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Imagine carrying a secret for over two decades, only for it to resurface through a piece of tech and a government job. That’s the hook that sets SNEAKERS in motion—a clever, offbeat thriller that never tries to outmuscle the genre but outthinks it. Part spy story, part hacker adventure, and part character study, this is a film that trades flashy theatrics for smarter subversions and leans into its ensemble with refreshing confidence, even if not every idea gets the same follow-through.

TRINITY doesn't rely on spectacle or shock value. Instead, it turns its lens on voices long ignored—those quietly living with the consequences of a test that changed the world without their consent. This isn’t a project trying to retell history with rage. It’s trying to fill in the gaping silences. With a focus on lived experiences rather than dramatized recreations, the film unearths a complicated chapter of American history that is as under-discussed as it is hauntingly relevant.

In the golden age of music, there was a man who needed only a 12-string guitar and his voice to turn the world’s ear. LEAD BELLY: THE MAN WHO INVENTED ROCK & ROLL revisits a name history hasn’t entirely forgotten but certainly hasn’t celebrated loudly enough. This documentary isn’t interested in nostalgia for its own sake. Instead, it’s about setting the record straight, digging into a life that shaped modern music more than most charts will ever acknowledge.

What do you get when a film leans into chaos just enough to mirror what it feels like to exist in the middle of a personal identity crisis? ZOE doesn’t aim to tidy up that storm—it dances in its insanity, winks at it, and sometimes stumbles through it. This film is about being lost, not in the conventional sense, but emotionally disoriented in a world where everything appears just fine from the outside. Under the guidance of Emanuela Galliussi, who wears many hats as writer, co-director, producer, and lead, ZOE explores the question so many narratives try to avoid: what happens when “having it all” still feels like not enough?

It’s oddly intriguing watching someone spiral in real-time, especially when the spiral is staged, polished, and presented for our consumption. NAMAS DEI: THE TUCKER J. JAMES STORY takes that premise and crafts a story that feels both of-the-moment and deeply rooted in the timeless human urge to be seen. What starts like another influencer comedy gradually reveals a story about identity, aspiration, and the self-destruction that comes from trying too hard to be the person everyone wants you to be. For a film built around digital facades, it manages to sneak up with moments of surprising honesty.

What happens when a suspense thriller takes a sharp left turn into farce but still tries to keep its footing in romance and mystery? You get a movie that dares to misbehave within its own genre rules. FOUL PLAY doesn’t just transition between tones—it runs them down, laughs in the confusion, and somehow turns the chaos into its greatest strength. The result is a film that’s rarely predictable but always in motion, switching moods mid-scene and embracing its oddball energy without hesitation.

When a story pulls from personal memory rather than genre formula, there's a striking tension between truth and fiction. This one doesn’t just suggest authenticity—it breathes it. Built from the ground up with grit and experience, it is less a studio creation and more a raw confession, shaped by the streets that raised it. We do not get a polished spectacle, but something rough-edged and intentionally human.

THE UGLY STEPSISTER doesn’t tiptoe around its message. It kicks in the door, tears down the fairy tale curtains, and asks what happens when the desire to be seen becomes a compulsion to be reshaped. This is not your storybook Cinderella (although closer in tone to the original, darker version of the story). Instead, Emilie Blichfeldt’s body horror debut reframes the narrative, taking a character long treated as an obstacle and putting her at the center of a brutal, satirical, and deeply human tale about beauty, identity, and the cost of fitting in. What emerges isn’t just a horror movie with a twisted take on a classic—it’s a character study that flays its protagonist in more ways than one.

What starts as a gritty throwback to street-level crime dramas quickly reveals itself as a film stuck between intention and execution. THE 4 POINTS combines a bold concept, a visually grounded approach, and two strong central performances, but it never quite nails the rhythm needed to connect fully. There's an unmistakable passion behind the camera, and you can feel the effort to honor a legacy of L.A.-set crime stories.

Something is fascinating about watching a film that feels like it was unearthed from another time but with just enough weirdness to make it stick in your brain. That’s the strange magic: nostalgia meets innovation, and everything is filtered through the grainy, analog lens of a dreamlike version of Peoria, Illinois. Even though it wasn’t shot there, it’s rooted in the city’s energy, which made it hit even closer to home for me—seeing Peoria get this kind of spotlight. I’ll take it.

CAREER OPPORTUNITIES, a curious blend of romantic comedy, social commentary, and low-stakes thriller that feels made on impulse and edited on a deadline. It’s quirky, flawed, and occasionally disjointed, but a strange charm hovers beneath the surface even in its craziest moments.

Now and then, a short film lands not with spectacle but with clarity—a quiet moment that unfolds with purpose, capturing a shift in perspective as it’s happening. SUCH A PRETTY GIRL takes that challenge head-on and succeeds by focusing less on loud revelations and more on what lingers in glances, gestures, and the quiet spaces between words. It delivers a moment of personal reckoning without pushing for tidy answers or emotional shortcuts, all in just six minutes.

Mistaken identity starts a chain reaction in one of post-war British cinema's most unusual satirical works. At first glance, it might seem like another light-hearted jab at the quirks of British society. However, what unfolds is an unnerving commentary on how communities react when someone truly decides to practice what institutions merely preach. The comedy is sharp, the discomfort even sharper, resulting in a social critique that remains disturbingly relevant.

In a landscape where tech stories usually get filtered through flashy edits and charismatic soundbites with swelling scores, VITALIK: AN ETHEREUM STORY breaks the mold. It trades grandiosity for introspection, ambition for uncertainty, and curated myth for messy, human reality. This isn’t about hype—it’s about what happens after the hype fades and the questions get harder to dodge.

Jean Rollin rarely took the conventional path, and SIDEWALKS OF BANGKOK is proof that even when leaning into a genre as familiar as the espionage thriller, he does it his way—off-kilter, unpolished, and unapologetically strange. This isn’t a sleek international spy saga. Instead, it's an oddly charming mashup of softcore indulgence, pulp storytelling, and late-night cable weirdness that remains with a hook, even when it stumbles over its genre madness. It’s flawed, often ridiculous, and certainly not for everyone, but it delivers just enough spectacle and Rollin flair to make you stick around until the end, even if you’re not exactly sure why.

COLORFUL STAGE! THE MOVIE: A MIKU WHO CAN’T SING is a vivid reminder of how sometimes, connections can emerge from unexpected places. Even for those, like me, who walked in with no previous knowledge of the franchise, the film strikes a chord that lingers well beyond its final scene. It's not always easy to follow, and the story does ask more of the viewer than it probably should—but once it finds its rhythm, there's genuine magic in how it brings music, identity, and emotion to life.

A raw, unscripted backstage pass into the reality of rock resurrection, THE DARKNESS - WELCOME TO THE DARKNESS doesn’t just chronicle a comeback—it embraces the beauty and chaos that come with trying to reclaim something lost. Whether you're a casual listener or the type to scream lyrics in your car, there’s something refreshingly human about watching a band mythologize and humble themselves.

There’s something unique about a documentary that refuses spectacle and instead settles into silence. FINAL VOWS does exactly that—delivering a restrained, thoughtful portrait of women who’ve made a life out of quiet discipline. Set against the desert backdrop of Arizona, this story unfolds in a place that feels untouched by time but grapples with its passage. Director Victoria Westover doesn’t chase dramatics. Instead, she lets the heart of monastic life do the talking—offering a measured, at times meditative exploration that’s less about conclusions and more about questions we don’t often ask.

Sometimes, it takes a cold night, a broken lock, and a pricey locksmith bill to inspire a film that makes you feel trapped in a haunted memory. That’s the unlikely spark behind THE SPHINX, a lo-fi psychological short that leans hard into discomfort and disconnection. What starts grounded in real-life frustration slowly shifts into something more unsettling, less about plot mechanics and more about the surreal weight of feeling disconnected from your reality.

When a movie hinges on a reptile and two actors who hate each other, the results can either feel electric or combust into pure chaos. This one doesn’t blow up, but it never quite fully strikes. Sitting between high-concept thriller and creature feature chaos, VENOM starts with a premise that sounds like a studio executive’s fever dream—kidnappers, a dangerous snake, and a tense siege all unfolding inside a London townhouse. It’s the kind of setup you expect to tip over into absurdity, and somehow, it both restrains itself and spirals off the rails simultaneously.

Tom Avery doesn’t set out to change his life, but the road has other plans. In THE WAY, director Emilio Estevez crafts a thoughtful story about a man caught off guard by grief and swept into a pilgrimage he never intended to make. What starts as a simple task — retrieving his son's body — evolves into something more complicated. This isn’t a grand epic or a high-stakes thriller. It’s about quiet moments, emotions, and the unexpected people who walk beside you when you think you’re alone.

In the diverse world of 1970s horror, BLUE SUNSHINE stands out with its unique fusion of psychological suspense and societal reflection. Directed by Jeff Lieberman, this film examines the haunting repercussions of past decisions manifesting in unexpected and terrifying ways.

When an indie filmmaker decides to reshape a vampire origin story that barely has roots in actual folklore, you can bet the results will stir up opinions. AMBROGIO: THE FIRST VAMPIRE aims to be bold, pulling from an internet-born tale that most would never guess wasn’t an ancient legend. By turning a digital-age myth into a feature-length film, writer-director-star Alex Javo attempts to give old-school vampire cinema a foundation with gods, curses, and a cursed love that spans eras. It's a film with ambitious ideas and uneven execution, but one that reflects the enthusiasm of its creators.

Sometimes, a film will stay with you for the long term. BEFORE YOU does exactly that with its emotionally packed, grounded story and focused voice. The film explores a deeply personal topic without ever feeling inaccessible. It’s the kind of film that doesn’t need to scream to be heard. It speaks in cautious gestures, with a direct, empathetic, and artfully restrained tone — a rare combination that makes its 15-minute runtime feel impressively complete. Directed, written, and produced by Lauren Melinda, BEFORE YOU draws from lived experience to examine the ripple effect of a life-altering decision, all while reflecting on womanhood, loss, and the very idea of moving forward.