Morgan Rojas

'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.

by Morgan Rojas

'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.

by Morgan Rojas

'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.

by Morgan Rojas

'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.

by Morgan Rojas

'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.

by Morgan Rojas

'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.

by Morgan Rojas

'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.

by Morgan Rojas

'Welcome to Tool Shed' Review: An Iconic Destination for Sex-Positivity

Palm Springs is not only known for its stunning mid-century architecture and beautiful weather but also for its thriving queer community. A staple of this scene is Tool Shed, a long-standing gay bar for the abundant LGBTQ+ crowd. Co-directors Daniel Talbott and Andrew Klaus-Vineyard explore the colorful history of this local hub in their short documentary Welcome to Tool Shed. With political tension continuing to threaten the safety of the gay community, Talbott and Klaus-Vineyard show that Tool Shed is more than just a local dive bar. It's a sanctuary.

Where the Queer Folk Congregate

If you walked into Tool Shed on any given day, you'd be met with a friendly face. Owner Robert Cole talks candidly about his journey buying the once run-down bar and transforming it from a dark and dirty dive to a bright and cheerful destination. The bar's customer base is diverse, ranging in age from early 20s to mid-70s. But there is one thing they all have in common: their sex-positive outlook. Cole describes that many regulars are some of the oldest survivors of the AIDS epidemic, as the film recounts harrowing moments from decades past, where the "gay plague" made headlines.

Given the large queer population in Palm Springs, Tool Shed is a home away from home for many who have struggled to find their community. In interviews, repeat customers describe how they've found their chosen family amid mounting national discrimination. The impact of President Trump's re-election has certainly not helped protect the queer community. Cole, visibly emotional, discusses the outsider threats to his livelihood and personal safety he receives as owner of the bar. Nonetheless, Tool Shed and its patrons have an undeniable warrior spirit, which shines bright throughout the film.

A Tight Knit, Queercore Indie

"We made this one punk rock, guerrilla style, for almost no money at all," say the filmmakers. "What little we had all went to paying our small crew for their incredible work. It’s a film made with a ton of love and hard work." This humble documentary, running 22 minutes long, is a simple yet glowing portrait of a cherished establishment. The interviews are compelling and speak for themselves, highlighting the diversity of clientele. From leather vest-wearing middle-aged men to Hawaiian shirt-wearing thirty-somethings, inclusion is at the forefront.

Takeaway

Welcome to Tool Shed is more than just an exploration into the history of the beloved Palm Springs bar. It is an introspective look at the decades-long battle against oppression. The result is a passionate, loving human interest story and an overall celebration of queer history. Welcome to Tool Shed makes its premiere at the end of March at the American Documentary and Animation Film Festival (AmDocs).

by Morgan Rojas

'Pickup' Review: A Soviet-Style Quest for Love

Sometimes the best things come in small packages. So is true in director Viktoriia Lapushkina's micro short Pickup. Running just 3 minutes long, Pickup is a Russian dark comedy about gaining romantic attention through unexpected circumstances.

Testing the Formula for Love

The film begins in the middle of a lecture on femininity and attaining the male gaze. The speaker is a beautiful woman, confident and alluring. She makes direct contact with Di (Elizaveta Ishchenko), a shy girl who seems out of place in the hyper-sexualized environment. The professor continues with her lecture, reminding the women that they need to present themselves in a certain way if they want to attract a man. Some pointers include having good posture and flashing a "Mona Lisa smile" (also known as a sly grin with no teeth).

Putting these theories into practice, the women are given individual tasks; Di's assignment is to get a man to buy her a coffee. Sounds simple enough. However, during her attempt to complete this goal, she ends up on a rooftop where she finds a suicidal man about to jump. Unfazed, she blatantly asks him to buy her a coffee. He seems stunned. Doesn't she see that he is in the middle of ending his life? What follows is a twist that turns this otherwise awkward encounter into a hilarious ending.

Capturing a Soviet-Style Love Story

This indie short explores an interesting rising trend in Russia: courses that promise fast love. However, as seen in Pickup, many of these programs rely on psychological manipulation by exploiting people’s fears and insecurities. What could have been a more melancholic outlook is instead seen through a humorous lens. Filmmaker Viktoriia Lapushkina approaches this subject through satire rather than moral judgment. Her dedication to capturing the Soviet aesthetic brings another layer of authenticity to the film. By shooting with vintage Soviet lenses and using an old Soviet factory as the main location, we are transported into Lapushkina's carefully-crafted universe. Furthering the film's commanding presence is the performance by Elizaveta Ishchenko. Her charisma is transfixing, and her comedic timing is spot on.

Director's Statement

"Pickup began as a small comedic idea inspired by today’s constant informational noise. It quickly grew into a script that turned out to be more personal than I initially expected. That’s why it resonated so much with my team, cast, and, hopefully, the audience. Through this work, I want to convey a sense of loneliness and the fear of being an outsider – the feeling that you are the only one who can’t make it work. Pickup shows how endless instructions on what to do and say to be loved pull us away from what people actually fall for: ourselves."

Takeaway

This bite-sized dark comedy is the total package and has the makings of an excellent feature-length film. Pickup will have its World Premiere at the 2026 Slamdance Film Festival.

by Morgan Rojas

'Lay Lefty Down' Review: Turning Tragedy into a Dark Comedy

When confronted with the life-changing news that she had cancer, filmmaker Traven Rice decided to turn tragedy into dark comedy. The result is Lay Lefty Down, a charming short film about facing difficulty with a smile. As the co-writer/director, Rice embraces the discomfort that usually surrounds a cancer diagnosis and makes it ok to laugh at the circumstances. Lay Lefty Down is a heartwarming watch that aims to inspire people to face personal challenges with a sense of humor.

Bye Bye, Boobie

Abby (Alexandra Seal), a middle-aged woman, vapes in her car as she works up the nerve to go inside her Aunt Eudora’s (Tovah Feldshuh) house. Little does she know that she is walking into a surprise party celebrating her recent mastectomy. A "Boob Funeral," Aunt Eudora calls it, as Abby stares at the unexpected party guests in disbelief. The party favors don't disappoint either. Boob cupcakes and cookies line the tables, as do pizzas with pepperoni nipples. This celebration of life for "Lefty," aka her left boob, has everyone reminiscing about her former physical asset, including her old college roommate and estranged husband.

Horrified, Abby tries her best to avoid participating in the mock funeral; however, Aunt Eudora eventually finds her. In a moment of vulnerability between them, Aunt Eudora opens up about her own previous relationship with cancer. She explains that she, too, had breast cancer and a double mastectomy. This gives Abby the courage to face her fears and tell her story. In doing so, she also acknowledges the cultural taboos about breast cancer that surround her.

Using Humor to Face Life's Challenges

For a film about reconciling with cancer, Lay Lefty Down is a hoot. A real gem of an indie comedy, Traven Rice portrays serious subject matter in an authentic and easily digestible way. The performances are the anchors of the film; both Alexandra Seal and Tovah Feldshuh are phenomenal. They have the presence of big-screen talent, which catapults the film as a whole. Their comedic timing is spot on, and their ability to transition into a deeper emotional state is quite effective.

Director's Statement

"This is a story about the importance of talking about hard things, and especially laughing about hard things... I found going through the process of breast cancer treatment to be an isolating and scary experience. Quickly, I learned it wasn’t a topic people felt comfortable talking about or even asking me about, even though it’s known as one of the more common types of cancer to be diagnosed with. I believe laughter leads to healing. So one of the first things I did after diagnosis was ask for jokes because if you can’t laugh... (you’d stab your eyes out)."

Takeaway

A perfect blend of humor and heart, Lay Lefty Down is a great achievement by all involved. The film makes its World Premiere at the 2026 Oxford Film Festival.

by Morgan Rojas

'After That' Review: Visual Poetry Dedicated to a Life That Was

Poignant memories of one man's past are examined in filmmakers Xinhao Lu & Mufeng Han's short drama, After That (在那之後). An affirming story expressed in a lyrical fashion, After That feels like a time capsule from decades prior. Prepare to get swept away in the film's gorgeous, moody aesthetic and retrospective narration. Even at a swift 11 minutes long, the film's expansiveness is deeply felt.

A Reflection on a Former Life

Set in the future, an older man named Xinhao (Jim Lau) wanders through his now uninhabited homeland. As he travels through the city and the suburbs, he reminisces about his former life. He visits the park, the riverbank location of the Third World War, the space center, and the ocean. He reflects on his past, one that was full of love and life. Now, he is surrounded only by the ghosts of his memory. After this mental journey, Xinhao lies motionless and sheds a single tear. Eventually, he melts into his bed and says goodbye to the world, disappearing from this life forever.

Visual Poetry Dedicated to a Life That Was

Produced by Savory Liu, After That details the nuances of one man's anxiety about the future. Through minimalist and simplistic production design, the film is propelled by a strong voiceover narration by the protagonist and sharp sound design. From a craft perspective, After That shows how a film's impact doesn't require a large production budget. Jim Lau gives a strong and convincing performance as a lonely, melancholic man. We sympathize with his sadness and can't help but see ourselves reflected in his pain.

Directors' Statement

"I want to use Super 8mm film—a video format from the past that feels like a private video diary—to tell the story of a future version of myself, Xinhao, on the last day of his life. Through this short film, I want to express my anxiety about the past depicted in the film (which is, in fact, the present), as well as my lost imaginings of the future. Ultimately, I want to use moving images to write a testament from the future."

Takeaway

The decision to shoot on film feels symbolic; just as celluloid fades over time, so do memories. After That is a lyrical and meditative viewing experience that will awaken the spirit inside you. The film makes its World Premiere at the 2026 Slamdance Film Festival.

by Morgan Rojas

'Perennial Light' Review: An Intimate Portrait of Grief and Healing

Filmmaker Colin Hickey's artfully crafted, minimalist indie feature Perennial Light is a mesmerizing viewing experience. From the start, it's easy to get swept up in the film's soothing aesthetic and experimental nature that Hickey portrays through poignant animation, an emotive score, and moving performances. This silent lyrical film is shot in black and white with a heavy emphasis on craft, much like Victor Kossakovsky's Gunda or Michel Hazanavicius's The Artist. Running 1h 22m, Perennial Light is masterful artistry on display.

We Don't Remember Days, We Remember Moments

There are no truer words than those expressed at the beginning of the film, which sets the scene for what's to follow. The opening montage shows hand-drawn animation set against the film's rich black and white palette. After juxtaposing the animation with moments from the natural world, we are suddenly inserted into coastal Ireland, where we witness a young boy's close relationship with his best friend. Her sudden death devastates him and plunges him into overwhelming grief. Making sense of these big emotions at such a young age is difficult, and so the boy retreats into isolation.

As he grows older, the memory of her continues to be an important part of his life, and the result is somewhat detrimental to his personal growth. The boy continues to grapple with existential questions and struggles to form meaningful relationships. Eventually, he marries and becomes a father. His heartache lessens somewhat during middle age, but this early childhood trauma continues to affect his daily life. Struggling to be fully present, his wife is eventually able to gently pull him out of his self-protective shell. Through her love and unwavering support, he begins to confront the pain he has always avoided.

A New Perspective on Grief

Perennial Light interprets a young boy's grief through the interweaving drawings, which reflect visual manifestations of his daydreams and thoughts. This creative decision to move between the stunning cinematography and animation is a poignant choice. The heart of the film lies in the performances, which carry a palpable emotional heaviness. This is accompanied by a beautiful, long-running score that incorporates symphonic orchestral moments, field recordings, and more.

Takeaway

If you're looking for a quiet, meditative, and thought-provoking film, Perennial Light is for you. Director Colin Hickey successfully crafts a powerful yet incredibly intimate portrait of grief and healing. 

by Morgan Rojas

'Silence = Death' Review: A Look at Dr. Fauci’s Legacy Through a Queer Lens

Many people considered Dr. Anthony Fauci, a pinnacle figure during the COVID-19 pandemic, as a hero. His expert advice was viewed as a guideline for the health and safety of society. His words were interpreted as gospel, and many believed he could do no wrong. However, his status as a hero in healthcare remains questionable to some. In filmmaker Trace Pope's short drama Silence = Death, Pope shows the early days of Dr. Fauci's more divisive views during the '90s AIDS epidemic.

The Fight Against Dr. Fauci

The year is 1990, and Jamie (Elliot Roy Rensky), a young, queer activist and filmmaker, prepares to confront Dr. Fauci. Jamie is tired of watching his partner, Patrick (Shane Campayne), suffer from complications from AIDS, and knows he needs to get proactive. Using his camera as his tool, Jamie joins an upcoming protest to storm the DC campus of the National Institutes of Health (NIH). This event, led by the AIDS Coalition to Unleash Power (ACT UP), is protesting the lack of available drugs to treat AIDS, a cause clearly very personal to Jamie.

While protestors ascend the building, Dr. Fauci (Henry Storrs) can only watch. They scream for his resignation and threaten to upend his work. Jamie, however, remains measured and calm. When he spots Dr. Fauci behind a glass door, he attempts to hand him a package that contains a video of his partner. The hope is that this will humanize the image of the AIDS crisis and change Dr. Fauci's mind. Despite the effort and intent, Jamie's effort can only go so far. At the end of the day, it is Dr. Fauci alone who must reckon how he will utilize with his power and privilege.

"You Are a Murderer"

"Anthony Fauci, you are a murderer," Jamie says defiantly in the opening scene. This divisive statement hits hard, especially when followed by the slogan "One AIDS death every 12 minutes." Filmmaker Trace Pope doesn't hold back as he shines a light on this historical moment. Most notable is the strong editing, which blends archival footage from former protests. This is an incredibly effective decision that displays Pope's creative control. The performances in Silence = Death are incredibly intimate and moving. Initially, I mistook the film for a documentary (that's how convincing Elliot Roy Rensky is on screen).

Director's Statement

"When ACT UP was founded in 1987, the world witnessed the birth of one of the most influential activist groups in history. Because of their direct action and protests, the NIH (led by Dr. Anthony Fauci) accelerated the production of drugs that have significantly limited the reach of this horrible disease... Last year, the NIH terminated almost all of its grants that fund HIV/AIDS research, effectively ending the search for a vaccine and endangering the lives of millions of people. This film is my attempt to immortalize the bravery of the activists who fought for our survival 40 years ago and caution against complacency as this cycle of discrimination spins on."

Takeaway

Silence = Death makes a strong statement that intends to educate and alert its audience. Through powerful storytelling and convincing performances, Silence = Death carries a loud message. The film received a nomination for Best Narrative Short at the March on Film Festival.

by Morgan Rojas

'Time Helmet' Review: A Modern Sci-Fi Comedy with Vintage Flair

Filmmaker Mike Jackson brings sci-fi nostalgia to the big screen in his throwback genre comedy, Time Helmet. As the director, writer, and editor, Jackson time-travels back to the 70s and 80s to tell the story of a kooky inventor's creation gone wrong. Buzzing with charisma and bold visuals, Time Helmet is a lighthearted watch with vintage flair. The film recently screened at the 2025 Gen Con Film Festival in Indianapolis, IN.

The Hunt for the Time-Traveling Patent Troll

Donald Voltmann (Peter New) is a man whose frenetic energy matches that of a lightning bolt. Dubbed a "Boy Genius" in his younger years, Don talks a mile a minute as he shows off his latest invention to his neighbor, Ferris (Lou Ticzon). Don proudly demonstrates his Time Travel Helmet, a device that can transport him into the future. Initially, Don views the helmet as a way to turn his life around by consulting with his future self on how to live a good life. However, his future self has a more sinister trajectory. Future Don realizes that this ability is also an opportunity to mess with his ex-wife (Rhona Rees) by stealing the patent to Tube Monkey, a product she has worked incredibly hard to create.

Current Don and Future Don are now at odds with each other, as they also find themselves fighting other external battles. In addition to engaging in a bitter feud with his ex, Don is also on the run from Officer Prudence Slaughter (Camryn MacDonald) of the Time Police. Officer Slaugher catches wind of Don's patent-stealing "time crime," and makes it her mission to bring him to justice no matter what it takes.

A Love Letter to Old Science Fiction Films

Reminiscent of the Back to the Future trilogy, Time Helmet is a clever and cheeky sci-fi comedy that all ages can enjoy. There is a commendable DIY spirit that emanates throughout the film, as seen in the heartfelt performances and thorough production design. It's no easy feat to pull off a time-traveling feature film on an indie budget, but filmmaker Mike Jackson makes this squeeze look effortless. As an Emmy-nominated editor, Jackson's work in post-production is on full display here. The hyperness of Don's character is matched in the edit, creating momentum so visceral that you can't help but get sucked into the film.

Director's Statement

"This movie was ‘The Little Engine That Could’. Constantly pushing the limits of its small budget and limited resources, battling countless obstacles, but somehow always pulling through. The COVID lockdowns started three weeks into our shoot, and it was several months before we could resume. Post-production (and over 570 VFX shots) took almost four years to complete. This film only exists because a huge number of people gave it their all, every day for weeks at a time. It was a labor of love and a dream come true. I hope audiences feel that love when they watch it, and also get some good laughs in the bargain."

Takeaway

Equally kooky and heartfelt, Time Helmet is a love letter to the glory days of rough and ready sci-fi. Impressively, the film also marks Mike Jackson's first feature as a director. Prior to this, he directed numerous award-winning shorts and music videos and was a renowned sci-fi illustrator before transitioning to film.

by Morgan Rojas