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In MESSY LEGENDS, the party never quite ends—it just changes, spirals, and explodes into something far more unhinged. Expanding on their acclaimed 2023 short, co-directors Kelly Kay Hurcomb and James Watts deliver a full-length, chaotic deep dive into Montreal’s nightlife, slacker culture, and the millennial generation’s lingering malaise. What begins as a loose, vibrant love letter to the Plateau’s underground scene turns into something messier, more introspective, and at times unexpectedly vulnerable.

It works, even though it shouldn’t, it really shouldn’t! Simon Glassman’s BUFFET INFINITY doesn’t just bend the rules—it microwaves them on high until they bubble and explode. What begins as a satire of small-town local television quickly spirals into a hallucinatory, absurdist descent into the mind of a community being devoured by its own identity. This is weird cinema at its best: committed, chaotic, and unnervingly hypnotic.

SHRIMP FRIED RICE weaponizes weird into a full-blown, puppet-powered battle royale between crustacean and rodent. In just twelve minutes, Dylan Pun’s wild short manages to cram in more laughs, ingenuity, and full-blown madness than many feature-length comedies even attempt. It’s a culinary chaos warzone where egos boil over, loyalties flip like flapjacks, and the rice isn’t the only thing being fried.

A GRAND MOCKERY is the kind of film that crawls under your skin and refuses to leave quietly. Directed and co-written by Adam C. Briggs and Sam Dixon, this surreal Australian feature explodes with gritty sincerity, hallucinatory dread, and a uniquely regional sense of decay. Shot entirely on Super 8mm, it’s as if the film stock itself is rotting before your eyes—perfectly mirroring the mental deterioration of its central character, Josie.

HAUNTED MOUNTAINS: THE YELLOW TABOO doesn’t rush to frighten you—it drifts, floats, and occasionally vanishes into its own shadow. It's a film as stubbornly ethereal as the legends it draws from, positioning itself somewhere between experimental cinema, mythological meditation, and slow-burning horror. Rain Wu’s film is not trying to fit a conventional mold, and that’s both its strength and its Achilles’ heel.

There’s a fine line between daring and disorganized, and ANYTHING THAT MOVES spends much of its runtime trying to balance on it. Shot on Super 16mm and drenched in both neon light and bodily fluids, the latest offering from Alex Phillips aims to be provocative, but often ends up tangled in its stylized excess. From the first frame, this is a film that’s designed to challenge your expectations, your comfort zone, and occasionally your patience.

HELLCAT wastes no time pulling you into its world of uncertainty. A woman wakes up in a moving trailer with no idea where she is, how she got there, or why she has a wound on her side. That’s the setup, and the clock starts ticking almost immediately. What follows is a lean, paranoia-fueled thriller that gradually shifts into something more emotionally grounded—and ultimately more unsettling. It’s a strong debut feature from writer-director Brock Bodell, and a showcase for Dakota Gorman, whose performance helps anchor the film as it veers from grittiness to psychological horror.

MOTHER OF FLIES is a return—and a reckoning. With this latest experience, the Adams family doesn't just go back to their roots; they dig them up, twist them, and expose every worm underneath, burying it with rocks. John Adams, Zelda Adams, and Toby Poser once again write, direct, and star, continuing the familiar filmmaking style that’s defined their work: the family that slays together, stays together. It’s never clearer than now how much that bond shines through on screen. But this time, the stakes feel more personal, the horror more real, and the artistry more purposeful.

Some horror films scream; this one snarls. THE SERPENT’S SKIN might clock in at just over 80 minutes, but it packs in enough fury, vulnerability, and rebellion to fill an entire franchise. Alice Maio Mackay’s sixth feature is her most assured and emotionally volatile work yet (and that’s saying something because she has one hell of a filmography)—a supernatural queer horror tale that wields witchcraft, body horror, and heartbreak with equal urgency. It’s brutal, funny, and unmistakably punk in spirit, refusing to flatten its characters into metaphors or reduce their trauma to exposition.

The pressures of assimilation, especially for immigrant teens, are rarely presented with a story this powerful. FOREIGNER captures a time when low-rise jeans and sitcom reruns ruled pop culture, but reimagines that familiar coming-of-age formula through a supernatural horror lens. Ava Maria Safai’s directorial debut dares to blend pastel-filtered aesthetics with the creeping dread of cultural erasure, delivering a film that’s equal parts satire and psychological nightmare. It does all of this with very little “traditional horror” and with a focus on fear, anger, and judgment.

THE BEARDED GIRL may sound like the setup for something whimsical, but what it delivers instead is a stripped-down, emotionally honest coming-of-age story about the weight of legacy, the longing for normalcy, and the cost of pretending to be something you’re not—even if that something was working just fine for everyone else.

There’s a kind of horror that’s born not from monsters or ghosts, but from the absurdity of our obsessions. HEADCASE doesn’t just see that—it dives into it face first and comes back smiling. In just a handful of minutes, director Spencer Zimmerman delivers a viciously smart short that takes on influencer culture with the kind of unflinching creativity you don’t often see in projects about the world of false idols. It’s funny, unsettling, and bizarre in all the right ways—and the final act transforms the experience into something far bigger than its runtime suggests.

With its six-minute runtime and nonstop unapologetic chaos, LE TOUR DE CANADA doesn't just wink at stereotypes—it barrels straight through them on two wheels. This proudly weird and artistically stylized short from director John Hollands careens across Canada in a frenzy of rear projection, archival oddities, animated mayhem, bravado, and fish decapitation. And yes, it is every bit as strange—and strangely endearing—as that sounds.

Homeownership might not come with a survival manual, but it should. This chaotic genre blend, where everyone's suburban dreams are immediately ambushed by fine print and a very hands-on homeowners association. With a tight runtime and an unapologetically bizarre tone, this indie horror-comedy spins a smart, blood-soaked tale out of one of the most mundane rites of passage—moving into your first house.

This film offers up a fully loaded gut punch to conventional storytelling. Set in the mid-'90s and soaked in grunge-era angst, it blends creative burnout, dream logic, and experimental visuals into one heady mix. It’s loud, it’s unfiltered, and whether or not you’re on board, it never stops trying to shake something loose.

Trigger warning, this film deals with some dark themes, especially in terms of what does and doesn’t constitute rape. It’s essential to make sure you’ve prepared yourself accordingly. I had no clue what I was getting myself into here, and that’s how I like it. ME AND MY VICTIM dives into the turbulent and textured world of “Maurane” and Billy Pedlow’s unique relationship, painting a vivid portrait of urban love set against the backdrop of city life in Montreal and New York. These locations are dynamic characters in their own right, each adding a layer of complexity to the narrative. You can only have experiences in places like this. Described as an experimental film, I think this is almost a biographical interview documentary hybrid.

This film WILL make you uncomfortable, make you mad, and challenge you to think outside the box! (if it doesn’t, you may want to consider therapy) BLACK EYED SUSAN is a cinematic excursion into the shadowy crossroads of advanced AI and human emotion, effortlessly blending gritty realism with a speculative narrative. Director Scooter McCrae returns after a two-decade hiatus to probe the ethical labyrinth surrounding a humanoid robot designed to experience human-like emotions, shot through the lens of Super 16 film that gives the tale a haunting, timeless quality.

The true sign of success for a short film is a short that doesn’t feel like it. This film, clocking in at just 14 minutes, feels like an entire feature when looking back at it and thinking about the story. At a seemingly innocent fraternity gathering, Judy’s (Cailyn Rice) night transforms into an uncanny ordeal in FACES. In this film, director Blake Simon masterfully intertwines the perceived innocence of everyday life with supernatural elements. The film stands out for its deep dive into the psyche of its characters, magnified through their encounters with a menacing entity that not only threatens their existence but reflects their identity crises. Simon’s approach elevates horror, melding psychological intrigue with classic motifs to explore the themes of self and fear in compelling new ways.

In the heart of the film DIRTY BAD WRONG, we find a vivid portrayal of human resilience shadowed by the stark realities of a mother striving to provide the ultimate birthday bash against a backdrop of personal and economic struggle. This narrative explores the complex interplay between societal expectations and personal sacrifice. What extremes would you be willing to go to for the ones you love?

Lucía Forner Segarra presents an enchanting and complex narrative in her latest cinematic endeavor. BERTA's concluding chapter of her trilogy is a nuanced exploration of psychological depth and sly humor. This film explores themes of vengeance and emotional healing, presenting a multifaceted look at the consequences of confronting one's past. The film's simplicity adds to its power; while I haven’t checked out the first two films, I can imagine how powerful the journey would be if they are on this same level.

Eugene Kotlyarenko's THE CODE ventures boldly into the narrative of a no-man’s land where digital surveillance meets romantic dysfunction, set against the somber backdrop of the COVID-19 pandemic. This concoction of drama, romance, and unexpected humor delves into the lives of Celine (Dasha Nekrasova) and Jay (Peter Vack), a couple grappling with the fading sparks of their relationship.

Under the vast skies of Estonia, Mia (Teele Kaljuvee-O'Brock,) Grete (Johanna-Aurelia Rosin,) and Sarah (Hannah Gross) embark on a summer adventure that promises relaxation and exploration. Their journey swiftly shifts gears when they encounter a mysterious app developed by Dr. Mindfulness (Ciaron Davies.) The app links their fate to a local zoo and transforms them in ways that challenge the very fabric of their reality. This transformative experience forces them to confront the thin line between the natural world and a digitally augmented existence. Believe it or not, it ends up being one of the most intriguing explorations of existential journeys that I can remember seeing.

At a time when humanity stretches its grasp to the stars, the celestial battle for resources rages on. Earth and the Martian Empire are in a relentless struggle over vital commodities, particularly water. Kai (Jonathan See) is central to this galactic saga, a young man fuelled by his father’s heroic past and haunted by his mother's mysterious vanishing during a Saturn expedition. Despite grappling with a severe asthma condition that could thwart his ambitions, Kai is unwavering in his resolve to earn his place at the elite Mecha Corps Academy. His odyssey is amplified by his bond with Little Dragon, a mecha pivotal to his personal and developmental journey.

When you stroll through the streets of Woodland Hills in Los Angeles, it might feel like you've walked onto a film set, where every corner whispers secrets of a world where privacy is just an illusion. That's the chilling scenario that HI! YOU ARE CURRENTLY BEING RECORDED brings to life. Directed by Anna Maguire and Kyle Greenberg, this short film cleverly mirrors our societal obsession with surveillance, thrusting Maguire, both director and protagonist, into an unsettling narrative of modern voyeurism.

At the far reaches of the Capillian Star System, THE SILENT PLANET crafts a poignant narrative that intertwines the lives of Theodore, portrayed with nuance by Elias Koteas, and Niyya, brought to life by Briana Middleton. Theodore's existence, steeped in the routine of mineral extraction and haunted by fading memories of Earth, sets the stage for a starkly introspective journey. This solitary routine is jolted by the arrival of Niyya, whose past was marred by trauma and otherworldly encounters, igniting a turbulent unraveling of secrets they both wished stayed hidden.