‘TIGER’ (SXSW 2025 short) Tragedy, art, and family legacy bloom in this mesmerizing short.

Posted on March 15, 2025 by Liz Whittemore — Leave a reply

TIGER

Tragedy follows a family of creatives. Dana Tiger‘s artist father was the creator of the t-shirt brand Tiger. After his untimely death, her mother pushed his art into the homes of millions in the 80s. The entire family begins silkscreening orders to JCPenney day and night. When the youngest sibling, Chris, unexpectedly passes the same way, the business halts, and hope fades. But the Tiger story does not end there.

Home videos, family photographs, original art, and a haunting ancestral voice carry us through the family’s past and present. Dreamlike editing, filled with dynamic choices, creates a mesmerizing 12 minutes. An extraordinary story of resiliency, loyalty, and validation, TIGER is an inspiring short about generational healing and legacy.

Credits

Director:	Loren Waters
Executive Producer:	Loren Waters, Robert L. Hunter
Producer:	Dana Tiger, Loren Waters
Screenwriter:	Loren Waters
Cinematographer:	Robert L. Hunter
Editor:	Amanda Moy, Eva Dubovoy
Sound Designer:	Amanda Moy, Eva Dubovoy
Music:	Trevor Kowalski
Principal Cast:	Dana Tiger, Lisa Tiger
Additional Credits:	Senior Colorist: Andrew Francis, Associate Producer: Dylan Brodie, Post Sound Mixer: James Russell, First Assistant Camera: Marissa Shoemaker, Production Assistant: Serena Jones

For all things SXSW, click here!

‘NEW JACK FURY’ (SXSW 2025) An over-the-top, laugh-out-loud funny ode to 80s made-for-TV movies.

Posted on March 14, 2025 by Liz Whittemore — Leave a reply

NEW JACK FURY

Multi-hyphenate filmmaker Lanfia Wal brings a hilarious visual feast in his SXSW 2025 Midnighter feature, NEW JACK FURY. Straightlaced cop Dylan Gamble wants to take down a crime organization called the Styles Syndicate but gets fired before he can do so. A year later, Dylan’s obsession remains. After the Syndicate kidnaps his new girlfriend, he must team up with a small-time crook named Hendrix Moon and Moon’s arch-rival, a mild-mannered moonwalker named Leslie Kindall. Shenanigans ensue, and the audience is all the cooler for it.

Stylistically, I immediately think of Vera Drew’s The People’s Joker, from the visual aesthetic to the laugh-out-loud, unfiltered, tongue-in-cheek dialogue. It is a vibe. Think Grindhouse VHS meets movie of the week, and it is perfection.

Every single cast member nails it. I do not know if any dialogue is improvised, but every beat feels like a Groundlings sketch. It is akin to watching living muppets. Slow clap for this fully committed, genuinely awe-inspiring ensemble cast.

The graphic novel-style opening credits are spectacular. Completely absurd built-in commercials are chef’s kiss. A Street Fighter-esque scene is magic. The single-camera-style shooting further supports the theatrical feeling. NEW JACK FURY is precisely what SXSW audiences come for. It has cult-classic written all over it.

Ps- stick around during the credits for some behind-the-scenes fun. It is impossible not to love this film.

NEW JACK FURY Trailer:

Lanfia Wal

Lanfia Wal is a director, writer, producer, and VFX artist. Lanfia’s writing credits include being the lead writer on the Showmax/Canal+ crime drama ‘Crime & Justice’. He has also directed social media campaigns and music videos for record labels such as Def Jam and Shady Records. He was also a finalist for the 2024 PAGE Screenwriting awards.

Credits:

Director:

Lanfia Wal

Executive Producer:

Chris R. Jones

Producer:

Van White, Mariah Morgenstern, Denaun Porter, Lanfia Wal, Akino Childrey

Screenwriter:

Lanfia Wal

Cinematographer:

Jonathan Rigattieri

Editor:

Lanfia Wal

Production Designer:

Lanfia Wal

Sound Designer:

Nate Attias

Music:

Mr. Porter, Bobby “White Gold” Yewah, Amar “Vettrax” Dean, Choice Noble

Principal Cast:

Andre Hall, Page Kennedy, Dean “Michael Trapson” Morrow, Paul Wheeler, Ally Renee, Shawn Nathan, Wrekless Watson, Ace Vane, James Markham Hall, Jr., Vincent M. Ward

For all things SXSW, click here!

‘UVALDE MOM’ (SXSW 2025) One mother’s courageous journey to fight through tragedy and for all families.

Posted on March 13, 2025 by Liz Whittemore — Leave a reply

UVALDE MOM

1 shooter. 77 minutes. 376 officers on sight. 21 lives gone. The Uvalde mass school shooting was one of the deadliest in the world. As gunfire rang out and the police didn’t move, the parents tried to get their children. Under the threat of arrest, one mother jumped the fence and got her kids out. UVALDE MOM is the story of national hero Angeli Rose Gomez and the community still fighting for justice through their grief.

Cell phone footage from Angeli and her mother shows the harassment by the police of the Robb Elementary School parents. Her escape with the boys was captured on surveillance footage. Her sons’ reactions as they reach safety across the street speak volumes. The trauma on their faces is still there today. The moment Angeli defied the police and told the world, the living nightmare only got scarier.

Civil Rights Attorney for the Institute for Justice, Marie Miller, breaks down the law surrounding the retaliation for Angeli speaking out about her experience. Angeli was pulled over on trumped-up charges, threatened, and stalked by police.

Uvalde is a small town in Texas. There is a clear socioeconomic divide within its borders. The Mexican-American population grew up understanding the invisible town line between the white part of town and everyone else.

The film dives into Angeli’s childhood and tumultuous relationship with her children’s father. Anyone in their right mind would see a victim of domestic abuse, but the fallout from her history gives vengeful police a twisted talking point.

The ever-evolving details of the shooting remain one of the most disgusting parts- The lack of action, cops on their phones, and the subsequent coverup and blame game. The 21 families of the victims advocate for new gun laws, but the backlash from the 2nd Amendment fans and Governor Gregg Abbott stalls any forward movement.

Meanwhile, out of the blue, Angeli is sent to a correctional facility 7 hours away from Uvalde for allegedly violating her parole. While there are zero consequences for the failed police, Angeli is served with an injustice the audience will feel in their bones.

The argument for gun safety seems like a no-brainer. But, like we’ve said in the past, if Sandy Hook didn’t move the needle, I’m not sure anything will. The desperation for change is real. I watched Columbine unfold in real-time as a senior in high school, practicing my first lockdown drill three days later. My two small children have been doing drills since they were two years old. This is not the life I ever imagined for any of us.

UVALDE MOM is hard to watch but vitally important. Something has to give. It should not be another child’s life.

Credits

Director:	Anayansi Prado
Executive Producer:	Davis Guggenheim, Julie Parker Benello, James Costa, Rahdi Taylor, Patty Quillin
Producer:	Ina Fichman, Anayansi Prado, David Goldblum
Screenwriter:	Anayansi Prado, Pablo Proenza
Cinematographer:	E.J. Enríquez, M.J. Johnston
Editor:	Pablo Proenza
Music:	Ramachandra Borcar
Principal Cast:	Angeli Rose Gomez, Arnulfo Reyes, Tina Quintanilla, Lavonne De Leon

UVALDE MOM follows the extraordinary story of Angeli Rose Gomez, a farm worker and single mother who risked everything to save her two sons during the May 2022 mass shooting at Robb Elementary in Uvalde, TX. While nearly 400 armed officers waited 77 minutes to act, Angeli ran into the school, pulled her children to safety, and became a viral symbol of courage. But as she spoke out against law enforcement’s inaction, she faced intense harassment from authorities, who weaponized her past to discredit and silence her.

From award-winning director Anayansi Prado (Maid in America, The Unafraid), UVALDE MOM is a powerful, heart-wrenching look at Angeli’s relentless fight for justice. As Uvalde confronts systemic failures and the U.S. Department of Justice launches an investigation, conflicting narratives emerge, deepening the town’s grief and anger. With the first anniversary of the tragedy approaching, Angeli must navigate the weight of what happened to her community while continuing her personal battle for truth and accountability.

Remaining SXSX screenings for UVALDE MOM:

PREMIERE: Monday, March 10 at 5:45 PM CT – Rollins Theatre at The Long Center

Tuesday, March 11 at 5:00 PM CT – AFS Cinema

Friday, March 14 at 6:00 PM CT – SXSW Film & TV Theater at the Hyatt Regency

For all things SXSW, click here!

‘THE SURRENDER’ (SXSW 2025) Grief, delusion, and the supernatural collide in one hell of a debut.

Posted on March 12, 2025 by Liz Whittemore — Leave a reply

THE SURRENDER

Filmmaker Julia Max‘s feature debut, THE SURRENDER, comes to SXSW 2025 in all its haunted glory.

With her father bedridden and dying of cancer, Megan returns home to help her mother in his 24-hour care. Each woman has vastly differing opinions on his end-of-life plans. Barbara has fallen into the “spiritual” lifestyle as a means to cope with impending grief, while Megan desires his pain to stop. When Robert passes, and their relationship stretches to its limits, Megan reluctantly agrees to participate in a resurrection ritual.

THE SURRENDER opens with an undeniably jarring image. The audience feels an immediate sense of foreboding. Max weaves in forgotten memories from Megan’s childhood, giving us insight into the reality of their family unit. The delay of these scenes shifts the entire narrative. The choice is brilliant.
Vaughn Armstrong delivers a nuanced turn as Robert. Max allows him the opportunity to play multiple roles within one character. Kate Burton (Grey’s Anatomy) and Colby Minifie (The Boys) knock it out of the park. Their loaded dialogue gets more and more biting and honest. Their scenes are a masterclass in communication. Whether driven by confession or fear, Burton and Minifie are perfect together.

Technically, the film is superb. The lighting, editing, production design, and practical FX create a sinister narrative. There is no predicting where this script goes. Max pulls the rug out from under us again and again. The final act is emotional torture. THE SURRENDER is a brutal dive into grief, unresolved trauma, and the lengths we will go for love. It’s the weirdest therapy session I’ve ever witnessed.

Remaining SXSW screenings of THE SURRENDER:

The Surrender at Alamo Lamar 8

Mar 14, 2025

9:30pm — 11:00pm

Credits

Director:	Julia Max
Executive Producer:	Susan Gelb, Adam Maffei, Rob Massar
Producer:	Mia Chang, Lovell Holder, Julia Max, Ian McDonald, Robert J. Ulrich
Screenwriter:	Julia Max
Cinematographer:	Cailin Yatsko
Editor:	Sushila Love
Production Designer:	Tahryn Justice Smith
Sound Designer:	AJ Pyatak, Josh Atwell
Music:	Alex Winkler
Principal Cast:	Colby Minifie, Kate Burton, Neil Sandilands, Vaughn Armstrong, Mia Ellis, Pete Ploszek, Chelsea Alden, Alaina Pollack, Riley Rose Critchlow, Lola Prince Kelly
Additional Credits:	Co-Producer: Brenden Rodriguez, Co-Producer: Daniel Schwab

sxsw2025_banner_860

For all things SXSW, click here!

‘BROTHER VERSES BROTHER’ (SXSW 2025) A wild and personal familial musical odyssey.

Posted on March 12, 2025 by Liz Whittemore — Leave a reply

BROTHER VERSES BROTHER

BROTHER VERSES BROTHER comes from director Ari Gold. (The Song of Sway Lake) This hybrid bonanza of music, storytelling, and familial exploration of Ari and Ethan Gold in their search for their father, Herbert Gold, is perfect for the SXSW 2025 audience.

The film is mind-blowing. It is a technical feat of magic, music, and movie-making, filmed in one continuous shot and entirely improvised. The brothers walk around San Francisco looking for both gigs and signs of their dad along the way.

Ari and Ethan are dazzling as foils for each other. Ari is a freight train seeking love and approval, while Ethan is more somber and works through his grief and anxiety through song. I would watch them banter and create live on stage any day. Take my money.

Deeply personal and ceaselessly intriguing, the film is a celebration of the unique chemistry and songwriting between two vastly different men AND an ode to their father and each other. Inject this entire soundtrack into my veins immediately. BROTHER VERSES BROTHER is one giant smirk-inducing dopamine hit.

Remaining SXSW screenings of Brother Verses Brother:

Brother Verses Brother at Violet Crown Cinema 2

Mar 12, 2025

6:30pm — 8:01pm

Brother Verses Brother at Violet Crown Cinema 4

Mar 12, 2025

6:30pm — 8:01pm

Credits

Director:	Ari Gold
Executive Producer:	Francis Ford Coppola
Producer:	Michelle Stratton, Starr Sutherland, Maya Browne
Screenwriter:	Ari Gold, Ethan Gold, and the Cast
Cinematographer:	Stefan Ciupek, Frazer Bradshaw
Editor:	Dan Loghin
Production Designer:	The Streets of San Francisco
Sound Designer:	Jim McKee
Music:	Ethan Gold
Principal Cast:	Ari Gold, Ethan Gold, Lara Louise, Brian Bell, Herbert Gold, Tongo Eisen-Martin, John Flanigan
Additional Credits:	Colorist: Frazer Bradshaw, VFX : CR Green, Music Mixer: Tony Hoffer, Music Mixer: Justin Bates, Associate Producer: Natasha Nua

For all things SXSW, click here!

‘CREEDE U.S.A ‘ (SXSW 2025) The powerful hope between theatre and politics.

Posted on March 12, 2025 by Liz Whittemore — Leave a reply

CREEDE U.S.A.

A mining boomtown wanted to expand their minds by inviting a repertory theatre to establish themselves in the 1960s. Kahane Corn Cooperman SXSW 2025 is a peak behind the curtain of the country’s political landscape. Leave your judgment at the door. Welcome to a genuine snapshot of small-town America. Welcome to CREEDE U.S.A.

A town of roughly 300 asks the hard national questions, from guns to LGBTQ curriculum inclusion. CREEDE U.S.A. features school board meetings that seem to put empathy on trial as the months pass, but discussions occur with the utmost civility and open ears. Sit-down interviews with the residents are charming, insightful, and raw. The cinematography by Jilann Spitzmiller and Graham Willoughby is stunning, and Osei Essed‘s score feels like home.

Boasting theatre legend alum Mandy Patinkin, Creede Repertory Theatre is a machine with three productions in a single season, with a local audience from every street in town. Deliciously diverse casting and productions that challenge preconceived notions.

The positive impact of the rep theatre is undeniable. Like all theatre spaces, it is a safe and inclusive place filled with new ideas, challenging an audience to think. One does not usually equate theatre and conservative values. As a graduate of The American Musical and Dramatic Academy in NYC, a homeowner in the city and CT, a children’s theatre director, and a writer, I speak from firsthand knowledge over my 44 years. We’ve seen the national impact over the past 10 years, with groups like Moms For Liberty infiltrating school boards and banning books in counties they don’t even live in.

CREEDE U.S.A. is an unbelievably fascinating microcosm of the country. Big ideas are not abstract because the town is so small and close. Civility is the key to communicating. They are the perfect example of how important local government remains. CREEDE U.S.A is a how-to guide to getting involved, listening, authentic problem-solving, and open-mindedness. This community obliterates political bias and cliché. We should all aspire to be more like them. The film is a celebration of tradition and art. It honors the complexity of humans.

Director: Kahane Corn Cooperman

Producer: Innbo Shim, Kahane Corn Cooperman

Running Time: 94 mins

In Kahane Cooperman’s lyrical CREEDE U.S.A., a remote Colorado mountain mining town becomes an unexpected model for public discourse. For generations, Creede’s residents have held tightly to their heritage and values. But when the town brought in a theater company to revitalize the economy, the citizens were introduced to new ideas and perspectives—creating an ongoing tension between tradition and change.

Nearly 60 years and countless performances later, Creede is a stunning microcosm of America’s national divisions. Issues like guns in classrooms and gender pronouns spark tense debates, yet the town remains bound by a shared sense of place and community. Through intimate portraits, charged town meetings, and a rich historical lens, CREEDE U.S.A. explores how this evolving community continues to find common ground – both inside and outside of the mining shafts, ranches and the Creede Repertory Theatre. Hopeful and urgent, the film offers a poignant reflection on the challenges and possibilities of coexistence in an increasingly polarized world.

REMAINING CREEDE U.S.A. SXSW SCREENINGS:

PREMIERE: Sunday, March 9 at 9:00 PM CT – SXSW Film & TV Theater at the Hyatt Regency
Monday, March 10 at 5:00 PM CT – AFS Cinema
Thursday, March 13 at 9:30 PM CT – Violet Crown Cinema theaters 2 and 4

For all things SXSW, click here!

‘GLORIOUS SUMMER’ (SXSW 2025) Sumptuous, sinister, and aptly named.

Posted on March 11, 2025 by Liz Whittemore — Leave a reply

GLORIOUS SUMMER

Three young women live a seemingly carefree life within the walls of a stunning estate. Their daily routine has regimen and free time, and the women submit to language tests by the unknown robotic voice guiding their waking hours. Are these women muses, are they assassins, are they replicas, or are they prisoners? We’re not quite sure.

Filmmakers Helena Ganjalyan and Bartosz Szpak bring their striking feature debut, GLORIOUS SUMMER, to SXSW 2025 audiences. The film is as unsettling as it is intriguing. There is an overarching feeling of inevitable doom. Questions whirl in your brain as small clues drop into their enigmatic conversations. The mystery immediately grabs hold.

The film could have been filmed in the 60s with 16mm cinematography by Tomasz Woźniczka. The costumes scream quiet luxury in their airy, simplistic cuts, sun-soaked pastels, and flowy fabrics. The setting is a beautifully crumbling chateau estate with fresco-painted walls and lush blooming meadows.

Each character is firmly delineated. There is a clear hierarchy. The tawny-skinned woman (Helena Ganjalyan) appears quietly cunning. The tallest, pale-skinned woman (Magdalena Fejdasz-Hanczewska) is the most openly rebellious, while the youngest, the redhead (Daniela Komędera), has a childlike need to please.

They plan to rebel. They rehearse a faux demise and all it entails, trying their hardest to keep their plans from whoever or whatever keeps them docile. Fifty minutes in, a crack in the system delivers insight to the women and the audience with just enough to keep us baited.

The cast is spectacular. Magdalena Fejdasz-Hanczewska, Helena Ganjalyan, and Daniela Komędera knock it out of the park with carefully curated specificities and physical work. Their chemistry makes your heart race. Bravo. The audience is rooting for these women. It slowly reveals the narrative revolves around free thinking and choice. GLORIOUS SUMMER is the sleeper sci-fi feminist film you never knew you needed. It lives up to its name.

GLORIOUS SUMMER Credits:

Directors: Helena Ganjalyan, Bartosz Szpak

Producers: Maria Gołoś, Monika Matuszewska

Screenwriters: Helena Ganjalyan, Bartosz Szpak

Cinematographer: Tomasz Woźniczka

Editor: Alan Zejer

Production Designer: Katarzyna Tomczyk

Sound Designer: Marcin Jachyra, Maciej Amilkiewicz

Music: Bartosz Szpak

Principal Cast: Magdalena Fejdasz-Hanczewska, Helena Ganjalyan, Daniela Komędera, Weronika Humaj

Co-financed by: Polish Film Institute

SXSW Screening Schedule GLORIOUS SUMMER:

Violet Crown Cinema 2 – Saturday, March 8 at 3:00 pm w/ Filmmaker Q&A
Violet Crown Cinema 2 – Monday, March 10 at 11:30 am w/ Filmmaker Q&A
Alamo Lamar 7 – Thursday, March 13 at 6:45 pm

For all things SXSW, click here!

‘YOUR HIGHER SELF’ (SXSW 2025) A wacky journey in search of dopamine hits.

Posted on March 10, 2025 by Liz Whittemore — Leave a reply

YOUR HIGHER SELF

Life Coaching has become a rather broad term in our culture, akin to “Wellness.” Director Annie St-Pierre explores the various methods in her SXSW 2025 film YOUR HIGHER SELF. Everyone is looking for enlightenment, even if it means wading through the good, the bad, and the ridiculous.

There is an immediate irony to the film as audiences experience the training of life coaches. The overarching theme of these classes focuses on the idea that a coach is not a therapist but an advisor on present and future encouragement and self-realization. Yet, with humans, the transition seems inevitable. One has to weigh the side effects of toxic positivity when not confronting past trauma.

We witness practical workshopping, where a client rehearses for a meeting or event from start to finish. The coach serves as a theatre director, adjusting each word’s delivery and every physical movement, including micro-expressions. Bring in the horse therapy, personal soul cycle session, zoom calls, music, and group work. You name it, we get a taste.

As a product of child therapy, holding a degree in performance, as a choreographer and children’s theatre director, I know so many of these methods in my bones. I provide guidance and feedback like the dopamine hits I craved in my youth. It all falls under a broader umbrella of feel-good self-expression and the need to feel useful.

The camerawork is as engaging as the editing. The film unfolds in nuanced snapshots of industry variations. YOUR HIGHER SELF leans into the absurdity and honors that each person’s path to self-help is a personal choice while acknowledging it is ultimately business. Bravo to those who agreed to appear in the film. Kudos to Annie St-Pierre for giving everyone the confidence and trust to participate.

YOUR HIGHER SELF is a visual and emotional dream board for anyone seeking inspiration. Whatever your motives for watching, you will undoubtedly find yourself fully immersed in these methods while simultaneously poopooing them. SXSW audiences are in for quite the ride and the beginning of long conversations. Equal parts cringe and intriguing, YOUR HIGHER SELF is undeniably entertaining.

Your Higher Self SXSW Remaining Screenings:

Your Higher Self at Violet Crown Cinema 1

Mar 10, 2025

5:45pm — 7:05pm

Your Higher Self at Violet Crown Cinema 3

Mar 10, 2025

5:45pm — 7:05pm

Your Higher Self at Alamo Lamar 5

Mar 13, 2025

2:30pm — 3:50pm

Your Higher Self at Alamo Lamar 6

Mar 13, 2025

2:30pm — 3:50pm

Credits:

Director:

Annie St-Pierre

Executive Producer:

Sylvain Corbeil

Producer:

Audrey-Ann Dupuis-Pierre

Screenwriter:

Annie St-Pierre

Cinematographer:

Etienne Roussy

Editor:

Myriam Magassouba

Sound Designer:

Marie-Pierre Grenier, Bernard Gariepy Strobl, Jean-François Caissy

Music:

Christophe Lamarche-Ledoux

For all things SXSW, click here!

‘ARREST THE MIDWIFE ‘ (SXSW 2025) A powerful look at another reproductive right being mandated by ignorance.

Posted on March 10, 2025 by Liz Whittemore — Leave a reply

ARREST THE MIDWIFE

Filmmaker Elaine Epstein follows the case of Elizabeth Catlin, a midwife charged with 95 felony counts after the death of one baby. However, Liz is not the first or last midwife to find themselves in court.

The Mennonite community uses midwives as per tradition. Liz is part of a tight group of women that serve these mothers and their families. Suddenly, Yates County begins targeting one midwife after another, putting further stress on the health and safety of women.

The state of NY has increased the requirements of education to maintain accreditation. Liz and her fellow care providers are CPMs (Certified Professional Midwives), each assisting in 100s of births, but according to NY State, that isn’t enough to exist legally.

We don’t get the details of Liz’s specific case until halfway through. When you hear them, your jaw will drop. No one in their right legal mind would ever bring charges against Liz. Going against their tradition of staying within their community, the Mennonite women come to court, write letters, and travel down state in drives to support advancing legislative change. Women supporting other women move the needle.

As a mother who had two births in Manhattan, I envy the homebirth experience 9 years after my first birth. At 35, the term geriatric pregnancy was insulting enough. After numerous ultrasounds and tests, when my son was in crisis during my 16 labor, all that science went out the window, leading to an emergency c-section. Birth trauma is real.

The film is a beautifully structured freight train of activism. Our rights are under attack. This is another example that most of us weren’t even aware of. ARREST THE MIDWIFE is a prime example of how a state’s rights governance hurts its population. Whether it’s midwifery or abortion, this causes care deserts, leading to a high likelihood of deaths. You cannot watch this film and tell me this isn’t a story about body autonomy. ARREST THE MIDWIFE is a fierce feminist film about choice in the face of another oppressive patriarchal and capitalist structure. Let women choose.

Director: Elaine Epstein

Producers: Elaine Epstein & Robin Hessman

Running Time: 82 minutes

Caught between the law and the well-being of the Amish and Mennonite families they serve, midwives in upstate New York operate in a healthcare desert—risking jail time simply for providing critical care. As their midwives are arrested, the women from these insular communities break from their traditions to become unexpected activists, fighting for systemic change.

With exceptionally rare and intimate access, director Elaine Epstein crafts a powerful David-and-Goliath story of resilience and resistance. Set against the backdrop of America’s maternal health crisis and the erosion of reproductive rights, ARREST THE MIDWIFE is both a poignant portrait of a community in crisis and an urgent call to protect every woman’s right to choose how she brings the next generation into the world.

SXSW SCREENINGS:

PREMIERE: Sunday, March 9 at 2:15 PM CT – Alamo Lamar 5 and 6
Tuesday, March 11 at 2:45 PM CT – Alamo Lamar theaters 2 and 7
Thursday, March 13 at 2:45 PM CT – Violet Crown Cinema theaters 2 and 4

For all things SXSW, click here!

‘BABY DOE’ (SXSW 2025) A shocking and complex case of pregnancy denial and the trauma is stems from.

Posted on March 9, 2025 by Liz Whittemore — Leave a reply

BABY DOE

BABY DOE explores the nuanced case of Gail Ritchey and the baby she left in the woods over 30 years ago. Director Jessica Earnshaw skillfully brings the audience into the inner circle of Ritchey and her conservative Christian community in rural Ohio while digging into the psychological trauma behind it all.

When I tell you your jaw will be on the floor in the first five minutes, it is not an exaggeration. It will not be the last time the facts surrounding this case give you pause or take your breath away. Earnshaw uses a mix of police footage, news clips, and sit-down interviews with every family member, including the father of the child- her current husband. She brings cameras into the meetings with Gail and her defense team as they ask all the right questions. It is a gateway to the deep-seated trauma.

The most fascinating aspect has to be religion. Gail’s connection to Christianity is complex as hell. Her daughter’s church welcomes her into their community while she awaits trial, but part of me believes that had she approached these sane people 30 years ago as an unwed mother, she would have been shunned. The home video of her Baptist youth group and the story of her relationship with Mark honestly explain everything.

Her lawyers struggle to reconcile Gail’s lack of memories, but to women who have ever been involved with the church, the shame associated with premarital sex, pregnancy, and abortion, not to mention the patriarchal structure, all scream off the screen. The psychological complexity of pregnancy denial is connected to all these issues. Earnshaw uses other cases to draw parallels in Gail’s story. It is a powerful insight.

I give a lot of credit to Mark for never wavering in his support for Gail. Audiences must go into the film with an open mind and honestly, taking a page from Mark’s playbook in unconditional love. My heart breaks for the guilt carried by Gail. I cannot imagine her burden. I would be remiss if I did not acknowledge her church community. At the very least, their current support genuinely surprised me in the best way.

Endlessly compelling, BABY DOE has you in its grip from start to finish. SXSW audiences will not stop talking about this film.

Credits

Director:

Jessica Earnshaw

Executive Producer:

Jenny Raskin, Kelsey Koenig, Geralyn White Dreyfous, Debbie L. McLeod, Jamie Wolf, Nathalie Seaver, Meadow Fund, Peggy Case, and Tom Meadows

Producer:

Holly Meehl Chapman, Jessica Earnshaw

Cinematographer:

Jessica Earnshaw and Emily Thomas

Editor:

George O’Donnell and Leah Boatright

Music:

Gil Talmi

Principal Cast:

Gail, Mark, Courtney, Evan, Steven, Mark M.

Additional Credits:

Co-Producer: John Rudolf, Co-Executive Producer: Rebecca Lichtenfeld and Chandra Jessee for InMaat, Co-Executive Producer: Drew Scott , Co-Executive Producer: Chris Boeckmann, Co-Executive Producer: Erika A. Christensen, Contributing Producer: Chicken & Egg Films , Assistant Editor: Jessie Adler, Associate Producer: Liz Yong Lowe

Remaining Screenings of BABY DOE:

Baby Doe at Violet Crown Cinema 2

Mar 9, 2025

5:00pm — 6:40pm

Baby Doe at Violet Crown Cinema 4

Mar 9, 2025

5:00pm — 6:40pm

Baby Doe at Alamo Lamar 1

Mar 13, 2025

9:30pm — 11:10pm

Baby Doe at Alamo Lamar 8

Mar 13, 2025

9:30pm — 11:10pm

BABY DOE (Documentary Feature Competition) – Thirty years ago, Gail Ritchey, a young woman from a conservative Christian community in rural Ohio, gave birth alone and left her newborn in the woods. Now a devoted mother of three, her quiet suburban life is shattered when DNA evidence links her to the infamous cold case of “Geauga’s Child,” leading to her arrest for murder. Authorities dismiss her claim that the baby was stillborn, and the media swiftly vilifies her.

For all things SXSW, click here!

‘DEAR TOMORROW’ (SXSW 2025) Raw and important, a doc about the epidemic of loneliness will crack the hardest of hearts.

Posted on March 8, 2025 by Liz Whittemore — Leave a reply

DEAR TOMORROW

SXSW 2025 documentary DEAR TOMORROW delves into the epidemic of loneliness. Filmmaker Kaspar Astrup Schröder follows two Japanese citizens who suffer from severe loneliness. Schröder quietly observes them through their physical and emotional isolation and a subsequent few conversations with the mental health hotline, “A Place For You.”

The film features chat text scrawling across the screen. Masato and Shoko seem to lead similar lives. Both in their forties with no family around them to cushion the blow of isolation, they try different things to lessen the sadness. Masato gets a pet owl, while Shoko takes the advice of a volunteer and reaches out to a former classmate. While these momentary actions provide a dopamine hot and hope, the underlying echoes of doubt remain steadfast.

Founder Koki Ozara uses data to prioritize calls, but with over 1000 a day, the demand far outreaches their ability to serve the population. Nationally, Ozara works in tandem with the Japanese government to address the problem with a global symposium. But, as the film progresses, the most basic solutions prove complicated. Red tape, like everywhere else in the world, stands in the way of genuine help.

The exquisite music instills a deep longing that beautifully mirrors the desire to connect with the two subjects. The film’s structure forces us to slow down and authentically watch.

DEAR TOMORROW is an excellent companion watch for Steve Buscemi‘s THE LISTENER. Viewing is a mix of emotions, from crestfallen to hopeful. All I kept thinking about in the film’s quiet moments were hastily put-together solutions brought about by my fixer mentality. I understood much of what Masato and Shoko felt, as I am a mother in my forties who now contemplates daily feelings of isolation and identity. It can feel like a vice.

Masato and Shoko are undeniably brave to share their most intimate fears. Mental health often comes with a stigma that becomes politicized and kept at arm’s length out of fear. If Covid-19 lockdowns taught us anything, we cannot continue to sweep it under the rug. Humanity must do better for each other. DEAR TOMORROW puts all of these things front and center in a universally relatable way. Revealing, raw, and relentlessly touching SXSW audiences will be moved.

Director/Screenwriter: Kaspar Astrup Schröder, Producers: Maria Helga Stürup, Katrine A. Sahlstrøm

In Japan, where loneliness has become a national crisis, the film follows three individuals battling isolation. Through a volunteer chat service, compassionate connections, and government initiatives, they find hope and paths to reclaim their lives. (World Premiere)

Remaining Dear Tomorrow Screenings:

Dear Tomorrow at Violet Crown Cinema 1

Mar 9, 2025

9:30pm — 11:01pm

Dear Tomorrow at Violet Crown Cinema 3

Mar 9, 2025

9:30pm — 11:01pm

Dear Tomorrow at Alamo Lamar 5

Mar 13, 2025

11:00am — 12:31pm

Dear Tomorrow at Alamo Lamar 6

Mar 13, 2025

11:00am — 12:31pm

Credits

Director:

Kaspar Astrup Schröder

Executive Producer:

Katrine A. Sahlstrøm, Kaspar Astrup Schröder, Katrine Philp, Patricia Drati, Boris B. Bertram

Producer:

Maria Helga Stürup, Katrine A. Sahlstrøm

Screenwriter:

Kaspar Astrup Schröder

Cinematographer:

Kaspar Astrup Schröder

Editor:

Laura Skiöld Østerud, Kaspar Astrup Schröder

Sound Designer:

Ted Krotkiewski

Music:

Jon Ekstrand

Additional Credits:

Co-producer: Michael Krotkiewski, Co-producer: David Herdies, Co-producer: Huang Yin-Yu

For all things SXSW, click here!

‘SEVEN VEILS’ (2025) A lush and twisted tidal wave of art and trauma.

Posted on March 7, 2025 by Liz Whittemore — Leave a reply

SEVEN VEILS

In SEVEN VEILS, filmmaker Atom Egoyan examines the exploitation of female trauma. The line of art and life blur completely as a protege director remounts her mentor’s production of Salome with an unusually intimate touch.

Egoyan’s editing is complex. It forces you to keep up. It is both the film’s best and worst aspect. If you drop focus, the film will run away from you in its artistic endeavor. The juxtaposition of Jeanine’s childhood, her marriage, and the play is a whirlwind of obsession. The play is a visceral therapy session and a reclamation of her past.

Amanda Seyfried has a knowing in her eyes. Her commitment to Salome’s text feels organic and seeped in trauma. Seyfried owns this character. It’s a brilliant and immensely heartbreaking turn.

It is far too simplistic to describe the film’s plot as a story of a suffering artist. SEVEN VEILS digs into gross power dynamics and the financial advantage of oppressing female truth. SEVEN VEILS emits a dangerous and formidable energy.

SEVEN VEILS Trailer:

Directed by Atom Egoyan, Starring Amanda Seyfried

Filmed On Location During Egoyan’s Staging of the
Opera Salome

In Select Theaters Nationwide Next Week
March 7, 2025

**Official Selection: Toronto International Film Festival**
**Official Selection: Special Gala: Berlin International Film Festival**

Written & Directed by: Atom Egoyan
Starring: Amanda Seyfried, Rebecca Liddiard, Douglas Smith, Mark O’Brien, Vinessa Antoine, Ambur Braid, Michael Kupfer-Radecky
Produced by: Atom Egoyan, Niv Fichman, Simone Urdl, Kevin Krikst, Fraser Ash
Executive Produced by: Nate Bolotin, Maxime Cottray, Adrian Love, Noah Segal, John Sloss, Nick Spicer, Aram Tertzakian

After years away, theater director Jeanine (Academy Award® nominee Amanda Seyfried) re-enters the opera world to stage her former mentor’s most famous work. Haunted by dark and disturbing memories from her past, Jeanine allows her repressed trauma to color the present as her personal and professional lives begin to unravel. Renowned director Atom Egoyan (Exotica, The Sweet Hereafter) reunites with Seyfried in this visually stunning, propulsive work, filmed on location during the staging of Egoyan’s acclaimed production of Salome.

RT: 107 Minutes

Backstory
Atom Egoyan directed the opera, Salome, in 1996, the first opera in what would be many to come over his career. Best known as a prominent film director since the 1980s, Egoyan has proven he is a master of both mediums. “I’ve been involved with opera for a number of years, doing it parallel to my film work. I always wondered if there was a way to bring the two worlds together,” says Egoyan.

More recently, the director was interested in exploring what the production of Salome would mean in our current culture. This interest led Egoyan to write the script for Seven Veils, about a remount of Salome that he filmed at the same time the opera was on stage, using the opera singers from Salome in the film.

“Salome is a production I’ve done a number of times so when I knew that the Canadian Opera Company was remounting it, I thought this would be an ideal time to fuse the opera singers I knew they had booked with the script I had written,” says Egoyan. “I wanted to explore how the themes of Salome could weave with the story of remounting this particular production. It’s not really an opera movie, it’s just using the world of the opera as a workplace like any workplace. We see the characters as they float in and out of scenes dealing with the preparation of the opera.”

“Atom’s production of Salome electrified the stage when it debuted in 1996 and has evolved with each remounting. The opera explores themes that resonate through Atom’s body of work, and SEVEN VEILS is an exciting and provocative next step in this ongoing evolution,” says producer Niv Fichman.

“The story of Salome has such a rich inheritance. It comes to us from the bible and then became the basis of this extraordinary play that Oscar Wilde wrote that explodes with language of people describing things they can’t have. The composer Richard Strauss saw a production of this unique play and was seized by the idea of making it the basis of the libretto. He found a way of harnessing what Oscar Wilde did with his words with truly revolutionary music. It was exciting to bring that energy into this moment and all the issues that are floating around our space, and seeing how these characters are navigating the dynamics of creativity, desire and power,” says Egoyan.

SEVEN VEILS is produced by Rhombus Media and Ego Film Arts, with the participation of Telefilm Canada and Ontario Creates, in association with XYZ Films, IPR.VC, Cinetic Media, Crave, and the Canadian Opera Company.

Elevation Pictures will be distributing the film theatrically in Canada.

For more films from XYZ, click here!

‘THE RULE OF JENNY PEN’ (2025) Geoffrey Rush and John Lithgow stun in a disquieting ping pong match of cruelty and power.

Posted on March 7, 2025 by Liz Whittemore — Leave a reply

THE RULE OF JENNY PEN

After suffering a stroke, Stefan must convalesce in an assisted living facility that also houses a psychotic patient who tortures the residents with a creepy hand puppet. Based on Owen Marshall‘s short story, James Ashcroft brings THE RULE OF JENNY PEN to life in all its skin-crawling glory.

Stefan immediately recognizes Dave exerting control over the other residents, and his curmudgeonly, hard-nosed approach to those around him softens. His life dedicated to fairness emboldens him to level the playing field, even if that means drastically adjusting his moral compass.

John Lithgow as “Dave Crealy”, Geoffrey Rush as “Stefan Mortensen”, and Jenny Pen in James Ashcroft’s THE RULE OF JENNY PEN. Courtesy of Matt Henley. An IFC Films and Shudder Release.

Geoffrey Rush is Stefan Mortensen. As a man who built of career on doling out justice, the utter lack of control is physical and mental torture. Rush is spectacular. His stubborn, unrelenting sense of righting the wrong makes him easy to root for.

John Lithgow is Dave Crealy. His character is a cruel menace. Lithgow’s physical stature plays a key role. He is at least a head taller than the rest of the cast, easily dominating any space. Crealy is a ticking time bomb. Lithgow leans into his irrationality like a pro. It is terrifying. Rush and Lithgow go toe to toe in a fascinating tennis match of chaos and vitriol. It is a masterclass.

THE RULE OF JENNY PEN -Geoffrey Rush as “Stefan Mortensen” in James Ashcroft’s THE RULE OF JENNY PEN. Courtesy of Matt Henley. An IFC Films and Shudder Release.

Geoffrey Rush as “Stefan Mortensen” in James Ashcroft’s THE RULE OF JENNY PEN. Courtesy of Matt Henley. An IFC Films and Shudder Release.

The augmented sound editing by John Mackay and Matthew Lambourn is particularly challenging if, like me, you are prone to overstimulation. Frankly, the entire film is similarly structured. Matt Henley’s camera work is intentional, with close-ups that feel invasive in the best way. Gretchen Peterson’s editing reminds us that while Stefan is undeniably brilliant, his mind and body are failing him. Ashcroft and co-writer Eli Kent weaponize lost time and immobility. The infantilization of patients is heartbreaking and uncomfortable.

THE RULE OF JENNY PEN is a bleak but captivating watch. It reminds us how we treat our elderly once deemed socially inconvenient. The script delves into power structure, unresolved trauma, and the consequences of unchecked evil. THE RULE OF JENNY PEN is something greater than sinister.

Jenny Pen in James Ashcroft’s THE RULE OF JENNY PEN. Courtesy of Matt Henley. An IFC Films and Shudder Release.

THE RULE OF JENNY PEN Trailer:

IN THEATERS THIS FRIDAY, MARCH 7TH

Synopsis

Arrogant Judge Stefan Mortensen (Rush) suffers a near-fatal stroke, leaving him partially paralyzed and confined to a retirement home. Resistant to the staff and distant from his friendly roommate, Mortensen soon clashes with seemingly gentle resident Dave Crealy (Lithgow) who secretly terrorizes the home with a sadistic game called “The Rule of Jenny Pen” while wielding his dementia doll as an instrument of cruelty. What begins as childish torment quickly escalates into far more sinister and disturbing incidents. When Mortensen’s pleas to the staff go unanswered, he takes it upon himself to put an end to Crealy’s reign of terror.

About The Director

James Ashcroft formed Light in the Dark Productions in 2014, specializing in contemporary screen adaptations from New Zealand’s literary canon. His feature film directing debut Coming Home in the Dark premiered at the Sundance Film Festival 2021 to great acclaim, followed by a global festival tour. He is currently working on a slate of features in the US including Max Brooks’ Devolution and Grady Hendrix’ How To Sell A Haunted House, for Legendary Studios and Sam Raimi’s Ghost House Pictures, The Whisper Man for the Russo Brother’s AGBO Productions/Netflix and an adaptation of the graphic novel Old Haunts for AWA Studios.

He attended the Venice Biennale Cinema College as one of 12 teams selected worldwide. He was also one of 15 director/producers selected for the Torino Film Festivals inaugural Up & Coming Programme, showcasing talent from around the world. From 2006-2013, Ashcroft served as Artistic Director and Chief Executive of national Maori theatre company Taki Rua Productions, developing and touring New Zealand works both nationally and internationally. Ashcroft is a graduate of Victoria University and Toi Whakaari: New Zealand Drama School. He has served internships with acclaimed theatre company The Wooster Group in New York.

Director: James Ashcroft

Screenwriters: Eli Kent, James Ashcroft

Cast: John Lithgow, Geoffrey Rush

Producers: Catherine Fitzgerald, Orlando Stewart

Executive Producers: James Ashcroft, Eli Kent, John Lithgow, Geoffrey Rush, Emily Gotto, Nicholas Lazo, Samuel Zimmerman

Director of Photography: Matt Henley

Editor: Gretchen Peterson

Composer: John Gibson

Language: English

Country: New Zealand

Running Time: 103 minutes

For more coverage of IFC Shudder films, click here!

Reunion comedy ‘THE STRESS IS KILLING ME’ (2025) A palatable entry into Gen X misery share

Posted on March 4, 2025 by Liz Whittemore — Leave a reply

THE STRESS IS KILLING ME

Following their 20th college reunion, a group of old friends agrees to stay in a rental together for a week-long getaway rather than immediately part ways. During dinner, everyone around the table says what they’d be if they could choose another career path. They agree to take the week and live out that dream in the rental house. From chef to teacher, artist to detective, the group reluctantly indulges in each other’s fantasies. The past does not stay buried, and things get chaotic.

You know these characters. They are quirky, anxiety-riddled, moody, unhappy, hopeful, and exhausted. Ya know, all the things we are in our 40s. The cast has a fun chemistry. It’s easy to imagine that they are friends in real life, and they concocted this film throughout the weekend. Misery loves company. THE STRESS IS KILLING ME digs into all those messy, unresolved feelings that hide in the back of our memories 20 years later.

Each character delves into regrets and what-ifs. The script examines mortality, imposter syndrome, and the patterns we fall into with old friends. While it’s still slightly goofy and relatively predictable, THE STRESS IS KILLING ME is an enjoyable walk down memory lane. It’s a comfort watch.

THE STRESS IS KILLING ME Trailer:

Freestyle Digital Media’s new comedy, THE STRESS IS KILLING ME will have its world theatrical premiere on Friday February 28, 2025 at the Landmark Westwood Theatre in Los Angeles and run for a week in the lead to the March 7th digital and streaming release.

THE STRESS IS KILLING ME is written, directed, and produced by Tom Carroll, and stars Grayson Berry, Carly Christopher, April Hartman, Theron LaFountain, Barry Landers, Lisa Lucas, Matthew Page, and Crystal Thomas.

Synopsis: THE STRESS IS KILLING ME is a comedy about eight college friends reuniting for their 20th reunion at the University of New Mexico. Now in their forties, they’ve all achieved professional success but find themselves disenchanted with their current careers. During the reunion, they share their dream jobs and decide to spend a week to live them out, leading to a whirlwind of hilarious and heartfelt moments. THE STRESS IS KILLING ME explores mid-life crises, the search for happiness, and the unexpected twists life throws our way. As each friend steps into a wildly different role—like artist, yoga teacher, or sex therapist—they confront the challenges of their aspirations and rediscover the bonds of friendship that have stood the test of time.

For more comedy reviews, click here!

SXSW 2025: This year is all about kicking ass and making names with new filmmakers taking the leap.

Posted on March 2, 2025 by Liz Whittemore — Leave a reply

SXSW 2025

SXSW 2025 is back with a vengeance. Brimming with talent new and old, the festival grows each year, giving audiences what they love. This year is no exception with Film and TV’s coolest, latest, and greatest. On the docket are hotly anticipated titles like DEATH OF A UNICORN with its insane ensemble cast, Anna Kendrick and Blake Lively return in ANOTHER SIMPLE FAVOR, and Peter Cilella‘s Midnighter DESCENDENT. Take a peek at some of the films we’re watching this year…

For more info on SXSW 2025 click here!

ODYSSEY

Director: Gerard Johnson, Producers: John Jencks, Isabel Freer, Matthew James Wilkinson, Patrick Tolan, Screenwriters: Gerard Johnson, Austin Collings

Natasha Flynn is an estate agent on a mission—and she’s going to make a killing. Cast: Polly Maberly, Mikael Persbrandt, Jasmine Blackborow, Guy Burnet, Ryan Hayes, Charley Palmer Rothwell, Kellie Shirley (World Premiere)

ARREST THE MIDWIFEDirector: Elaine Epstein, Producers: Elaine Epstein, Robin Hessman

The arrest of midwives in a rural healthcare desert ignites an unexpected rebellion: Amish and Mennonite women who break from tradition, and emerge as fierce political activists fighting for reproductive justice and birthing rights. (World Premiere)

GLORIOUS SUMMER (Poland)

Directors/Screenwriters: Helena Ganjalyan, Bartosz Szpak, Producers: Maria Gołoś, Monika Matuszewska

A sun-drenched renaissance palace. Three women remain in a carefree state of limbo, tended to by an unseen, all-providing system. But as cracks in the paradise begin to appear, they are faced with a choice: escape or remain in the perfect illusion? Cast: Magdalena Fejdasz, Helena Ganjalyan, Daniela Komędera, Weronika Humaj (World Premiere)

DEATH OF A UNICORN

Director/Screenwriter: Alex Scharfman, Producers: Drew Houpt, Lucas Joaquin, Alex Scharfman, Lars Knudsen, Tyler Campellone, Tim Headington, Theresa Steele Page

A father and daughter accidentally hit and kill a unicorn while en route to a weekend retreat, where his billionaire boss seeks to exploit the creature’s miraculous curative properties. Cast: Paul Rudd, Jenna Ortega, Will Poulter, Téa Leoni, Richard E. Grant, Anthony Carrigan, Sunita Mani, Jessica Hynes (World Premiere)

REELING

Director: Yana Alliata, Producer: Jack Forbes, Screenwriters: Yana Alliata, Amy Miner

After a life altering accident, Ryan struggles to fit in with old friends and family at a birthday luau but the celebration boils over when he uncovers the missing memory of when his life took a tragic turn. Cast: Ryan Wuestewald, Hans Christopher, Nikki DeParis, Fabrizio Alliata, Makena Miller, Nyah Juliano, Michael Carter (World Premiere)

BABY DOE

Director: Jessica Earnshaw, Producers: Holly Meehl Chapman, Jessica Earnshaw

At 22, Gail gave birth alone and left her newborn in the woods. Decades later, she’s arrested for murder, even though she says the baby was stillborn. Baby Doe explores the fallout when young women cannot accept the reality of an unplanned pregnancy. (World Premiere)

CLOWN IN A CORNFIELD

Director: Eli Craig, Producers: Marty Bowen, John Fischer, Wyck Godfrey, Screenwriters: Carter Blanchard, Adam Cesare, Eli Craig

A fading midwestern town in which Frendo the clown, a symbol of bygone success, reemerges as a terrifying scourge. Cast: Katie Douglas, Will Sasso, Cassandra Potenza, Aaron Abrams, Carson MacCormac, Verity Marks, Dylan McEwan, Daina Leitold, Vincent Muller, Kaitlyn Bacon (World Premiere)

TEASER TRAILER LINK:

DEAR TOMORROW (Denmark, Japan, Sweden)Director/Screenwriter: Kaspar Astrup Schröder, Producers: Maria Helga Stürup, Katrine A. Sahlstrøm

In Japan, where loneliness has become a national crisis, the film follows three individuals battling isolation. Through a volunteer chat service, compassionate connections, and government initiatives, they find hope and paths to reclaim their lives. (World Premiere)

FOR WORSEDirector/Screenwriter: Amy Landecker, Producers: Amy Landecker, Bradley Whitford, Valerie Stadler, Jenica Bergere, James Portolese

Fresh off a messy divorce, a 50-year-old sober mom tries to rebuild her life and stumbles into a new beginning after finding herself at a Gen Z wedding behaving like a 25-year-old drunk bridesmaid. Cast: Amy Landecker, Bradley Whitford, Nico Hiraga, Gaby Hoffmann, Ken Marino, Missi Pyle, Kiersey Clemons, Claudia Sulewski, Simon Helberg, Liv Hewson (World Premiere)

O’DESSA

Director/Screenwriter: Geremy Jasper, Producers: Michael Gottwald, Noah Stahl

Set in a post-apocalyptic future, O’Dessa is a rock opera about a farm girl on a quest to recover a family heirloom. Her journey leads her to a dangerous city, where she must use the power of destiny and song to save her true love’s soul. Cast: Sadie Sink, Kelvin Harrison Jr., Murray Bartlett, Regina Hall, Pokey LaFarge (World Premiere)

CREEDE U.S.A.

Director: Kahane Corn Cooperman, Producers: Innbo Shim, Kahane Corn Cooperman

Welcome to Creede – a remote mining town with no stop light, a theater company and 300+ folks at 9,000 feet. This unlikely setting – with its miners, ranchers and theater people – offers an unexpected lens on divisions felt by Americans everywhere. (World Premiere)

THE SURRENDER

Director/Screenwriter: Julia Max, Producers: Mia Chang, Lovell Holder, Julia Max, Ian McDonald, Robert J. Ulrich

When the family patriarch dies, a grieving mother and daughter risk their lives to perform a brutal resurrection ritual that will bring him back from the dead. Cast: Colby Minifie, Kate Burton, Neil Sandilands, Vaughn Armstrong, Mia Ellis, Pete Ploszek, Chelsea Alden, Alaina Pollack, Riley Rose Critchlow, Lola Prince Kelly (World Premiere)

UVALDE MOMDirector: Anayansi Prado, Producers: Ina Fichman, David Goldblum, Screenwriters: Anayansi Prado, Pablo Proenza

When a school mass shooting rocks a small town in Texas, a mom desperate to save her kids is launched into the public eye. She speaks out against a system that never protected her. The community challenges these powers and exposes those who failed to protect its most vulnerable – children. (World Premiere)

IDIOTIKA
Director/Screenwriter: Nastasya Popov, Producers: Tess Cohen, Camila Mendes, Rachel Matthews, Saba Zerehi, Nastasya Popov

In this sharp, irreverent comedy, a disgraced fashion designer with a dangerously low credit score, Margarita (Anna Baryshnikov) enters a reality show with a six-figure cash prize to save her babushka’s West Hollywood apartment. But as the competition intensifies, slick producer Nicol (Camila Mendes) pushes her to spin her family’s struggle into spectacle, forcing Margarita to decide whether to play along or take control of her own narrative, one unhinged look at a time.

Cast: Anna Baryshnikov, Camila Mendes, Julia Fox, Benito Skinner, Saweetie, Owen Thiele, Galina Jovovich, Mark Ivanir, Nerses Stamos, Ilia Volok (World Premiere)

NIRVANNA THE BAND THE SHOW THE MOVIE (Canada)Director: Matt Johnson, Producers: Matthew Miller, Matt Greyson, Screenwriters: Matt Johnson, Jay McCarrol

When their plan to book a show at the Rivoli goes horribly wrong, Matt and Jay accidentally travel back to the year 2008. Blah blah blah blah blah. Cast: Jay McCarrol, Matt Johnson (World Premiere)

BROTHER VERSES BROTHER

Director: Ari Gold, Producers: Michelle Stratton, Starr Sutherland, Screenwriters: Ari Gold, Ethan Gold, Lara Louise, Brian Bell, Herbert Gold, Tongo Eisen-Martin, John Flanigan

Synopsis: Inspired by Francis Coppola’s concept of Live Cinema, Brother Verses Brother is a radically personal musical odyssey. Combative twin musicians hunt for their dying poet father, in an improvisation performed by the director’s own family, and presented as an unbroken real-time shot through the streets of San Francisco.

One brother seeks love, while the other seeks an audience. But as night falls and their father remains missing, their increasingly frantic safari leads them from the secret haunts of the Beat poets into the heart of their family. Their tale becomes a testament to the power of music, the bonds of brotherhood, and the lifeblood of a city – experienced by the viewer in real-time.

Cast: Ari Gold, Ethan Gold, Lara Louise, Brian Bell, Herbert Gold, Tongo Eisen-Martin, John Flanigan (World Premiere)

OUT FOR DELIVERYDirector/Screenwriter: Chelsea Christer, Producers: Clinton Trucks, Alexa Rocero, David B. Lyons

When terminally ill Joanna makes the difficult decision to pursue end of life options through the Death With Dignity law, the systems set up to make her death peaceful and dignified become the opposite. (Texas Premiere)

BAGGAGE (Australia, United Kingdom)

Director/Screenwriter: Lucy Davidson, Producers: Vanessa Batten, Amy Upchurch

Anthropomorphic suitcase best friends bring their emotional baggage on holidays. (International Premiere)

For SXSW 2025’s entire lineup, click here!

For all things SXSW 2025 and beyond from Reel News Daily, tap this!

Amazon MGM’s studios’ undeniably charming ‘SUPERBOYS OF MALEGAON’ (2025) finally hits theatres this Friday!!

Posted on February 27, 2025 by Liz Whittemore — Leave a reply

SUPERBOYS OF MALEGAON

After winning hearts and acclaim at numerous global film festivals, including a Gala Presentation premiere at the 49th Toronto International Film Festival (TIFF), the 68th BFI London Film Festival, the 4th Red Sea Film Festival, and the 36th Palm Springs International Film Festival, the film is set for a theatrical release in India, UK, UAE, Australia, New Zealand, Canada, and 250+ theatres in the United States on February 28, 2025.

Superboys of Malegaon is a film based on the life of Nasir Shaikh, an amateur filmmaker from the town of Malegaon. The residents of the town look to Bollywood cinema for a much needed escape from daily drudgery. Nasir gets inspired to make a film for the people of Malegaon, by the people of Malegaon. He bands together his ragtag group of friends to bring his vision to life, thereby bringing a fresh lease of life into the town. The film is a poignant yet uplifting take on both filmmaking and friendship – and what happens when those two worlds collide.

An ode to Indian Cinema, Superboys of Malegaon takes inspiration from the life and journey of Nasir Sheikh, an amateur filmmaker from Malegaon who, along with his passionate group of friends brings a cinematic spotlight on the small town of Malegaon, India.

*Here is our review from TIFF ’24*

Director Reema Kagti brings TIFF ’24 audiences a dramatized version of the 2008 documentary Supermen of Malegaon. The film begins in 1997 and follows aspiring amateur filmmaker Nasir Shaikh and fellow hometown artists in Malegaon, India. SUPERBOYS OF MALEGAON is a story of small-town dreams coming true. Get ready to feel all the feels.

Learning editing techniques from local VHS sellers, Nasir makes unique splices to films, selling more and more tickets to his small movie house. But the police halt the illegal viewings, alongside the customary cultural bribe, leaving Nasir and his friends with little hope. Genius sparks when they realize they can make parody versions of their favorite films.

From conception to writing, casting to makeup, dialogue memorization to shooting, SUPERBOYS OF MALEGAON delivers every moment of revelry, hardship, and passion. Egos clash, promises and hearts get broken, hard truths are exposed, and betrayals break friendships. How can such deep-felt hurt heal?

The story jumps to 2004, only to find Nasir’s original success waning. His crew of friends finally grasp how he has coveted the spotlight and the money. When loyalty and interest in Nasir’s parodies wear thin by 2010, devastating news prompts cinematic and relationship magic.

The cinematography by Swapnil S. Sonawane is stunning. Accompanied by Sachin Jigar‘s infectious original score, it establishes the tone immediately. Performances are spectacular across the board. Each cast member gives audiences the full spectrum of their emotional range, and it is damn impressive.

It celebrates the art of indie filmmaking, the community it builds, and how many hands and minds go into the creative process. SUPERBOYS OF MALEGAON is a joy-filled watch, perfectly balanced with hard-hitting emotional journeys. It honors dreamers and doers alike. It is an undeniable crowd-pleaser.

SUPERBOYS OF MALEGAON will be released in India, the UK, UAE, Australia, New Zealand, Canada, and 250+ theatres in the United States on February 28, 2025.

For more films from TIFF 2024, click here!

‘SUPERBOYS OF MALEGAON’ (TIFF 2024) A jubilant celebration of film and friendship #2

Posted on February 27, 2025 by Liz Whittemore — Leave a reply

SUPERBOYS OF MALEGAON

From conception to writing, casting to makeup, dialogue memorization to shooting, SUPERBOYS OF MALEGAON delivers every moment of revelry, hardship, and passion. Egos clash, promises and hearts get broken, hard truths are exposed, and betrayals break friendships. How can such deep-felt hurt heal?

It celebrates the art of indie filmmaking, the community it builds, and how many hands and minds go into the creative process. SUPERBOYS OF MALEGAON is a joy-filled watch, perfectly balanced with hard-hitting emotional journeys. It honors dreamers and doers alike. It is an undeniable crowd-pleaser.

Reema Kagti

WORLD PREMIERE

India | 2024 | 127m | Hindi

Helmed by Reema Kagti (Talaash: The Answer Lies Within) in her latest collaboration with producer Zoya Akhtar (Gully Boy), this uplifting story chronicles the life of Nasir Shaikh, whose no-budget, community-sourced movies turned his hometown into an unlikely dream factory.

https://www.tiff.net/events/superboys-of-malegaon

Click here for more TIFF 24 coverage!

‘ONE REHEARSES, THE OTHER DOESN’T’ (Slamdance 2025) A shockingly profound experimental short.

Posted on February 26, 2025 by Liz Whittemore — Leave a reply

ONE REHEARSES, THE OTHER DOESN’T

An extraordinary cinematic memoir where truth and fiction obliterate boundaries, Jessica Hankey‘s short, “ONE REHEARSES, THE OTHER DOESN’T,” rocked Slamdance 2025.

Part confessional and all raw emotions, ONE REHEARSES jarring nature is exhilarating. Marjorie Annapav divulges unfiltered intimacy, from her time as a sex worker in the 70s to witnessing a murder. Her life is the stuff of any writer’s dreams. Ann Randolph gives such a solid performance that she will have you question reality. Annapav is undeniably fearless.

The editing and camerawork celebrate the emotional chaos. In 15 minutes, you get bombarded with unbelievable stories and a mindblowing approach. ONE REHEARSES is art therapy mixed with the exploratory and revealing moments of the rehearsal space. It’s the magic of theatre and cinema and the effects of an open-minded director. This short is an exquisite give-and-take that captivates the viewer from every approach.

ONE REHEARSES, THE OTHER DOESN’T Teaser Trailer:

SYNOPSIS:
In One Rehearses, the Other Doesn’t Marjorie Annapav plays herself as she immerses in improvisational work and on-stage rehearsals with a fictionalized performance teacher. Drawing from her personal history, she enacts scenes based on the murder of her boyfriend by the mob and her time as a sex worker in 1970s New York. In an effort to discover a version of her life that can play to audiences, Marjorie will probe overlooked behaviors, desires, selves. A peripheral figure in American Surrealism, Annapav is noted for her relationship with artist William Copley, who once claimed he sold his art collection in order to pay her to marry him. InOne Rehearses, the Other Doesn’t, gender, power, economic exchange, and the artifice of storytelling shape a drama of rehearsal and reinvention.

Jessica Hankey:Director/Co-Writer/Producer: Jessica Hankey
Writers: Ann Randolph, Marjorie Annapav, Jessica Hankey,
Victor Kaufold

Producers: Keren Hantman, Jessica Hankey
Creative Producer: Gaby Hoffman
Editors: Julia Straface, Jessica Hankey
Cinematographers: Chris Dapkins, Helki Frantzen
Sound: Dalmar Montgomery, Chris Ward
Music: Corey Fogel
Cast: Marjorie Annapav, Ann Randolph
TRT: 15:49 min
Country: USA

For all things Slamdance, click here!

‘Know Me’ (Slamdance 2025 capsule review) Inspired by true events, this meditation on grief and the power of the media takes a human approach.

Posted on February 26, 2025 by Liz Whittemore — Leave a reply

KNOW ME

In 2012, Rudy Eugene became known as “The Miami Zombie” when he attacked a homeless man because of bath salts. Inspired by the real-life incident, filmmaker Edson Jean‘s film KNOW ME dramatizes the case, bringing much-needed humanity to a story most of us think we know.

The film follows younger brother Kenson, who deals with the immediate aftermath and misinformation spreading nationally and throughout his tight-knit Haitian community. While Jean changes the main character’s name to Jimmy Hilaire, the story comes from Kenson’s perspective as he attempts to arrange funeral services and fight the false narratives.

Jean utilizes black-and-white flashbacks to give us insight into who Jimmy was. The specific choice not to replay the video from the incident leaves a powerfully subconscious impact. The commentary on the media is as relevant today as ever. How does one man preserve the legacy raging against an entire industry? Separately, we watch family matriarch Pauline’s nuance journey to closure. A poignant moment between her and the man Jimmy attacked delivers a quiet beauty.

Performances are exceptional. Donald Paul gives Jimmy such depth in his short time on screen. Carole Demesmin brings fierceness to Pauline. Her chemistry with the entire cast is applauseworthy. Jean not only takes on several behind-the-camera roles but also stars as Kenson. His raw portrayal pierces your heart. It is a wow.

Tackling religion, judgment, and racism, KNOW ME is a meditation on grief. The script calls out hypocrisy and digs into underlying hurt within a trauma response. It is an undeniably strong sophomore feature.

KNOW ME Teaser Trailer:

Based on a true story — It’s May 2012, Jimmy Hilaire attacked a homeless man on the MacArthur Causeway in Miami before being killed by police. As sensationalized details of the attack leak to the press, the “Miami Zombie” news story quickly gains ground. Across town, Jimmy’s brother, Kenson, is unexpectedly thrust into a whirlwind when images of his brother are suddenly plastered across major media outlets. Grief-stricken and profoundly shaken, Kenson must suddenly dive into preparing his brother’s funeral, discovering that to preserve Jimmy’s memory he must first combat seductive lies told by powerful media outlets and local Haitian church leaders. Struggling to clear his brother’s name and secure a proper burial, Kenson must also reconcile his memories of his brother with the violent, harrowing details surrounding his death.

KNOW ME Showings – select to order tickets:

Fri, Feb 21st, 4:30 PM @ Panasonic LUMIX Theater

Sun, Feb 23rd, 1:45 PM @ LA Times Theater

Director:

Edson Jean

Screenwriter:

Edson Jean, Marckenson Charles

Producer:

Ronald Baez, Kevin Ondarza

Cast:

Edson Jean, Shein Mompremier, Donald Paul, Carole Arty, Richardson Chery

For more Slamcdance coverage, click here!

‘IN THE MOUTH’ (Slamdance 2025) Mental health and mayhem at its finest.

Posted on February 24, 2025 by Liz Whittemore — Leave a reply

IN THE MOUTH

Filmmaker Cory Santilli brings a film like no other to Slamdance 2025 with IN THE MOUTH. The script follows Merl, a housebound man down on his luck financially and mentally. When his landlady arrives to collect three months’ back rent, Merl decides to take on a roommate. Larry happens to be an escaped murderer, but that is not what scares Merl. It is the giant version of himself protruding from his front lawn.

IN THE MOUTH is an absurdist comedy. Shot in stark black and white by Mike Magilnick, the cinematography boasts great closeups and one particularly memorable off-kilter angle that made me sit up straighter. Merl’s creative outside retrieval methods remind me of individual components of Pee Wee Herman‘s Rube Goldberg machine in his Big Adventure film.

Doug Moss‘ augmented sound editing highlights the isolation of Merl’s environment while simultaneously ticking the boxes of sensory issues he may also be affected by. I recognize the triggered body language as someone with misophonia, specifically with metal on metal.

Colin Burgess, who also stars in another Slamdance 2025 film, LOCKJAW, and designed the titles, delivers a fascinating performance as Merl. Burgess’ commitment to the genre and the world Santilli has created is applause-worthy. You would never know Burgess was the same actor, which is the ultimate compliment. I would happily watch him create more Merl shenanigans. *Cory, I’m talking to you here.*

Understanding that Merl is Cory in real life is key to the film’s profundity. The metaphor of turning fear into power is so intriguing. IN THE MOUTH‘s finale lands, quite literally, like a breath of fresh air. Slamdance is the key demographic for a story with this breadth of style and bravery.

In The Mouth Teaser Trailer:

Year:

2025
Runtime:

84 minutes
Language:

English
Country:

United States
Premiere:

World Premiere
Genre:

Dark, Comedy, Thriller
Subtitle Language:

English

Director:

Cory Santilli
Screenwriter:

Cory Santilli
Producer:

Jesse Muro, Tatiana Bears
Cast:

Colin Burgess, Paul Michael

Credits

Director:

Executive Producer:

Producer:

Screenwriter:

Cinematographer:

Editor:

Sound Designer:

Music:

Principal Cast:

Additional Credits:

For all things SXSW, click here!

Share this!

Like this:

Lanfia Wal

For all things SXSW, click here!

Share this!

Like this:

Credits

Director:

Executive Producer:

Producer:

Screenwriter:

Cinematographer:

Editor:

Music:

Principal Cast:

For all things SXSW, click here!

Share this!

Like this:

Credits

Director:

Executive Producer:

Producer:

Screenwriter:

Cinematographer:

Editor:

Production Designer:

Sound Designer:

Music:

Principal Cast:

Additional Credits:

For all things SXSW, click here!

Share this!

Like this:

Credits

Director:

Executive Producer:

Producer:

Screenwriter:

Cinematographer:

Editor:

Production Designer:

Sound Designer:

Music:

Principal Cast:

Additional Credits:

For all things SXSW, click here!

Share this!

Like this:

For all things SXSW, click here!

Share this!

Like this:

For all things SXSW, click here!

Share this!

Like this:

Your Higher Self SXSW Remaining Screenings:

Credits:

Director:

Executive Producer:

Producer:

Screenwriter:

Cinematographer:

Editor:

Sound Designer:

Music:

For all things SXSW, click here!

Share this!

Like this:

For all things SXSW, click here!