leaving the audience in the shoes of a desperate parent.

Star People Eddie Martinez and Adriana Aluna Martinez in STAR PEOPLE (Blue Harbor Entertainment)McCabe Slye is Claire’s junkie brother Taylor. Slye is outstanding, tapping into Taylor’s manic PTSD like a pro. He steals every frame he’s in. Kat Cunning‘s Claire is desperately chasing answers from childhood. Her comfort in front of the camera is unmatched. She and Slye’s chemistry is movie magic.

Aiden Chapparone‘s cinematography is beautiful. Paired with a perfect synth-inspired score from Reza Safinia, each element complements the next. Claire’s visions are a mix of memories and nightmares. To piggyback on her condition, a theory 3/4 of the way through from the rather loathsome Justin is like a gut punch. You’re so emotionally invested in Claire’s arc that you hope he’s wrong.

STAR PEOPLE truly grabs you from the very first frame. It is a film for dreamers, cynics, and stargazers alike. Mulder was right. The truth is out there. STAR PEOPLE embraces humanity at its best and worst.


Star People Trailer:
 
 

WORLD PREMIERE 

Directed and written by: Adam Finberg

Producers: Adam Finberg and Josh Shader 

Starring: Actor and recording artist Kat Cunning (The Deuce, On Swift Horses), McCabe Slye (Destroyer, Fear Street Trilogy), Connor Paolo (The Last Stop in Yuma County, Revenge, Gossip Girl), Eddie Martinez (The Sinner, Night Swim), Bradley Fisher (Westworld), and Adriana Aluna Martinez (Duster).

Inspired by The Phoenix Lights, the largest mass UFO sighting in U.S. history, STAR PEOPLE is a sci-fi thriller that tells the story of a photographer (Kat Cunning) who receives a tip that could finally shed light on her childhood UFO sighting, but a deadly heatwave and unexpected guests threaten to derail her obsessive search for answers. 

Adam Finberg (Writer/Director/Producer)

Adam Finberg grew up in Phoenix, Arizona,, and moved to Southern California to attend the American Film Institute’s directing program. He’s worked the past 20 years as a writer, director, and editor. Star People is his first feature-length narrative film.

Adam began his career directing music videos (Armin van Buuren, Malbec, Otis) before moving on to commercial work (Napoleon Perdis, GoDaddy). His first documentary, After Katrina: Rebuilding St. Bernard Parish, shined a light on the perils and pains of post-Hurricane Katrina New Orleans. 

His first feature documentary, The Business of Recovery, dove into the secret lucrative world of the American addiction treatment industry. The film was featured on Last Week Tonight With John Oliver as it sparked conversations about the rehab industry and was even showcased at the International Drug Policy Reform Conference in Washington, DC to help guide policy decisions.

Through the years, Adam has been a lead editor on numerous unscripted television shows on a variety of networks, including Discovery, WETV, The History Channel, Lifetime, MSNBC, History, TruTV, Oxygen, ABC, CMT, Showtime, VH1, and MTV. 

Running Time: 103 Minutes
Language: English 
Feature Film (USA, 2025)


ABOUT DANCES WITH FILMS

Now in its 28th year, Dances With Films champions the unflinching spirit at the very core of the independent film scene. With most film festivals relying heavily on celebrity, DWF have relied on innovation, talent, creativity, and sweat equity that revolutionized the entertainment industry. And that reliance continues to prove successful with alumni moving on to write, direct, and produce celebrity-studded vehicles, star in blockbuster movies, and television series, produce multi-million-dollar film and create hot TV shows.

Website: https://danceswithfilms.com/about/

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‘WOULD YOU CALL HIM A BAD MAN?’ (DWF LA 2025) Destined to be your latest obsession.

Dances-With-Films-logo 2025

WOULD YOU CALL HIM A BAD MAN

Would You Call Him a Bad Man? 1

Filmmaker, artist, and musician Ian Hinden brings a kickass music video to Dances With Films LA 2025 like no other. In “WOULD YOU CALL HIM A BAD MAN?”  we follow the tale of a young heroine down on her luck and a villain trying to work out his daddy issues, all through the lens of a recorded video game.

The original song, also by Hinden, is an instant hit. In just under five minutes, a thought-provoking narrative blows you away with a finale that is perfection.

Would You Call Him A Bad Man?” is a visual bonanza of seedy splendor. Blink, and you’ll miss some sick detail. I would watch an entire album, aww hell, a feature, in this style. It is grown-up gamer manga mayhem. I am here for it.

Would You Call Him A Bad Man? bar scene


WOULD YOU CALL HIM A BAD MAN?

WRITER/DIR/PROD: Ian Hinden

After being unfairly fired for trying to protect the tips of her fellow Pittie Party Girls, the heroic and exploited waitress Ava is forced into the cruel dark underbelly of the retro-futuristic neon city known as Pittsburgh, Pennsylvania. Meanwhile, Richman Richmond, Jr., a billionaire play-pig, recalls his harrowing and abusive youth as he self medicates with OnlyFans subscriptions. To overcome her trauma and truly feel a sense of ownership over her reality, Ava must defeat Richman Richmond, Jr.

STROBE WARNING: This film contains content which may trigger some viewers with photosensitive epilepsy, migraines, or other conditions that can be triggered by visual stimuli like flashing lights. WOULD YOU CALL HIM A BAD MAN?

Would You Call Him a Bad Man? 2

“Would You Call Him a Bad Man?” will screen as part of the Downbeat Shorts on Friday, June 27th  at 5:00 pm at the TCL Chinese Theatres in Hollywood. Tickets may be purchased by clicking on the TICKET button on the website at https://danceswithfilms.ticketspice.com/dwf28-downbeat-a-celebration-of-music–dance

 ABOUT DANCES WITH FILMS

Since 1998 DANCES WITH FILMS has grown from presenting a handful of films to more than 200 each year…from narrative features and shorts to include the top documentaries, music videos, tv and web programs on the circuit today. In 2007, DWF brought new commitment to the indie world with the advent of the 2 Minute, 2 Step Short Film Challenge where we actually shoot 10 films during the festival and present them to enthusiastic audiences. In 2012 the festival moved to its current location – the famed TCL Chinese Theatres in the heart of Hollywood. From there it has expanded to 11 days with ever increasing sold out screenings. WOULD YOU CALL HIM A BAD MAN?

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‘PINS AND NEEDLES’ (2025) Science and psychopaths make great bedfellows

filmhub logoPINS AND NEEDLES



PINS_AND_NEEDLES_Key_ArtFilmmaker James Villeneuve brings audiences a creative thriller ripped straight from global science and technology headlines. In PINS AND NEEDLES, a diabetic biology grad student’s ride back to campus turns deadly when a flat tire finds her trapped with two diabolical biohackers. With her insulin running dangerously low, Max must figure out a way to escape and take down a couple of psychopaths in the process.

PINS_AND_NEEDLES_03Max’s diabetic hallucinations are an incredibly creative way to use Daniel Gravelle and work out potential escape routes. Short and sweet fantasy sequences also keep your heart racing. I would have loved more of both. I do have a gripe about there being no food in the house. Emily and Frank very clearly live in the house, and there is not a single snack lying around.

PINS_AND_NEEDLES_04While Kate Corbett and Ryan MacDonald are sufficiently eccentric and evil as our whackjob “scientists,” PINS AND NEEDLES is 100% the Chelsea Clark show. She easily carries every scene with grace and ferocity while never going overboard. She is one to watch.

PINS_AND_NEEDLES_02I loved the use of car keys, and women will cheer that shit on. Did I yell at the screen during the finale? Damn right. PINS AND NEEDLES makes direct fun of billionaire Bryan Johnson. You know, the guy injecting himself with his son’s blood to stay young forever. And, just for your information, he’s moved on from that practice and opted for a “total plasma exchange” instead. Biohackers love to claim science when we all know damn well any fountain of youth is only for sale to the highest bidders. PINS AND NEEDLES leans into real-life monsters in a wildly clever way.

Pins and Needles Trailer:

 Canadian cat-and-mouse thriller PINS AND NEEDLES opens in the U.S. on June 24th from Filmhub

 

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‘DON’T TELL LARRY’ (2025) The dark and hilarious workplace comedy is in theatres and On Demand today!

level 33 logoDON’T TELL LARRY

After lying to her new eccentric coworker Larry about a company party, an ambitious corporate flunky must deal with the deadly consequences.

Dot-Marie Jones and Ed Begley Jr. serve up pro performances that most certainly elevate DON’T TELL LARRY. Kiel Kennedy has a genuine Will Ferrell energy. His portrayal of Larry is cringe, uncomfortable, and entirely unhinged. It’s wild and wonderful. I won’t say more because seeing is believing. Kennedy gives Larry a larger-than-life persona, mastering the comedy and terror.

Kenneth Mosley is Patrick, Susan’s work bestie and equally fabulous sidekick. Do yourself a favor. Watch Mosley’s reel on IMDB. You will wonder why he isn’t on every screen in your home. His performance as Patrick immediately catches you off guard in the best way. He’s magnetic. Patty Guggenheim is unforgettable as the hyper-ambitious Susan. Guggenheim is a star. She has a similar energy to Julia Louis-Dreyfus. Her comic timing and charisma pull you in. Her chemistry with Mosely makes me want a sequel/spin-off/whatever!

Filmmakers Greg Porper and John Schimke give us a classic, over-the-top workplace comedy that stands alongside titles like OFFICE SPACE. It’s wacky and worth your eyeballs.

Watch the Don’t Tell Larry Trailer:


93 MIN | DARK COMEDY | THRILLER | ROMANCE | INDEPENDENT | NR TV-14

Don’t Tell Larry is

IN THEATRES AND ON DEMAND 6.20.25



Emagine Portage 16 | Portage, IN

Emagine Palladium 15 | Birmingham, MI

Emagine Rogers 18 | Rogers, MN

Galaxy Monroe 12, Monroe | WA

Laemmle Royal | Los Angeles, CA

Sunrise Theatre | Southern Pines, NC

Laemmle Town Center | Los Angeles, CA



Directed by

Greg Porper & John Schimke



Written by

Greg Porper & John Schimke



Produced by

Greg Porper, p.g.a.

John Schimke, p.g.a.

Brad Keller



Executive Produced by

Ed Begley Jr., Barry Goodman, Robert Porper



Starring

Ed Begley Jr., Dot-Marie Jones, Patty Guggenheim, Kiel Kennedy, Kenneth Mosley, Tina Parker, Heath Allyn, Molly Franco, Ronda Dale Kirk, Joe Rojas Jr., Terrence Dearman, Billy Blair, Bruce Davis



DON’T TELL LARRY – SYNOPSIS

After Susan tells a harmless white lie about an office party to her truth-obsessed co-worker Larry to secure a promotion, she finds herself in over her head when tragedy strikes, and all signs point to Larry as responsible. Terrified her secret will be exposed, Susan ropes in her well-meaning but clueless co-worker Patrick to help cover up her tracks—but every move they make unleashes a whirlwind of chaos. From random drug tests and car explosions to a suspicious detective and a rising body count, Susan’s workweek spirals into a full-blown clusterf*ck.



About Level 33 Entertainment

Los Angeles based Level 33 Entertainment is a global content sales and distribution company dedicated to promoting diverse voices in independent film. Level 33 provides innovative sales, marketing and distribution services for feature films and entertainment content, delivering a flexible and transparent distribution solution for all platforms including Theatrical, Home Entertainment, On Demand, Broadcast and OTT.

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‘animal.’ (2025) Eat, meat, repeat. Can a carnivore diet cure all?

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animal.posterAuthor and personal trainer Zane Griggs guides us through an hour-and-a-half argument for a carnivore diet. Often called “The Caveman Diet,” a meat-led way of eating has been all the rage in certain circles for years now. ‘animal.’ features doctors and a select few nutritionists presenting the benefits of consuming a diet contradictory to generations of teaching. Griggs uses testimonials from those who tout the life-changing effects of red meat. 

animal. meatThe film feels like one lengthy infomercial with cherry-picked science for effect. There is no mention of pollution and the links to socioeconomics. I’m not arguing the diet is faulty. I would have loved to have seen unbiased medical charts. I’m suggesting that the food chain accessibility should be half of the film. The fact that the only two black individuals interviewed are UK residents, a former bodybuilder, and his health coach daughter, Eddie and Selina Abbew (dad has 4m Instagram followers) is glaring. 

The nature footage and scientific recreation transitions are undeniably beautiful. Overall, the editing wavers between sharp and choppy. To make a more concise argument, speakers sometimes appear glitchy rather than inserting a scientific slide to smooth the transition. It’s incredibly distracting. The skulls in the background of each sit-down come off as hokey. 

Cells_1 animal.My husband went on a Keto diet in preparation for his half-Ironman competition in 2015. I joined him a few weeks in. On the fourth day, once my body entered ketosis, my body looked entirely different in all the best ways. I was shocked. But remaining on the diet in the real world was incredibly challenging. After a single cheat day, my body fell out of ketosis. I had to restart the process. I became angry, and I was always hungry. It wasn’t a sustainable lifestyle for me. 

Field_1 animal.While it is easy to agree with the profit-driven motivation of the pharmaceutical and processed food industries, it’s challenging to accept that my organically grown vegetables are trying to poison me. It comes down to money and US standards. We allow chemicals, pesticides, dyes, and unregulated factory farming that other countries do not. You can taste the difference. The final 20 minutes encourage regenerative farming and environmental care. It’s a great message, even if the film never delves into food-drought areas. 

Dr Anthony Chaffee_2 animal.A Keto diet worked wonders for my husband, but that was in an intense training setting. I was able to see immediate physical results, even though it did not end up feeling ideal for me. I’m worried that omitting information curves the film into pseudoscience territory. ‘animal’ has good intentions, but withholding information on the healthiest countries and their varied diets feels skewed. Viewers will have to come to their own conclusions based on the information presented, personal health journey, and availability of resources. If nothing else, ‘animal.’ triggers a broader conversation about nutrition and sustainability.

animal. Trailer:

Now Playing in the Following Theaters  

 

NYC at the Village East Cinema

Los Angeles, CA at the Laemmle Santa Monica

Las Vegas, NV at the Downtown Cinemas

Austin, TX at the Violet Crown Cinema

Dallas, TX at the Galaxy Grandscape 15

Houston, TX at the Xscape Theaters Katy Fulshear

 

Written & Directed by JOSH FELDMAN

Executive Producer VINNY LINGHAM

Produced by VINNY LINGHAM, KEVIN CARTER, and JOSH FELDMAN

 Featuring

DR. ANTHONY CHAFFEEDR. KEN BERRYDR. SHAWN BAKER, EDDIE ABBEW, STEAK AND BUTTER GAL, DR. ERIC BERGJUDY CHO, DR. ROBERT CYWES, DR. ROBERT KILTZSALLY NORTONDR. LISA WIEDEMAN, DR. CATE SHANAHAN and ZANE GRIGGS

 SYNOPSIS

animal. unmasks a century-long conspiracy of political, economic, and religious forces that have twisted our natural bond with meat—enslaving us to ill health and Big Pharma dependency. Through bold interviews, historical revelations, and groundbreaking science, it shatters nutritional myths and dares us to reclaim the ancestral diet that fueled our evolution.

 

Documentary | 89 minutes | Not Rated | 2025 | English | USA animal.

 

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‘HOW DARK MY LOVE’ (Tribeca 2025) Marriage and the Macabre

Tribeca 2025 rainbow logoHOW DARK MY LOVE

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In HOW DARK MY LOVE, Scott Gracheff offers Tribeca 2025 audiences a one-of-a-kind love story between an artist and his photographer/dominatrix wife. Joe Coleman and Whitney Ward are a match made in some weirdly curated heaven of their making. Joe specializes in painting serial killers. The morbid nature of Joe’s larger-than-life paintings is akin to a MAD magazine cartoon from the pits of hell. Joe’s attention to detail is mind-blowing. He uses jeweler’s magnifying lenses to create minute details, from individual hairs and veins on the human figures to the tiny writing that accompanies each personal vignette surrounding the central subject. The paintings are unlike anything I’ve seen before. You would need hours of focus to do each one cognitive justice.

In the film, Joe is working on his penultimate creation: a painting of Whitney. Gracheff tells us a tale of twenty-five years of marriage and the two artists who thrive on each other’s presence. Eccentrics to the bone, they were married by a ventriloquist dummy with guests dressed in elaborate costumes. They have accumulated so many unique and macabre items that they maintain two apartments.

Tyler Hubby‘s editing is a marvel. Joe’s storytelling serves as narration over his creations and home videos. He talks about his heroin addiction, his volatile relationship with his first wife, and his childhood. In conversation with musician Dave Navarro, Joe divulges to the audience his traumatic upbringing. Art is his outlet and rebellion. Whitney was ambushed by a profile in The New Yorker as her professional alter ego, dominatrix Nurse Wolf, in 1998. Her motivation was therapy and not sex. The death of Whitney’s mother, directly followed by an abusive relationship, shaped her art forms. Friend Iggy Pop poses questions to Joe about the motivation and their storied connections. Asia Argento sought him out in her 20s. All these peculiar individuals make one hugely connected chosen family.

During filming, Joe turns 60. Mortality smacks both him and Whitney in the face. After four years, the unveiling of Whitney’s portrait occurs at an exclusive exhibition in Miami. The emotion tied to this one special creation hits differently. A move upstate, a shift in mindset, and the continued worship of one another’s talents deliver exquisite peace. HOW DARK MY LOVE honors the catharsis in art. Joe discusses the struggle in humanity, and it perfectly captures the essence of the film, their lives, and the work. The culmination of a life and love most dream of, HOW DARK MY LOVE celebrates the good, the bad, and the ugly and makes it a masterpiece.

HOW DARK MY LOVE

World Premiere – Viewpoints

| United States | 109 MINUTES | English |

Directed by Scott Gracheff

Produced by Jim Muscarella, Josh Diamond, Jason Diamond, Scott Gracheff, Gregg de Domenico


ABOUT HOW DARK MY LOVE
A tale of painter and muse, at the core of which smolders a timeless love story between artist Joe Coleman and Whitney Ward, husband and wife of 25 years. Known for painting serial killers and outlaws, Joe chooses Whitney to be the subject of his next portrait, and, at nearly 7 feet tall by 4 feet wide, it will be his largest work to date. Teeming with candid biographical details, every aspect of Whitney’s life is vulnerable to exposure, and Joe is taking a leap of faith that Whitney will be able to accept his uncompromising perspective when she is the focus of his gaze. Plunging into darkness in search of the truth, the film intimately explores the relationship between life, love, death, and art.

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‘BLEEDING’ (2025) This new take on the vampire genre is addictive.

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BLEEDING

Bleeding poster

In a world where infected blood has become the most dangerously addictive opioid, a teen must cross moral lines to save his spiraling cousin and a reluctant acquaintance.

The blood of the infected is harvested and dried into pill form. People are turning into vampires during an overdose and then using others as incubators to feed their needs or sell to the masses. Society has turned its back, deeming the cursed monsters, even airing reality television series in the vein of COPS, showing the brutal deaths of infected individuals.

Bleeding_Still_5Following the overdose death of his brother, Eric’s coping mechanism for his unresolved trauma is breaking and entering to avoid his home life. A visit to his junkie cousin Sean’s house leads to the accidental destruction of a bag of drugs. Now, the boys must devise a plan to find the funds to pay back Sean’s dealer.

After Eric and Sean break into what they assume to be a vacation home, they discover Marcus’s close friend, Sarah, zip-tied in a dark bedroom. Two scumbags are farming her. When Sean needs a fix, he can’t resist her vulnerable neck. Except he’s never had pure blood, and the lure puts him over the edge. Sarah prevents him from turning.

She and Eric strike a deal for survival- He will try to get her across the Canadian border for experimental treatment in exchange for a jar of her blood to pay off Sean’s debt. Sean makes his way to the dealer Dustin’s house alone. Little does he know who he’s dealing with. His ultimate selfishness may be everyone’s undoing.

Bleeding 1Jasper Jones is a pretty boy screw-up. His tough-guy persona leads to stupid decisions. Jones is incredibly watchable. He expertly leans into a character that feels deeply punchable but shows us we’re missing the root cause. Jones delivers the manic behavior of addiction like a pro. It is an impressive turn.

John R. Howley is dazzling as Eric. He takes a wounded bird, combines it with fearless desperation, and demands your attention. It’s unfathomable that this is his first film role. There is a bright and busy future ahead for this young man.

Cinematographer Daniel Cho takes advantage of the ever-changing natural light as the film plays out in relatively real time. BLEEDING will make a perfect companion watch with MY HEART WON’T BLEED UNLESS YOU TELL IT TO. Both films center on complex family relationships and bargaining with death. Filmmaker Andrew Bell creates an endlessly intriguing meditation on cyclical addiction. This new take on the vampire genre is undeniably refreshing. BLEEDING is so dark it may consume you whole.

BLEEDING Trailer:


BLEEDING is available on Screambox + VOD beginning Tuesday, June 10th. (Today!!)

Written & Directed by: Andrew Bell

Produced by: Nicholas Payne Santos, Bofan Zhang, and Kenneth Green

Starring: John R. Howley, Jasper Jones, and Tori Wong

www.bleedingfilm.com

 

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‘HONEYJOON’ (Tribeca 2025) Mother, daughter, mayhem.

Tribeca 2025 rainbow logoHONEYJOON

Honeyjoon-Clean-16x9-01

On the anniversary of the family patriarch, mother-daughter team Lela and June find themselves on a vacation together. Lilian T. Mehrel‘s HONEYJOON arrives at Tribeca 2025 with humor, heart, and healing.

Persian-Kurdish Lela longs to connect in the wake of her grief. American June wants some no strings attached vacation ass. Lela remains deeply connected to her heritage and global events. June is self-absorbed. After booking a private tour, each woman forms a different bond with their guide, João. Lela and June relive their long goodbye through the experiences of his dementia-ridden grandmother. Their relationship organically evolves through sadness, miscommunication, honesty-drenched barbs, and heartfelt laughter. 

honeyjoon 2José Condessa creates a vibrant and charming character. He is sensitive and caring, everything a woman desires in a man. Condessa is dazzling.  Ayden Mayeri gives June a true egocentric millennial with an unresolved emotional trauma vibe, which is precisely what Lilian T. Mehrel intended. Mayeri effortlessly glides into June’s arc. Amira Casar takes on Lela with a lived-in authenticity and passion. She holds each frame with her powerful presence. These two women share gorgeous chemistry. 

Cinematographer Inés Gowland delivers thoughtful framing and takes full advantage of natural light. The work heightens the overall feeling of the film.

HONEYJOON is perfect for adult children and their parents. It is a gorgeous example of generational nuance and the unspoken turmoil within every mother-daughter relationship. Tribeca audiences will undoubtedly connect on every level.

Written & Directed by Lilian T. Mehrel
Producers: Andreia Nunes, Lilian T. Mehrel, Wonder Maria Filmes, Bärli Films
Production Companies: Wonder Maria Filmes, Bärli Films 
Screenwriter: Lilian T. Mehrel

Director of Photography: Inés Gowland

Starring Ayden Mayeri & Amira Casar, José Condessa

Tribeca AT&T Untold Stories Award 2024 Winner

HONEYJOON is a sexy, emotional comedy about… a mother-daughter trip. 

Persian-Kurdish Lela (Amira Casar) and her sensual American daughter June (Ayden Mayeri) travel to a romantic Azorean island, for the one-year anniversary of Dad’s death. They planned this trip to be together, but Lela & June have opposite views about why they’re there, how to grieve, and June’s tiny bikini. Surrounded by honeymooners, doom-scrolling for Woman Life Freedom, and taken on a tour by their hot philosophical guide, João (José Condessa); Lela and June find each other… coming back to life.

 Supported by the SFFILM Rainin Grant.

Script developed at the TorinoFilmLab and Cine Qua Non Lab.

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‘INSIDE’ (Tribeca 2025) A human portrait of cyclical violence.

Tribeca 2025 rainbow logoINSIDE

inside

Filmmaker Charles Williams brings Tribeca 2025 audiences a nuanced story of empathy. On the cusp of parole after a long sentence, Warren gets assigned an incoming 17-year-old transfer named Mel. Mark, a self-proclaimed religious reformer and child murderer, becomes the target of Mel and Warren’s violent scheme. After the three men begin to communicate, everything changes.

inside vincentIt becomes clear early on that fear and unresolved trauma impede Mel’s release. He lashes out to prolong his release. Getting polar opposite advice from Mark and Warren, Mel enters a quiet tailspin of decision-making as the clock runs down. 

INSIDE boasts some of the best individual performances of the festival. Cosmo Jarvis is one of those actors who possesses an unspoken power. Each role he chooses leaves an indelible impression on your soul. Playing Mel’s initial cellmate, Mark, Jarvis delivers a perfect physical and vocal affectation that mesmerizes the audience from beginning to end. 

inside cosmoGuy Pearce is a legend. Warren’s goal is emotional redemption for past transgressions, but reality outside forces him to save the only soul he can on the inside. Pearce is a quiet storm. His masterful ability to speak volumes with nothing but a breath proves vital to Warren’s arc. He is an unconventional guardian angel. Vincent Miller captivates as our young leading man. He comes with an unusually mature sense of self, and his comfort in front of the screen and alongside other screen titans is beyond impressive. 

Charles Williams‘s diligent research is evident in the casting choices, facilities, and programs inside the prison system. He delves into the surprising depth of morality and motivation. The script turns in ways you won’t expect. Williams explores the base instincts of survival and blows every expectation out of the water. The film is a meditation on cyclical trauma. It is messy, heartbreaking, and utterly engrossing. The complexity of INSIDE will shock you.

Spotlight Narrative

Feature | Australia | 103 MINUTES | English | English subtitles

PRISON DRAMA STARS ACADEMY AWARD-NOMINEE GUY PEARCE (The Brutalist), COSMO JARVIS (Shogun, Warfare) & NEWCOMER VINCENT MILLER

Quiver Distribution will release INSIDE in US theaters on June 20th, following the film’s North American premiere at the 2025 Tribeca Festival on June 7th, in the spotlight narrative section


Written and Directed by Charles Williams in his directorial debut, Inside is an Australian prison drama that tells the story of Mel Blight (Miller), who after being transferred from juvenile to adult prison, is taken under the wing of both Mark Shepard (Jarvis), Australia’s most despised criminal, and Warren Murfett (Pearce), a soon-to-be-paroled inmate. As a paternal triangle grows between them, we see that even the worst of men have a little bit of good inside that will be their undoing.

Driven by the need to explore what might have been, writer and director Charles Williams spent four years visiting and interviewing officers and inmates in Australian prisons. Many take part in this debut feature film and Williams was rigorous in every detail, down to taking the exact percentage of Indigenous people incarcerated in Victoria — 10.8% — and then having exactly 11% of the cast be Indigenous. There is neither judgment, nor forgiveness, for the characters — instead there is a curious compassion and clear-eyed view of the system these men are in and the world that shaped them.

Remaining Tribeca Screenings:

06/08/2025, 6:00 PM at AMC-04 – 2nd Screening

06/12/2025, 3:00 PM at VEC-04 – 3rd Screening

06/13/2025, 6:15 PM at VEC-06 – 4th Screening

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‘PORELESS’ (Tribeca 2025 short) Representation honey!

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Filmmaker Harris Doran delivers Tribeca 2025 audiences a laugh-out-loud short about embracing authenticity and finding your place in this messy but beautiful world. In PORELESS, a fabulous, queer beauty entrepreneur is selected as a finalist in a Shark Tank-style competition to be part of an elite global brand. A last-minute allergic reaction threatens to end his career before it takes flight, but fate steps in, shenanigans ensue, and this tongue-in-cheek short speaks volumes.

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Fawzia Mirza and Doran write the script from a lived-in perspective filled with humor and truth. In a landscape of social media influencer excess, our protagonist, Akram, narrowly escapes the trap of a fake persona with the help of his friends and family. Akbar Hamid is hilarious. Yes, yes, yes. The ease with which he owns the frame makes it feel longer than the 13-minute runtime in all the best ways. 

PORELESS is cleverly titled. It is a metaphorical masterpiece about visibility and culture.  Doran is no stranger to funny and smart shorts. F^¢K ‘€M R!GHT B@¢K and The Ivanka Diaries absolutely kill. It is no wonder PORELESS is equally joy-filled and sharp. I would watch these siblings in long-form and/or series comedy in a heartbeat. I’m buying whatever they are selling.

Short | United States | 13 MINUTES | English

STARRING: Akbar Hamid, Diane Guerrero (Orange Is The New Black, Jane The Virgin), Parvesh Cheena (Outscored)Allyce Beasley (hit series Moonlighting), Sophie Von Haselberg (Give Me Pity, Pose), Sureni Weerasekera (comedian), Gia Crovatin (House of Darkness) Lucy Owen (Miss Sloane), Joey Zauzig (TV personality, influencer and actor) Jillian Gottlieb (beauty influencer and actress), Joel Perez (Odd Mom Out, Tick Tick Boom)

Fawzia Mirza – Producer & Co-Writer, Harris Doran Director & Co-Writer, Akbar Hamid – Producer, Rabia Sultana – Producer

The comedic short had its NY Premiere at the upcoming 2025 TRIBECA FILM FESTIVAL on Sat June 07 – 8:00 PM at the Shorts Theater at Spring Studios in NYC

Co-written by Fawzia Mirza and Harris Doran, and starring Hamid as a queer Muslim beauty founder navigating a high-stakes pitch competition after an untimely allergic reaction, the film is both hilarious and healing. It’s a story rooted in lived experience – and a powerful reclamation of joy, identity, and visibility.

A passionate advocate for queer, Muslim, and intersectional representation in media, Akbar also launched Finding SafeTea Productions – a creative studio and production company devoted to storytelling at the intersection of identity, transformation, and culture.


Remaining Screenings of Poreless:

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‘THE WOLF, THE FOX, AND THE LEOPARD’ (Tribeca 2025) Thought-provoking and exquisite, in every way.

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THE WOLF, THE FOX, AND THE LEOPARD

THE WOLF, THE FOX, AND THE LEOPARD

David Verbeek takes Tribeca 2025 audiences on a journey of connectivity, science, and identity in THE WOLF, THE FOX, AND THE LEOPARD.

Beautiful close-ups combined with Jay Cheng‘s haunting score, a Hitchcockian narrative bait-and-switch draw you in. A yet unknown narrator guides us through chapters. The film opens with a young man struggling to find his way in life. Then, we meet her, a young girl raised by wolves in the middle of the forest. Our mystery narrator turns out to be a scientist she has a brief connection with during her initial captivation, Tanaka.

Jumping two years, we discover One under the care of two progressive scientists, Wynona and Ellias, AKA – Mother and Father, AKA – The Fox and The Leopard. Their teachings are heavily philosophical, climate-focused, and predominantly behavioral reprogramming. They live on what appears to be an old oil rig they call The Sea Palace, entirely isolated from the outside world. They tell One a tale of societal downfall and the poisoning of the Earth, giving her a darkly skewed version of herself and the world.

One discovers an imprisoned Indian sailor below and begins to learn more about what her “parents” describe as the Old World. One slowly begins to realize that she has been taken from everything she’s known to a place far more dangerous.

THE WOLF, THE FOX, AND THE LEOPARD shifts one final time in Chapter 3. Renamed Alice, One navigates the real world. It is evident that her faux parents have lied to her. Her interpersonal skills are what most would consider lacking, but that could not be further from the truth. In a final twist, Tanaka reappears in Alice’s life, much to her chagrin.

Naomi Kawase serves predominantly as the narrator, playing Tanaka. What little screentime she has is dazzling. Her gentle storytelling guides the viewer along this strange journey. Marie Jung and Nicholas Pinnock play our Fox and Leopard, respectively. Both are fierce, toxic, and incredible.

Jessica Reynolds is extraordinary. Wolf Girl endures unimaginable change from a wild being to humanity and back again. Her feral instincts are utterly mesmerizing. As she accompanies Elias and Wynona, she moves into toddler-like behavior, wide-eyed wonder, inquisitive exploration, and unbridled rage. Renamed One, she still craves affection like a canine, ultimately leading to the collapse of her Sea Palace existence. Alice’s final act is a masterclass in acting.

Structurally, the film is part fairytale and part science fiction. The story thrives in the morally grey. As a parent of neurodivergent children, THE WOLF, THE FOX, AND THE LEOPARD felt like watching an ABA therapist work with my son at two years old. Tanaka’s narration further explores this parallel notion. Verbeek delves into exploitation and then delivers a conclusion that is nothing short of perfect. Tribeca 2025 audiences will never stop talking about this film.

Director: David Verbeek THE WOLF, THE FOX, AND THE LEOPARD

Producer: Erik Glijnis, Leontine Petit, Judy Tossell

Screenwriter: David Verbeek

Cinematographer: Frank van der Eeden

Composer: Jay Cheng

Editor: Matthieu Laclau

Production Designer: Elsje de Bruijn

Executive Producer: Remy Mulder, Niki Leskinen, Roosa Toivonen, Ari Tolppanen, Greg Martin

Co-Producer: Alexandra Hoesdorff, Desirée Nosbusch, Jessie Fisk, Patrick Mao Huang, Siniša Juričić, Dries Phlypo

Sound Editor: Greg Vittore

Cast: Jessica Reynolds, Nicholas Pinnock, Marie Jung, Naomi Kawase, Lucas Lynggaard Tønnesen THE WOLF, THE FOX, AND THE LEOPARD

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‘THE END OF QUIET’ (Tribeca 2025) Hardwired disconnection.

Tribeca 2025 rainbow logoTHE END OF QUIET


The end of quiet Poster_WEBFilmmakers Kasper Bisgaard and Mikael Lypinski bring Tribeca 2025 audiences documentary, THE END OF QUIET, a thought-provoking exploration of human connectivity. In an isolated town in West Virginia, the world’s largest radio telescope can pick up the murmurings of signals across the universe. To achieve this, the telescope resides in the Quiet Zone, the only place in the U.S. where Wi-Fi and cell phone signals are not permitted.

Part 1: The Quiet

Through the everyday lives of its residents and the beauty of the sound design by Freja Printz and Mathias Gaarde Mikkelsen, the audience experiences what the world might be like without round-the-clock communication. Dr. Jay Lockman, an astronomer at The Green Bank Observatory, has lived in town for over two decades with his wife. He has accepted that technology could eventually disrupt any messages from beyond our atmosphere.

the end of quiet stillHow do they fight the boredom? Brionna and her gun enthusiast grandfather, David, spend time together shooting his 37 guns and rifles and blowing things up. Choosing to reside in The Quiet Zone due to electromagnetic hypersensitivity, Clover and her dog, Beautiful, live for landline phone calls from her husband, who lives abroad. Her original poetry also serves as beautiful transition audio. A lonely but contented elderly vet named Willard spends his days drinking a lot of coffee and attending local funerals. Kirsten, 17, and Frankie, 23, are a young, engaged couple who dream of having a child.

Part 2: The Noise

Halfway through the film, we jump three years, only to discover that there are 70-80 Wi-Fi Hotspots within 2 miles of the Observatory disrupting the data. Oh, how times have changed. Willard has passed away. Clover is now almost entirely estranged from her long-distance husband. Our young couple now has a tiny toddler, Leo. It is unclear if they are still together. Our grandfather figure has tumbled down the right-wing rabbit hole, beginning a rift between him and his granddaughter, Brionna. It is honestly such a cliche.


The film delves into disconnection and isolation as much as the bleak effects of doom-scrolling. What would happen if the global grid ceased to exist? With so much new technology dependent on Wi-Fi, would society remain civil? A study of connection in every sense, THE END OF QUIET begs some of the most massive questions in the universe and beyond.

World Premiere

The End of Quiet

Documentary Competition

Feature | Denmark | 83 MINUTES | English | English subtitles The end of quiet

the end of quiet brionna and davidTHE FILM IS SUPPORTED BY
DANISH FILM INSTITUTE
THE SWEDISH FILM INSTITUTE
DEN VESTDANSKE FILMPULJE DR

WRITTEN AND DIRECTED BY Kasper Bisgaard & Mikael Lypinski

PRODUCED BY Sara Stockmann
CO-PRODUCED Daniel Pynnönen
CINEMATOGRAPHY BY Mikael Lypinski
MUSIC COMPOSED BY Uno Helmersson
EDITED BY Charlotte Munch Bengtsen, Johan Löfstedt SFK
SOUND DESIGN BY Freja Printz, Mathias Gaarde Mikkelsen

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‘TAKE THE MONEY AND RUN’ (Tribeca 2025) Masterpiece or Mastermind. Either way, it’s brilliant.

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TAKE THE MONEY AND RUN

TAKE THE MONEY AND RUN- Spotlight Documentary 

In his Tribeca 2025 doc, TAKE THE MONEY AND RUN, Ole Juncker takes us behind the scenes of a story that rocked the art world. Jens Haaning is internationally known for his tongue-in-cheek approach to art. The Kunsten Museum commissions Haaning to recreate an original piece for an exhibit centered on labor. They gave Jens half a million kroner, meant to be displayed. When the frames showed up at the museum, the canvases were empty. Kunsten decides to sue. The flurry of international press sparks a broader debate about paying artists and who determines the value of art.

Editor Lars Juul utilizes animation sequences, home videos, and photos as transition packages under Haaning’s narration. Jens describes a rather sad childhood, and when we discover he is coping with bipolar, the manic behavior he exhibits up until this point in the film suddenly makes sense. Jens is a whirling dervish, both physically and in erratic decision-making. The camera almost struggles to keep up with him, pacing the room as he tries to find 800,000 kroner in a few hours. With his new assistant, Ditte, a woman with the patience of a saint, we observe Jens yelling at the bank, unloading ideas onto his agents, and offloading one of his pieces for half price. The audience begins to question their reality.

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TAKE THE MONEY AND RUN is wildly immersive. Rune Palving‘s sound design heightens the chaos by piping in high-frequency tones over Jens’ manic episodes, while Juul’s quick-take editing that mimics his brain is brilliant.

Is Take The Money And Run a work of genius or a scam? Jens is adamant that his art comes from a damn-the-man mentality, and his argument is entirely valid. Once Juncker reveals more about Jens’ previous exhibits, all of them unsold, a clearer picture comes into view. Or does it? Alongside this head-spinning race for cash, Kunsten’s trial against Jens rapidly approaches. The verdict sends him spiraling. It is then, and only then, in the final few minutes of the film, that we discover what inspired the piece. But is it the truth?

Ole Juncker puts us inside the dizzying mind of an artist. If you’re an art fan, you will love it. If you weren’t one before, I defy you to say no to a gallery visit. TAKE THE MONEY AND RUN allows the viewer to decide what art is and who the potential villain is. It will have everyone talking, and isn’t that the point? What a perfect match of film and festival.


Directed by Ole Juncker
Director: Ole Juncker
Producer: Mette Heide
Screenwriter: Ole Juncker
Cinematographer: Ole Juncker
Editor: Lars Juul
Co-Producer:Bjarte Tveit Mørner


DIRECTOR’S STATEMENT
By Ole Juncker

Documentaries can be an escape into a completely different world and another person’s mind. TAKE THE MONEY AND RUN is just such a film. If you live an ordinary life like me, it’s liberating and intoxicating to enter the twisted mind and tumultuous life of artist Jens Haaning as he does what we all dream of but dare not: namely, run with all the money. Jens’ action set off a firework inside my head. For me personally, it was an escape from everyday life to follow Jens’ adventure. Are you crazy or a genius if you dare to change the rules so drastically? I was immediately fascinated by Haaning and the story, which was both humorous and thought-provoking, and I love how an art-piece ended up being widely discussed in all parts of society and around the world.

ABOUT JENS HAANING

Jens Haaning (born 1965) is a Danish conceptual artist who graduated from the Royal Danish Academy of Fine Arts. He has had solo exhibitions at Wiener Secession, San Francisco Art Institute, and Gallery Nicolai Wallner, among others, and has participated in group exhibitions around the world, such as Documenta XI in Germany, the Istanbul Biennial, MoMA in New York, and the Sydney Biennale. TAKE THE MONEY AND RUN

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‘AN EYE FOR THE EYE’ (Tribeca 2025) A brutal blame game seeped in patriarchal injustice.


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AN EYE FOR AN EYE

AN EYE FOR AN EYE

Tanaz Eshaghian and Farzad Jafari‘s Tribeca 2025 documentary, AN EYE FOR AN EYE, tells the story of Tahereh, an Iranian woman who murdered her husband following 18 years of abuse. One shocking night leads to Hossein’s strangulation and secret burial inside their home. After 14 years in prison and two years out on bail, now Hossein’s family, specifically his brother Bashir, gets to decide Tahereh’s fate – accept a blood money payment or order her execution.

While hearing details from Tahereh, we witness the ongoing negotiation process. Ms. Jabarzegegan, an anti-execution activist, convinces Bashir to lower his settlement demand from 1.5 billion tomans ($36,000) to 800 thousand tomans. But two weeks after the verbal agreement, Bashir dies of a heart attack. His arrangement was never notarized. Now, it falls onto the shoulders of his son, a young man much more influenced by his new grief and the words of his elders. Tahereh and her children are running out of time.

Behind the two families battling for their desired outcome is the initial police investigation and the suggestion that Tahereh hired a hitman. But, not just any hitman, a man the police want to suggest was her lover. This question hangs in the air like a dark cloud, but Tahereh proclaims she would rather be known as a murderer than a whore. That is somehow worse in her community.

AN EYE FOR AN EYEEshaghian and Jafari use the investigative narrative as a thread throughout the film. The film opens with the discovery of the body and the subsequent search for who and how. Crime photos are relatively tame if you are an avid Discovery ID watcher.

The blame game between the families is difficult to watch. The cherrypicking of religious teachings is incredibly infuriating. Watching Tahereh’s youngest son openly show emotion over his childhood terror will wreck you. He has to hear potential donors, the police, the courts, and his religious leaders tell him again and again that 18 years of domestic abuse is not an excuse for murder.

The gender disparity looms large. The patriarchal structure defies humanity. This is not just an Islamic issue. All over the world, women are killed by abusers after authorities do nothing to protect them when they reach out for help. Statistics do not lie. Tahereh says something that sums up their entire journey. “I killed him once, he killed us a thousand times.”

Directed by Tanaz Eshagian and Farzad Jafari

Producers: Christoph Jörg, Katayoun Arsanjani, Joey Marra, Gelareh Kiazand

Co-Producers: Kasper Lykke Schultz, Andreas Dalsgaard

Executive Producers: William Horberg, Zhang Xin, David Cowan, David & Nina Fialkow, Tanaz Eshaghian

With the support of the Danish Film Institute
Editors: Soren B. Ebbe, Hayedeh Safiyari


“An Eye For An Eye” follows Tahereh, a mother of three in Tehran who, after being repeatedly denied a divorce, decided that her only way out of an abusive marriage was to murder her husband.

Under Sharia Law, when a murder is committed in Iran, the family of the victim gets to decide whether to execute the murderer – an eye for an eye – or to grant them total forgiveness in exchange for a “blood money” settlement. The story unfolds after Tahereh has been released from serving her prison sentence and negotiations begin with her in-laws to decide her fate.


“An Eye For An Eye” is a complicated murder mystery, that quickly pivots into a ticking clock thriller as Tahereh and her son race around Tehran to scrape together the money in time to save her life. It culminates in a high-stakes courtroom drama as judgment day arrives, and both sides of the family stand before a judge to complete their negotiation – when they leave the room, she will either be free for the first time in her life or be sentenced to death.

In Farsi with English Subtitles

84 minutes. AN EYE FOR AN EYE AN EYE FOR AN EYE

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‘DANGEROUS ANIMALS’ (2025) Shark-obsessed serial killer reels in a fighter.

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Dangerous Animals poster

Sean Byrne earns an honest-to-goodness “Fuck Yeah,” with the opening of his latest film, DANGEROUS ANIMALS. The plot centers around a shark-obsessed serial killer and the ritualistic murder of tourists. What he doesn’t count on is surfer Zephyr and her survival instincts.

The cinematography is stunning. The score is epic. The soundtrack is perfect. Writer Nick Lepard skillfully navigates tongue-in-cheek jokes, social graces, survival tactics, and one crazy motherfucker. Location is key. Zephyr is trapped.

Dangerous Animals Josh Heuston is Moses. Relentlessly charming and earnest, Moses tries his damnedest to find Zephyr, but his fate may be closer to any of the boy toys in the SCREAM franchise. Heuston is much more than a vapid heartthrob. He is an admirable scene partner, and you want more of him.

Jai Courtney is diabolical. He is equal parts terrifying and mesmerizing. This is Buffalo Bill-style fuckery, and holy shit, does Courtney deserve all the applause and recognition. I would watch prequels centered on Tucker, but only if Courtney reprises the role.

Dangerous Animals Hassie Harrison is a childhood trauma-fueled badass. Harrison commands your attention and takes risks. She could carry any film. She is Final Girl heaven.

DANGEROUS ANIMALS is my actual worst nightmare. I still think a shark will somehow come through a pool drain and eat me. So, obviously, it had me from the get-go. The film is as sadistic as HOSTEL. Think the opening scene of JAWS on steroids. The violence ramps up as the film rolls on, and Zephyr’s escape plans keep us on the hook. DANGEROUS ANIMALS is undeniably one of the year’s most intense films.


Dangerous Animals Trailer:

Directed by Sean Byrne (THE DEVIL’S CANDY, THE LOVED ONES)

Starring Jai Courtney (SUICIDE SQUAD), Hassie Harrison (YELLOWSTONE), Josh Heuston (DUNE: PROPHECY)

Trapped on a killer’s boat with hungry sharks circling below, a surfer must outwit a predator more dangerous than the ocean itself—will she escape, or become the next offering to the deep? Sean Byrne returns with his third visceral feature, DANGEROUS ANIMALS, exclusively in theaters June 6, 2025.

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