THE BEST MOTHER IN THE WORLD
Anna Myuleart‘s Berlinale 2025 feature THE BEST MOTHER IN THE WORLD tells the story of Gal, a trash sorter who escapes an abusive relationship with her five and nine-year-old children on the back of her cart. 
Gal’s character has a Mary Poppins quality in creating magic for her kids. “In every job that must be done, there is an element of fun!” The unrelenting motivation she provides for Rhianna and Benin puts most parents to shame. Gal’s palpable anxiety appears in moments when the kids are distracted and engaged in an activity. She does her best to guard them from reality and fear.
Lílis Soares‘ cinematography captures the unpredictable chaos of Brazilian streets and the immediacy of the little family’s fear. The music perfectly matches Gal’s inner thoughts. The sound mixing is spectacular. Alongside Myuleart’s screenplay, all these elements combined, the story’s intimacy screams off the screen. 
Our two small leads, Rihanna Barbosa and Benin Ayo have a chemistry a director dies for. Their playful nature and natural talent are infectious. They are stars.
Shirley Cruz gives Gal a fully fleshed-out, flawed heroine. Cruz wears Gal’s inner turmoil on her face. Through her, Muylaert tackles the emotional conflict and misogyny attached to cyclical and generational abuse. It is challenging to witness her suffering. It is akin to watching an addict go through detox and then falling off the wagon. 
An hour into the film, your heart drops. The conversation that follows should almost come with a trigger warning for survivors. Filled with gaslighting and classic abuser language, it will infuriate and break you. THE BEST MOTHER IN THE WORLD captures invisible labor, unconditional love, cycles of abuse, and the determination to create a better life. It is a difficult but rewarding viewing experience and female-centric storytelling at its best.
THE BEST MOTHER IN THE WORLD/ (A MELHOR MÃE DO MUNDO) Director: Anna Muylaert
World Premiere. World Premiere – Berlinale Special (Brazil/Argentina)
- Director
- Anna Muylaert
- Screenplay
- Anna Muylaert
- Cinematography
- Lílis Soares
- Editing
- Fernando Stutz
- Music
- André Abujamra,
- George Nahssen
- Sound Design
- Miriam Biderman,
- Ricardo Reis
- Production Design
- Maíra Mesquita,
- Juliana Ribeiro
- Casting
- Gabriel Domingues
- Producers
- Tomás Darcyl,
- Ricardo Costianovsky,
- Clara Ramos,
- Bianca Villar,
- Karen Castanho,
- Fernando Fraiha,
- Anna Muylaert
- Executive Producers
- Leonardo Mecchi,
- Deborah Nikaido
FIST BUMP
ABOUT SLAMDANCE
The Virgin of The Quarry Lake
Jealousy collides with superstition in Laura Casabé‘s coming-of-age Sundance 2025 film The Virgin of The Quarry Lake. Natalia lives with her grandmother, Rita, after being abandoned by her parents. The summer after high school graduation is a time of angst, curiosity, fear, and desire. Intimated by a worldly older woman named Silvia, Nati and her two best friends become deeply entrenched in a battle to keep her crush, Diego, from her clutches. 
Although set in 2001 Argentina, the film’s narrative parallels today’s political climate with startling accuracy. The government is a disaster. There are rolling blackouts, civil unrest, and the popular television personality peddles misinformation. Nati witnesses violence again and again. Her envy of Silvia and sexual frustration push her to her limits. The repeated and infuriating misogyny she endures results in a bloody act of pushback. Nati unleashes an alarming feminine rage. 
Based on the stories of Mariana Enriquez, screenwriter Benjamin Naishat creates something quite magic. The Virgin of The Quarry Lake also delivers a visceral sense memory of young love. Nati receives a heartbreaking phone call from Silvia. I received a shockingly similar call the summer of my Senior year, and it destroyed me in a way that I still remember at almost 45 years old. You will hurt for her. It is vicious. Dolores Oliverio owns the role of Natalia. She is an undeniable star. 
MOM
![Mom Jared and Meredith - Rotten Tomatoes - [www.rottentomatoes.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Mom-Jared-and-Meredith-Rotten-Tomatoes-www.rottentomatoes.com_.png?resize=678%2C440&ssl=1)
As a mother of two, I will never forget those days of newborn life. Lack of sleep almost drove me to the edge. In MOM, Hampshire skillfully captures the nuance of first-time parenting like I have never seen portrayed onscreen before. Screenwriter Philip Kalin-Hajdu combines each new hardship with unresolved trauma, and the marriage of those two stories makes for the perfect storytelling storm.![Mom Pictures - Rotten Tomatoes - [www.rottentomatoes.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Mom-Pictures-Rotten-Tomatoes-www.rottentomatoes.com_.png?resize=678%2C499&ssl=1)
Emily Hampshire nails this role. Her chameleon abilities shine once again in Meredith. Hampshire is so compelling you cannot take your eyes off her. She delivers an emotional torrent that burrows into your psyche. It is truly startling.
The dynamic between 17-year-old Azi and her best friend’s father’s new girlfriend moves from passive-aggressive to outright challenge. You can cut the tension with a knife. Mann delivers enough longing looks between Wool and Goodjohn to wager guesses about each woman’s motivation. You’re dying to know what happens next once the screen goes black.
Thankfully, a feature-length version of AZI is already in the works. Sundance 2025 audiences are in for one hell of a tease. These are guaranteed seats in butts whenever production is complete. Count me very much in.
Addison Heimann is a queer genre filmmaker currently residing in Los Angeles. His first feature, Hypochondriac, premiered at the 2022 SXSW Film Festival and was distributed by XYZ Films. His goal is to tell queer stories that explore mental health in the genre space.
Evan Twohy was raised on Hitchcock and opera on the edge of a forest outside Berkeley, California. From an early age, he found himself drawn to absurdist theater and began writing plays in New York City prior to making his first feature, Bubble & Squeak.
EVERY LITTLE THING
Worthy of a National Geographic seal of approval, Sally Aitken‘s EVERY LITTLE THING boasts stunning cinematography by Ann Johnson Prum. Alongside Caitlin Yeo’s lovely score, it is a captivating viewing experience.
We meet several birds by name. One particularly injured little one named Cactus captures our hearts. Juxtaposed with the deep trauma from her childhood, Terry explains how selfishness affects the rehabilitation process.
The film makes it effortless to root for these tiny birds. Terry’s relentless determination and patience, her ability to be so in tune with these creatures, is mesmerizing. It’s incredibly powerful.
There is an overall sweetness to the film that can only be felt upon viewing. It is simultaneously heartbreaking and joyful. A meditation on grief and healing, EVERY LITTLE THING is a light in the darkness and the example of compassion we all need at this moment in time.
GRAND THEFT HAMLET
Sam and Mark try to entice an audience while simultaneously playing the game. GRAND THEFT HAMLET is hands down one of the most entertaining documentaries ever. Guns blazing, blood spraying, and lines of Shakespeare flying willy-nilly, it’s brilliant madness.
Having only witnessed clips of Grand Theft Auto through the years, I was blown away by the ability to customize the experience. It was both exhilarating and terrifying. It is something akin to a virtual vision board. (Yes, my theatre nerd girl roots are showing.) Could this be a new way to rehearse actors? The director in me has all the thoughts currently rushing into my brain.
On the technical side of things, the editing and soundtrack are award-worthy. The film exemplifies the power of human connection when it was not possible in the physical world. It is a light in the ongoing darkness that often feels all-consuming. Sam’s plea from the film’s audition recruitment segment says it all. “You can’t stop art, motherfuckers!” GRAND THEFT HAMLET is the epitome of the creative community’s ability to bring hope.
THE DAMNED
Young widow Eva endures a particularly harsh winter on an Icelandic fishing island. After the small population witnesses a shipwreck off their coast, Eva discovers a barrel of rations that have washed up on the beach. In desperation, our hungry villagers row their dingy through the icy waters in search of any further rations. Instead, they come upon a shocking number of survivors that swarm the boat. The fallout proves terrifying. Welcome to THE DAMNED.
The chill of the environment flows through the screen. You cannot help but shiver and feel the inherent dread. THE DAMNED initially drips with melancholy but quickly navigates into total fear. Screenwriter Jamie Hannigan gives us a surprising feminist dynamic with Eva having the final say in the men’s actions. The narrative beautifully balances lore and madness. 
Odessa Young is captivating. As the horror progresses, so does her appearance. The sleepless nights and ceaseless tragedy take their toll physically. Young effortlessly commands your attention at every turn. What a star.
The cinematography swings from bleak, overcast skies to the darkest of nights, lit only by lanterns. The stark visual contrast provides a subconscious isolation. Practical FX are meticulous and brutal. THE DAMNED is a highly effective psychological horror, delving into fisherman’s superstitions, survival instincts, and guilt—a must-watch in the new year.
Distributed By: Vertical
BIRDEATER
Secrets, awkward first meetings, hyper-toxic masculinity, and ketamine collide in one of the most one of the most tension-filled narratives I’ve seen. A stag week, including Irene, goes off the rails when the past and present come to light.
The script is a complex push and pull of who knows what and when. Forty minutes in a massive cloud of mystery looms over this bachelor weekend. Clark and Weir deliver characters that crawl under your skin and burrow into your brain whether you like it or not. This is what happens when a control freak loses control. 
Aggressive straight-to-camera looks feel like an invasion of the audience. Each one is more jarring than the next. The camera work is dizzying and immersive. The upbeat, celebratory soundtrack comes off as sinister amongst the feral behavior. The editing deserves an award. 
Performances are extraordinary. The ensemble cast nails every beat. Each character is loathsome in their own way, either because they are self-righteous, weak, or revenge-driven. The final 30 minutes are explosive. BIRDEATER will f*ck you up. 
Footage from those rescued from collapsed buildings, unimaginable loss, children caught in a tornado of violence, every film is immersive and visceral. The bravery and passion of the filmmakers are on full display. The viewing experience is heavy, inspiring, and vital, particularly for those who believe we should stop funding humanitarian efforts abroad. Amongst turmoil on American soil, we should thank our lucky stars for the privilege of honoring the ongoing courage, compassion, and unity of the Gazan people. FROM GROUND ZERO is a must-watch. 
IT’S COMING
Ashley can see and hear spirits. The physical and mental toll is obvious, despite her shockingly calm demeanor. She has become so accustomed to her circumstances, and not much ruffles her feathers, until she realizes how deep the negative energy goes.
Ashley brings in medium Soledad Haren to cleanse the apartment. She provides viewers with paranormal canon, reasons, and triggers for an uptick in activity. It is a solid checklist if you aren’t a connoisseur of this genre. Like clockwork, incidents get worse. An acrid odor pervades their apartment, so intense it triggers CO2 alarms and multiple fire department visits. Soledad returns with her spirit box and performs an automatic writing session, providing few answers and more questions.
A husband and wife team of demonologists, Chris and Harmony DeFlorio, arrive with all the electronic bells and whistles. We see their footage intercut with Shannon’s. The results are undeniably unsettling. This is the point where Ashley finally breaks. It is the first time we see her cry and become physically unwell. When you witness the effect on Chris and Harmony, your heart rate increases tenfold. The comparisons to England’s most infamous haunting, The Enfield Poltergeist, are inevitable.
Javier’s personality slowly changes throughout the long months of filming. He describes a growing friendship with the black entity he calls Kitty. If you know anything about the paranormal, you understand how dangerous this is. You can track what looks like disassociation creeping onto his face. Something is affecting this child, whether it’s his mother’s energy or something genuinely sinister is up to the viewer, but I’ve not been this disturbed by a paranormal documentary in a long time. The final scene will send a shiver down your spine. IT’S COMING will haunt your mind long after the credits roll. You’ll question everything.
An unspoken competition begins between the two gentlemen, with Charlotte being the prize. Werther ingratiates himself into their lives based on his instant infatuation. That is what makes YOUNG WERTHER so intriguing. You cannot help but settle into the sheer audacity of a character, living vicariously through his fearless nature. 
Patrick J. Adams is endlessly charming as Charlotte’s fiance, Albert. Adams’ genuine demeanor and the fact that he plays a lawyer again (Thank You Suits) makes him perfectly cast. His mature approach makes Albert all the more inviting.
Werther is a wealthy eccentric walking a fine between swoon-worthy and obnoxious narcissist. Douglas Booth grabs your attention from the first frame. His authentic hyper-fixation of experiencing things here and now is infectious. Booth has the energy of a Golden Retriever who is happy to see you at the end of the day. He is captivating. 
THE MAN IN THE WHITE VAN
The script has an underlying “Boy Who Cried Wolf” (but with a young girl at the center) while simultaneously reminding audiences to believe women. It is a clever mix. The film cuts back and forth in time, showing us glimpses of abductions of women and girls by the mostly faceless serial perpetrator. Years crank by forwards and backward in a creative transition of rusted numbers.
Sean Astin and Ali Larter, playing Annie’s traditional parents, deliver pitch-perfect portrayals of the times. Brec Bassinger is fantastic as the eldest daughter, Margaret. Deemed the pretty people pleaser, her chemistry with Madison Wolfe solidifies the emotional stronghold of the family dynamic. Wolfe gives Annie all the vulnerability, pure innocence, and bravery we want from this character. She is endlessly fierce and a joy to watch. Wolfe owns the film.
There is no escaping the terror. It is a meticulously crafted script of anxiety-drenched moments. THE MAN IN THE WHITE VAN is a film every parent needs to see, every husband who thinks his wife is being paranoid. It is a warning and a perfect example of gaslighting women experience daily. Stick around for the credits.
This oddball team of modern-day outlaws fearlessly tracks down society’s worst with hypnotic nonchalance. It is no wonder the film had a field day on the festival circuit—the cast rules. Raymond S. Barry is phenomenal as Lester. Mena Elizabeth Santos is equally deranged, letting the intrusive thoughts win.
Ryan Patrick Brown delivers an unexpectedly gentle turn as Freddy. Focusing on gains rather than violence, his love for his Baba and adoration for Westerns fit perfectly into this weird puzzle. Austan Wheeler delivers a comedically unhinged performance playing Lars. He is a coked-up loose cannon and motivator/bad influence for Freddy. Wheeler’s toxic aggression gets a pass due to his vigilante goals.
Robby Ngai‘s editing is applause-worthy. North provides enough meat to expand into a series. There is much to explore within these characters. Each one deserves an entire episode for their backstory.
The film celebrates the morally grey areas of life. The fantasy sequences bleed into the narrative like a gift. Memorable, singular, and sensorial FILTHY ANIMALS is the epitome of cult indie filmmaking.
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Amy Carlson and Jordan Bridges are a joy to watch as Laurie and Gordan. Their chemistry is spot on. Kirrilee Berger is a pure delight as Joey. She has a natural star quality akin to Jane Levy or Rachel Sennott. She brings an effervescent energy to the screen. 
PERSONA
Sophia Ali is Sam, a fiery, take no shit woman whose severe injury and unresolved trauma threaten to end her fight. Ali nails every beat. You are rooting for her every second she is on screen.
Shanti Lowry gives Tricia a hopeful nature. Underneath is a mess of cryptic hallucinations and garbled memories. Lowry moves through the character with grace amongst the unpredictable.
Ho’s editing is quick and clever. Some of the most effective moments come as the women imagine rescue scenarios for better or worse. PERSONA taps into every true-crime-obsessed female fear. It’s like some demented practice run for very real circumstances. The film boasts an explosive final act. This pulse-pounding, dark ending is worth the wait.
YEAR 10
Somber natural lighting sets the tone for Year 10 from the get-go. The sweeping and ominous score plunges us deep into this near-future reality of sadness and violence. The team raises the bar even further by including heartbeat sounds, heavy drums, and dazzling strings. 
The film is a genuine family affair. Scan the credits for the many Goodgers involved in this magnificent production. Charlie Googger‘s handheld camera work is immersive and beautifully choreographed. Year 10 is quite a feat. This feature-length film with zero dialogue captivates with stunning performances wrought with panic and desperation. Toby Goodger is outstanding. His furious passion and fearless energy carry the entire movie. 
The script juxtaposes two survival styles, one of heart and kindness, and the other savagely selfish and brutal. The lack of dialogue never lessens the intensity. If anything, it allows raw emotion to convey each beat. YEAR 10 taps into the best and worst of humanity’s most feral instincts.
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