WOULD YOU CALL HIM A BAD MAN
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?
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?” 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.
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
Filmmaker 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.
Max’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. 
While 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.
I 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.
DON’T TELL LARRY
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!
animal.
Author 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. 
The 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. 
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. 
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. 
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.
Following 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.
Jasper 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.
José 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. 
It 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. 
Guy 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. 
Filmmakers 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.
How 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. 
THE FILM IS SUPPORTED BY
Eshaghian 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.
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. 
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. 
Roy hates his life. He brings some serious childhood baggage, and his job as a radio interviewer sucks the life out of him. As he attempts suicide in a motel room, he catches a glimpse of a life-sized Monkey through his window. As he comes to, Roy finds said Monkey driving his airstream down the empty roads. The audience quickly comes to realize this is not a hallucination but a woman dressed in a costume and putting on a voice.
The woman in the suit is Jane. She uses Monkey as a coping mechanism to flee her stepfather, and the root of all her sadness. Both Roy and Jane have specific plans that are so outrageous that they agree to accompany one another on their journeys. Roy plans to dig up his abusive cop father and steal the watch he thought he had inherited. Jane wants to find a way to buy a pontoon boat and run banana boat rides as Monkey.
Shenoah Allen gives Roy a lived-in exhaustion. There is a gentleness that pulls you into his sphere. Conti is phenomenal as she navigates comedy through the suit, but also manages to rip your heart out. She uses humor to convey the hurt. It is a love story between two deeply wounded adults. Allen and Conti do not hold back in the dialogue. They take risks in every beat. 
Directed by: Steven Feinartz
Director: Oscar Boyson
Directed by: Lauren Meyering
Directed by: Cindy Meehl
While waiting at the airport for her husband, Aya (Sarah Adler) is mistaken for someone else. Intrigued, she decides to pick up a complete stranger (Ulrich Thomsen) on a whim. Their encounter sparks an unexpected intimacy that unsettles Aya’s sense of certainty and awakens a yearning she neither fully understands nor knows how to fulfill. Her quiet search for meaning unfolds in a hotel room, a customer service chat and in subtle disruptions to her daily routine, as we are taken through a woman’s delicate and honest search for something meaningful.
Directed by: Jim Sheridan & David Merriman
Directed by: Rick Gomez
Director: Karam Gill 
Director: Amy Scott
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As Tom, Michael Steger walks a razor-thin line between a good guy and a total creep. Steger is formidable. Equal parts charming and terrifying, it’s a compelling turn. Genre icon Veronica Cartwright gives Olivia everything she has. The performance is a beautiful balancing act of dementia and regal articulation. She is mesmerizing. Each beat is perfect. Madelyn Dundon plays Dale with a grounded familiarity. She is vulnerable and relatable. Mema puts her through the emotional ringer, and Dundon keeps up like a pro.
Mena’s score adds to the menacing feeling. The jump scares are legit. Mena executes thoughtfully written relationship-building while skillfully dropping clues to the mystery. Mena plays with small-town gossip, isolation, and a nurse’s instincts. THE RUSE boasts a twist that will f*ck you up. You are not prepared for the final 3rd of this film. This is a story about control. If you think you know where this screenplay is going, think again.
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The New York African Film Festival (NYAFF), now underway at Film at Lincoln Center, lands in Harlem on Thursday with a focus on documentaries.
THE MOOGAI
Barely tolerating her birthmother, Ruth, Sarah’s whitewashed existence comes to a halt when an ancient entity rears its ugly head. Sarah’s aggression heightens as her delusions increase. She quickly spirals out of control in every aspect of her life. Sarah’s husband, Fergus, embraces his culture and does his best to navigate his familial deterioration.
The break between Sarah and her first child, Chloe, is heartbreaking. There’s no denying her resemblance to Fergus has something to do with Sarah’s icy response. The connection between Chloe, Fergus, and Ruth burns Sarah’s limited understanding of her absent culture. Ruth tries her best to protect her family, but Sarah’s relentless resistance to her roots only makes them manifest quicker as lore becomes reality and history repeats itself.
Jahdeana Mary brings earnest innocence and hurt to Chloe. You want to hug her. Meyne Wyatt is great playing Fergus. He is charming and protective. He’s a real highlight. Tessa Rose is spectacular as Ruth, giving audiences lived-in knowledge and fear. She is the heart of the film. Shari Sebbens gives Sarah everything from elitism to postpartum depression, unbridled rage to superstitious anxiety. You simultaneously loathe and feel for her. Sebbens is truly a revelation.
Practical FX, makeup, and jump scares are solid. THE MOOGAI keenly delves into medical gaslighting and the pressure on women to “do it all.” While the film is also a creature feature, Jon Bell never shies away from showing viewers that the scariest monsters are humans. It is a surprising cultural reclamation.
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