'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.
'Dead Weight' Review: Trust Thy Neighbor?
There is a hypothetical question that has been circulating on the internet recently. It asks, "If you were alone in the woods, would you rather encounter a bear or a man?" There is no wrong answer, per se, but filmmaker Virginia Root's short film Dead Weight leads us to believe a bear is the wiser choice. Written and directed by Wood, with support from the George R. R. Martin Literary Foundation, this dark comedy will have its World Premiere at the 2025 Dances with Films Festival.
"It's Not Personal, It's Just Survival"
Grace (Alexandra Renzo) is a solo traveler who finds herself alone in the wilderness. Having survived a nondescript apocalypse back home, she has since become one with nature and adjusts to her new reality of isolation. The silence is peaceful, a welcome change from the hustle and bustle of city life. One afternoon, as Grace walks back to her campsite, she spots a man attempting to steal her food supply. Instead of retaliation, Grace senses his desperation and hunger. She quickly befriends the man, Aaron (Griffin Newman), and shares her rations.
Being the only two survivors, Grace and Aaron inadvertently begin to adventure together. However, there is something about Aaron that Grace can't quite trust. She is a seasoned backpacker, and he is a recreational hiker at best with an air of mystery surrounding him. Grace feels an uneasiness, especially knowing that society as she knows it has collapsed, and the rules no longer apply. Her intuition turns out to be right, with Aaron inevitably turning on her in a callous way, revealing his true character. However, he finds out the hard way that his emotional outburst and naivete are no match for a seasoned pro.
Grounded Performances Nail the Tone
Dead Weight nails the dark comedy tone with a standout performance from Alexandra Renzo. She plays Grace with a stoic groundedness which perfectly complements Griffin Newman's more "devil in sheep's clothing" persona. Given that the entirety of the film is shot outside with natural lighting and practical effects, special acknowledgement goes to cinematographer Austin Madrid. He captures the landscape with such precision and attention to detail, much like a virtual postcard from the great outdoors.
Takeaway
Written and directed by Virginia Root, this short film is a tight and cohesive apocalyptic thriller that hits all the right notes.
'Gaku: One Last Round' Review: Down But Not Out
For many of us, 2020 was a year of hardship. For professional boxer Gaku Takahashi, it became the year his life imploded. In filmmaker Taige Shi's short documentary, Gaku: One Last Round, we witness the aftermath of a tragedy that cut short the once-prosperous career of the Japanese boxer during a time when racism against the Asian community was at an all-time high. The 12-minute film made its World Premiere in May at the 2025 LA Asian Pacific Film Festival.
A Professional Boxer, Sidelined
Before 2020, Gaku's future looked bright as he trained with some of Los Angeles's most in-demand boxing trainers. However, a road rage incident and violent anti-Asian hate crime left Gaku with devastating chronic pain and emotional distress. Gaku fell victim not just to his attacker, but also to the U.S. justice system that showed him no empathy or respect. America may have been sold to Gaku as the place where dreams come true, but the actual reality was that his dream was now dead.
Gaku: One Last Round follows Gaku post-injury, as he continues down the road of recovery. In true cinéma vérité style, the camera acts as a fly on the wall as we watch Gaku attempt to reach the FBI to report his incident, only to be met with ambivalent ignorance from law enforcement. Impactful editing and clever sound design portray Gaku's overwhelming sense of dread and sadness. Despite having to give up his boxing career, Gaku's conviction to return to the ring one day acts as a beacon of hope. He is a true hero, both inside the ring and out.
Resilience is Met With an Unforgiving Reality
Director Taige Shi captures these intimate and vulnerable moments with dignity and grace. The tone of the film is quite somber. It's discouraging to focus on how cold-hearted the system often is toward immigrants. But Taige's intent isn't to shame the system. Rather, his ultimate goal is to inspire viewers to stand in solidarity with the Asian community.
Takeaway
It says a lot about his character that Gaku, a professional boxer, did not fight back. Even though he was well within his rights to protect himself against physical abuse and racist slurs, his restraint showed his character as the bigger person. Gaku: One Last Round acts not only as Gaku's statement, but his rallying cry and his anthem.
'Sugar' Review: A Sweet Take on an Unconventional Dynamic
Filmmakers Eden Ohayon & Alexandra Nedved's short film Sugar offers a sweet glimpse into the life of a rookie sugar baby. Those who have a stigma against this type of transactional relationship will be hard-pressed to critique the film's portrayal of this good-natured and unique bond. Billed as a dark comedy (think Fleabag style), Sugar shows how one woman's act of desperation turns into the unexpected beginning of a beautiful friendship.
An Unexpected Connection Derails a Young Woman's "Get Rich Quick" Scheme
Maeve (Molly Ehrenberg-Peters) is a broke Brit living in Brooklyn, who struggles to make ends meet. Having recently separated from her live-in boyfriend, Maeve is desperate to regain a sense of financial security. This leads her to the Upper West Side, where she prepares to "shag an old bloke" on her first outing as a prospective sugar baby. Maeve's voiceover informs the audience that she will be meeting Frank (Larry Pine), an older gentleman and first-time sugar daddy, for dinner. They get off to a good start, but quickly break the cardinal rule of first date topics by discussing religion. Maeve feigns interest in Frank, keeping her eye on the prize.
After dinner, Frank suggests they take a walk around the park. He wants to continue their conversation, and she desperately wants to lock this down, so she agrees. Their conversation organically becomes personal and intimate while staying completely platonic. It's at this point that Maeve sees past the dollar signs and begins to understand the man in front of her: a grieving widower who, like her, loves the ballet. The money becomes secondary as Maeve shifts into a happiness mindset. She begins to realize that we all have a basic human need for connection and vulnerability, regardless of wealth, status, and gender.
Engaging Use of First-Person POV
Visually, Sugar uses engaging POV shots to drop the viewer into the film. Filmed almost entirely in the first-person perspective, this intimate technique inserts the audience into the scenes with the characters. Leading the film is Molly Ehrenberg-Peters, who is definitely one to keep on your radar. Her charm and effortless performance are captivating and memorable. She also doubles as one of the screenwriters alongside Ohayon and Nedved.
Takeaway
Sugar explores an alternate side of the sugar baby/sugar daddy dynamic, making for a wonderfully thought-provoking short film.