Category Archives: Woman Lead

HOME BODIES (Fantasia 2026) Trust and Technology

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HOME BODIES

Casey Walker‘s ceaselessly intriguing Fantasia 2026 film Home Bodies follows isolated twins, Blue and Red. Having solely existed in an automated environment, they experience a controlled perspective, from their color-coordinated tracksuits to their crayon packs and toys that only feature a variation of their assigned color. Each day, they find a VHS episode of a children’s television show called The Barn; something akin to a cable access version of the New Zoo Revue meets Neighborhood of Make-Believe.

But it is clear Blue and Red are different personalities. Blue is happiest with routine, in the way a young child aims to please to stay out of trouble. Red has more of a bored tween attitude. She has grown weary of the day-to-day. Red’s tedium leads her to momentarily lash out during a game of catch, breaking a window and disrupting their regularly scheduled actions.

Their only contact is “Papa,” a mysterious Hal-like speaker down a hallway. With a Speak-and-Spell tone of voice, the audience can hear faint keyboard tapping as the children report their error. When they wake to their version of Christmas morning, they discover they’ve been gifted an androgynous humanoid they name Pal. The arrival quickly drives a wedge between the siblings as Red’s attention has a fresh target.

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When Red awakens to find Pal watching a bloody, slaughterhouse version of one of their television episodes, with a worse version arriving each night. Blue hatches a plan to get rid of Pal, but his actions immediately backfire. Red and Blue’s world begins to alter in small ways. Every regulated aspect of their lives starts to glitch, from the water and food quality to temperature settings, garbage disposal to communication, pitting the siblings against one another.

Ian Ho‘s Blue is almost punchable, which is a total compliment. A stickler for rules and equally bratty creates an incredibly compelling performance based solely on self-preservation. Emma Ho gives Red a feisty air that beautifully counters Ian’s underdeveloped social-emotional state. Her daring non-compliance and knowledge-seeking provide a healthy perspective for the audience to grasp onto. Their chemistry is magic.

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Home Bodies feels like Ray Bradbury‘s The Veldt meets a daylight version of Skinamarink. The cinematography is fantastic. Bryn McCashin utilizes security camera angles and peculiar POV shots from inside trashcans or the microwave.

Chareese Steinhoff‘s production design is immersive. The aging midcentury aesthetic of the automated house is unnerving. There is a recurring theme of dripping water, from the faucet, the shower, pipes, down walls. As consequences loom, it almost feels as if the house is slowly disintegrating.

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Home Bodies is unbelievably entertaining. There is never a dull moment. Adrian Murray and Marcus Sullivan‘s script explores the fallout of violating trust and broken rules; it is a sinister evolution of manipulation, and perhaps a metaphor for today’s youth and their reliance on technology to regulate their needs. Home Bodies boasts a mind-blowing finale that makes it ripe for a franchise. I have all the questions, and I am begging for more. Do not move during the credits. The moment the film ended, I started it again and gasped. Oh, the breadcrumbs.

World Premiere Screening


HOME BODIES
Thursday, July 23, 2026
9:30 PM
Cinéma du Musée
Fantasia International Film Festival
Presented in the Septentrion Shadows section
Presented with the short film SLEEP THROUGH SUMMER

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NIGHTBORN (Fantasia 2026) Motherhood is a beast.

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NIGHTBORN

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Filmmaker Hanna Bergholm brings Fantasia 2026 audiences a twisted tale of motherhood and Finnish folk horror in NIGHTBORN. Newlywed couple Saga and Jon arrive at Saga’s childhood home in Finland. It is an enchanting, if not slightly spooky, house hidden deep in the eerily shaped woods. Following the birth of their son, motherhood proves challenging when Saga suspects her child is not like other babies.

Written by Ilja Rautsi and Bergholm, the script cleverly combines tropes, such as the language barrier, with the real-life, unfiltered physical horrors of birth and motherhood. Unless you’ve experienced the very real blood, sweat, and tears that Saja goes through in the first 15 minutes of the film, one might think they are exaggerated.

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The emotional exhaustion of being another creature’s lifeblood is often overwhelming. The constant realization that survival depends on your every moment of attention can be too much. Family members try to help, but can unintentionally make things worse. Rautsi and Bergholm play upon a mother’s inherent instincts. They give Saga enhanced hearing and a supernatural connection to the surrounding woods.

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On the other hand, Rautsi and Bergholm give her family members a deep loathing for Saga that the audience does not relate to. These jarring revelations make the viewer question reality even further, as we have no basis for these accusations. Stories from her childhood, as told by her mother and sister, present as nasty. But are they true? We never know.

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Production design is extraordinary. Beyond the forest’s gnarled humanoid likeness, the nursery is a mix of gothic whimsy one might see in Architectural Digest. Any 90s witchy tween will be in heaven at the sight of each carefully curated element. Practical effects are beautifully gagworthy. Yes. Yes. Yes. Birth is a miracle, blah, blah, blah, but it’s almost visceral and revolting. Anyone who tells you different is a damn liar. Talk to me after you have a C-section, thank you very much.

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Rupert Grint is a proud father and fish out of water as Jon. Grint does his best impression of calm and supportive while clearly flailing in fear and helplessness. Grint has become a genre icon, ironically in stories revolving around “special” children. Seidi Haarla is sheer perfection as a mother on the verge of insanity. Her feral performance is the stuff of cinematic dreams. Along the lines of Inde Navarrette in Obsession, women in horror earn every ounce of respect and need to be called out for their vulnerability and badassery. Bravo Seidi.

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We do not see Kuura’s face for 99% of the film, sneakily adding to the contextual weight. The audience feels the dizzying gaslighting and emotional state of Saga. Rautsi and Bergholm give audiences a lived-in authenticity of outside judgment and sacrifices of a mother. NIGHTBORN is a genre-inspired manifestation of nature vs nurture. Mothers will do anything for their offspring.

Synopsis


With dreams of starting a perfect family, Saga (Seidi Haarla, Compartment No. 6) and her British husband Jon (Rupert Grint, Knock at the Cabin) move to the isolated house where she spent much of her childhood, deep in the Finnish forest. But as soon as their baby is born, despite the reassurance of all around her, Saga knows there’s something terribly wrong with her son. As their marriage starts to crack, Jon struggles to support his wife, but only Saga suspects the terrible truth about her newborn.

From the director of Hatching, NIGHTBORN is a visceral, gripping and terrifying dark fable about motherhood and unconditional maternal love.

About the Director

Hanna Bergholm is a Finnish film director. Her debut feature film, horror drama Hatching, had its world premiere at Sundance Film Festival 2022 and has been sold to over 75 countries. Rotten Tomatoes named Hatching the 8th Best Horror Movie of 2022 in the Golden Tomato Awards. At film festivals Hatching has won awards and nominations including the Grand Prize and Youth Jury Award at the Gérardmer film festival in France, award for the best special effects in Sitges and three Jussi Awards in Finland. Previously Bergholm has directed internationally awarded short films and TV drama series.


Director: Hanna Bergholm

Screenwriters: Ilja Rautsi and Hanna Bergholm

Cast: Seidi Haarla, Rupert Grint, Pamela Tola, Pirkko Saisio, Rebecca Lacey, John Thomson, Silvia Saloranta

Producer: Daniel Kuitunen

Executive Producers: Brahim Chioua, Nick Shumaker, David Levine, Scott Shooman, Emily Gotto

Cinematographer: Pietari Peltola

Editor: Jussi Rautaniemi

Language: English, Finnish

Runtime: 92 mins

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GODHEAD (Fantasia 2026) A shocking sophomore feature

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GODHEAD

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HIPPO filmmaker Mark H. Rapaport brings his shocking sophomore creation to Fantasia 2026 audiences. GODHEAD follows a small-town priest with a secret. When a mysterious pair of twins dressed in white tracksuits appear in the church, they task Father with deciding which of them is the Holy Spirit.

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Al Warren plays Father with an even-keeled temperament that is unnerving. Warren’s performance subconsciously splits the audience’s attention with our understanding that our priest has villainous tendencies. Right outside the walls of the church, he is holding a young boy, once abandoned on the church’s doorstep, captive with tales of an apocalyptic outside world. Matthew exists in an environment entirely curated to keep him afraid and controlled. Locked in his room after hours of bible stories, forced to listen to cassette tapes of chaotic audio playing just beneath his window. But, in truth, his flaws could not be darker.

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Sarah Coffey and Kimball Farley deliver jarring physical performances, leaning into the idea that they are otherworldly. As First Born, Coffey speaks with unwavering assuredness. Each moment is powerful and intense. Coffey’s appearance from the neck up is one of a 90s raver kid, making her all the more intriguing as it visually counters the messaging. As Second Born, Farley gives a neurodivergent presenting performance that is pure and immaculate chaos. As a parent of AuDHD children, it is a meticulously accurate portrayal. Both bless us with award-worthy turns.

The original score from Austin Feinstein and Kenny Kusiak wavers between unsettling and ethereal. As with HIPPO, the film is shot in crisp black-and-white by William Tracy Babcock. The camerawork matches the unpredictability of the script, melding closeups, odd angles, and powerful framing to subvert our expectations.

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If you grew up in a household that sat along the line of Christianity, you would catch the immense impact of the iconography and actions surrounding the care (or lack thereof) in handling and depicting certain objects and events. 24 minutes into the film, the audience understands the narrative gravity in GODHEAD.

As what those still in the church would call a Lapsed Catholic, or as my mother jokingly refers to my siblings and me as heathens, experiencing this story unfold had me captivated. Regardless of religious affiliation, the debates in the film will undoubtedly have audiences talking. If this film does not burrow into your brain, you aren’t paying attention.

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Rapaport challenges viewers to examine the construct of good and evil; to study the effects of indoctrination and fanaticism in a world existing between truth and fiction. GODHEAD is a wild ride, and inarguably one of the most brilliantly complex films of the year.

English language, 98 minutes

Dir. Mark H. Rapaport

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Fantasia 2026 arrives to fright and delight.

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Fantasia 2026.

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Grab your party hats, because she’s turning thirty and flirty and she’s coming to scare the shit out of us. This year’s Fantasia 2026 is here to gag you, both literally and figuratively. This lineup is insane. Zero surprise there. Here are just a handful of the films and short blocks on our ever-growing list of magic and mayhem to check out:

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The Fantasia International Film Festival will celebrate its upcoming 30th edition with an electrifying program of screenings, workshops, and launch events running from July 16 through August 2, 2026, returning to the Concordia Hall and J.A. de Sève cinemas, with additional screenings and events at Montréal’s Cinéma du Musée.

NIGHTBORN

nightborn poster Fantasia 2026

With dreams of starting a perfect family, Saga (Seidi Haarla, Compartment No. 6) and her British husband Jon (Rupert Grint, Knock at the Cabin) move to the isolated house where she spent much of her childhood, deep in the Finnish forest. But as soon as their baby is born, despite the reassurance of all around her, Saga knows there’s something terribly wrong with her son. As their marriage starts to crack, Jon struggles to support his wife, but only Saga suspects the terrible truth about her newborn.

From the director of Hatching, NIGHTBORN is a visceral, gripping and terrifying dark fable about motherhood and unconditional maternal love.

Director: Hanna Bergholm

Screenwriters: Ilja Rautsi and Hanna Bergholm

Cast: Seidi Haarla, Rupert Grint, Pamela Tola, Pirkko Saisio, Rebecca Lacey, John Thomson, Silvia Saloranta

Producer: Daniel Kuitunen

Executive Producers: Brahim Chioua, Nick Shumaker, David Levine, Scott Shooman, Emily Gotto

Cinematographer: Pietari Peltola

Editor: Jussi Rautaniemi

Language: English, Finnish

Runtime: 92 mins

THE LAST TEMPTATION OF BECKY

Now working as a field agent for the CIA, Becky (Lulu Wilson) is sent undercover to Poland to infiltrate a family of innkeepers who are running a tourist venture at The Wolf’s Lair, Hitler’s WWII bunker. After learning that the father, Wilhelm Reuss (Neil Patrick Harris), is on a mission to bring about the Fourth Reich, Becky takes matters into her own hands.

Director: Jenn Wexler

Writers: Jenn Wexler and Matt Angel

Story By: Matt Angel & Suzanne Coote

Cast: Lulu Wilson, Kate Siegel, Brandon Flynn, Catherine Walker, with James Urbaniak and Neil Patrick Harris

Run Time: 89 minutes

Rating: Not Yet Rated

Genre: Thriller, Horror

Distributor: Quiver Distribution

RUBBERHEAD: THE LIFE AND MONSTERS OF STEVE JOHNSON

Known for his intense work ethic, perfectionism, and obsession with breaking new ground, Steve Johnson created iconic creatures and effects for some of the most beloved horror and sci-fi movies in cinema history. RUBBERHEAD is a humorous and heartfelt portrait of the life and times of one of Hollywood’s most prolific monster makers, as well as a historical journey through the golden age of special effects makeup.

Steve shares endless, outrageous anecdotes about his freewheeling adventures in Hollywood, while also telling the inspirational but tragic story of his meteoric rise and subsequent fall. His drive and ambition led to some of cinema’s most groundbreaking effects and techniques, but also to heartbreaking acts of self-sabotage, divorce, and serious struggles with addiction.

RUBBERHEAD is a captivating reflection on the game-changing practical FX glory days and a fascinating, entertaining, and moving story of an FX master whose greatest monster may have been himself.

Director: Nick Taylor

Writers: Joseph Krings, Nick Taylor

Cast: Steve Johnson, John Landis, Linnea Quigley, Tom Holland, Bill Corso

Run Time: 105 minutes

Rating: Not Yet Rated

Genre: Documentary

Production Company: American Nightmare Studios

UNHOLY NIGHT

UNHOLY NIGHT – World Premiere

Synopsis: Gino’s traditional family Christmas Eve turns into a bloody battle for survival when his long-dead grandma drops by and goes on a murderous rampage. Amid the chaos, Gino reunites with his ex and the dysfunctional duo must avoid his dead Italian relatives popping up all around the neighbourhood as they search for a way to get rid of these Yuletide revenants and survive his family Christmas.

Director/Writer: Michael Gabriele

Producers: Jason Levangie, Marc Tetreault, Jenna MacMillan, Michael Gabriele

Executive Producers: Tina Carbone, Jef Burnham

Cast: Marc Bendavid, Shailene Garnett, Jacqueline Robbins, Toni Ellwand, Ron Lea, Christina Rosato, Olivier Renaud, Celia Owen, Ellen David, Frank Spadone, Al Sapienza

Genre: Horror/Comedy

Fantasia Premiere Status: World Premiere

Fantasia Section: Septentrion Shadows

Run Time: TBC

TIGHT LETTUCE

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Near the border between Ontario and Quebec, Joel (Dakota Daulby, LONGLEGS) works in the construction industry. He has a healthy relationship with his partner (Christie Burke, ETERNITY), his mother (Maxim Roy, SHORESY), and his grandmother (France Castel, LES FURIES). The only stain on this picture is his father, Bodo (Emmanuel Bilodeau, CURLING), who has been struggling with a fentanyl addiction for years. He is unable to hold down a job, turns every place he ends up in into a slovenly dive, and is a potential danger to himself and others. Despite everything, Joel continues to try to help him, telling himself that if he loves his father enough, he will eventually manage to get the man’s life back on track.

Director

Harrison Houde

Producer

Serge Desrosiers

Writers

Dakota Daulby, Harrison Houde

Cast

Emmanuel Bilodeau, Christie Burke, France Castel, Josh Cruddas, Dakota Daulby, Guy Jodoin, Didier Lucien, Maxim Roy

Cinematographer

Serge Desrosiers csc

Sound Designer

Jérôme Boiteau

Composer

Pierre-Philippe “Pilou” Côté

Editor

Harrison Houde, Étienne Plasse

HOME BODIES

Red (Emma Ho, CODE 8, THE EXPANSE) and Blue (Ian Ho, THE EXPANSE, CHAPELWAITE) live a “Waiting for Godot” existence within the confines of a retro, automated dwelling. Food is always available, they are entertained by VHS tapes of a show called “Barn” starring a cow, a pig, and a chicken, and soothed by each other’s company. They report to Papa, a disembodied voice through a locked door that enforces the rules they live by. On a holiday that resembles Christmas, they receive a gift: Pal (Ess Hödlmoser, THE BOYS, STATION ELEVEN), an androgynous humanoid who doesn’t speak, and follows their lead. But Pal isn’t as benign as they seem. Pal also receives VHS tapes, but they are more disturbing, and Red, who was once wary of her new friend, becomes more enamoured of their expressionless new roommate. As Red and Blue learn about Pal, their discoveries soon drive a wedge between them. With vibes of Canadian genre classics PIN and CUBE, HOME BODIES is a surreal look at control, autonomy, nature vs. nurture, and the automation of our lives.

Director

Casey Walker

Producer

Karen Harnisch, Casey Walker

Writer

Adrian Murray, Marcus Sullivan

Cast

Emma Ho, Ian Ho, Ess Hödlmoser

SOUR MINNOWS

Synopsis: Two friends stumble upon an unusual sight: six men sensually licking the pavement on an empty LA street. For Ricky, this moment ruptures something. As his reality grows porous, and his memories begin to slip and slide, he finds himself in contact with “The Yellow Thing,” an entity that wears people like costumes. As Ricky adapts to his expanding worldview, a delirious new logic takes hold.

Director

Harrison Atkins

Producer

Harrison Atkins, Kate Banford, Mel Barnes, Allison Bunce, Anne Gormley, Suzanna Son, Sarah Winshall

Writer

Harrison Atkins

Cast

David Brown, Phil Burgers, Julia Jones, Suzanna Son, Chase Williamson

THE GLORIOUS DEAD

A small-town sheriff (Toby Poser) and her young deputy (Zelda Adams) wake to find the world they believed in no longer exists. Blood drips from faucets, people and pets are missing, and fleshy creatures walk the woods. Soon, the dirt can’t keep the dead down. Anger and fear spread through the community. Co-written and co-directed by John Adams and Toby Poser, the latter of whom also stars, and co-starring Zelda and Lulu Adams, THE GLORIOUS DEAD is a personal genre vision that speaks to the increasing horrors of American life in times of enormous, instigated division while retaining the interpersonal poetry, imagination, and dark humor that its creators are renowned for. This will be the sixth consecutive work from the singularly talented filmmaking family to World Premiere at Fantasia following the festival’s launches of THE DEEPER YOU DIG, HELLBENDER, WHERE THE DEVIL ROAMS, HELL HOLE, and MOTHER OF FLIES, the latter having won our 2025 Cheval Noir Award for Best Feature. In their words: “This film takes dangerous fundamentalism at face value and asks what remains for the rest of us.” World Premiere.

Directed by Toby Poser, John Adams

Cast Zelda Adams, Toby Poser, Lulu Adams

BIRDCALL

BIRDCALL tells the story of a foolhardy scientist and his wife, a wayward survivor, as they endure a world overtaken by an avian-borne disease that has forced humanity into secluded cities. Unbeknownst to his wife, the scientist has recently become infected himself. While isolated in a cabin outside of their compound, he uses their seclusion as a trial run for an untested cure, risking both their lives in the process.

The 15-minute short is directed by Justin Calandriello; Written by Halle Kott; Produced by Calandriello, Sam Beaton and Halle Kott; Associate Producer: Casey Marie Ecker and Cinematography by Joshua Popovsky.

BORN OF WOMAN 2026

This shorts block is my absolute favorite every year. Full Stop.

Born of Woman 2026 Fantasia

Fantasia’s top-tier showcase of uncompromising personal genre visions returns with nine works from five countries that will leave you shaken and astonished. From Germany to South Korea, Brazil to the USA and more, dark brilliance awaits.

Angels (USA, dir. Sam Mandich, World Premiere)

Breeder (USA, dir. Sapphire Sandalo, International Premiere)

Fingerbang (South Korea, dir. Kim Yeon-woo, Canadian Premiere)

Imprint (USA, dir. Ran Jing, International Premiere)

O Novo Corpo (Brazil / Portugal, dir. Luciana Malavasi, North American Premiere)

Redneck (USA, dir. Alexandria Basso, International Premiere)

Sam (USA / Germany, dir. Catharina Schürenberg, World Premiere)

Strange Egg (USA / USA, dir. Liv Mershon, World Premiere)

Ultraviolet Damage (Germany, dir. Pola Rader, North American Premiere)

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TENDER (DWF LA 2026) The long and clever con

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TENDER

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Filmmaker Adam Hoelzel delivers a twisted directorial debut at DWF LA 2026 Closing Night film. In TENDER, after coming up with a non-starter scheme to leave his wife and start fresh with his mistress, both Mick and Billie find a way out of their mess after stumbling upon a gold brick in the walls of their house. Billie quietly begins to search the house for more. When they hit the jackpot, it comes with some complicated terms.

Each bar has a UV mark, so selling it outright is not an option. Finding legal loopholes and roping in those around is a carefully choreographed dance between two people who now supposedly hate each other. Paranoia and crossed wires force Mick and Billie to adapt. But an additional player reframes their complex plans.

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Jesse Garcia plays Mick with an overconfident air, perfect for the plan the audience knows is insane. Jess Weixler, who plays Billie and also serves as the film’s narrator, is magnificent. She steals every moment on screen with her take-no-shit attitude. I fell in love with Weixler in Chained For Life. Her chameleon abilities are a director’s dream.

Phillip J. McLaughlin‘s editing absolutely delights in establishing the passage of time and the initial plot point in the film’s opening. But, like the entirety of Tender, get ready for a long con. Heolzel sells us the illusion hook, line, and sinker. Tender is a complex cat-and-mouse game. If you can follow the truth, you’re quicker than I am. Well played to everyone involved. I’ve been had.

WRITER/DIR: Adam Hoelzel
PRODS: Sofia Rovaletti, Sonja O’Hara, Farrell Ingle, Theo Bucksey, Michael K. Dwyer, Corey Moosa, Roy Hsu, Grayson Hay
CAST: Jess Weixler, Jesse Garcia, David Koechner, Shakira Barrera, Sonja O’Hara, Robert Longstreet,
Mark St. Cyr, Stephen Ellis

After inheriting a modest house in a dying town, Billie and Mick believe they’ve finally found stability, until crushing debt, old resentments, and a shocking discovery buried within their walls threaten to tear them apart. As the couple is forced into a dangerous alliance to protect their future, Tender becomes a darkly intimate portrait of marriage under pressure, where love, money, and survival blur into something unrecognizable.

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Lady Puritan (DWF LA 2026) A striking generational reckoning

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Lady Puritan

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Filmmakers Gustine Füdickar and Justin Streichman‘s DWF LA 2026 short film Lady Puritan will blow your mind. The story follows Meredith, a woman experiencing intense nightmares and excruciating physical pain. Upon the recommendation of a spiritual guide, Meredith undergoes a reckoning of past, present, and future.

Streichman’s editing is a wonder. A hallucinatory journey that makes sense even when it shouldn’t. The close-up work of flora is creepily unnerving. It immediately draws the eye to the smallest bits of decay. The unsettling nature of the film, no pun intended, ramps up tenfold from there.

Visually stunning, Füdickar and Streichman tease audiences with what must be a nod to Andrew Wyeth‘s 1948 painting, Christina’s World. If you know anything about art, the choice is simply brilliant. Throughout the film, particularly in the opening and closing credits, there are microscopic slides of what appear to be butterfly wings, adding an entirely new level of metaphor and a metamorphosis angle. Regardless of their specifics, the impact is astounding.

Füdickar’s physical work is exquisite, between fear, wrath, manic energy, and acceptance. You cannot walk away unchanged by this performance. All the building blocks are there for a feature. Lady Puritan is truly haunting. It manages to land squarely between terror and sensuality. It is a visual personification of feminine rage and generational trauma. For any audience member embracing their witchy era, this short will have you shaking with excitement.

Lady Puritan Dances with Films Site

WRITERS/DIRS: Gustine Füdickar & Justin Streichman
PROD: Justin Streichman
CAST: Gustine Füdickar, Dorothy Dubrule, Stacy Dawson Stearns

As dream life bleeds into waking reality, a woman haunted by her Puritan ancestor must confront the terror buried deep within her bloodline. Through ritual and violent trial of the body, she fractures the veil between worlds and is thrown into a fight for her life. Lady Puritan is a surreal psychological meditation on ancestral trauma and the intimate horror of what we are born carrying. Set against the shadow of American Puritanism, the film explores the tension between repression and embodied desire.

WARNING: THIS FILM CONTAINS FLASHING IMAGES THAT MAY CAUSE DISCOMFORT OR TRIGGER SEIZURES FOR PEOPLE WITH PHOTOSENSITIVITY.

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THE REVERB (DWF LA 2026) Y/A mystery pilot reels you in.

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THE REVERB

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In the DWF LA 2026 series pilot, The Reverb, young college student Cassie unexpectedly reunites with her estranged best friend and famous indie band member when Aaron shows up on her doorstep late one night. Waking up to discover Aaron has been connected to the death of the band’s lead singer, Cassie must decide whether to trust her friend.

Filmmaking sisters Jordan and Janie Ruttert have set the stage for mystery with a young cast and drips of information. The Reverb pilot definitely left me wanting more. It is a solid teaser for a more fleshed-out story. It’s giving Pretty Little Liars vibes.

Mari Blake gives Cassie authentic ferocity that plays more like a documentary than a performance. You can see each beat transform her words and actions. She is simply spectacular. The Reverb could definitely benefit from a bigger budget, but Mari Blake is the Ruttert sisters’ golden ticket.

The Reverb

NORTH AMERICAN Premiere | USA, 2026, 30 min.
SERIES BLK 9 > SAT JUN 27 @ 4PM

The Reverb Trailer:

WRITER: Jordan Ruttert
DIRS: Jordan Ruttert & Janie Ruttert
PRODS: Jordan Ruttert, Janie Ruttert, Stephanie Ruttert, Doron Ruttert
CAST: Mari Blake, Matthew Assheton, Sofie Zamchick, Fia Thomson, Niya Je, Joseph Stewart, Mujeeb Rufai, Caroline Rutschilling, Dani Dorn, Noah Frankenfield

THE REVERB is a Y/A murder mystery that centers around the turbulent friendship, or rather ex-friendship, between Cassie, a young college student, and Aaron Blake, lead guitarist for the renowned indie rock band Entourage. Trouble follows Cassie home when Aaron mysteriously appears at her front door seeking refuge for the night. When she learns that Aaron is rumored to be linked to the murder of his bandmate and lead singer of Entourage, Skye Thomas, Cassie must decide whether to believe Aaron, despite their many years apart, or fight to uncover the truth.

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HEKLA (DWF LA 2026) An actor’s life for me!

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HEKLA

Hekla – Hekla – Elizabeth Stam

Filmmaker Michael Glover Smith co-writes the DWF LA 2026 feature HEKLA with star Elizabeth Stam. It follows a day in the life (and the mind) of a Chicago actress.

Wendy Robie‘s narration elevates the already mesmerizing structure. The black-and-white cinematography creates a stark visual juxtaposition against the color of Hekla’s theatrical storytelling moments. The costumes and direct eye contact with the camera create a stunning snapshot into Hekla’s talent and confident psyche.

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Stam’s physical chaos, like carrying an open ceramic mug on the L, matches perfectly with a life in the arts. The parallels between the meta script and the screenplay are fantastic. The audience gets a peek into Hekla’s freshly broken-off relationship as she delivers monologues and songs during her various auditions. It speaks directly to the creative process and motivation during a performance. Stam and Smith delve into the irony of desiring a career as a successful actor. Once anonymity fades, everything changes.

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Elizabeth is fantastic. In whatever character she is playing, you cannot take your eyes off her. She is a true chameleon. HEKLA is undeniably compelling in both visual style and storytelling. Anyone who has dipped their toe in the industry will connect with the film instantly. Smith and Stam deliver all the anxiety, whimsy, and reality of living your dreams.

WRITERS: Michael Glover Smith & Elizabeth Stam
DIR: Michael Glover Smith
PRODS: Aaron Wertheimer, Michael Glover Smith, Elizabeth Stam
CAST: Elizabeth Stam, Wendy Robie, Mary Tilden, Brookelyn Hebert

HEKLA is a comedy-drama about the emotional cost of pursuing a creative life. Hekla, a determined Chicago actress, races through auditions, breakups, and self-doubt, risking her heart and career to claim her voice and step fully into the artist and woman she’s meant to be. Set over one day in Chicago, the film explores how ambition, identity, and vulnerability collide when you’re chasing something as personal, and uncertain, as an acting career. Beneath the humor and dramatic momentum lies a story about the importance of showing up for yourself, even if the world isn’t clapping for you yet.

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YALE (DWF LA 2026) Based on an astounding true story

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YALE


Jay Silverman‘s Dances With Film LA feature, YALE, opens this festival edition. Mackenzie’s unresolved childhood trauma manifests as alcoholism and a successful but unfulfilling writing career. After an altercation with a fan leads her to another arrest, her already strained relationship with her ailing son becomes way more complicated. Ryan needs a kidney transplant, forcing Mack to track down her estranged father. What begins as a transactional relationship develops into a meeting of the minds, a hashing out of past wounds, family secrets, and a connection neither expects.

Based on the wild true story of writer Van Billet‘s maternal grandfather, the screenplay explores cyclical trauma with authentic heart and laughs. Mack quickly realizes how disconnected she is from Ryan. Yale’s jokes are simultaneously funny and eyeroll-inducing. But the depth lies within the sadness and unfathomable reality of Yale Parker.

The similarities between Mac and Yale are narrative heaven. In their cynical back-and-forth, they both treat truth like an inconvenience and deeply care about Ryan. Together, they navigate the crappy hand they’ve been dealt by chasing down a kidney.

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Rachel Harris plays Mac’s literary agent and only friend, Susan. Any time we see her, it immediately elevates the project. Benjamin Mackey gives Ryan a wonderful spunk, easily holding his own alongside the adults.

Kevin Dunn makes Yale a fully fleshed-out and terribly charming guy. He manages to be lovable through a laundry list of bad behaviors. Caitlin McGee is undeniably grounded, bouncing off Dunn like an absolute pro. She has a Kate Walsh look and energy. She genuinely owns every beat. Dunn and McGee have fabulous chemistry. They are incredible scene partners.

Billet’s script delivers a nuanced take on generational trauma, desperation, and eventually a father-daughter road movie. There is so much meat on the bone, Yale could easily translate into an entire series. DWF LA 2026 audiences are in for quite a ride.

WRITER: Van Billet
DIR: Jay Silverman
PRODS: Jay Silverman, Bethany Cerrona, Ian Christian Blanche, Kevin Dunn, Joe Gamache
CAST: Caitlin McGee, Kevin Dunn, Rachael Harris, Benjamin Mackey, Dominic Leeder

Based on a true story about a troubled woman who must confront her deadbeat father who abandoned her as a child as the last ditch effort to find a donor kidney for her dying son.

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Stand Clear ‘ the Closing Doors (Tribeca 2026) Comedy of Humanity and Errors

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Stand Clear ‘ the Closing Doors

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Stacey Sargeant‘s Tribeca 2026 short film Stand Clear ‘ the Closing Doors is an absolutely genius illustration of intrusive thoughts. This is a quintessential New York story in every single way.

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It takes guts to thrive, hell even exist, in the city. We’ve all pushed past people to get off a train, moved cars because of a smell, and cried on the train at any given hour of the day. While Stand Clear ‘ the Closing Doors is a universal snapshot of public transportation, it is also one of humanity and connection found every minute in the melting pot of culture and stories in the greatest city in the world.

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Thoughtfully shot by Timothy Naylor, if you are a local, you feel like you’re placed right next to Sargeant. She has managed to produce a living, breathing sense memory on film. Simultaneously funny, infuriating, and deeply moving, I cannot wait to see more from her.


Starring STACEY SARGEANT, GRACE REX, and CLAUDIA LOGAN
Directed by STACEY SARGEANT
Produced by STACEY SARGEANT and BECKY MORRISON
Executive Producers JEREMY KATZ, STACEY SARGEANT, and VERONA SARGEANT
Creative Producers ESTHER DE ROTHSCHILD and ADEPERO ODUYE
Cinematography TIMOTHY NAYLOR
Edited by JONATHAN ROGERS

SYNOPSIS

When a woman makes a simple request of a fellow NYC subway passenger, an everyday moment turns into a bizarre battle for space, peace, and dignity.

Comedy, Drama, New York, Women | 7 minutes | Not Rated | 2026 | English | USA

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‘Switch’ (Tribeca 2026 short) Sexy shenanigans are only the beginning

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SWITCH

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In the Tribeca 2026 television series Switch, two eager and very different women begin a relationship. Maxine is pragmatic and slightly guarded. Lena is full-speed-ahead passionate. Together, they perfectly balance each other. To ramp up the already existing spice, they deep dive into their sexual fantasies. Agreeing that labels are so passe, and since neither desires to remain monogamous for life, the search for a man to have a threesome with is officially on.
 
Sexy shenanigans ensue as each potential partner has his flaws. But Naxine and Lena will be damned if they don’t keep trying.
 
Coral Peña is charming, sarcastic, and quirky as Maxine. Pauline Chalamet is intense but sweet playing Lena. Their chemistry is genuinely fun. They share an authentic comic timing, the kind that comes when you’re actual friends or lovers. Writers and creators Isabelle Platt and Sofya Levitsky-Weitz deliver an equally sexy, funny, and appropriately cringeworthy series. I want more, no matter how awkward.
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Director: Isabelle Platt, Sofya Levitsky-Weitz, Jean Liu, & Jaki Bradley

Writer: Isabelle Platt & Sofya Levitsky-Weitz

Producers: Jean Liu, Benedetta Comito, & Coco Glickman

Cast: Pauline Chalamet, Coral Peña, Adam Shaukat, Benjamin Holtz, & Nikki Snipper

Remaining Screenings of Switch:

Sun June 14 – 2:15 PM
 AMC 19th St. East 6

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‘Cotton Fever’ (Tribeca 2026) Best Narrative Feature & Cinematography winner proves heartbreakingly real

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large_Cotton_Fever-Clean-16x9-01-v2Daniel Blake Schwartz‘s very personal Tribeca 2026 drama Cotton Fever explores the trappings of addiction. The film follows the lives of interconnected drug users in Massachusetts.

Dealer James and his pregnant girlfriend Dina hope to move into a proper apartment. Homeless and addicted couple Sam and Manny chase the next high with petty crime. Akil’s motivation is his brother’s near misses with overdosing. Each one has the hope of a better tomorrow, despite the odds stacked against them.

Ari Mora and Chabely Ponce are spectacular together, playing Manny and Sam. Their mix of survival and enamored love is a fascinating study.

Colton Osorio gives teen dealer Harley the precise innocence and streetwise fearlessness that proves captivating. Ronald Emile‘s Akil bleeds love-soaked desperation in his brotherly efforts. Don’t sleep on him.

Sosie Bacon‘s Dina is genuine and aspirational. Her kindness and self-actualization are incredibly refreshing.

Kyle Gallner, one of my favorite actors on the planet, knocks it out of the park again. It feels like there is no role he cannot own. As James, Gallner commands each frame, bouncing between fear, rage, the hustle, and the deceiving calm of a high. But it is the sacrificial lamb under the surface that gets you. Once again, it is award-worthy stuff.

There is an immersive feel to the opening scene, almost a sensory overload. Gallner’s performance, Tom Acton Fitzgerald‘s camerawork, and the augmented sound editing from Dylan Castora put the audience on edge. Each time James attempts to get clean, this overwhelming cycle begins again, chasing him from help.

Each one of our ensemble comes from poverty, abuse, violence, and generational trauma. Our players cross paths on the streets and in detox centers during their lowest lows. Cotton Fever is a frighteningly authentic peek inside the realities of too many people. It is raw humanity. These are the stories Tribeca audiences live for.

Remaining Screenings of Cotton Fever:

Sun June 14 – 5:15 PM
 AMC 19th St. East 6

Written & Directed by 

Daniel Blake Schwartz

Cast

Kyle Gallner
Sosie Bacon
Chabely Ponce
Ronald Emile
Ari Mora
Colton Osorio
Sam Quartin
Melvin Douglas
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‘General Admission’ (Tribeca 2026 short) Confounding confessions and comedy make great bedfellows in this hilarious short.

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Director Kaily Morgan Smith gets it. Tribeca 2026 short General Admission is a damn hit. In just under ten minutes, we meet a disaster of a woman attending her first anonymous meeting. Launching into her “Hi, my name is,” audiences already know they are in for a smirk-inducing ride.
 
Nina Dobrev is a comic genius here. Huge props to writer Sarah Adina. Surrounded by a slew of familiar television faces, Dobrev delivers a monologue that teeters between ridiculous and genuine. She nails each beat with 1000% commitment, and it is fantastic.
 
The brilliant ensemble keeps up the comedy with unforgettable one-liners. Anthony Kraus’ casting is perfection. Gorgeously shot by Patrick Jones, and aided by a punchy score by Chris Tilton, I would watch an entire series of Kelly in this group, week after week. I’m begging for a General Admission series. I’m already addicted.
GeneralAdmission_(Film Still)_1 (1)Remaining Tribeca screenings of General Admissions:
 
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‘Ponderosa’ (Tribeca 2026) Mind boggling brain barnacle is here to haunt you forever. For-ev-er.

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Ponderosa-16x9-01 Tribeca 2026Filmmaker Rob Rice‘s incredibly uncomfortable Tribeca 2026 film Ponderosa follows Zeke, a young man targeted by a wealthy patron as his mother’s restaurant chain falters. George thinks he’s mentoring Zeke, but the reality is a collection of bizarre, forced encounters.
 
As George involves Zeke in cartoonishly masculine scenarios, the audience feels more and more unwell. Each interaction is slightly exaggerated, making you feel increasingly off-kilter. Deadpan delivery may tip you off, but good luck. Ponderosa is a film that begs patience from its audience. It is a gross societal mirror. The script is deeply and intentionally awkward, highlighting the extreme differences in communication styles between generations.
 
Alexis Bledel plays Sandra with a morose indifference that she pretends to curb with dark humor. Bill Camp‘s George is anxiety-inducing. His discomfort is palpable. His fear of rejection pushes his efforts to woo Zeke into overdrive. Jack Dylan Grazer gives Zeke an alarming aloofness with Camp, but a genuine care for his mother’s emotional state. Grazer’s often clipped and quirky responses to George make for a fascinating study in human connection, and the combination of vapidity and nonchalance you want to strangle. It’s a genuinely great performance.
 
Visually striking, it compels you to explore each new frame. Barton Cortright offers juxtaposed imagery that both baffles and hypnotizes. Creative transitions stick in your brain. I cannot stop thinking about this film. I walked away feeling simultaneously dumber and entranced. I honestly feel like I got probed, but with my permission. And that’s weird. Do not move during Ponderosa’s credits. One more f*cked up hit is coming.
 

Ponderosa Cast & Crew:

Director & Writer: Rob Rice

Executive Producers: Jeremy Gardner, Declan Morgan, Kristal Gruevski, Steve Holmgren, Bill CampJack Dylan Grazer, Jason Matsumoto, Eugene Sun Park

Producers: Megan Pickrell, Matthew Porterfield, Amy E. Powell, Rob Rice

Cast: Jack Dylan Grazer, Bill Camp, Alexis Bledel

 
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‘HOLO’ (Tribeca 2026 short) Immersive therapy dying for development.

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Tribeca 2026 posterHOLO
Holo - 2026 Tribeca Festival - Tribeca - [tribecafilm.com]

In an effort to help Claire process her unresolved trauma, a tech company called Looking Glass creates a motion capture hologram version of her late husband Jared. The session is an advanced form of immersion therapy. But the complexity of their relationship puts everyone involved in danger.
 
Zelda Williams in HOLO_[JULIAN LOMAGA]_20Shane West, heartthrob to a generation of women like me thanks to A Walk To Remember, still exudes an effortless charm that leaps off the screen. As Jared, he taps into a terrifying rage. Morgan Kohan gives Claire every bit of herself. It’s the arc we die for. Bravo to Zelda Williams for playing Jared’s human counterpart (more of her, please), and to director Alexander DeSouza and Ashley Brandon for the seamless editing. Magali Lafeur nails the production design.
 
Morgan Kohan in HOLO_[JULIAN LOMAGA]_5DeSouza creates an ominous atmosphere. Screenwriter Alexander Hernandez-Maxwell pulls on our darkest desires and intrusive thoughts. Fans of Severence, Westworld, and the 2024 doc, Eternal You, will find HOLO both deeply intriguing and emotionally depraved, which is the highest of compliments. While the short stands proudly on its own, audiences will no doubt clamor for more. HOLO is ripe for development, and I love that DeSouza knows it.
 

Remaining Tribeca Screenings of HOLO:

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Directed by 
Alexander DeSouza
Producer
Michael Ren
Andrew Brace
Alexander DeSouza
Executive Producer
Miranda Guzman
Alex Hernandez-Maxwell
Renzo Sunga
Danny Laboy Valdez
Shane West
Writer
Alex Hernandez-Maxwell
Production Designer
Magali Lafleur
Jasmine Asiedu-Anguah
Cast
Shane West
Morgan Kohan
Zelda Williams
Tony Nappo
Beth Hornby
Editor
Alexander DeSouza
Ashley Brandon
Cinematographer
Julian Lomaga
Music
Alexander Taylor
Sound
James M. Findlay
Rosángela Hernández Gómez
Costume Designer
Caroline Allander
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‘Carolina Caroline’ (2026) Thrilling and sexy crime romance is a dreamer’s paradise.

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magnolia logoCarolina Caroline

Carolina Caroline (2025) - [www.imdb.com]

Adam Carter Rehmeier, the filmmaking genius behind Dinner in America, brings a Bonnie-and-Clyde love story to the big screen that is destined to sweep you off your feet. Smalltown girl meets con man and sparks fly in Carolina Caroline.

carolina-caroline-203Samara Weaving plays Caroline with both a curious innocence and a ferocious need. A woman with deep-seated mommy issues and supposed free will looking to feel seen. Kyle Gallner, AKA My Music Boyfriend (IYKYK), AKA Scream King, is our charming bad influence, Oliver. A whip-smart, observant, effortless hustler, his journey is just as complex as Weaving’s. Gallner always makes it look easy. The two share a goo-goo-eyed chemistry that makes the knees weak. You are buying every dangerous and sensual beat.

carolina carolineAs their crimes progress from petty to armed, Caroline’s conscience creeps in, and a close call digs a deeper hole for her and Oliver. Rehmeier keeps the audience on their toes from the get-go, using Oliver’s teaching techniques to lure you into his game, but suspect a potential long con. But Rehmeier and writer Tom Dean are smarter than that with a script that knocks it out of the park.

carolina Caroline 3Of course, the score god Chris Bear did the music. Bear, Rehmeier, and editor Justin Krohn understand the emotional impact of a strategically placed song. The red, white, and blue costumes (which match the opening credits) are iconic. Rehmeier’s ability to create a visual identity in his films is truly chef’s kiss.

Anyone who wishes their daydreams were their reality. Anyone longing to break the rules. Anyone desperately trying to break a trauma cycle. Anyone willing to forgive in an emotional freefall, Carolina Caroline will steal your heart.

Carolina Caroline Trailer:

Carolina Caroline is in theaters June 5.

https://carolinacarolinemovie.com/

Starring Samara Weaving, Kyle Gallner, Kyra Sedgwick, and Jon Gries. Acclaimed director Adam Carter Rehmeier’s romantic crime thriller stars Samara Weaving (READY OR NOT, BORDERLINE) as Caroline Daniels, whose desire to leave her small Texas town brings her into the orbit of a charismatic con man (Kyle Gallner), and together they weave a path of crime and passion across the American Southeast. Also starring Kyra Sedgwick, the film features a wide-ranging country music soundtrack, with tracks from artists such as Jason Isbell, Chris Stapleton, Loretta Lynn, and over a dozen others.

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‘The Revisionist’ (Tribeca 2026) A storyteller’s dream and one hell of debut.

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Filmmaker Alex Vlack‘s debut is staggering. The Revisionist follows a twisted tale of artistic integrity and the unpredictability of the creative process. At an impasse for her latest work, novelist Elise plays dirty emotional warfare with those closest to her.

Dustin Hoffman plays David, Jacob’s aging, eccentric, but successful novelist father, with effortless cool and a curmudgeonly overtone. The distinct difference in tone from one scene to the next is a goddamm masterclass.

Tom Sturridge gives Jacob a trauma-filled sadness. He wallows in the lack of paternal connection, a level of wounded bird that counters both John and Elise. Sturridge is a dream partner. The total opposite of toxic masculinity. Read More →

‘The Haunting of Pennhurst’ (Tribeca 2026) Pulling back a dark curtain of cruelty to reclaim power. A doc that educates and enrages.

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Tribeca 2026 posterThe Haunting of Pennhurst

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In Pennsylvania, a looming brick building stands as a testament to a dark past. Today, artists create enormous monster builds, finely detailed costumes, and eerie sets inside the rooms of a former institution for individuals with disabilities. Part stark horror story and part empowering revisionist, filmmakers Nathan Stenberg, Mike Attie, and Katarina Poljak‘s The Haunting of Pennhurst lives up to its title every frame.

Veteran performers encourage their new seasonal actors to create in-depth character charts to instill motivation, but most of those who apply for the position don’t need to make things up. The cast consists of neurodiverse and disabled people.

full_The_Haunting_of_Pennhurst-Clean-16x9-02The film sucks you in by introducing the horrid history, but then allows the present attraction to act as a reclamation of power for the atrocities once committed there. Archival newspaper clips, alongside a perfectly ominous score, highlight the sickening language and mindset of Pennhurst’s 1907 origin. The film begins with a warning. Fifteen minutes in, the viewer will recognize its necessity. Read More →

‘Lucy Schulman’ (Tribeca 2026) A sweet and sour codependency cocktail

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Tribeca 2026 posterLucy Schulman

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Ellie Sachs wears all the hats in her Tribeca 2026 film Lucy Schulman. The film follows a woman’s boy-crazy tendencies as they guide her life choices, and not for the better.

David Cross plays Lucy’s adorably kind father, Peter. Sachs and Cross share a chemistry that is cinematic magic. Their deliciously codependent relationship is like a warm hug of happy memories.

Lucy’s all-in approach to her love life slowly proves detrimental to her work and friendships, and eventually her partners. Her romantic hyperfocus becomes all-consuming, and little by little she chips away at every other relationship. Sometimes it takes everything falling apart to figure out how to get your shit together.

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‘Sara Bareilles: Good Grief’ (Tribeca 2026) Raw and revelatory doc will bring you to you knees.

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Tribeca 2026 posterSara Bareilles: Good Grief

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Josh Alexander‘s beautifully raw peek into the world of musician Sara Bareilles. In March 2025, Sara and her band gather in Woodstock, NY, to record for six days. The result is a stunning exploration of unfiltered honesty and all the feels.

Bareilles’s artistic journey from folk-pop star to Tony-nominated writer makes all the sense in the world if you’ve been a fan since forever. Waitress absolutely deserved all the Tonys. Sorry, not sorry, to another musical bestie, Lin. Sara has this uncanny ability to cut your soul to ribbons with her interpretation of a song you thought you knew well. She’s fantastic at a musical gotcha when covering a song she didn’t write. The doc feels like that because it’s all new to us.

full_Sarah_Bareilles_-_Good_Grief-Clean-16x9-02Confessional lyrics that make you cry (that’s a warning for around the 20-minute mark, but not the last), paired with gorgeously cut close-ups in the church studio, sweep you away. It feels like a live concert just for you. Alexandra delivers the organic revelations of creation. Read More →