'Better Together: Furman’s Championship Quest' Review: Dream Big
There truly is no better feeling than watching a classic underdog success story, especially when it takes place on the basketball court. If you agree, then get ready to get hyped in filmmaker Richmond Weaver's five-part docuseries about the Furman University men's basketball team, Better Together: Furman's Championship Quest. A winning combination for sports fans and cinephiles alike, Better Together brings an electric story of triumph and perseverance to the small screen.
Dream Big
Each episode of Better Together runs roughly 25-minutes long. The first episode kicks off dramatically with Furman and their rival, Chattanooga, tied 61-61 in overtime. A Furman player makes a crucial layup, putting the team ahead by two points. But then, the unthinkable happens. A Chattanooga player runs down the court with three seconds left and sends up a Hail Mary shot at the three-point line. Much to the shock, awe, and utter disbelief of the players and crowd, it goes in. Furman loses by a single point. It's a devastating loss that knocks Furman out of the Southern Conference Tournament Championship, which they haven't won since 1980.
The rest of the episode, as well as subsequent episodes, focus on the team's rebuilding after such a startling loss. At the time of filming, Furman is in the middle of one of the longest droughts in college basketball history. Despite this incredible frustration, the team is determined to have a different outcome next season. Led by their inspiring head coach Bob Richey, whose on-court knowledge is just as impressive as his locker room talk, these underdogs once again find themselves on the cusp of a SoCon Tournament Championship after 43 years as a Cinderella team.
Turning Pain into Purpose
Better Together: Furman's Championship Quest is a fast-paced, high-quality series that hooks you from the very beginning. It's an engaging viewing experience that equally focuses on team dynamics both on and off the court. Tensions rise, emotions flow, and energy soars throughout the entire 144-minute runtime. Director Richmond Weaver doesn't reinvent the wheel as far as the typical documentary production style; his choices are traditional. But this familiar format works well here, as the surprises and action moments come from the story itself. Further aiding the intensity is the score by Adam Tune, which is anthemic and bold.
Takeaway
If you loved HBO's Winning Time or Netflix's Last Chance U, you'll find much to enjoy in this 5-episode limited series. The series recently received a Southeast EMMY Nomination for Best Sports Documentary.
'Them That's Not' Review: Breaking Through Emotional Avoidance
The feeling of isolation can be painful, especially during the holidays. Even when surrounded by family and friends, a sense of disconnect can overpower an otherwise joyous occasion. In filmmaker Mekhai Lee's powerful short film, Them That's Not, this identity of being an outsider is told through the lens of empathy and grace. The film, running a concise 18 minutes, won the Gold Hugo award for Best Live Action Short at the 2025 Chicago International Film Festival.
Breaking Through Emotional Avoidance
Drea (Angel Theory) is a struggling poet, sensitive to the world around her. Her quiet demeanor is in stark contrast to her family's larger-than-life personality, which is vividly on display during a wake at her grandmother's house. Drea, an introspective and proud queer, artistic, and deaf young woman, can't help but feel distanced from her relatives. Furthermore, her family's lack of effort to become knowledgeable in ASL makes it difficult to engage in even the most basic communication. Drea interprets their nonexistent effort as a symbol of her self-worth, prompting her to self-isolate to numb the pain.
During this time at her grandmother's, Drea unexpectedly encounters her estranged father, Samuel (Biko Eisen-Martin). He is 20 years into a 25-year prison sentence, released for the day on a furlough to say goodbye to his late mother. Drea and Samuel are essentially strangers, but their blood connection and shared love for the family matriarch are the catalyst that gives them a path toward reconciliation.
Stunning Attention to Detail and Craft
What stands out most in writer/director Mekhai Lee's film is the overall craft. Impressive sound design thoroughly articulates Drea's experience of being hard of hearing. Conversations between her and her family members sound as if she's underwater and struggling to make sense of every word and syllable. Them That's Not is a film driven by sound, both its presence and absence. The final scene ends with a cover of Billie Holiday's "God Bless the Child" performed by Lo Steele, which hits all the right notes.
Director's Statement
"I set out to tell this story at the passing of my own grandmother when faced with how isolating grief in a family setting could be, especially for those who are closer to the deceased. I found connective tissue in that isolation amongst communities, i.e., identifying as queer in your heteronormative family, identifying as Hard of Hearing in your entirely Hearing family. Thus, Billie Holliday’s song, “God Bless the Child,” commissioned to this film by Concord Publishing and Newfest Film Festival, became the quintessential tune to bring this film to life. “God Bless the Child” heralds that isolation, and I was keen on flipping the message of the song to be one that instead reminds its listener of a trusted community. That “our own” can rest in those around us whom we love... even if they’re the most unexpected source of solace."
Takeaway
Anchored by strong performances that reach a climax in a stunning final scene, Them That's Not is full of empathy and warmth. Sharp visuals by cinematographer Sade Ndya create an absorbing viewing experience, as well as a highly memorable film.
'Nothing Solid' Review: A Mystery Illness Gets the Hollywood Treatment
Art imitates life in filmmaker Sharisse Zeroonian's feature-length medical mystery, Nothing Solid. The writer/director draws inspiration from her battle with cyclic vomiting syndrome–yes, a real disorder–to create a truly unique and personal exploration of living with an incurable illness. This unexplained disorder, which is characterized by recurrent, prolonged attacks of severe nausea and vomiting, is now getting the Hollywood treatment. In the first film of its kind about this specific disorder, Nothing Solid is a no-frills independent film that highlights the messiness of young adulthood.
Growing (Up) Pains
Nikki, played by Zeroonian, is a 25-year-old woman who battles mysterious vomiting episodes linked to her anxiety. Her demeanor is similar to Lena Dunham's "Hannah" in Girls, meaning she's a late bloomer struggling to get her life together. As if living with an uncontrollable illness isn't bad enough, Nikki simultaneously deals with increasing family tension. This includes an overprotective mom who believes her daughter lacks the maturity and ability to be truly independent. But Nikki is an adult and realizes that it's time for her to start acting like one.
Her support system comes in the form of her therapist, who helps her see the connection between her emotions and her physical symptoms. Through frank and candid conversation, he challenges Nikki to address the issues that are within her control to improve her situation. However, Nikki continues to vacillate between facing her demons and remaining in her familiar cycle of distress.
An Education on a Rare Condition
Zeroonian's medical condition is so rare that its cinematic portrayal has made national headlines. For more context, read the article from TODAY, "Woman, 29, Lives With Mysterious Vomiting Illness, Throws Up For Days." While this headline may read as the logline of a horror film, Nothing Solid is no such movie. There is a heavy dependence on dialogue and intimate character interactions, and (thankfully) limited visual sickness. Generous screen time is given to Nikki and her therapist, whose scenes involve more word vomit than actual vomit. To this end, the script does a wonderful job of highlighting raw and authentic moments between an anxious patient and her wise clinician.
From a production standpoint, Zeroonian makes the most of her microbudget. Her portrayal of Nikki is empathetic; despite her dire situation, she seems to find the humor in the little things. This makes her character an easy one to root for and not just sympathize with as a victim of her circumstances. On the technical side, Nothing Solid would benefit from a more thorough sound mix, as some scenes suffer from poor audio. To that point, a stronger or more utilized score would have also been a nice touch to complement the abundance of dialogue.
Takeaway
While filmmaking may not be the cure to Sharisse Zeroonian's real-life illness, it can definitely act as a therapeutic release. As a viewer, witnessing Nikki's world and her struggles makes for an eye-opening experience. Despite the protagonist's (and filmmaker's) harsh reality, this semi-autobiographical film leans into its inherent dark comedy genre. Zeroonian crafts a film that is not only educational but also fun to watch.
'How I Spent My Summer Vacation' Review: You Only Live Once
For most thirteen-year-old girls, the biggest worry is about making friends at school. Or, trying to keep up with the latest trends. In filmmaker Kenneth R. Frank's How I Spent My Summer Vacation, the young protagonist has bigger issues on her mind. This tenderly told coming-of-age film spends the summer with Grace, a teenager who struggles with the anxiety of her own mortality.
You Only Live Once
Grace (Raquel Sciacca) is a young girl who loves routine. Having control over an outcome is a way to ease her fragile mind, which is why structure has become increasingly more important, as life's disruptions become more frequent. Grace is also entering the eighth grade next year, which is already proving to be problematic. Her younger brother Richie's (Dawson Sciacca) disruptive behavior in class makes things difficult for Grace and her mother (Christina Elise Perry) to handle. Needless to say, everyone is looking forward to a break during summer vacation. Grace can only keep her sights set on a once-in-a-lifetime trip to the Galapagos Islands with her dad (Chris Mollica), which she has been planning for years. Still, an ever-present sense of fear creeps into this otherwise exciting upcoming trip.
Plans are disrupted, however, once news of her grandfather's (Jerry Colpitts) illness spreads. Grace and her family move to Long Island for the summer to care for him. Straying from her original expectation and into the unknown is a scary thing for Grace to accept, but it's exactly the thing that pushes her to explore a whole new world of possibilities. Through unexpected challenges and newly formed relationships, Grace finally confronts her anxieties and fears. She soon realizes that life is too short to worry about strict routines and playing it safe. After all, you only live once, so instead of fearing death, Grace learns to embrace life.
A Traditional Coming of Age Film with Heart
How I Spent My Summer Vacation is writer/director Kenneth R. Frank's third feature film. He tackles the themes of adolescent curiosity and fears in such a precious and nuanced way. The script tackles traditional coming-of-age themes, led by an empathetic performance by Raquel Sciacca. Her sensitivities are palpable, similar to Elsie Fisher's performance in Bo Burnham's 2018 film Eighth Grade. For an independent feature, How I Spent My Summer Vacation is a solid execution. What could have enhanced the film's onscreen charisma is a smoother dialogue flow between characters, whose interactions, at times, can come across as slightly robotic and unnatural. The film could have also benefited from a more consistent score, instead of mainly relying on it as a transition device between scenes.
Director's Statement
"The story for this film is rooted in a personal experience I have long wanted to examine: the death of my grandfather when I was eleven years old. While this period was my first intimate contact with death, it also seems, in retrospect, to be my entry into the world of adults. In this regard, there are then two periods of my life: everything before my grandfather’s death and then everything after it... And so, sitting behind the camera on this film, I found myself directing two of my own experiences: that of my own younger self and that of my current reality as a father... This examination of my own past (and my own present) has been a most satisfying artistic experience, and I am proud to share this film."
Takeaway
The biggest lesson in the film is a universal one, a powerful sentiment that bears repeating. As Grace's father says, “It’s okay to be scared, but you can’t let fear keep you from doing the things you want.” This film offers audiences a reminder that the purpose of life isn't to live small; rather, it's to live out loud.
'A Week' Review: Revenge is a Dish Best Served Hot
Seven days is all it takes for one woman to reach her breaking point in filmmaker Tony Rakshith's short film, A Week. This intimate, micro-budget independent film chronicles a week in the life of Rebecca, a waitress who is facing the return of her abusive husband. The film won Silver at the Independent Shorts Awards and premiered at the Oscar-qualifying LA Shorts International Film Festival. It continues to make the rounds on the festival circuit.
Revenge is a Dish Best Served Hot
The film begins on a Monday, and Rebecca (Neva Leoncini) is already facing a difficult day ahead. She tells her colleague at Cadillac Jack's diner that her volatile husband will be coming home after spending four years in prison. Since his incarceration, Rebecca has been living peacefully, but his impending release sends chills down her spine. Her worst fears come true when her husband (Amir Yassami) suddenly appears at the diner, unannounced and threatening.
The film unfolds over the course of several days, with her husband growing increasingly agitated as time passes. On Thursday morning, Rebecca shows up to work with a bruise on her eye. She claims to have fallen down the stairs, but her boss (James Tolley) knows the real culprit is likely her husband. On Sunday morning, he's back at the diner again, but this time it's different. After offering him a plate of hot pancakes, Rebecca smirks as he begins to choke. Her revenge is all going according to plan.
Director's Statement
"This film was born from a simple yet ambitious idea: to create something that is both fun and profoundly serious at the same time. In a world often divided between light-hearted escapism and heavy drama, I wanted to blend the two, crafting a story where laughter and tension coexist, reflecting the absurd complexities of real life. Suspense forms the backbone of the narrative. I built it deliberately through the structure: careful pacing, escalating stakes, and unexpected turns that keep audiences on edge. At the same time, comedy emerges organically from the actors' improvisations. By giving them freedom to play within the scenes, we captured spontaneous, authentic moments of humor that feel fresh and unpredictable, turning potentially dark situations into opportunities for wry smiles or outright laughs.
Ultimately, I hope viewers experience that rare thrill of being surprised by joy in the midst of unease. This project is a reminder that life’s most serious moments can also be its funniest and vice versa. It’s an invitation to laugh uncomfortably, question deeply, and embrace the chaos."
Takeaway
A Week pays homage to the goriness of Tarantino films, while managing to stay contained within the micro-budget space. The production takes place in one location and features a very small cast, resulting in a tight-knit narrative from start to finish. Most notably, Tony Rakshith's directing ability proves that you can tell a very compelling story with limited resources.
'The Elephant in the Room' Review: Finding Mr. Right (Literally)
Are political differences enough to end an otherwise great relationship? That is the conundrum filmmaker Erik Bork spotlights in his red-blue romantic comedy, The Elephant in the Room. Both lighthearted in nature and contemporary in its themes, Bork uses humor to look at very real and complex issues facing couples today. As if dating in Los Angeles isn't hard enough, adding political tension makes for a complicated connection in these divided times.
Finding Mr. Almost Right
The film takes place in Los Angeles during December 2020, a time when COVID-19 is still a threat and dating remains a somewhat risky endeavour. Leah (Alyssa Limperis) is a proud progressive woman who believes she has finally found the perfect guy. After a quick flirty exchange on Christmas Day with Vincent (Sean Kleier), Leah is smitten. He's handsome, charming, and witty. On paper, he's perfect; however, things take a dramatic, if not horrifying, turn when she discovers he was a Trump voter.
Still, not ready to give up hope, Leah launches a mission to fix this “problem." She feels cautiously optimistic that she will be able to shift his perspective and get him to align with her values so they can work past these fundamental differences. However, after Vincent shares that he is planning to attend the Washington D.C. protest on January 6th with his right-wing grandmother, Leah believes that all hope is lost. Her vision of this dream man is turning into a nightmare, but it may not be too late to change his mind once and for all.
Divided We Stand?
Though not technically a "horror film," The Elephant in the Room does portray one woman's worst-case scenario. Written & directed by Erik Bork, the film is a funny and smart exploration of political polarization that genuinely caters to a non-partisan audience. Leah and Vincent's political tiffs bring up interesting points, ones that both sides of the aisle should be able to acknowledge as valid. It is appropriate to draw the line at the January 6th riots, which the film allows audiences to do without much convincing.
Director Statement
"My idea for the film originally was that political differences in the age of Trump could be a great 'complication' for a potential romantic comedy. As I began raising money to make the film, and meeting people from organizations concerned with trying to do something about political polarization, I started to feel heartened that they thought this film is the kind of thing we need more of today - where people from opposite sides talk to each other and have an incentive to find common ground.
Although that conflict is explored mostly comedically in the film, I do recognize it as a serious issue - the huge divides between the "two sides" in our culture. And while I mainly hope the film entertains and engages audiences as a story, I also like thinking that it will spark conversations about this ever-present issue in people's lives today, as it has done during all its screenings thus far."
Takeaway
Lead actor Alyssa Limperis steals the spotlight with her authenticity and bubbly demeanour. Her chemistry with co-star Sean Kleier and supporting actor Dominic Burgess is strong, and gives The Elephant in the Room a real blockbuster feel. No matter what side you lean politically, there is much to admire in this charming indie feature.
'Hamnet' Review: Shakespeare in Mourning
Hamnet, at its core, is a story about suffering and silence. It is also a story of perseverance, maternal ferocity, and human connection. Through mesmerizing visuals and striking performances, Academy Award-winning filmmaker Chloé Zhao tells the powerful story that inspired Shakespeare’s timeless masterpiece, Hamlet. Hamnet is an emotional tour de force that will have you longing for your mother's embrace.
Born From Pain, Birthing an Artistic Masterpiece
Hamnet takes place in the 16th century in rural England. Paul Mescal plays William Shakespeare, a struggling Latin tutor who is besotted with Agnes (Jessie Buckley), a free-spirited outsider. They are each other's twin flames, who quickly marry and start a family. Their relationship is unconventional but strong; their mutual support encourages harmony and love inside and outside of the home. Always fond of William's writing, Agnes inspires her husband to pursue his creative ambitions in London, so William takes the opportunity, delves into the theater, and quickly becomes a successful playwright.
Back home, Agnes feels his absence tremendously. Their children, Susanna, Judith, and Hamnet, particularly mourn his presence. Agnes does the best she can to keep her children happy and healthy, but when a horrific tragedy strikes, her maternal fortitude and confidence are shaken to the core. Agnes and William's once-unwavering bond is put to the test, as well as their roles of spouse and caretaker. However, William turns this shared pain into art as he sets the stage for the creation of Shakespeare’s timeless masterpiece, Hamlet.
To Be or Not to Be
Chloé Zhao (Nomadland, The Rider) knows how to sensitively observe moments of deep reflection, and the same is true here. While the film is a slow burn, the journey is never dull. Beautiful cinematography by DP Łukasz Żal brings this old English world to life in vivid detail. Aiding in the emotional storytelling is a quietly stirring score by composer Max Richter. Yes, it is a bit overplayed to sync one of his most famous works, On The Nature of Daylight, in the finale scene, but Hamnet can get away with it. The final pieces of the puzzle are the phenomenal performances by Buckley and Mescal. Raw, animalistic, and deeply human all at once, they give the film a life well beyond the two-hour runtime. Their intensity will stay with you for a long time.
Director Statement
Says Chloé Zhao: "I don’t often have words to describe why I choose a project. I’m often guided by instinct, a tight pull on my heart center. Stories appear in my life as if they have chosen me, and I have no choice but to surrender to them. Hamnet came into my life like a whisper that grew into a hurricane. By the end of the journey, I was tenderized. I had truly experienced what it feels like to live with an open heart in the eye of a storm - the beauty, the pain, the thrill at the edge of annihilation, and the silence."
Takeaway
Universally considered an early awards contender following its debut at the Telluride Film Festival, Hamnet is poetic cinema. It dutifully crafts a complex tale of love, loss, and the healing power of art and creativity.
Exclusive: Emilie Levienaise-Farrouch Debuts Track from 'H is for Hawk'
Emilie Levienaise-Farrouch's score took audiences on a journey through a tapestry of big emotions in the 2023 drama, All of Us Strangers. Using a mixture of synths and strings, she effortlessly evokes the “texture” of memory. Before that, she leaned into the traditional classical genre in Living, the 2022 drama starring Bill Nighy. Her most recent work soars once again in filmmaker Philippa Lowthorpe’s H is for Hawk. Using a string ensemble, she crafts an expansive, yet unforced piece that acts as a sonic meditation on grief, nature, and the father-daughter bond.
Inspired by Helen Macdonald’s beloved memoir, H is for Hawk stars Emmy, SAG, and Golden Globe award winner Claire Foy (The Crown) as a grieving woman who finds renewed purpose through falconry. After the sudden death of her father (Brendan Gleeson), Helen (Foy) loses herself in the memories of their time birding and exploring the natural world together. To navigate her profound loss, she turns to training a wild goshawk named Mabel. As she teaches Mabel to hunt and to fly, Helen discovers how deeply she has neglected her own emotions.
EXCLUSIVE: Cinemacy is proud to debut ‘Feathers’ from Roadside Attractions’ H is for Hawk, below:
The Ivor Novello–nominated composer initially conceived the soundtrack as a small chamber piece. However, to match the film's emotional depth, the music grew into a 12-piece string ensemble. The result is what we hear in Feathers: an organic acoustic sound that embodies the film’s exhilarating sense of emotional release. She uses techniques like heavy detuning, extended bowing, and abstract verbal direction to shape the music. This gives the sound an animalistic quality that almost feels as if it's breathing. Using minimalist instruments, Levienaise-Farrouch crafts a sound that is so wonderfully wild, strange, and alive.
H is for Hawk will have a limited run in mid-December. The film opens theatrically on January 23, 2026.