'Monument' Review: Unity is the Foundation of Peace
Bohemian Rhapsody and X-Men director Bryan Singer shines a light on an unsung hero in the historical drama Monument. Inspired by true events, Monument tells the story of award-winning Israeli architect Amnon Rechter and his contributions to bringing peace amidst ongoing political tension. While Rechter may not be a household name, Monument aims to make sure his legacy is acknowledged and remembered. Given the state of our current political climate and international conflict, Monument is not only timely viewing but also essential.
The Harder the Battle, the Sweeter the Victory
Amnon Rechter (Joe Mazzello) and his father, Yacov (Jon Voight), are prominent Israeli architects who are facing the biggest commission of their careers. The year is 1999, the penultimate year of Israel’s occupation of southern Lebanon, and they are tasked with erecting a Monument to honor fallen SLA, or Southern Lebanon Army, soldiers. The Israeli Ministry of Defense is financing the project, and that comes with strings attached. In addition to the moral and political landmines that must be navigated during the structure's conceptualization, Yacov and Amnon find themselves frequenting a dangerous area near Lebanon’s security zone called “Death Road.”
Amidst the chaos and conflict, Amnon returns to his belief that unity is the foundation of the future. His idea for the monument reflects this communal remembrance. He doesn't agree that this structure should only commemorate the fallen Israelis, but should include all those who sacrificed their lives for their freedom. He begins conceptualizing a sacred space, akin to a Zen garden, where Christians, Muslims, and Jews can find peace and solidarity. Amnon's intentions, while pure, don't sit well with everyone in his community. Yet, despite the lackluster support, he carries on. He collaborates with the local South Lebanon Army to safely build a monument that transcends nationalism.
Capturing the Artistry Amidst the Chaos of Conflict
Led by director Bryan Singer, the inspiring story of Amnon Rechter gets the Hollywood treatment in Monument. It combines the very best of a powerful blockbuster with the spirit of an independent film. Cinematographer Ziv Berkovich captures the film's intensity by utilizing extreme close-ups and handheld shots. This organic style of filmmaking drops viewers into the story as if we are on the front lines. The sweeping score from composer Kenneth Lampl further amplifies the film's overall boldness.
Director's Statement
"Wars leave the same scars across all nations, whether in Lebanon, the Balkans, Rwanda, Ukraine, or elsewhere. Monument doesn’t reduce conflict to politics. It mourns loss–all loss–and insists on the humanity behind every tragedy. It also invites audiences to imagine the alternative: a world where 'love thy neighbor' is not a commandment ignored, but a reality lived. Every one of us carries traumas from the past, but what we do with this legacy of scars is up to us. Inheritance is not destiny." - Bryan Singer, director.
Takeaway
Monument's big takeaway is less about architecture and more about conscience. Regardless of political or spiritual beliefs, Monument tells a universal story by exploring the theoretical question: Can art unite where religion divides? One can continue to hope so.
'The Devil's Left Hand' Review: The Devil in Disguise
If you're into shapeshifters and dark magic, The Devil's Left Hand, from master horror filmmaker Harley Wallen, is calling your name. This 2023 supernatural thriller conjures up the best of the genre's tropes, leaving viewers with a delightfully twisted sense of uneasiness up to the very last frame. Demonic forces should propel this indie feature to cult status, where the more scared you are of the evil spirit, the stronger it gets.
The Devil at Your Door
Cassidy (Kaiti Wallen) and Richie (Kris Reilly) are hosting a housewarming party, with an unusual addition to the night's festivities. The young couple and their close friends enlist a Medium, Miss Vesna (Aphrodite Nikolovski), to connect with past loved ones before they embark on their new beginning in this sacred space. Despite innocent intentions, things go horribly wrong. A demonic entity breaks through the spiritual portal and breaches Miss Vesna. She quickly loses control of the spirit, causing a devastating chain reaction of terror and havoc. After the party, Cassidy, Richie, and their friends remain on high alert, sensing this demon is not only stalking them but also shapeshifting to cause further confusion.
This incident leads Richie to confront his childhood trauma surrounding his father. When he was 12, Richie's dad attempted to strangle him and his mother to death. To save her and protect himself, he shot and killed his father. Despite surviving the incident, Richie's mother was admitted to a mental institution and has been there ever since. This haunting memory consumes Richie because the demonic force has taken the shape of his deceased father, which sends him into a spiral both mentally and physically. To save himself and his friends, Richie must confront his father one last time.
A "Choose Your Own Adventure" Ending
The craft behind The Devil's Left Hand is impressive, driven by high-quality special effects and smart pacing. Editorially, the film doesn't rely on jump scares to force audience reactions. Rather, it lets the script and performances speak for themselves. The sound design is another key element that adds a necessary sense of heightened emotion. The film ends on a somewhat open-ended note, which could frustrate some viewers. However, it seems like writer/director Harley Wallen wanted to give the audience a "choose your own adventure" ending that only adds to the film's DIY nature.
Takeaway
Winner of six awards, including Best Feature at the Mindfield Film Festival, The Devil's Left Hand captures the spirit of a true independent horror film. Fun fact: If you've seen Harley Wallen's previous films, you may recognize some familiar faces in the cast, including Wallen himself.
'We Never Sleep' Review: The Horrors of Living in the Digital Age
There is a growing shift from the comfort of using social media as a trusted tool to connect with friends and share personal life updates. Nowadays, it's not uncommon that this information is used to weaponize someone's faults and deepest insecurities virtually. The devastating effects of this type of digital assassination are explored through a sinister lens in the short film We Never Sleep by filmmakers Rashan Mines and Ren-Horng Wang. Acknowledging the current surveillance state of social media, We Never Sleep is a darkly dystopian tale about the horrors of living in the digital age.
On Watching and Being Watched
The film opens with Mikaela (Mellisa Goodwin) and her partner, Austin (Tyler Courtad), chatting about the future of AI. Standing around their kitchen counter, their casual conversation quickly turns intense. Mikaela asks Austin if he's familiar with the "Mob," a rogue AI that she claims kills people in their sleep. Laughing it off as an outlandish joke, Austin doesn't give her question much thought. However, he can't help but wonder if there may be a hint of truth to it. Later that evening, weird disturbances catch Mikaela off guard. She starts getting recurring calls from an "Unknown" number, and all of her smart devices begin playing mind games with her. It isn't until she sees Austin that she realizes that the mob is closer than she thinks. In other words, the call is coming from inside the house.
The post-credit scene explains the events leading up to Mikaela and Austin's dire situation. One week prior, the couple attended a cocktail party where Austin told a harmless, yet inappropriate, joke to one of the guests. They all laughed at the twisted nature of the punchline, but others who overheard were less than pleased. Their faces clearly reflected disgust, resulting in the need for Austin to over-explain his reasoning for finding the joke funny. This moment, it turns out, was the beginning of the end for the unsuspecting couple.
Personifying Cancel Culture
Filmmakers Rashan Mines and Ren-Horng Wang personify the echo chamber of online communities in this bite-sized horror short. The monster, in this case, is something we all encounter in today’s world. In We Never Sleep, the paranoia of being on the receiving end of online backlash is given a name: the mob. Utilizing a familiar horror soundscape and suspenseful editing, We Never Sleep conjures up a real sense of terror. The performances by Mellisa Goodwin and Tyler Courtad intentionally blur the line between kitchy and dramatic. They excel at keeping audiences on the edge of their seats.
Director's Statement
"At its core, this film explores accountability, empathy, and the humanity we risk losing when we can no longer disagree, forgive, or believe people can change. How can we create a society that encourages responsibility while allowing room for growth? How do we engage with one another without losing nuance? Our monster is not just a source of fear; it reflects digital anxiety infiltrating our bedrooms, our friendships, and our sense of self."
Takeaway
Like an episode of Black Mirror, We Never Sleep shows the repercussions of living a life online. While the film aims to make a statement about this ongoing threat, it also hints at how taking accountability can stop issues before they even begin. We Never Sleep will have its World Premiere at the 2026 Cleveland International Film Festival.
'Two Tears' Review: Authenticity Outshines Perfection
Two young girls learn the secret of what it takes to make a truly powerful performance in filmmaker Josefina Pieres's short film, Two Tears. This coming-of-age story is set within the intense world of ballet, where technique often dominates authenticity. Two Tears serves as a heartfelt reminder that the best performances are born out of love and passion, not only discipline.
Harnessing Passion in the Performance
Ginny (Sofia Bela) and Deana (Sydney Godstein) are eight-year-old aspiring ballet dancers who are eagerly preparing for their debut in The Nutcracker. However, they are so caught up in the art form's perfectionist tendencies that their passion to dance becomes secondary. One night, they discover a book containing a curse that feels directly related to their upcoming dance. The curse states that the girls must shed two tears of pure emotion or risk their future as dancers. A real dancer leads with passion and emotion, two qualities that Ginny and Deana have been lacking. The only problem is they're unsure what exactly “emotional tears” means. And so begins their quest to identify this mystery and reverse the curse before it is too late.
The girls share their findings with their ballet teacher, Miss Maia (Krystal Millie Valdes), who quickly brushes off the story as nonsense. But as soon as she is alone, Miss Maia breaks down in tears. Clearly, she knows more than she is letting on. Eventually, Miss Maia confesses her unique connection to the curse and attempts to help Ginny and Deana connect with their deeper, authentic feelings.
Childhood Artistic Awakening
Produced by Mel Quintans and Israel Consuegra, Two Tears is a poetic story about self-trust and artistic awakening in childhood. The sweet performances from the young protagonists, Sydney Godstein and Sofia Bela, anchor the film. Their youthful energy and innocent demeanour are the perfect characteristics for the roles of Ginny and Deana. Their wisdom and maturity shine onscreen, and director Josefina Pieres knows exactly how to harness their strengths for maximum impact. The film's visual language, including the sensitive and elegant cinematography by Diana Matos and the cinematic score of Tchaikovsky’s Nutcracker, further gives the film its emotional depth.
Director's Statement
"When I was eleven years old, my father died. From one day to the next, I became a composed, controlled child, hiding my emotions from the world. That same year, I stepped onto a stage for the first time. Through performance, I found a language for feelings I didn’t yet know how to express. Art did not simply save me. It protected me from shutting down. It taught me how to feel. Two Tears is, in many ways, a return to that moment... I recognize myself in these girls, in their discipline, their seriousness, and their desire to do everything right. At its core, Two Tears is about the courage to feel. Because sometimes the answer is not in achieving the dream, but in allowing ourselves to experience it fully." - Writer/director Josefina Pieres.
Takeaway
It's easy to get caught up in perfectionism, especially in a competitive setting like ballet. Two Tears reminds viewers of the importance of reconnecting with our authentic selves and allowing passion, rather than internalized expectations, to guide our actions. The film will be making its World Premiere at the 2026 Miami International Film Festival.
'Steakout!' Review: Not So Smooth Criminals
A late-night surveillance mission turns into a comedy of errors in filmmaker Max Neace's short film, Steakout!. Neace explores the humorous side of the criminal underworld by leaning into the comically absurd. Similar in genre to the Bill Hader-starring dark comedy series Barry, Steakout! is a delightfully entertaining film that will have you both laughing and cringing at once.
A Misunderstood Mission Becomes Mission: Impossible
Patrick (Patrick Taft) and Sean (Sean O'Bryan) are on a stakeout, although they have different interpretations of what that means. Patrick is surveilling the scene for his ex-girlfriend, who owes him money. He enlists his friend to accompany him, with a plan to intimidate her by "roughing her up", to get his money back. Sean, on the other hand, takes things literally, believing they were just going out for a steak dinner. Sean's seemingly aloofness grows as does Patrick's frustration with Sean, who is turning out to be the world's worst wingman. Finally, the ex-girlfriend, Becky, appears, and Patrick sets his sights on her. He passes the binoculars to Sean, who is stunned to discover the identity of Patrick's target. Becky (Nihan Gur), it turns out, is actually Sean's daughter.
Sean reveals the connection to Patrick and tries to back out of the plan. However, this doesn't stop Patrick, who intends to continue his quest for revenge despite the awkward revelation. Clad in homemade robber's masks, Patrick and Sean eventually confront Becky on the sidewalk. She immediately notices her dad, who, unsurprisingly, has done a terrible job at disguising himself. When it becomes clear that Becky isn't buying their facade, the previously suspenseful music changes into an overtly romantic score. Patrick suddenly makes a complete 180 and begins confessing his love to Becky. This last-minute confession to save himself is met with the karma he deserves: mace to the face. It's clear that, unlike Patrick, Becky isn't playing around. Witnessing this, Sean can't help but be proud of his daughter.
A Good Old-Fashioned Bite-Sized Comedy
The success of Steakout! is due in large part to the excellent lead performances. Sean and Patrick, whose characters writer/director Max Neace named after themselves, nail each comedic beat with perfect timing. Their banter is sharp and brings riotous energy to this intimate indie. Running eight minutes long, Steakout! makes the most of its minimalist production output by delivering a high volume of laugh-out-loud moments. And don't skip out on the credits, as the film culminates with an end-credit surprise.
Director's Statement
"I've watched a lot of short films recently. I've watched shorts as a programmer, a friend, a bored internet surfer, and a reluctant invitee. I'm always surprised by how dramatic they are. Does no one have a sense of humor anymore? Horror or drama is all I can find. I want to rally against those tropes and bring comedy back."
Takeaway
Steakout! is an indie charmer and delightful watch that proves good things can come in small packages. The film will screen on April 15th at the 2026 Cleveland International Film Festival.
'Ash and Bone' Review: A Provocative Thriller that Doesn't Hold Back
A tranquil family getaway turns into an unspeakable nightmare in filmmaker Harley Wallen's indie horror film, Ash and Bone. Stacked with an incredible cast, including Wallen himself as the family patriarch, Ash and Bone blends high-stakes horror tropes with an equally strong visual aesthetic. Anything goes in the horror genre, and Ash and Bone certainly pushes the limits of reality. But Bret Miller's script and Wallen's direction give the film its necessary grounding to make this somewhat far-fetched story actually quite frightening.
The Vacation From Hell
Cassie (Angelina Danielle Cama), a rebellious teenager, dreads spending the next few days with her dad, Lucas (Harley Wallen), and new stepmom, Sarah (Kaiti Wallen). In an attempt to stop Cassie from causing more mischief at home, Lucas decides that a family vacation away from the city is the remedy. As they approach their lodging, the reality of their isolation is stunning. For Cassie, however, spending quality time with her parents is low on her priority list, and so she sneaks out to a local dive bar (which, yes, she legally shouldn't be allowed to enter). While there, she befriends a couple who eventually show her the town's most infamous haunted house: The McKinley house.
Intrigued by the lore, Cassie and her new friends enter the house. What they find is a torture chamber in the basement. They also stumble upon a camcorder with footage of a girl chained up, bloodied, and abused by her captors. It's at this moment that they realize they should have never entered the house. However, by this point, it's too late. Cassie, her family, and her new friends have now become the next targets of these cold-blooded killers.
This Indie Production Brings Big Thrills
Making the most of their presumably tight production budget, Wallen keeps the world of Ash and Bone relatively small. Only a handful of locations are used throughout the film, but these destinations are meticulously art-directed and staged. Adding to the "less is more" approach is the cinematography, which emphasizes the darkness of the criminal underbelly our protagonist accidentally enters. The color grade is moody and mysterious, a perfect compliment to the film's plot. A special mention also goes out to Angelina Danielle Cama, whose performance as the defiant Cassie is among the film's best. Her talent is, in a word, undeniable.
Takeaway
If you're looking for a provocative thriller that doesn't shy away from gore, Ash and Bone is the film for you. Traditional in genre yet elevated in performance and aesthetic, Ash and Bone is just the right amount of enjoyable and twisted. It's no surprise that the film is an 8x winner and 16x nominee at a variety of film festivals.
'The Gospel of Dating' Review: A Faith Based Comedy on Finding the (Chosen) One
The Bachelorette meets the Bible in filmmaker Khiray Richards' religious-set comedy, The Gospel of Dating. Combining the hijinks of a reality dating show with Christian values, Richards crafts a unique approach to promoting the Southern Baptist Church in the 21st Century. Backed by a strong lead performance from newcomer Michael Orlando Peters, The Gospel of Dating is a fun, faith-based watch that feels both playful and sincere.
The Chosen One... Literally
Bishop Shama Gresham (Michael Orlando Peters) finds himself at the mercy of a dwindling congregation due to recent COVID protocols. What was once a thriving place of worship has turned into a ghost town. Livestreaming the word of God doesn't have the same effect–both spiritually and monetarily–as preaching in person. Bishop Gresham knows he needs to shake things up. To keep his church funded, he applies for a grant that will save his congregation from further financial struggle. However, he realizes that he failed to read the fine print when the grant money arrives with strings attached. Turns out, he will only receive the money by hosting a Christian dating show called "Let the Church Say Yes".
The search for the church's bachelorette doesn't extend far after Gresham's loyal assistant, LaTanya (Nicole Pringle), volunteers her niece, Angela (Rachel Brooks). The young woman accepts, and production begins immediately. The contestants engage in various competitions to win over her heart, and Angela pretty quickly hones in on one man who piqued her interest. What should be an exciting time for all is overshadowed by Bishop Gresham's secret: a winner has already been arraigned, and it's not the man Angela is falling in love with. The Bishop intentionally cast one ideal contestant who exemplifies traditional Christian values. The grant agreement stipulates that if the pre-selected contestant doesn't win, the church will lose its grant.
Telling a Full-Bodied Story On a Modest Production Budget
If you're a fan of satirical religious comedies like Honk for Jesus, Save Your Soul, or HBO Max's hit series The Righteous Gemstones, you'll find a lot to love in The Gospel of Dating. This indie production, which has an estimated $5,000 budget according to IMDb, is clearly a passion project. It's impressive to see how director Khiray Richards utilizes this humble budget. No scene looks as if it is lacking resources, and the post-production work is clean. Making up for its overall minimalist aesthetic is the smartly written script, which includes many moments of witty banter. Monetary limitations notwithstanding, the film would have benefited from a more confident score that emphasizes the comedic moments.
Takeaway
You don't have to be a believer to enjoy The Gospel of Dating; however, those who are religious may find the humor resonates more deeply. A fun indie film with a faith-based message at its core, The Gospel of Dating is quite the accomplishment for all involved.
'Cuidadoras' Review: The Differences That Actually Unite Us
Non-judgmental human connection is key to a life well lived, as seen in the Spanish documentary Cuidadoras (The Care). Directed by Martina Matzkin & Gabriela Uassouf, Cuidadoras explores the similar yet varied perspectives from inside an Argentine nursing home. A summary of reflections from both the residents who live there and the caregivers who provide incredible service, Cuidadoras is a tender watch that will leave you full of gratitude.
The Differences That Actually Unite Us
Maia, Yenifer, and Luciana are new employees at Hogar Santa Ana, a public nursing home in Buenos Aires. All three being trans women, their employment came through an unconventional path. As former sex workers, Maia, Yenifer, and Luciana found an opportunity to leave the streets behind for a fresh start in the healthcare industry by becoming interns at the center. Trading a life of desperation for one of nursing and caretaking, the women find themselves comfortable in their new reality. The fact that their new profession is vastly different from their past life experience does not diminish their ability to succeed as caregivers. In fact, they connect with the residents so much more deeply than expected.
The caregivers engage in intimate talks with their older patients about love, loneliness, family dynamics, and acceptance. Yes, they are constantly misgendered by some of the older residents, but they accept this with grace. As they listen intently to the colorful stories of their residents' past, Maia, Yenifer, and Luciana take the opportunity to build meaningful relationships with people whom they would never have met otherwise. Their connections are the heartbeat of the film, the fundamental core that is equally engaging, affirming, and gratifying.
Directors Statement
"In 2018, we learned that the Psychology Department at the University of Buenos Aires (UBA) was helping trans women who were sex workers enroll in a Home Care Worker certification program. We immediately saw the significance: for trans women, imagining old age is an act of exercising a right that has historically been denied to them. Given that their life expectancy remains significantly lower than that of cisgender people, we were struck by the question: How does one care for an older person when reaching old age itself feels like a privilege? That question led us to observe more closely."
Takeaway
Cuidadoras beautifully portrays the poetic transcendence of prejudice that allows three trans women the opportunity for a fresh start. Beyond a successful film festival run in Buenos Aires, the film is screening for healthcare professionals, serving as a vital tool for discussion and reflection on public care. Next up, Cuidadoras will screen at the 2026 True/False Film Fest.