'Party USA' Review: Taking the Dead End Job Literally
Capitalism doesn't care about your dead dad. That's the very candid takeaway from Jared Sprouse's dark comedy, Party USA. Serving as writer, director, producer, and co-editor, Jared crafts a brutally honest portrayal of survival of the minimum-wage worker. A clever script and strong performances bring this indie to life in spectacular fashion.
Taking the Dead End Job Literally
Set in a small Southern town, twenty-something Taylor Prout (Ainsley Seiger) lives a fairly quiet life. That is, until she receives a surprising phone call informing her that her dad is dead. The news shocks Taylor to her core. However, reality strikes when Irene (Tracy Tolliver), her boss at Party USA, denies her request for time off. The other employees can't cover her shift for various reasons, leaving Taylor stuck working a dead-end service job while her father is, literally, dead.
While Taylor should be making funeral arrangements, she is instead stocking shelves with cheap candy and consumer-grade fireworks. How tragic that a daughter working in customer service is not allowed the time to grieve her father! Her justified anger manifests in physical action against Irene, leading to a fatal decision that can potentially cost Taylor her life, too. Adding to Taylor's stress are her anxious boyfriend Damian (Phillip Andre Botello), her unruly brother (Ben Weinswig), and Irene's daughter, Zhara (Sharahya Carter), whose unexpected appearance forces Taylor to push her grief and guilt aside in order to save herself.
A Modern-Day Clerks Meets Fargo
Tonally, Party USA successfully walks the fine line between dark comedy and homegrown horror. Picture Clerks meets Fargo with a sprinkle of Parasite. Commanding the screen is Ainsley Seiger, who gives not only a phenomenal performance but a memorable one, too. She has a face for the big screen and carries the film effortlessly. Another standout element is the cinematography by Simms Wright. In particular, the extreme close-up of Taylor's eyeball during a fireworks symphony is stunning.
Director's Statement
"Having spent many years working in hospitality, I wanted to draw on that experience for Party USA. I know the particular exhaustion that comes from smiling while everything inside you is falling apart. You learn to perform politeness, to suppress anger, and to keep moving even when grief or frustration threaten to overwhelm you. These small businesses scattered across the region are filled with unique kinds of stories and vibrant characters. So to me, there was no more distinctly American setting than a rinky-dink party and fireworks store, selling patriotism to the masses.
There is something profoundly and disturbingly American about a young woman being pushed to the brink because she cannot get her shift covered after her father dies. It’s a job she cannot afford to leave, but can no longer bear to keep. It’s an exploration of how unfettered capitalism can corrupt those amongst us who are just trying to help those they love most. Party USA is my attempt to explore that contradiction with honesty, humor, and above all, a thrilling lens." - Jared Sprouse
Takeaway
Making its world premiere at Cinquest, Party USA is a delightfully chaotic joyride and all-around success for Jared Sprouse's directorial debut. Stay through the credits too. It's refreshing to see bloopers during the end scroll.
'Funny/Not Funny' Review: A Comedic Love Letter About Grief
Sometimes, the best way to process grief is to joke about it. Screenwriter Jocelyne O’Toole details this nonlinear journey of dealing with tragedy through comedy in the short film Funny/Not Funny. Taking inspiration from the aftermath of her mother's passing, O'Toole crafts a personal story about one woman's resistance and ultimate acceptance of her newfound loss. This passion project, directed by Michelle Leung, recently played at 2026 SOHO International Film Festival.
Smile Through the Pain
Aspiring stand up comic Rosie Richardson (Jocelyne O’Toole) eagerly takes to the stage, ready to perform her new material. What she doesn't expect is a call from her mother's hospice caretaker, informing Rosie that she has passed away. To make matters worse, Rosie receives this voicemail on speakerphone and has to process this life changing information in a room full of strangers. To say it sucks the air out of the room is an understatement.
The unfortunate timing of her mother's passing is further amplified by the delivery of an unwanted gift. Rosie receives a package from her mom, sent before her death, that causes her to spiral even more. A Roomba-like vacuum now sits in Rosie's house, a not-so-subtle gift from her mom from beyond the grave. Rosie convinces herself that once she gets rid of the package, her emotional baggage will disappear with it. So, with nothing left to lose, Rosie sets out to close this chapter of her life while smiling through the pain.
A Personal Project Stemming from Heartbreak
Funny/Not Funny is a true dark comedy. The humor comes from an uncomfortable situation and not the traditional lighthearted fare. It's important to understand Jocelyne O’Toole's roles in the film to fully embrace the importance of it. Not only is she the lead actress, but her talents extend beyond the lens as the screenwriter. She dedicates the film to her mother and friend Shawn Regruto, whose encouragement and guidance helped shape Funny/Not Funny into the authentic and personal story we have today.
Director's Statement
"This film’s droll and dark sense of humor kicks in right away when, in the oddest of situations, Rosie discovers that she’s lost her mother. The weirdness may continue forever unless... It’s a situation of grief but from a very different point of view... We went with a filmic color grade, inspired in no small part by the dark humor of Scorsese's film The King of Comedy. And by dropping our female protagonist into in the male dominated world of stand-up comedy, we are accentuating perseverance when the odds are stacked against one." - Michelle Leung
Takeaway
A comedic love letter to navigating the grief process, Funny/Not Funny is a sensitive and heartwarming watch.
'American Troll' Review: The Price of a Joke
Most would agree that it hits below the belt for a comedian to make fun of a child with disabilities. However, Canadian stand-up comic Mike Ward boldly uses this type of material in his set, citing his right to free speech. This begs the question: Can the right to one's creative freedom circumvent censorship? Polish-Canadian documentary filmmaker, Saturnin Kondratiew, explores this divisive topic in his new film, American Troll.
The target of Mike's attempt at comedy is Jérémy Gabriel, a deaf, French Canadian singer, born with Treacher Collins syndrome. The fact that Jérémy is a public figure is enough for Mike to consider him fair game. Through sit down interviews with Mike, his comedian peers, and supporters, the agreed upon sentiment seems to be that once someone is famous, all bets are off. "No one has a right to not be offended," says one interviewee. Mike Ward's off-color joke–essentially questioning why Jérémy is still alive–leads to one of the most controversial freedom of speech cases in Canadian history.
The Price of a Joke
Should comics face a courtroom as a result of their jokes? The question poses a fine line to walk, and filmmaker Saturnin collects enough evidence on the "neigh" side to make the case that we as a society are becoming too sensitive. People like Jérémy who find offense in derogatory statements are "grievance collectors" and insecure human beings who "seek out problems". Whether or not you agree with these points of view, American Troll stands strong in its conviction that political correctness is the problem and not the joke itself.
The film misses the opportunity to engage in a more rounded debate by mostly hearing from people who reinforce Mike Ward's reasonings. It seems that Jérémy, the subject of his creative liberty, is left to fend for himself once again. From a production perspective, American Troll employs the traditional documentary stylings with talking head interviews and a surplus of b-roll. While the film is successful in defending this point of view, the abundance of stock footage and the abrupt music edits distract from the intended messaging.
Director's Statement
"A monumental free speech case in Canadian history! This documentary is a reminder that, in the face of adversity, maintaining strong beliefs can lead to personal growth, mockery, depression, grey hairs, unwanted attention, online cruelty, repeating mistakes, and very expensive lawyer bills." - Saturnin Kondratiew
Takeaway
Regardless of where you fall on the ethics meter, American Troll presents as a lighthearted attempt at normalizing dark subject matter. And one important detail to acknowledge is that, despite its title, American Troll takes place in Canada.
'The Last First: Winter K2' Review: The Quest for Fame Proves Fatal
A good documentary will show you a world beyond your own. A great one engulfs you in it, essentially transporting you into the story as if you are a witness rather than an audience member. If you are eager to experience this spectator's adrenaline rush, look no further than The Last First: Winter K2. Emotionally charged and chilling, director Amir Bar-Lev weaves a complex tapestry of ambition, greed, and tragedy within the world of extreme mountaineering.
Risking it All For A Shot at Glory
K2 is the second-highest mountain on Earth, reaching well over 28,000 feet. Its height makes it quite a feat to summit, let alone the extreme weather conditions that make any attempt a deadly gamble. Mother Nature is not messing around: Winds exceed 80 mph, temperatures can drop to -70°F at night, and unpredictable avalanches are a threat even to the most skilled alpinist. It's for these reasons that, prior to 2021, reaching the top of K2 in winter was the last mountaineering challenge that remained. It was the last first.
The Last First: Winter K2 follows the journey of Icelandic climber John Snorri Sigurjónsson and Pakistani father-son climbing duo Ali and Sajid Sadpara as they attempt to become the first team to summit K2 in winter. This once-in-a-lifetime opportunity promises worldwide fame and notoriety for both the climbers and their country. Equally, the attempt carries a high risk of injury or death. By nature, extreme athletes tend to be braver (and more delusional) than the average person, so even the risk of death was not a deterrent for the trio.
However, the climb becomes complicated when celebrity Nepalese mountaineer Nims Purja and his elite team of Sherpas swoop in unannounced, also setting their sights on K2's peak. Not only is Nims' presence a distraction, but a commercialized expedition company also arrives with influencer climbers and their film crews. The race to be first is on, but distractions give way to grave mistakes that turn an already treacherous ascent into a deadly climb.
A Peaceful Place for an Extreme Alpinist to Find Eternal Rest
Make no mistake, this is a difficult film to watch. Even if you know how the story ends, it doesn't make the viewing any less heartbreaking. Filmmaker Amir Bar-Lev balances this emotional weight with interviews from the surviving climbers, who all seem eager to finally share their side of the story. Despite the competing egos, class, and caste systems at play, it is beautiful to see the surviving climbers put their differences aside and allow their compassionate sides to peek through. In a sport that prioritizes competition over teamwork, this is a rare sight.
Capturing their stories in stunning detail is cinematographer Will Pugh, who uses the mountain as his backdrop. Through his lens, we can sense a sacredness that permeates K2, making it an eerie yet ultimately peaceful place for an extreme alpinist to find eternal rest.
Takeaway
For fans of Free Solo and The Dark Wizard, you'll find a similar thrill in The Last First: Winter K2 . It's so gripping (pun intended), I couldn't look away... I even broke my self-imposed "no screen" rule for my seven-month-old so he could watch with me. The film made its World Premiere at the Sundance Film Festival and is now playing in select theaters and on Apple TV.
Credits
The Last First: Winter K2 is produced by Howard T. Owens and Ben Silverman through Propagate Content; Sean Richard produces for Object Studios; and Sarah Thomson and John Battsek serve as producers for Ventureland. The film is executive produced by James Packer, Will Kane, Drew Buckley, Taylor Levin, Isabel San Vargas, Bar-Lev, Kerstin Emhoff and Ali Brown.
'The History of Concrete' Review: A Solid, Surprisingly Riveting Documentary
Shockingly, a documentary about concrete does not have to feel equivalent to watching paint dry. This is true only because of the mastermind behind the project: John Wilson. If it had been another other filmmaker, The History of Concrete would most certainly be a slog. How could it not? The History of Concrete encapsulates the beauty, skill, and ingenuity that John Wilson has built his brand around: turning the mundane into humorous and outright unforgettable moments.
How To Make a Rock Solid Doc
For fans of his HBO series How To with John Wilson, The History of Concrete plays like an extended episode. It's delightful; his signature on-the-nose puns and observational archival footage are on full display. Using New York City as his backdrop once again, John hones in on his subject matter: concrete. Inspiration is all around him, from the streets to buildings to bridges, and more. Realizing that there is a lack of knowledge on the material that surrounds New Yorkers the most, he sets out to create the definitive documentary on concrete.
To no one's surprise, it's a tough sell. To up the appeal, John applies the "industry-approved Hallmark formula" to increase the film's chances of success. Despite riveting conversations with blue collar workers who educate John on the difference between concrete and cement and street cleaners who proudly declare that "gum is like the birdshit of people," he struggles to keep his artistic freedom from getting lost in the modern film industry's need for a "happily ever after."
Poetic Commentary Expressed Through Deadpan Satire
John Wilson is known for his archival footage that captures the weird and wacky side of NYC life. Through his films & docuseries, he offers more than just entertainment. His work is a poetic commentary on the state of society, usually under a darkly humorous and deadpan lens. The tapestry of comedic moments he weaves together through cunning voiceovers with perfectly paired archival footage is the work of a true artist. Aiding in the film's impact is the score by legendary electronic artist Suzanne Ciani. Notable EP's include Josh Safdie and Ronald Bronstein of Marty Supreme, which makes a special appearance in The History of Concrete.
Takeaway
Unique in execution and subject matter, The History of Concrete is a surprisingly fun watch. It also leaves audiences with a sobering reminder that nothing lasts forever... except maybe a tombstone. The film made its World Premiere at the 2026 Sundance Film Festival.
'Bladez' Review: This Campy Comedy is a Nostalgic Delight
If you are nostalgic for comedies with a goofy sensibility, you'll find much to admire in Bladez. Running 18 minutes long, director Dustin Muenchow leans into the campiness of over exaggeration and satirical humor in his colorful short film. Bladez's style of humor may be polarizing, but its lack of pretentiousness, along with a whimsical nature proves to be a winning combination.
"Blading is the Juice of Life"
Trish (Alyssa Sabo) is a teen with a dream: winning tacos for life by competing in a local rollerblading competition. Sick of her dad's pasta dishes and desperate for a change of cuisine, Trish bravely confronts the painful memories attached to her discarded rollerblades. She was on blades when her mother spontaneously left the family (for a cruise ship comedian, no less) and ever since, rollerblades have been a source of sensitivity.
Reconnecting with her past isn't Trish's only problem. She also faces competition from mean girl Sheila (also played by Sabo). Not only does Sheila also want to win the taco prize, she flirts with Trish's crush, Kevin (Matt Catanzano). These distractions prove challenging to navigate, but guidance from an unexpected mentor reminds Trish that blading is in her blood. All she has to do is believe in herself.
The Best of the 80s, 90s, and early 2000s All at Once
Blending decades of comedic styles with flamboyant flair, Bladez is an amalgamation of creativity. Echoing the "adult plays a teen" style of Pen15 and mannerisms of Fred Armisen and Carrie Brownstein in Portlandia, Bladez offers audiences a shot of escapism by dishing out a joke a minute. It is a riotous good time for those who are into DIY humor. Playing multiple roles, Alyssa Sabo is–quite literally–the star of the show. Her strength as a multi-hyphenate (writer and performer) is on full display, and she elicits laughs with every move she makes.
Director's Statement
"My parents are instrumental in my lifelong adoration of cinema, we watched a movie almost every night of the week... They love comedy and we’d watch SNL reruns and comedies that I would watch on repeat like Three Amigos, Airplane!, and Dumb and Dumber. I think the movie I can quote the most to this day is Kung Pow! Enter the Fist. Things like the Cartoon Network Toonami promos from the early 2000’s are burned into my brain and are something that’s influenced me more than most movies with their ability to capture a feeling. Editing informs my directing and they are eternally connected. I seek to find inspiration in all aspects of life and art." - Dustin Muenchow
Takeaway
Akin to an old school SNL skit on a shoestring budget, Bladez gets funnier the longer you watch it. Comedies like this don't seem to exist anymore, and Bladez is proof that there is still a market for this style of filmmaking. The film recently had its World Premiere at the 2026 LA Shorts International Film Festival, where it won "Best Series".
'Bad Tooth' Review: A Misophonia Sufferer's Worst Nightmare
A simple toothache sends a man into a nightmarish spiral in filmmaker M. Dara Alavi's short film, Bad Tooth. Equally impressive in craft and effects, this fever dream of a film will get under your skin and maybe, just maybe, convince you to floss.
A Night of Misery and Torture
An overworked gig worker faces the unimaginable when a persistent toothache drives him to the brink of insanity. Alone in his apartment surfing through TV channels, Alex (Joshua Burge) becomes increasingly uncomfortable by the nagging pain in his tooth. Insurance premiums on a gig worker's salary are out of reach, and so Alex's decision to opt-out of health insurance is starting to feel like a monster of a mistake. Alex soon realizes he needs to take matters into his own hands to relieve the pain. What follows is a self-inflicted night of torture that is not for the squeamish.
Alex's actions start small but grow more outlandish as he becomes more desperate. At one point, he brushes his teeth so hard that his mouth pools with blood. He grabs a fork and grinds his teeth on the metal, a sound effect that will no doubt send chills down your spine. As his behavior becomes more erratic, the monstrous infection begins to grow and overpower Alex's fragile state of mind. Eventually, he cracks under the pressure and the pain.
Rooted in Truth
The origin story of Bad Tooth is rooted–pun intended–in personal experience for writer/director M. Dara Alavi. Alavi was experiencing a vicious toothache that he couldn't afford to fix, and without dental insurance to help, found himself stuck to his own devices. This is a story that is so specific that only a survivor could describe the experience so vividly. Bringing the script to life is Joshua Burge, whose phenomenal physicality lands as more performance art and less "acting". Another highlight of the film is the sound design which intentionally pokes at phobias and will be a nightmare for anyone with sound sensitivity.
Director's Statement
"Bad Tooth was born one night amid industry layoffs, when I had a vicious toothache I couldn't afford to fix and no insurance to cover. That gave me time to think about how absurd American healthcare is, and how much of that absurdity we learn to live with.But I didn't want to make a film about healthcare. I wanted a film about a person, letting the absurdity of the systems around him, and inside him, reveal itself through his body.
It also became a chance to bring together the creative network I'd built over a decade in SFX/VFX, and to lay groundwork for a feature I've been developing since this project began, one that goes deeper into the same world and wound, with room for the fuller story the short can only gesture toward. Because you can only numb the pain until it con sumes everything." - M. Dara Alavi
Takeaway
Gory and gritty in all the right places, Bad Tooth is psychological body horror done right. The film had its World Premiere at the 30th LA Shorts International Film Festival and will next screen in the Official Fantàstic Competition at the 59th Sitges International Fantastic Film Festival of Catalonia.
'Dance with Me' Review: Memories Fade, Music is Forever
A holocaust survivor simultaneously battles the past and present in filmmaker Nicholas Paskhover's short, Dance with Me. Running fifteen minutes long, this emotionally-charged drama explores the complicated layers of memory. Inspired by the filmmaker's personal experience, Dance With Me tells a tender story of hope and the everlasting power of music.
If Music Be the Food of Love, Play On
Sasha (Elya Baskin), a Holocaust survivor, cannot escape his past. His dementia causes him to struggle in his ability to distinguish memory from reality, including vivid flashbacks to his traumatic childhood in 1941. His wife, Anya (Laraine Newman), does her best to bring Sasha back to the present moment, but his rapidly declining condition proves challenging. Sasha's increase in confusion results in one particularly terrifying situation, when he mistakes Anya for an enemy and draws a gun in self-defense.
However, Anya is a patient woman and sees the light behind Sasha's eyes, confident that he is not lost for good. To spark his memory and bring him back to reality, Anya plays music from their past. Her idea works; cutting through the noise and confusion from his dementia, Sasha–without hesitation–begins to dance with his wife of many decades.
Watch a Teaser of Dance With Me here
Bringing the script to life are the phenomenal performances from the co-leads. Elya Baskin evokes such a sympathetic reaction, while Laraine Newman's resilience acts as a nice counterweight. Their chemistry rings authentic and deeply real. Filmmaker Nicholas Paskhover crafts a haunting story that encourages audience introspection. Remembrance and identity are core themes that Paskhover is able to effortlessly articulate throughout the film, especially in the script. A project that is so personal to him, there is an extra layer of vulnerability that you can viscerally feel.
Director's Statement
"When my grandfather Boris was nine, he was sent to the concentration camp at Pechora, in Romanian-occupied Ukraine. He said goodbye to his mother and his sisters and never saw them again. Most of the people who died there died of hunger. He escaped with his father and his brother, and the three of them were separated soon after. He rarely talked about any of it.
The dementia brought those traumatic yet formative childhood memories back, fueling episodes and nights he'd wake up screaming. My grandmother Maya was married to him for more than fifty years. They went through so much together and my grandfather loved to spoil her rotten. When the disease took over, she had to watch him forget her while he drifted in and out of his traumatic past. I wondered what that must have been like, both for him and for her. Dance with Me became my way of honoring them both." - Nicholas Paskhover
Takeaway
Difficult subject matter often makes for compelling stories, and this is true in Dance With Me. The film recently premiered at the 2026 LA Shorts International Film Festival.
'The Farmer's Daughter' Review: Ambient Agriculture in Stunning Stop-Motion
There's a special kind of joy that comes from watching a stop-motion film. The ability to turn a laborious process into something so elegant and seamless never ceases to amaze me. Director/writer/editor/producer Melissa Bloom captures this movie magic in her stunning and eco-conscious short film, The Farmer’s Daughter.
A Love Letter to Regenerative Farming
The Farmer's Daughter uses colorful and expressive imagery to tell a universal story of hope and survival. A farmer and his daughter face a heartbreaking dilemma when their once fertile family farm stops producing harvest. The bison and birds that used to roam the vast fields are now replaced with dry roots and dead soil. With no crops to sell, and no prospects on the horizon, the farmer painstakingly decides to sell his land. However, his daughter's determination to regenerate the farm is strong. She makes little tweaks here and there until, one day, the "barren wasteland" is transformed. But with a signed contract already in place, is it too late to rescind the sale and keep their farm?
Embracing Nature, and Natural Materials
The mesmerizing production aesthetics of The Farmer's Daughter offers an instant dose of warmth and comfort. You can practically grasp the fluff on the Bison, or the dry roots in the soil. Incredibly, all the materials in the film are eco-friendly and non-toxic. Even the processes used to create the sets and characters were intentionally sustainable. This commitment to environmental standards, both on screen and off, only enhance the film's overall effectiveness. Further aiding in the overall production is the sound design, which is also quite meditative and serene. The satisfaction of hearing roots being pulled from the ground, and the sprouting of new plants and vegetables feels therapeutic.
Director's Statement
"I love how expressive and moody stop-motion can be, but for us it’s about telling inspiring and heartfelt stories for all ages. In fact, it was so fun to watch the children of our crew (as young as 2 years old!) watching the film, mesmerized by the tractors and colors. My biggest curiosity is if people can tell that the film was created with all natural and non-toxic materials and methods.
What I would love people to take away is the understanding that you can create in alignment with Nature while still holding true to your vision and making a product that is comparable to other stop-motions using standard materials." - Melissa Bloom
Takeaway
Running thirteen minutes long, The Farmer's Daughter is the very best interpretation of ambient agriculture. Hopefully, its successful use of natural materials and methods will inspire other filmmakers to embrace an eco-conscious production mindset. The short was selected to screen at the 2026 Indy Shorts Film Festival.
'Creators' Review: Like, Subscribe, and Stay Sane
Influencers will do anything for attention. It doesn't help that the current creator economy incentivizes people to go bigger and bolder, to the point where the line between fantasy and reality becomes blurred. Writer/director Nikolay Sysuev explores this alarming need to capitalize on trends in his short dark comedy Creators.
Like, Subscribe, and Stay Sane
Kieran, an aspiring content creator, learns the hard way that there is no fast track to fame. His YouTube channel "Kieran Does Stuff" struggles to break 100 views per upload, which is a frustrating reminder that his prank videos are clearly not resonating with his audience. Kieran's desperation for a viral hit reaches its peak when he stumbles across a video of a YouTuber saving a man from jumping off of a bridge. In a twisted way, it is this clip that fills Kieran with inspiration. He convinces himself that, if he can stage a heroic rescue, the algorithm will reward him with not only views, but most importantly, likes.
As luck would have it, Kieran finds himself in a situation where he does in fact save a man's life. Thrilled with how the optics will look, Kieran excitedly logs onto YouTube to begin creating his next post. However, he soon makes a twisted discovery that forces him to confront a dark thought: is he actually creating the content, or has he become it?
Nightstalker Aesthetic Meets Offbeat Humor
Creators' dry and offbeat humor sets the perfect tone for this interpretation of living life for social media. The script, written by Sysuev, is tight and sharp, and delicately finds the balance between a comedy and a thriller. Cinematographer Adam Leene brings the vision to life with cinematic flare, and I wouldn't be surprised if the visual references included Nightstalker, given Creators gritty and dark aesthetic. As the protagonist, Kieran, Matthew Garry is a captivating leading man.
Director's Statement
"I hope audiences have fun with it first and foremost. My goal has always been to entertain, but also to leave people with a few uncomfortable questions. We all live in a world where the line between authenticity and performance is becoming increasingly blurred, and I wanted to explore that in a way that feels funny, surprising, and hopefully a little unsettling.
More than anything, I hope the film offers a perspective that audiences haven't quite considered before. If people leave the screening still debating the characters' choices, questioning how they might have behaved themselves, or finding that certain moments linger in their minds, then I'll feel the film has done its job." - Nikolay Sysuev
Takeaway
Creators is a story that contains a prevalent emotional truth at its core, while remaining a humorous and stark observation of the influencer economy. It's this layered vulnerability that makes Creators such a compelling and fun watch. The film was selected to screen at the 2026 HollyShorts Film Festival.
'A Little Death' Review: The Teacher Becomes the Student
Beautiful handcrafted animation is alive and well in Leto Meade and Jonathan Rockefeller's short film, A Little Death. In a world of increasing AI infiltration, the film's hand-drawn illustrations offer a breathtaking return to form. The craftsmanship is stunning and vividly transforms the source material, Nicholas Gurewitch's graphic novel "Notes on a Case of Melancholia, Or: A Little Death", into a charming dark comedy.
The Teacher Becomes the Student
It's an ordinary day for Death and his young apprentice as they attempt to collect a soul from Earthside. Their target is an older gentleman, a seemingly easy first get for Little Death. However, her inability to focus coupled with her desire to embrace living beings like plants, animals, and a specific red flower, is increasingly frustrating Death. Fed up with Little Death's behavior, Death decides to seek advice from an unlikely source: the older gentleman he is meant to collect. What transpires is an unexpected learning lesson that ultimately ends with a twist no one sees coming.
An Unexpected Vehicle for Self-Reflection
The unique storytelling of A Little Death successfully aids in its ability to act as a vehicle for self-reflection. The creative decision to forego dialogue in exchange for composer Alastair McNamara's orchestration and choir ensemble creates a very effective emotional force. Similarly, the predominantly black and white sketches are bold and eye-catching. The pop of red from the flower–the only color in the film–is intentional. It quite literally acts as a red herring.
Directors' Statement
A Little Death began with Nicholas Gurewitch’s book, whose quiet comic unease lives as much in its drawings as in its story. Although macabre in premise, we were drawn to the tenderness beneath it. Visually, the film extends Gurewitch’s graphic language. His illustrations-rendered in meticulous cross-hatching reminiscent of Edward Gorey-combine Victorian elegance with dry, understated humour. We carried that sensibility into the animation; a deliberately surreal two-dimensional world of dense pen-and-ink textures and restrained performances.
Every creative decision was made to create a tactile quality similar to the original etchings. Characters were animated traditionally by hand using custom brushes designed to emulate the textures of the book. Backgrounds combine digital work with physical printmaking; textures etched into copper and steel plates and printed on a large-scale press in Scotland before being incorporated into the environments.
Rather than simply adapting the book, our film attempts to inhabit it. Allowing this hand-drawn world of Grim Reapers to feel unmistakably human and unmistakably made by human hands." - Leto Meade, Jonathan Rockefeller
Takeaway
From start to finish, including a whimsical credit scroll, A Little Death is a delight. It's inspirational both in both story and craft. A Little Death recently made its World Premiere at the 2026 Annecy International Animation Film Festival.
Cassady McClincy Zhang and Merlin Camozzi on 'The Snare'
I sat down with Cassady McClincy Zhang (The Walking Dead) and filmmaker Merlin Camozzi to talk about The Snare, which is now available on VOD.
In our exclusive interview (which took place ahead of the film's limited theatrical release), we spoke about how Merlin's childhood informed the writing of the script, Cass's contribution to the wardrobe and how a pair of pants transformed her character, and how "loneliness" was the key word when it came to nailing the tone of the score.
Watch our interview here.
About Merlin Camozzi | Writer/Director/Producer
Merlin Camozzi is a writer and director whose work blends genre storytelling with gritty, grounded realism. Raised in rural areas and small towns across America, his perspective is shaped by a deep connection to place and to people on the margins. Merlin's films have been featured in Vice and Out Magazine, and screened at festivals around the world including Cinequest, the Brooklyn Film Festival, Telluride Horror Show, Grimmfest, Screamfest, and HollyShorts. As a commercial director, Merlin has created campaigns for brands such as Sprite, Coca-Cola, Uber, Morgan Stanley, and ARRI. He is an alumnus of the Kyoto Filmmakers Lab and was selected for the SHOOT New Directors Showcase for his work with the Brady Campaign to Prevent Gun Violence.Recently, Merlin wrote and directed COWARD, a short film produced in collaboration with Cartel Films (Val – A24; If I Go Will They Miss Me – Sundance winner). His debut feature, THE SNARE, won the Audience Award for Best Genre Film at Cinequest 2025, among other awards.
About Cassady McClincy Zhang | "Dani"
Best known for her portrayal of Lydia on THE WALKING DEAD, McClincy Zhang has recurred on Hulu’s CASTLE ROCK, while taking on guest spots on such series as OZARK, LORE, and CHICAGO MED. She also appeared in Greg Berlanti’s groundbreaking film LOVE, SIMON. McClincy Zhang stars in the upcoming drama OUT COME THE WOLVES, and is currently a series regular on CBS’s TRACKER
'The Turtle' Review: A Vehicle for Self-Reflection
Vulnerability is the one of the bedrocks of any solid relationship. When that foundation of trust is fractured in any way, the fallout can feel isolating. In filmmaker Joe Bongiovanni's short film The Turtle, one couple tests the limits of their partnership by pushing the boundaries of their emotional and physical connection.
When Reassurance Turns into Resentment
Tony is a blue-collar employee who desperately needs time to decompress after work. His wife, Barbara, finds it difficult to give him the space he is asking for. Her constant interruptions aren't out of spite, but rather her need for reassurance. We're not wrong to assume that this pattern has become something of a habit for Barbara, but Tony is at his breaking point. The film begins late one night; Tony is on the couch and attempting to lose himself in an acting project. It's clear that he has ambitions other than his day job. Meanwhile, Barbara's repeated attempts at connection continuously come up short. While her sentiment is loving, her timing is off. What follows is a multi-layered conflict that unveils this couples' deeper, darker dynamics.
A Vehicle for Self-Reflection
In addition to starring, Richard-John Seikaly produces this tense relationship drama, which touches on themes of emasculation, emotional conflict, and vulnerability. Shot in a single location and set over the course of one night, The Turtle's modest production contains a plethora of meaty conflicts and conversational touch points. It also acts as a vehicle for self-reflection. The character-driven narrative is led by strong performances from Seikaly and Emma Griffin. Their chemistry, as well as their heavy New York accents, are both pitch perfect.
Director's Statement
"Being a combat veteran of Afghanistan, a big push for my filmmaking has been a part of my recovery process. The Turtle is one of many films exploring my deinstitutionalization process of conforming back to becoming human. I was propelled into the civilian sector with this obligation of having to uphold a sheet of armor, economically, spiritually, and emotionally. There were times when I pushed myself to be heard, to communicate openly everything I felt, but when my ex-wife spoke to me and tried to reach me, my thoughts would burn and my body would weigh heavy with steel. I drank alcohol, threw the covers over myself, and dived headfirst into the world of acting.
I found my escape. My shell.
The Turtle is about unveiling the inner vulnerabilities we tend to hide in relationships due to social constructs. The bottling of feelings can cause isolation, depression, and a desire to be heard. This short seeks to pull the cork, take off the shell, reveal the “mush”, in a sense, and shed light on the strength and healing power of vulnerability." - Joe Bongiovanni
Takeaway
The Turtle serves as an intimate and reflective work that explores the many emotional complexities within modern relationships. It proves that, sometimes, the most empowering thing one can do is to ask for help. The Turtle has been selected to the 2026 LA Shorts International Film Festival.
'The Snare' Review: A Gritty Portrayal of Rock Bottom
Filmmaker Merlin Camozzi crafts a gritty portrait of a teenager caught in the crosshairs of police politics in his feature debut, The Snare. The film opens with a title card informing audiences that the story that follows is based on true events. What unfolds is a gripping account of manipulation, intimidation, and the devastating consequences that can arise from one seemingly innocuous decision.
An Impossible Situation
It's the summer before Dani's (Cassady McClincy Zhang) freshman year of college. What should be a time of excited anticipation is instead overshadowed by anxiety. Enrollment fees are due, and despite her part-time job at a fast-food shop, Dani struggles to come up with the minimum required tuition deposit. Adding to her stress is her role as the de facto parental figure to her younger brother, whom she cares for while her mother works multiple jobs. Dani's level of responsibility far surpasses that of most girls her age, but she takes it all in stride. She has a good head on her shoulders and is so close to achieving the future she's worked hard to build.
Later that afternoon, Dani meets up with her crush, Marty (Dempsey Bryk). He gives her a small amount of pills intended for a party that night. Dani's infatuation with Marty is undeniable, and the feeling appears to be mutual. But their budding romance is short-lived. In what can only be described as being in the wrong place at the wrong time, Dani becomes caught up in a police altercation that exposes the pills. The police take her to the station and give her a stark ultimatum: work with them as a confidential informant or face prison time and kiss her college dreams goodbye.
Dani is suddenly facing an impossible choice. She is torn between the future she's spent years working toward and the person she's beginning to fall for. What follows is a tense, guilt-ridden internal battle as she struggles to reconcile the life she imagined for herself with the reality being imposed upon her.
A Cathartic Expression of Connection and Youth
Cassady McClincy Zhang brings Dani's overwhelming dilemma to life with a performance that is both radiant and gripping. She captures Dani's vulnerability without ever diminishing her strength, making Dani's emotional descent all the more haunting and heartbreaking. Her command of the screen is undeniable, she is without a doubt one to watch. For writer-director Merlin Camozzi, The Snare becomes a cathartic expression of connection and youth. His ability to capture the deeply imbalanced relationship between corruption and vulnerability feels disturbingly authentic. Camozzi never loses sight of the emotional consequences of this dynamic. Further deepening the film's emotional texture is the score–a beautifully ominous work created by Paul Corley and Josh Eustis.
Director's Statement
"I started thinking about the project that became The Snare around ten years ago, after reading a story in The New Yorker about teenage informants. Confidential informants are the disposable raw materials of that assembly line of drug arrests. Shockingly, in all 50 states, the minimum age requirement is only 13 years old.
Fundamentally, this was a story about young people, thrown into high-stakes situations, with no one to turn to for help. Which is to say, it was exactly the kind of story that interests me. As a filmmaker and a lawyer, it blows my mind how kids are railroaded into these situations with no oversight. And as someone who grew up on the fringes of society, it was easy to see myself in these stories.
I started making films because movies were what helped me feel connected to the world when I was a kid, trying to keep my head above water in the circumstances I existed in. They gave me a place to escape, but they also helped me better understand the world around me. My hope is that The Snare can do the same and take audiences on a real ride. I’m grateful to everyone who helped bring it to life, and excited to finally share it with audiences." - Merlin Camozzi
Takeaway
The Snare offers audiences a glimpse into a world you'd be fortunate to know nothing about. While Dani's story is fictional, it draws inspiration from the many real-life confidential informants who assist police with drug-related arrests. That reality gives the film an unsettling resonance beyond its central narrative. It also leaves us with the uncomfortable realization that one wrong decision can alter the course of an entire life.
'The Last Mullet' Review: The Fight for Freedom Starts with Hair
When self-expression becomes illegal, how far will you go to preserve your identity? This is the question at the center of the filmmaker Hoj Jomehri's short film, The Last Mullet. Inspired by true events, Jomehri tackles this political statement through a comedic lens, making a lighthearted jab at a forbidden hairstyle that has very real consequences.
Hair on the Run
In 2010, the mullet was banned in Iran. The Ministry of Culture and Islamic Guidance had legal authority to make a spectacle of anyone who dared cross them by publicly chopping the mullets in the public square. Despite this, Shervin (Bobby Naderi) remains defiant in his choice to keep his luscious locks. Keeping his hair not only makes him an outlaw, but also a liability to his mother who harbors him in her home.
When we meet Shervin, he is actively evading the authorities. He runs across town with the finesse of Tom Cruise, mullet swaying in the wind. He finds temporary solace at his mother's house, but it isn't long before the police come knocking, looking for the "kid with the indecent hair". Shervin finds himself cornered; stuck between standing up for his beliefs and caving to this ridiculous law. Holding a pair of scissors in his hand, he makes the difficult yet necessary choice.
The Delightful Middle Between Silly and Serious
For such an absurdly oppressive story, filmmaker Hoj Jomehri's comedic infusions make The Last Mullet an unexpectedly fun watch. Bobby Naderi is perfectly cast as Shervin. His performance is strong, expertly toeing the line between silly and serious. The storytelling is delightfully fast-paced and cohesive. Jomehri, who also acts as the film's editor, utilizes slow motion during the chase scene to amplify the situation's dramatic and comedic elements.
Director's Statement
"I’m an Iranian-American filmmaker whose family fled the Iranian regime in the 1980s and came to America. From that distance, I’ve long observed the tension between control and identity in Iran. When I read that in 2010 the regime banned so-called “Western hairstyles”—mullets, mohawks, ponytails—I was struck by the absurdity of it. The idea that a haircut could be criminalized felt both darkly comic and deeply revealing. What happens when something as personal as your hairstyle is no longer yours to choose?
So I wrote a fictional tale about a man whose mullet makes him an outlaw — a small but stubborn refusal in the face of control. The Last Mullet is ultimately about people maintaining their identity under pressure. At a moment when Iran is once again reduced to headlines, governments, and violence, The Last Mullet is a story about the people beyond those abstractions — ordinary people with humor, pride, hairstyles, and lives of their own." - Hoj Jomehri, director
Takeaway
The Last Mullet is not only an entertaining work of historical importance. It also serves as a personal story about identity and the courage to remain yourself under pressure. The film recently had its World Premiere at the 2026 LA Shorts International Film Festival.