'BitterSweet' Review: An Inclusive and Inspiring Look at Neurodivergence
Writer-director-actor Steve Martini shows that leading with vulnerability is the secret to creating an effective film. Centering on mental health and the painful misunderstanding stemming from having undiagnosed neurodivergence, Martini crafts an inclusive and inspiring dramedy in BitterSweet. The award-winning feature-length film concludes a successful festival run by making its way into limited theaters on July 10, 2025. It is also available on VOD, including Apple, Amazon, and Fandango at Home, on July 11, 2025.
On Juggling Fatherhood, Love, and Neurodivergence
Inspired by real-life events, BitterSweet follows Sam (Martini) as he navigates first-time fatherhood and a rocky relationship with his partner, Gigi (Gabriela Kulaif). An innocent misunderstanding involving some rowdy foreplay leads to a police visit and a subsequent bureaucratic nightmare. Sam has undiagnosed autism and routinely struggles with everyday tasks that others seem to do with ease. The police arrive at their house and place Sam under arrest for domestic violence. They go a step further and issue a restraining order that forces him to stay away from Gigi and their new baby.
Sam is devastated by this misjudgment of his character and attempts to do everything he can to fix it. It's not for a lack of trying, but Sam doesn't have the skills others take for granted. Unfortunately, the system feels stacked against him. Various officers on the case, lawyers, and even the judge don't seem to understand that his neurodivergence requires special consideration. Sam even goes so far as to attend a seminar hosted by Zimmerman (William Baldwin), a poster child of toxic masculinity. As expected, the testosterone-filled environment proves too much for Sam, but he doesn't lose hope just yet. Sam has one more trick up his sleeve that he hopes will redeem his character and save his relationship with Gigi.
Making Systemic Change Through Filmmaking
BitterSweet uses humor to address the painful occurrence of undiagnosed disorders. As the director, writer, and lead actor, Steve Martini puts everything into this charming indie film. His intention of spreading awareness about the need for systemic change through film is an honorable one. Production quality-wise, the film utilizes a bright color palette and even pacing. The only technical issue that tends to disrupt the film is the audio recording. In some scenes, the sound is quite fuzzy and would have benefited from a cleaner take.
Takeaway
Steve Martini's story is a heartfelt look at perseverance amidst an unjust system. He tackles delicate topics with humor and heart, making BitterSweet an enjoyable and necessary film for those who may be on the spectrum or not.
'Bygones' Review: Love, Redemption, and Basketball
Two-time Olympic gold medalist and WNBA star Angel McCoughtry brings her expansive knowledge of the game to the big screen in the short film, Bygones. McCoughtry makes her directorial debut with an emotionally stirring sports drama about forgiveness, both on and off the court. The film will screen at the 2025 Raindance Film Festival this week.
Long-Buried Secrets Emerge Off the Court
Bygones opens with a house party in Atlanta, 1969. A small group of friends celebrate their recent basketball championship, dancing and singing the night away. Leon (Jordan Pressley), the game's MVP, eventually calls the night early and heads home to his wife, Qunis, and young daughter. The film then jumps to the present day, where a young woman named Charissa (Malyah Glover) is shooting hoops in a local gym. Her athletic potential catches the attention of JJ (Kelly Shapiro), a middle-aged white man who gives her a few unsolicited pointers. Their relationship effortlessly evolves into a mentor/mentee dynamic, and it's not long before JJ finds himself at Charissa's family's house for a BBQ.
It's here where JJ meets Charissa's grandma, Qunis (Le'coe Willingham). "Do I know you from somewhere?" she asks him earnestly. He shakes his head no. It isn't until Charissa shows JJ a photo of her grandpa that JJ faces the ugly truth. He connects the dots and realizes that her grandfather is Leon, the young man he killed in 1965. The clues are subtle, but once realized, they cause our hearts to sink. Another strategic flashback shows a young JJ with his group of friends viciously attacking Leon years ago. It's revealed that Leon and JJ were rivals, and JJ couldn't stand that his team lost the championship game. The result of this racist and horrific violence ended up killing Leon, widowing Qunis, and leaving Charissa without a grandfather.
Delves Beneath the Surface of Competition and Camaraderie
The prevailing message that Angel McCoughtry aims to get across is that redemption, no matter how terrible an act, is possible. Charissa is rightfully devastated to discover JJ's connection to her late grandfather and decides to cut him out of her life for good. It's Grandma Qunis who encourages Charissa to give him another chance. She reminds her that no one is perfect and hatred has no place in her family anymore.
For an already gripping storyline, the cinematography complements the drama. Handheld shots and the utilization of close-ups on the basketball court draw the audience into the competition. Both Malyah Glover and Le'coe Willingham give layered performances, sometimes outshining actor Kelly Shapiro. Nevertheless, the ensemble cast has good chemistry together, and their dynamic is rooted in realism.
Takeaway
Bygones proves that the love of the game has the potential to trump evil. A strong film with an equally strong message, Bygones is a successful directorial debut. Here's hoping that Angel McCoughtry has more sports stories to tell.
'If You Should Leave Before Me' Review: Not Your Average Ghost Story
If David Lynch had an independent film budget, the result would be similar to the Anderson Brothers' If You Should Leave Before Me. Directed by brothers J. Markus and Boyd Anderson, this drama-fantasy hybrid is a creative and poignant exploration of trauma, grief, and letting go. Running two hours long–quite effectively, I should add–If You Should Leave Before Me made its World Premiere at the 2025 Raindance Film Festival.
Good Intentions Lead to Undesirable Consequences
Mark and Joshua are a queer couple deeply in love, and the epitome of opposites attract. Mark (Shane P. Allen) is a neat-freak, orderly, and disciplined. Joshua (John Wilcox) is more of a free spirit with childlike curiosity. Having spent the majority of their lives together, their relationship is one of deep trust, understanding, and acceptance. However, Mark and Joshua are not a "normal" couple, as they have a unique ability to access the spiritual realm from within their house. Doors appear from all corners of their house and act like a portal to other worlds and universes. It is Mark and Joshua's job to assist the souls on the other side of the door.
Each door uncovers a ghost who is living in a world of purgatory, neither joyful nor devastating. Mark and Joshua work together to help the ghosts resolve their past hangups and regrets before entering the afterlife. These conversations are all deeply impactful and moving; it's empathetic to witness. For as helpful as they are to the ghosts, there is an elephant in the room that neither Mark nor Joshua wants to acknowledge. Joshua is sick and dying, and he begins to look for his own door to pass through. Mark, terrified of losing his partner and best friend, plans to do whatever it takes to prevent Joshua from crossing over. It's here where tension runs high, and good intentions lead to undesirable consequences.
A touching story of love and loss
If You Should Leave Before Me is a surprisingly emotive and reflective work. The film enlists a unique storytelling process, successfully realized by the Anderson brothers. Using impressively budget-friendly set designs, the film flows through many different vignettes, each with its own set of filmmaking rules and sound. For example, one door reveals a Narnia-inspired fantasy land of colorful construction paper and a whimsical score. Another door is eerie and dark, and this portal houses a former Nazi. The overall feel is more kooky and fun than expected, given the heaviness of the subject matter. Shane P. Allen and John Wilcox give phenomenal turns as the co-leads. Their performances seal the deal in making If You Should Leave Before Me the knockout it is.
Takeaway
Joyfully enriching with the ability to pull on the same emotional heartstrings as episode three of The Last of Us, If You Should Leave Before Me is a filmmaking feat.
'Thin Places' Review: Never Far From the Ones We Love
Filmmaker Brit Hensel beautifully captures the essence of heartbreak and hopefulness in the short film Thin Places. Making its World Premiere at the 2025 ImagineNATIVE Film Festival, Thin Places explores the spiritual connection of two sisters as they navigate the liminal space between life and death.
Navigating the Liminal Space of this World and the Next
Birdie (Shelby Factor) struggles to accept the sudden passing of her sister Tama (Quannah Chasinghorse) and nephew Junior (Roman Romero). One moment, they are leaving for school drop off, and the next, they’re gone forever. Their memories linger, and Birdie grasps tightly onto the moments they shared, like dancing together in the living room. Despite these welcome flashbacks, she still longs for a tangible connection.
One afternoon, Birdie takes to an open field near her house and attempts to reconnect with the nature around her. In this meditative space, she begins to have a vision of her sister. Tama is dressed in all white, but not in the typical “angelic” sense. She is wearing a white tank top and ripped jeans, looking like any casual millennial. The two sisters use this sacred experience to reassure each other that they will always be there, in this life and the next.
Celebrating the Bond of Sisterhood
Thin Places is a delicate and intricately crafted drama celebrating the bond of sisterhood and the spiritual realm. Portraying Birdie and Tama, Shelby Factor and Quannah Chasinghorse do so with such empathy and heart. Thin Places is quite an accomplishment for Brit Hensel, who crafts a simple yet powerful statement on finding peace and comfort post-death.
Takeaway
Says Hensel, “I started writing the script for Thin Places about three years ago when I was moving through a loss of my own... I feel blessed to come from a community of people who view death differently than most. Our teachings allow me to believe that those we’ve lost are never far from us and there are ways we can connect to them despite a physical absence. For Kituwah people and many other Native communities, death is not the final stop. I’ve heard elders talk about places in our world where the veil between this life and the next is much closer, and I’ve found that to be true in my own experience.’
'We Were Dangerous' Review: Resistance, Girlhood, and Sticking It to the Man
A trio of strong-willed, rebellious Māori girls are pushed to their breaking point in filmmaker Josephine Stewart-Te Whiu’s ensemble drama, We Were Dangerous. Set in 1950s New Zealand, We Were Dangerous charts the lives of a group of young women living in seclusion at a boarding school for delinquent girls. Whiu shows much wisdom and strength in her directorial debut, with New Zealand native and Oscar-nominee Taika Waititi (Jojo Rabbit) as executive producer. The film is currently available to watch on VOD.
Fighting Out Against Indoctrination
Nellie (Erana James), Daisy (Manaia Hall), and Louisa (Nathalie Morris) have found solace with each other as students and survivors of the Te Motu School for Incorrigible and Delinquent Girls. Having recently relocated to a remote island due to a failed attempt at escaping, the school is more than just a reformer for “troubled teens.” Most, if not all, of the girls would equate their time here with being in prison. The headmaster (Rima Te Wiata) is a strict woman who preaches Christianity as the answer to their problems.
The teachings don’t sit right with the girls, who all feel unjustifiably vilified for just existing. After discovering the school’s plans to medically intervene in their fertility, the girls decide that enough is enough. Using their collective smarts, they concoct a plan that intends to send a message to the hierarchy of their abusive school system.
A Stunning New Voice Enters the Arena
It’s exciting to see a new voice like Josephine Stewart-Te Whiu’s in We Were Dangerous. Her direction and visual style feel like a breath of fresh air. There are some sartorial nods to the filmmaking of Wes Anderson. Most notably, the use of monotone and witty voiceover narration. The score is another element that stands out, especially the use of choral vocals. It’s lively, electrifying, and the perfect complement to the New Zealand environment.
Takeaway
Many films highlight the special bond of female friendship, but none quite capture the spirit that We Were Dangerous has. Equally comedic, heartfelt, and inspirational, We Were Dangerous proves that you can overcome anything with close confidants.
'Hold Me, Softly' Review: The Art of the Slow Burn
Now streaming on virtual platforms, Hold Me, Softly is a restrained romance film that captures the art of the slow burn. Co-directors Ina Tiernan Bailey and Carlos Berber create an intimate environment where the success of the film hinges on solid performances from lead actors. Making its World Premiere at the La Femme International Film Festival, Hold Me, Softly is a solid attempt at an emotionally dense drama. However, the result feels in need of energetic resuscitation.
Shattering the Monotony of an Isolated Existence
The film opens with a young woman named Snow (Jasmine Berber) who sits disoriented on the side of the road. A police officer makes contact with her, asking if she needs assistance. Their conversation takes place over the course of an impressive one-take, which sets the film up for future slow pacing. Melancholy piano music swells as we then see Snow in her home environment. Clearly depressed and mourning the loss of her marriage, Snow struggles to find joy in daily life. Then, like a sudden spark of lightning, she notices the new neighbor who has moved in across the street. Calvin (Andrei Kogolenok) is a conventionally attractive man around her age, and it's not long before the two strike up a conversation.
Snow opens up to Calvin almost immediately, and he reciprocates the vulnerability. His calming presence quells Snow's anxiety and offers her the courage to break free from her self-imposed isolation. It's alluded to that Snow's former relationship shattered her confidence and self-esteem. Despite being a gifted video game artist, she now doubts herself and her abilities. Meeting and connecting with Calvin is therapeutic for Snow, but she has expectations he cannot fulfill, and when he can't show up for her in the way that she needs, Snow must learn to find solace on her own.
Portrayed Through a Romantic Lens, Technical Issues Aside
Visually, the production has an airbrushed quality that feels nostalgic of soap operas from the 1990s. Portraying the film in this style makes sense, as this is a romance film after all. That said, there are some obvious technical issues. Most notable is the sound mix and ADR, which can be quite distracting. In an outdoor scene, for example, Snow and Calvin's voices create a distinct echo, making it obvious that this dialogue was re-recorded in a separate room and later edited into the scene. These types of inconsistencies, unfortunately, pull the viewer out of the world of the film and into the reality of the filmmaking process.
Takeaway
Hold Me, Softly has a delicate quality that, while heartfelt, ultimately never quite gets off the ground. However, those who gravitate toward films that are simpler and character-driven rather than technically savvy can still find much to admire in Hold Me, Softly.
'Portraits of Dangerous Women' Review: A Wry British Ensemble Comedy
Filmmaker Pascal Bergamin brings together an absolutely fabulous cast of heroines in the ensemble film Portraits of Dangerous Women. The dark comedy creatively draws inspiration from Peter J. Cohen’s book “Snapshots of Dangerous Women,” a curated collection of found photographs centering women who broke the boundaries. This quietly rebellious and charming British black comedy makes its North American debut on July 11 via VOD.
A Quietly Rebellious British Ensemble
Starring Tara Fitzgerald (Game of Thrones), Jeany Spark (The Lord of the Rings: The Rings of Power), Yasmin Monet Prince (Supacell), and Mark Lewis Jones (Gangs of London), Portraits of Dangerous Women is set in modern-day rural Britain. The lives of three strangers collide, quite literally, during an accidental road crash. Steph (Spark) and her father, John (Jones), are bickering in the car when she gets blindsided by a dog in the middle of the road. She is going too fast to avoid a collision and ends up hitting the poor canine. Shocked to her core, Steph is also surprised to see another woman, Tina (Fitzgerald), distraught and acting as if she ran over the dog. It's slightly confusing, as who actually hit the dog is never revealed. Nevertheless, this is the incident that brings the women together.
Rounding out the trio is a young woman named Ashley (Prince), who claims the dog is hers. It turns out–again, for reasons not entirely clear–the dog isn't actually hers. It's a bit of a jumble, but ultimately, the film moves past these stodgy screenwriting moments and allows the characters to explore their rather unusual connection and unlikely bonds.
Crafting Uncomfortable Disconnection
Portraits of Dangerous Women attempts to blend absurdist humor with emotional depth, and there are moments where this is dually felt. It’s clear what writer-director Pascal Bergamin wants to convey in this wry comedy. However, the end result ultimately falls a bit flat. The performances, however, are thoroughly engaging and commendable. Each character is so devoted to their individual quirks, it’s fun to see them interact with their complete opposites.
Takeaway
Portraits of Dangerous Women should be celebrated for bringing out the best in its wonderful cast. As a whole, however, it doesn’t quite nail the landing. Perhaps it’s the unclear narrative or the general sense of disjointedness. The film is being embraced as an “odd collage of people who really shouldn’t be in the same room." This statement is true, and unfortunately, the awkwardness tends to translate off the screen too.
'Dear Kevin' Review: A Love Letter, a Goodbye Letter
Filmmaker Kate Ferguson crafts an intimate portrayal of longing in the short film Dear Kevin. This video art-inspired experimental drama shows a woman's special relationship with the titular Kevin, an entity we only hear about and never see. Since its release two years ago, Dear Kevin has achieved an impressive festival run, notably winning "Best Imagination" at the Short Film Factory's February Award Showcase.
A Metamorphosis into Womanhood and Independence
Shot on a Canon Super 8 camera with Kodak black and white film, Dear Kevin is a poetic look at a woman's attempt to realign with her true self. Layered voiceover and whimsically observational footage enforce her burning desire for connection. Through her stream of consciousness narration, it becomes clear that we're listening to the musings of a woman in love with a fantasy. But does she really love this man, Kevin? Or does she love the person she is when she's with him?
About Kate Ferguson
Kate Ferguson is a photographer, writer, and filmmaker based in Mexico City. Her multidisciplinary practice is rooted in an appreciation for the threshold moments where transformation occurs and realities blur. The spiritual and mystical play a large influence, both as a topic of observation and a way of being. Through her work, she considers nostalgic liminality, the sensation of memory, and decisions that lead to psychological and spiritual evolution, particularly in regard to self-actualization.
Takeaway
Dear Kevin reflects the psyche of a woman coming into her own independence. A metamorphosis, of sorts. Despite its short runtime, Dear Kevin packs a deeply profound and alluring punch that will resonate with anyone on their own self-realization journey. The film stars Stevie Marceaux, with a voiceover by filmmaker Kate Ferguson, who also acts as the director of photography and editor.