2025 Tribeca Festival: feature films and TV lineup announced

April 17, 2025

The following is a combination of press releases from the Tribeca Festival:

The 2025 Tribeca Festival, presented by OKX, revealed a powerhouse selection of documentary, narrative and animated features showcasing global music legends, influential cultural figures and untold stories from emerging and established voices. Scheduled to run June 4 – 15 in New York City, the annual festival promises to unite communities and fans globally through its bold curation of films.

Continuing Tribeca’s tradition as a premiere music documentary destination, the Festival kicks off Wednesday, June 4 with the previously announced world premiere of Billy Joel: And So It Goes, directed by Emmy® winners Susan Lacy and Jessica Levin. The world premiere of global superstar Miley Cyrus’ highly anticipated visual album Something Beautiful, directed by Cyrus, Jacob Bixenman, Brendan Walter and produced by Tribeca alum Panos Cosmatos (Beyond the Black Rainbow, TF ’11), will be followed by an exclusive conversation with Cyrus. The documentary lineup also features chart-topping performers like Counting Crows and Culture ClubBilly IdolBecky G and Eddie Vedder will deliver exclusive performances following the world premiere of their films, while members of MetallicaDepeche ModeWizkid and Ty Dolla $ign will sit for post-premiere conversations, exclusively for Festival attendees.

The 2025 feature film lineup is stacked with incredible casts such as Emmy nominee Rose ByrneDemi Lovato and Oscar® winner Octavia Spencer starring in TowThe Best You Can starring Emmy nominee Kevin Bacon and Emmy winner Kyra Sedgwick marking their first co-starring roles in 20 years; Rosemead starring Emmy nominee Lucy LiuDragonfly with Oscar nominees Andrea Riseborough and Brenda Blethyn; and Everything’s Going to be Great starring Emmy winner Bryan Cranston and Oscar winner Allison Janney. Additional highlights include A Tree Fell in the Woods with Emmy nominees Alexandra DaddarioDaveed Diggs and Josh GadDeep Cover starring Orlando Bloom and Bryce Dallas HowardShe Dances, written, produced and starring Emmy nominee Steve Zahn along with co-star Oscar nominee Ethan Hawke; and Sovereign starring Emmy winner Nick OffermanJacob Tremblay, Emmy nominee Dennis Quaid and Emmy winner Martha Plimpton, among others. The Festival will also bring audiences the live action film How To Train Your Dragon starring Mason ThamesNico Parker and Gerard Butler.

“Tribeca has always been more than a festival—it’s a home for artists navigating an ever-changing industry and an ever-changing world,” said Tribeca Festival Co-Founder and Tribeca Enterprises CEO Jane Rosenthal. “For over two decades, we’ve championed emerging voices, celebrated established storytellers, and built a creative community where artists can grow, connect, and thrive. We’re proud of the ecosystem we’ve cultivated and can’t wait to share it with the world this June.”

This year’s slate of documentary world premieres showcases cultural icons across generations including comedy legend Andy Kaufman in Andy Kaufman Is MeBarbara Walters in a career-spanning profile in Barbara Walters: Tell Me EverythingGloria Steinem in Dear Ms. about the history and legacy of Ms. Magazine; and Jack Kerouac in Kerouac’s Road: The Beat of a Nation featuring Josh BrolinMichael Imperioli, and Matt Dillon, among many others. Additional anticipated documentary world premieres are Long Live The State on the legendary NYU-founded alt-comedy troupe and Titan: the OceanGate Disaster exploring the submersible’s ill-fated journey to the Titanic.

Over the course of the Festival, audiences will see works from a diverse roster of notable filmmakers including world premieres by RZA (One Spoon of Chocolate), Takashi Miike (Sham), Oscar nominee Jim Sheridan (Re-Creation), and Mariska Hargitay with her feature directorial debut My Mom Jayne. The lineup also features compelling selections such as the climate justice documentary, and this year’s Closing Night film, Yanuni from producer Leonardo DiCaprio and director Richard Ladkani (TF ‘05); Surviving Ohio State, produced by George Clooney, examining the decades-spanning pursuit of accountability by sexual abuse survivors; and Room to Move, following New York City dancer and choreographer Jenn Freeman, executive produced by Amy Schumer.

Tribeca will also welcome back its widest group of filmmaker alumni to-date from across its extensive programs that support emerging artists, such as Lilian T. Mehrel with the world premiere of Honeyjoon (AT&T Untold Stories, ‘24), Travis Wood (Rising Voices alum, ‘22) with the world premiere of The Travel Companion, and 2024 Tribeca Creators Market alumni Raúl O. Paz-Pastrana with the world premiere of BacksideCristian Carretero and Lorraine Jones with the world premiere of Esta Isla, and Steven Feinartz with the New York premiere of Are We Good?. Additionally, 32 Festival alumni are returning to Tribeca with their latest projects, including Rick Gomez (TF ‘21) with She DancesBrandon Kramer (TF ‘21) with Holding Liat; and Dan Krauss (TF ‘13, ‘16, ‘19) with Bodyguard of Lies.

“At Tribeca, we believe that storytelling is a force — one that connects us, challenges us, and inspires us to reimagine what’s possible,” said Tribeca Festival Director and SVP of Programming Cara Cusumano. “This year’s film lineup is a testament to that power, bursting with creative risk, iconic artists, and new perspectives that spark vital conversations and drive culture forward. These films are a powerful reflection of the world we live in — and the world we want to shape.”

The final selections were chosen from a record-breaking number of submissions (13,541). This year’s program includes 118 feature films representing 94 world premieres, 135 filmmakers and 36 countries. 48 (40%) of the features are directed by women and 42 (36%) are directed by BIPOC filmmakers. 44 filmmakers are making their feature debut at this year’s Tribeca Festival and 32 directors are returning with their latest projects.

Learn more about the Tribeca Festival programming team at TribecaFilm.com.

The full festival lineup will be announced soon. For more updates on programming follow @Tribeca and #Tribeca2025 on TwitterInstagramFacebookLinkedIn, and YouTube. A Tribeca Membership or 2025 Tribeca Festival passes and ticket packages can be purchased at tribecafilm.com.

About the Tribeca Festival
The Tribeca Festival, presented by OKX, brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, music, audio storytelling, games, and immersive. With strong roots in independent film, Tribeca is synonymous with creative expression and entertainment. Tribeca champions emerging and established voices, discovers award-winning talent, curates innovative experiences, and introduces new ideas through exclusive premieres, exhibitions, conversations, and live performances.

The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. The annual Tribeca Festival will celebrate its 24th year from June 4–15, 2025 in New York City.

In 2019, James Murdoch’s Lupa Systems bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.

About the 2025 Tribeca Festival Partners
The 2025 Tribeca Festival is presented by OKX and with the support of our partners: AT&T, Audible, Bulleit Frontier Whiskey, Canva, CHANEL, City National Bank, Don Julio Tequila, Fiji Water, Indeed, KLM Royal Dutch Airlines, NBC4 and Telemundo 47, NYC Mayor’s Office of Media and Entertainment, National CineMedia, New York Magazine, Spring Studios New York, The Wall Street Journal, Variety, Vulture, and Whalar.

An archival photo of Billy Joel in “Billy Joel: And So It Goes” (Photo courtesy of HBO)

OPENING NIGHT GALA

Billy Joel: And So It Goes, (United States) – World Premiere. A sweeping portrait of a true New York icon, this definitive documentary captures the grit, genius, and soul of William Martin Joel — from his Long Island roots to sold-out stadiums. With rare archival footage and revealing new interviews, the film charts the rise of one of America’s greatest singer-songwriters, whose music became the heartbeat of a city and the soundtrack of a generation. Directed and produced by Susan Lacy, Jessica Levin. Produced by Emma Pildes. An HBO Documentary Films Release.

CLOSING NIGHT GALA

YANUNI, (Austria, Brazil, United States, Canada, Germany) – World Premiere. Both a love story and a call to action, YANUNI follows the fearless Indigenous chief Juma Xipaia, who has survived six assassination attempts as she leads a relentless fight to defend her people’s land alongside her husband, Hugo Loss, a steely Special Forces Unit ranger. When she discovers she is pregnant, their battle takes on new urgency.
Directed by Richard Ladkani. Produced by Juma Xipaia, Leonardo DiCaprio, Anita Ladkani, Richard Ladkani.

SPOTLIGHT+

Spotlight+ is Tribeca’s premier showcase for high-profile screenings paired with unforgettable live experiences. Featuring exclusive performances, conversations, and one-night-only events, this series brings the film off the screen and into the spotlight — making each screening a cultural moment.

Mark Maron in “Are We Good?”

Are We Good?, (United States) – New York Premiere. Beloved comedian and groundbreaking podcast host Marc Maron reluctantly pulls back the curtain on his everyday life as he pushes to maintain a successful stand-up career while grappling with the sudden, devastating loss of his partner. Directed by Steven Feinartz. Produced by Steven Feinartz, Julie Seabaugh, Ethan Goldman.
After the Movie: A conversation with Marc Maron.

Billy Idol Should Be Dead, (United States) – World Premiere. Punk legend turned pop sensation Billy Idol bares it all in this electrifying documentary, revealing his rise to fame, battle with addiction and triumphant comeback that captivated millions of fans worldwide. Directed and produced by Jonas Åkerlund. Produced by Mark Monroe, Orian Williams, Violaine Etienne, Ryan Kroft.
After the Movie: An intimate performance by Billy Idol.

Depeche Mode: M, (United States, Mexico) – World Premiere. captures the band’s 2023 Mexico City shows, blending concert footage with interstitial elements, exploring music, mortality, and Mexican culture’s relationship with death. Directed by Fernando Frías.
After the Movie: A conversation with Depeche Mode and director Fernando Frias.

Just Sing, (UK) – World Premiere. On the cusp of graduation, the members of USC’s celebrated SoCal VoCals have one more challenge to conquer before adulthood: The International Championship of Collegiate A Cappella in New York City. Directed by Abraham Troen, Angelique Molina. Produced by Sarah Thomson, John Battsek.
After the Movie: A special performance by the SoCal VoCals.

Matter of Time, (United States) – World Premiere. Set against the backdrop of a powerful and emotional benefit performance by Eddie Vedder, Matter of Time chronicles the fight to cure epidermolysis bullosa (EB), a rare and often fatal genetic disease. Directed by Matt Finlin. Produced by Karen Barzilay.
After the Movie: An intimate acoustic performance by Eddie Vedder.

Metallica Saved My Life, (UK) – World Premiere. Metallica Saved My Life dives into the powerful, life-changing impact of foundational heavy metal band Metallica on their fans. Directed by Grammy award winning director Jonas Åkerlund, this documentary shares the intertwined stories of the group and their most devoted fans, revealing the deep connection that can only be forged through music. Directed by Jonas Åkerlund. Produced by Alice Webb, Jonas Åkerlund.
After the Movie: A conversation with members of Metallica and director Jonas Åkerlund.

Move Ya Body: The Birth of House, (United States) – New York Premiere. Elegance Bratton dives into the electrifying, black queer roots of house music, tracing its underground rise from Chicago’s dance floors to global dominance. Fueled by rhythm, resistance, and radical joy, this pulsating documentary celebrates the trailblazing artists who turned sound into a movement — and a sanctuary. Directed by Elegance Bratton. Produced by Chester Algernal Gordon, Elegance Bratton.
After the Movie: A house music dance party with Celeste Alexander, Lori Branch, and Lady D.

Nobu, (United States) – New York Premiere. Nobu traces the journey of legendary sushi master Nobu Matsuhisa from his humble beginnings to becoming a world renowned chef with a global restaurant empire bearing his name. Directed and produced by Matt Tyrnauer. Produced by Gianni Nunnari, Corey Reeser, Jeffrey Soros, Simon Horsman.
After the Movie: A conversation with Chef Nobu Matsuhisa, Robert De Niro, and director Matt Tyrnauer.

Rebbeca (AKA Becky G), (United States) – World Premiere. As chart-topping Latin music superstar Becky G embarks on her most personal and ambitious project to date, her debut Mexican regional album, she is prompted to revisit her roots and dive deep into a beautiful and complicated past. Directed and produced by Jennifer Tiexiera, Gabriela Cavanagh.
After the Movie: A special performance by Becky G.

The Rose: Come Back to Me, (United States, South Korea) – World Premiere. The Rose: Come Back to Me is an intimate documentary chronicling the remarkable journey of The Rose — from their humble beginnings as a South Korean indie band to their rise as a global sensation. Irresistibly magnetic, the film captures the band’s enchanting music and the deep bond between its members. Directed by Eugene Yi. Produced by Diane Quon, Sanjay Sharma, James Shin, Joe Plummer.
After the Movie: A special appearance by The Rose.

The Sixth Borough, (United States) – World Premiere. This vibrant documentary explores Long Island’s indelible impact on hip-hop’s evolution, told through the voices of pioneering artists who shaped the genre. The suburban landscape inspired a distinctive sound that expanded hip-hop beyond NYC, while also challenging the false promises of suburban utopia. Directed by Jason Pollard. Produced by Jennifer Ollman, Katie Taber.
After the Movie: A special performance by De La Soul and Rakim.

Something Beautiful, (United States) – World Premiere. Fueled by fantasy, Something Beautiful is a one-of-a-kind pop opera featuring thirteen original new songs from the Something Beautiful album. Directed and written by Miley Cyrus, Jacob Bixenman, Brendan Walter. Produced by Miley Cyrus, Panos Cosmatos, Nick Spicer, Nate Bolotin, Aram Tertzakian. With Miley Cyrus.
After the Movie: An exclusive conversation with Miley Cyrus.

State of Firsts, (United States) – World Premiere. With incredible access, State of Firsts follows Sarah McBride’s history-making campaign as the first transgender person ever to be elected to Congress during this time of heated political opposition to the trans community. Directed by Chase Joynt. Produced by Jenna Kelly, Justin Lacob.
After the Movie: A conversation with Rep. Sarah McBride (D-Del), director Chase Joynt, and producer Jenna Kelly.

Still Free TC, (United States) – World Premiere. Ty Dolla $ign is one of the world’s biggest musical artists, but as he begins work on his newest album, his brother Gabriel is serving a 67-year prison sentence for murder. Still Free TC follows the brothers over two years to explore how they ended up on such different paths, and watches as those paths converge again in a fight for clemency and self-discovery. Produced by Krista Worby.
After the Movie: A conversation with Ty Dolla $ign.

We Are Pat, (United States) – World Premiere. Filmmaker Ro Haber examines ”It’s Pat” through the lens of 2025, trans visibility and their own conflicted recollection of the controversial SNL character played by Julia Sweeney. Directed by Rowan Haber. Produced by Caryn Capotosto, Rowan Haber.
Before the Movie: A comedy performance featuring We Are Pat participants Roz Hernandez, Nori Reed, James Tom, and more.

Wizkid: Long Live Lagos, (United States, UK, Nigeria) – World Premiere. From Lagos to London, this powerful documentary follows Wizkid’s rise as a global icon reshaping how Africa is seen — and heard — around the world. Blending intimate moments, explosive performances, and cultural commentary, the film captures how Wizkid is using his platform to change perceptions, reclaim African identity, and inspire a new generation. Directed by Karam Gill. Produced by Karam Gill, Daniel Malikyar. An HBO Documentary Films Release.
After the Movie: A conversation with Wizkid and director Karam Gill.

SPOTLIGHT NARRATIVE

Spotlight brings the red carpet experience to all with exclusive premieres from celebrated filmmakers and star-studded casts, offering an unforgettable experience for film lovers and industry insiders alike.

Kyra Sedgwick, Judd Hirsch, Brittany O’Grady and Kevin Bacon in “The Best You Can”

After This Death, (United States) – North American Premiere. After falling into a lustful affair with a mysterious frontman, a woman must reckon with her own deep-seated desires and sense of purpose after he vanishes without a trace, leaving her caught between toxic fans and ideals of what could be. Directed and written by Lucio Castro. Produced by David Hinojosa, Anita Gou, Patrick Donovan, Luca Intili, Caroline Clark. With Mia Maestro, Lee Pace, Rupert Friend, Gwendoline Christie.

The Best You Can, (United States) – World Premiere. Cynthia Rand is a buttoned-up New Yorker married to a brilliant professor 25 years her senior. She begins feeling the effects of her husband’s advancing age on their relationship, just as her world is turned upside down by the arrival of sharp but chronically underachieving security guard Stan Olszewski in this smart rom-com that reunites Bacon and Sedgwick on screen for the first time in 20 years. Directed, written and produced by Michael J. Weithorn. Produced by Victoria Hill, Andrew Mann, Kyra Sedgwick, Kevin Bacon. With Kyra Sedgwick, Kevin Bacon, Judd Hirsch, Brittany O’Grady.

Deep Cover, (UK) – International Premiere. A down-on-their-luck trio of wannabe improv comedians are recruited to go undercover and bust petty criminals, but when one decides to go off book, they will have to “yes and…” their way out of an escalating London gang war in this fast-paced action comedy. Directed by Tom Kingsley. Written by Derek Connolly, Colin Trevorrow, Ben Ashenden, Alexander Owen. Produced by Colin Trevorrow, Walter F. Parkes, Laurie MacDonald. With Bryce Dallas Howard, Orlando Bloom, Nick Mohammed, Paddy Considine. An Amazon MGM Studios Release.

East of Wall, (United States) – New York Premiere. After the death of her husband, Tabatha — a young, tattooed, rebellious horse trainer — wrestles with financial insecurity and unresolved grief while providing refuge for a group of wayward teenagers on her broken-down ranch in the Badlands. Directed, written and produced by Kate Beecroft. Produced by Lila Yacoub, Melanie Ramsayer, Shannon Moss. With Tabatha Zimiga, Porshia Zimiga, Scoot McNairy, Jennifer Ehle. A Sony Pictures Classics Release.

Everything’s Going to Be Great, (United States) – World Premiere. When they are unexpectedly forced to move in with an estranged relative, the Smart Family must navigate oversized dreams, identity struggles and regional theater in this warmly observant family comedy. Directed by Jon S. Baird. Written by Steven Rogers. Produced by Alex Lalonde, Bryan Unkeless, Steven Rogers. With Allison Janney, Bryan Cranston, Benjamin Evan Ainsworth, Jack Champion. A Lionsgate Release.

How to Train Your Dragon, (United States, UK) – New York Premiere. As an ancient threat endangers Vikings and dragons alike on the isle of Berk, the unlikely friendship between Hiccup, an inventive Viking, and Toothless, a Night Fury dragon, becomes the key to both species forging a new future together. Directed and written by Dean DeBlois. Produced by Dean DeBlois, Marc Platt, Adam Siegel. With Mason Thames, Nico Parker, Gerard Butler, Julian Dennison. A Universal Pictures Release.

In Cold Light, (Canada) – World Premiere. Fresh out of prison, Ava’s attempt to reclaim her drug operation collapses when she witnesses a brutal crime, forcing her to flee for her life and track down who wants her dead in Maxime Giroux’s taut thriller. Directed by Maxime Giroux. Written by Patrick Whistler. Produced by Yanick Létourneau, Mike MacMillan. With Maika Monroe, Troy Kotsur, Allan Hawco, and Helen Hunt.

Inside, (Australia) – North American Premiere. A complex paternal triangle evolves when a teenager is transferred from juvenile to adult prison and comes under the wing of two very different fellow inmates: a soon-to-be-paroled convict and Australia’s most despised criminal. Directed and written by Charles Williams. Produced by Marian Macgowan, Kate Glover. With Guy Pearce, Cosmo Jarvis, Vincent Miller, Toby Wallace.

K-Pops!, (United States) – U.S. Premiere. Anderson .Paak directs and stars in this joyful musical comedy as BJ, a down-on-his-luck journeyman musician who takes a gig in Seoul with the house band of a K-pop competition show only to discover one of the show’s aspiring superstars is his long-lost son. Directed, written and produced by Anderson .Paak. Written by Khaila Amazan. Produced by Greg Silverman, Jon Berg, Jaeson Ma, Jonnie Park. With Anderson .Paak, Soul Rasheed, Jee Young Han, Jonnie “Dumbfoundead” Park, Yvette Nicole Brown.

Oh, Hi!, (United States) – New York Premiere. Iris has met her perfect guy, Isaac, and is enjoying their first romantic getaway together — what could go wrong? This clever and charmingly odd dark comedy takes on the highs and lows of modern dating and the ways it makes us all a little crazy. Directed, Written and Produced by Sophie Brooks. Produced by David Brooks, Dan Clifton, Julie Waters, Molly Gordon. With Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds. A Sony Pictures Classics Release.

Paradise Records, (United States) – World Premiere. Cooper is trying to keep the doors of Paradise Records open with its motley crew of entertaining employees, even as the world works against him. The hilarious debut film from multi-platinum, Grammy-nominated musician Logic and executive producer Kevin Smith. Directed and written by Logic. Produced by Logic, Jordan Monsanto, Liz Destro. With Logic, Tramayne “Tman” Hudson, Reed Northrup, Mary Elizabeth Kelly.

Re-Creation, (Ireland, Luxembourg) – World Premiere. Inspired by the real unsolved murder of French filmmaker Sophie Toscan du Plantier, directors Jim Sheridan and David Merriman imagine a jury’s deliberations if the main suspect had been tried in Ireland, where Toscan du Plantier was killed. Directed and written by Jim Sheridan, David Merriman. Produced by Fabrizio Maltese, Tina O’Reilly. With Vicky Krieps, Jim Sheridan, Aidan Gillen, Colm Meaney.

Relay, (United States) – U.S. Premiere. Elusive professional fixer Ash has his skills put to the test while protecting whistleblower Sarah Grant from increasingly ruthless corporate mercenaries in this breathless, New York-set thriller. Directed by David Mackenzie. Written by Justin Piasecki. Produced by Basil Iwanyk, Gillian Berrie, David Mackenzie, Teddy Schwarzman. With Riz Ahmed, Lily James, Sam Worthington, Willa Fitzgerald. A Bleecker Street Release.

Sham, (Japan) – World Premiere. When a young student shows signs of trauma, his parents act swiftly against his middle school teacher. But all may not be as it seems, leading the scales of justice to tip in fascinating, heartbreaking ways. Directed by Takashi Miike. Written by Hayashi Mori. Produced by Ken’ichi Wasano, Keiichi Hashimoto, Misako Saka, Shigeji Maeda. With Go Ayano, Ko Shibasaki.

She Dances, (United States) – World Premiere. Harried dad Jason and teenage daughter Claire confront their fractured relationship against the unlikely backdrop of the Young Miss Southeast Regional Dance Finals in this charming, heartfelt father-daughter comedy. Directed, written and produced by Rick Gomez. Written and produced by Steve Zahn. Produced by Jenny Gomez, Mandi Reno, Jenifer Westphal, Coby Toland. With Steve Zahn, Ethan Hawke, Mackenzie Ziegler, Audrey Zahn.

Sovereign, (United States) – World Premiere. Struggling single father Jerry indoctrinates his son Joe into the sovereign citizen movement, teaching him that laws are mere illusions and freedom is something you take. But, as Jerry’s ideology consumes them, they are set on a collision course with a police chief who has spent his life upholding the rules that Jerry has spent his tearing down. Directed and written by Christian Swegal. Produced by Nick Moceri. With Nick Offerman, Jacob Tremblay, Dennis Quaid, Martha Plimpton. A Briarcliff Entertainment Release.

Tow, (United States) – World Premiere. Based on a true story, this poignant and inspiring underdog story follows Amanda, an unhoused woman living in her car who fights a predatory towing company when they refuse to return her stolen vehicle. Directed and produced by Stephanie Laing. Written by Jonathan Keasey, Brant Boivin. Produced by Brent Stiefel, Samantha Nisenboim, Rose Byrne. With Rose Byrne, Octavia Spencer, Dominic Sessa, Ariana DeBose, Demi Lovato, Simon Rex.

A Tree Fell in the Woods, (United States) – World Premiere. What happens when a tree falls in the woods and someone does hear it? Two couples are forced to deal with such a question — and their lives in general — when a New Year’s Eve trip to the woods unearths simmering feelings and the secrets they carry threaten to break their seemingly perfect relationships. Directed and written by Nora Kirkpatrick. Produced by Lynette Howell Taylor, Samantha Housman. With Alexandra Daddario, Daveed Diggs, Josh Gad, Ashley Park.

Westhampton, (United States) – World Premiere. Years after leaving Westhampton, Long Island to chase his dream as a filmmaker, a damaged director returns to the hometown that inspired his breakout film — where he’s forced to confront buried secrets, broken relationships, and the past he tried to rewrite. Directed and written by Christian Nilsson. Produced by Saraleah Cogan, Rob Hinderliter, Alex Robbins, Terence Krey. With Finn Wittrock, RJ Mitte, Jake Weary, Amy Forsyth.

SPOTLIGHT DOCUMENTARY

From acclaimed directors to headline-making subjects, Spotlight Documentary brings the heavyweights of nonfiction to center stage with must-see premieres.

Andy Kaufman in “Andy Kaufman Is Me”

Andy Kaufman Is Me, (United States) – World Premiere. A rare window into the enigmatic mind of comedy legend Andy Kaufman through his never-before-heard audio diary recordings. As marionette puppets bring his unfinished book to life, family and friends unveil the real person behind the provocative public persona in this captivating documentary. Directed by Clay Tweel. Produced by Dwayne Johnson, Dany Garcia, Ross M. Dinerstein, Shannon E. Riggs.

Barbara Walters Tell Me Everything, (United States) – World Premiere. Few American journalists have had a career as trailblazing and transformative as Barbara Walters, whose astonishing life and work are recounted in her own words in this raw, intimate, decades-spanning doc. Directed and produced by Jackie Jesko. Produced by Marcella Steingart, Sara Bernstein, Meredith Kaulfers. An ABC News Studios Release.

Blue Scuti: Game Crasher, (United States, France) – World Premiere. Thirteen-year-old Willis Gibson’s life changes overnight when he becomes the first person in human history to beat “Tetris.” This coming-of-age story explores grief, the power of community and the rise of an unexpected internet legend. Directed by Chris Moukarbel. Produced by Chris Moukarbel, Jamie McBriety.

Bodyguard of Lies, (United States, Afghanistan) – World Premiere. Tribeca alum Dan Krauss (The Kill Team, TF ‘13, TF ‘19) exposes the tangled web of deception spun by the U.S. government during its 20-year war in Afghanistan, revealing the campaign of lies and misinformation fed to the American public. Through shocking testimonies from government insiders, confidential documents, and private audio recordings of those at the highest levels of the military and elected leadership, this gripping documentary urges a reckoning with the wider implications of government deception on a global scale. Directed and produced by Dan Krauss. Produced by Brad Hebert, Susan Zirinsky, Alex Gibney, Darryl Frank. A Paramount+ Release.

Counting Crows: Have You Seen Me Lately?, (United States) – World Premiere. Catapulted into overnight fame by their massively successful debut album, San Francisco indie rock band Counting Crows and their introspective frontman Adam Duritz were suddenly the biggest rockstars in the world, defiantly facing whatever came next. Counting Crows: Have You Seen Me Lately? captures this pivotal crossroads through revealing interviews and evocative 1990’s archival to craft a rare story of artistic integrity in the spotlight. Directed by Amy Scott. Produced by Brian Morrow, Jonathan Lynch. An HBO Documentary Films Release.

Culture Club, (United States, UK) – World Premiere. The style, the glam, the music, the hats! Culture Club burst onto the UK new romantic scene in 1981 and became one of the most defining and influential bands of their generation. Alison Ellwood’s impossibly fun documentary celebrates the band’s story in their own words, while also revealing the surprisingly tender love story at its center. Directed by Alison Ellwood. Produced by Trevor Birney, Andrew Tully.

Dear Ms.: A Revolution in Print, (United States) – World Premiere. Three filmmakers dive deep into the storied and complex legacy of Ms. magazine through the lens of some of its most iconic covers, featuring never-before-seen archival footage and engaging interviews with the powerful women who shaped the magazine at its inception over fifty years ago. Directed by Salima Koroma, Alice Gu, Cecilia Aldarondo. Produced by William Ventura. An HBO Documentary Films Release.

Empire Skate, (United States) – World Premiere. Empire Skate chronicles the colorful rise and enduring influence of New York skateboarding culture in the 1990s, through the global phenomenon of Supreme and intimate portraits of the skaters who breathed life into that world. Directed and produced by Josh Swade. Produced by Jennifer Albanese, Kate Ferraguto, Carolyn Hepburn, Christopher McGlynn. An ESPN 30 for 30 Release.

Holding Liat, (United States) – North American Premiere. On October 7th, during a raid by Hamas on her kibbutz, Israeli-American Liat Atzili was kidnapped, prompting an urgent and heart-wrenching fight for her release by her family. Through a deeply intimate lens, parents Yehuda and Chaya cope with fear and uncertainty as they are thrust into a global conflict unfolding in real time. Directed by Brandon Kramer. Produced by Lance Kramer, Yoni Brook, Ari Handel, Darren Aronofsky.

The Inquisitor, (United States) – World Premiere. In 1972, Congresswoman Barbara Jordan became the first Southern Black woman to join Congress, one of many firsts in her career as a trailblazing political leader. Looking at her life both in and out of the limelight, this insightful documentary explores how her voice still resonates today. Directed by Angela Lynn Tucker. Produced by Angela Lynn Tucker, Moira Griffin, Trevite Willis. A PBS release.

It’s Dorothy!, (United States) – World Premiere. Since her first adventure in L. Frank Baum’s classic “The Wonderful Wizard of Oz,” Dorothy Gale has been on countless more journeys, reintroduced and reimagined in exciting ways, and become a cultural touchpoint for many. In her 125th year, her legacy is explored in this joyous and engaging documentary. Directed by Jeffrey McHale. Produced by Ariana Garfinkel, Zel McCarthy, Suzanne Zionts.

I Was Born This Way, (United States) – World Premiere. In 1977, Archbishop Carl Bean made history by recording his disco hit “I Was Born this Way,” celebrated as the world’s first gay anthem, and setting the stage for a revolution in queer music. All-star interviews with Lady Gaga, Questlove, Billy Porter, and Dionne Warwick, paint a portrait of a larger-than-life figure who left an indelible mark on the genre and paved the way for future generations of LGBTQ+ artists to find their voice in mainstream music. Directed by Daniel Junge, Sam Pollard. Produced by Wellington Love, Jed Alan, Daniel Junge.

Jimmy & The Demons, (United States) – World Premiere. In this charming and profound portrait of artistic devotion, celebrated sculptor James Grashow embarks, at age 79, on a four year odyssey to complete his magnum opus: a gigantic, intricate wooden sculpture dubbed “The Cathedral.” Directed by Cindy Meehl. Produced by Elizabeth Westrate.

Just Kids, (United States) – World Premiere. Three families with transgender children face an impossible choice in states banning gender-affirming care: stay home and risk their children’s well-being or uproot entirely. Directed and produced by Gianna Toboni. Produced by Jacqueline Toboni, Samantha Wender.

Kerouac’s Road: The Beat of a Nation, (UK, United States) – World Premiere. Jack Kerouac’s “On the Road” finds new relevance as modern travelers and cultural figures like Josh Brolin, W. Kamau Bell and Natalie Merchant reveal how his quest for authentic experience resonates powerfully in our screen-saturated era — offering a lyrical meditation on what it means to truly experience the journey. Directed by Ebs Burnough. Produced by Eliza Hindmarch, John Battsek, Ebs Burnough.

The Last Guest of the Holloway Motel, (United States, UK) – World Premiere. In this intimate, striking documentary, once-star British footballer Tony Powell begins to reconcile the life he’s made for himself — as the lonesome manager of a now-shuttering Hollywood motel — with the one he forsake decades ago. Directed by Ramiel Petros, Nicholas Freeman. Produced by Pete Shilaimon, Mickey Liddell, Robbie Rogers, Andrew Corkin.

Long Live the State, (United States) – World Premiere. In 2024, the eleven (!) members of the iconic mid-90’s cult comedy troupe The State reunited for a live tour. With their irreverent and absurdist live sketches as the backdrop, and framed with a greatest-hits playlist of classic material, the group’s unreasonably talented stars sit down to share the behind-the-scenes story of The State’s meteoric rise and lasting influence- in typically hilarious fashion. Directed by Matthew Perniciaro. Produced by Matthew Perniciaro, Adam F. Goldberg, Kelsey Oluk.

Marlee Matlin: Not Alone Anymore, (United States) – New York Premiere. Academy Award® winner Marlee Matlin recounts the winding road of her life and career as the most influential Deaf actor of her generation in the sublime Marlee Matlin: Not Alone Anymore. Directed by Shoshannah Stern. Produced by Robyn Kopp, Justine Nagan, Bonni Cohen, Shoshannah Stern.

Mugaritz: No Bread, No Dessert., (Spain) – International Premiere. Paco Plaza’s immersive documentary opens the doors to Mugaritz, the exclusive avant garde fine dining restaurant in San Sebastian, during its off-season. Plaza’s lens observes the radical culinary staff as they design innovative, sensory dishes and embrace the unpredictable nature of gastronomic brainstorming. Directed by Paco Plaza. Produced by Pablo Isla, Carla Pérez de Albeniz.

My Mom Jayne: A Film by Mariska Hargitay, (United States) – World Premiere. My Mom Jayne explores the untold story of one of Hollywood’s most enduring icons — Jayne Mansfield — through the eyes of the daughter she left behind. In her first, deeply personal film, Mariska Hargitay embarks on a poignant search for the real woman behind the platinum bombshell persona. Set against the backdrop of golden-age Hollywood, and woven with intimate family exchanges and a search for truth, Hargitay endeavors to reclaim her mother’s story — and her own. Directed by Mariska Hargitay. Produced by Mariska Hargitay, Trish Adlesic. An HBO Documentary Films Release.

Room to Move, (United States) – World Premiere. In this intimate documentary, acclaimed dancer and choreographer Jenn Freeman, recently diagnosed with Autism Spectrum Disorder, embarks on the creation of her first evening-length dance piece as a transformative journey of self-discovery through movement. Directed by Alexander Hammer. Produced by Jonathan Lia, Alexander Hammer, Ian Stuart.

The Shadow Scholars, (UK) – North American Premiere. Oxford professor Patricia Kingori uncovers Kenya’s hidden essay mills where highly educated yet underemployed writers produce academic papers for wealthy Western students. Directed by Eloïse King. Produced by Eloïse King, Anna Smith Tenser, Bona Orakwue, Tabs Breese.

She Runs the World, (United States) – World Premiere. Allyson Felix is the most decorated track and field athlete of all time. At the peak of her career, she faced a life-threatening pregnancy and saw her sponsorships slashed by 70% by companies with no maternal protections. But Felix, ever the champion, turned her battles into a movement. Directed by Perri Peltz, Matthew O’Neill. Produced by Lisa Binns.

Surviving Ohio State, (United States) – World Premiere. Academy Award-winning filmmaker Eva Orner delves into the sexual abuse scandal surrounding athletics doctor Richard Strauss, whose two-decade tenure at The Ohio State University saw the abuse of hundreds of students, and the ongoing quest for justice and accountability by his survivors. Directed and produced by Eva Orner. Produced by David Glasser, George Clooney, Grant Heslov. An HBO Documentary Films Release.

Take the Money and Run, (Denmark) – International Premiere. A documentary tracing the life of Danish artist Jens Haaning in the aftermath of his controversial artwork, “Take the Money and Run.” The film, with humour and authenticity, delves into the fallout from his audacious act — delivering two blank canvases while withholding the 532,000 Danish kroner paid to him by the commissioning museum. Directed by Ole Juncker. Produced by Mette Heide.

Titan: The OceanGate Disaster, (United States) – World Premiere. Titan: The OceanGate Disaster plunges into the chilling 2023 submersible tragedy, peeling back the layers of ambition, arrogance, and a lack of oversight that led to catastrophe. With gripping firsthand accounts and incisive expert commentary, the film investigates the ignored warnings, reckless decision-making, and the cult of personality behind OceanGate — revealing a cautionary tale of what happens when hubris dives too deep. Directed by Mark Monroe. Produced by Lily Garrison, Mark Monroe, Jon Bardin. A Netflix Release.

U.S. NARRATIVE COMPETITION

Discover the next wave of cinematic talent as breakout filmmakers from across the country debut their world premieres in Tribeca’s U.S. Narrative Competition. With surprising stories and daring craft, these films offer a thrilling glimpse into the future of independent cinema.

Alisha Wainwright in “Bird in Hand”

Bird in Hand, (United States) – World Premiere. Bird returns home to visit her mom in search of the perfect wedding venue after a surprise engagement to her longtime boyfriend, but much to everyone’s surprise, she is actually on the hunt for something else. A chance meeting with her biological father. Directed and written by Melody C. Roscher. Produced by Craig Shilowich, Alex Schepsman, Danielle Massie, Saba Zerehi. With Alisha Wainwright, Christine Lahti, James Le Gros, Annabelle Dexter-Jones.

Charliebird, (United States) – World Premiere. Al is a devoted music therapist at a children’s hospital in Texas. Charlie is the rebellious teen patient assigned to work with her. When Charlie reveals a secret passion project, and professional lines begin to blur, the two forge an unexpected bond that will teach them both how to live. Directed by Libby Ewing. Written by Samantha Smart. Produced by Elliot Gipson, Samantha Smart, Libby Ewing. With Samantha Smart, Gabriela Ochoa Perez, Gabe Fazio, Maria Peyramaure.

Esta Isla, (Puerto Rico) – World Premiere. This mature and visually-striking drama follows young lovers Bebo and Lola — both from opposite social circles in Puerto Rico — as they flee to a remote part of the island in the wake of a heinous murder. Directed by Lorraine Jones Molina, Cristian Carretero. Written by Lorraine Jones Molina, Cristian Carretero, Kisha Tikina Burgos. Produced by Lorraine Jones Molina, Rafael Carretero, Cristian Carretero. With Zion Ortiz, Fabiola Brown.

Horsegirls, (United States) – World Premiere. As her mother battles an uncertain diagnosis, neurodivergent 22-year-old Margarita discovers a source of strength in an unexpected place: the sport of hobbyhorsing. Directed and written by Lauren Meyering. Produced by Michael Sherman, Alix Madigan-Yorkin, Mackenzie Breeden. With Gretchen Mol, Jerod Haynes, Lillian Carrier, Tony Hale.

Leads, (United States) – World Premiere. Mags, once a promising up-and-coming actress, strives for contentment as the most sought-after acting teacher at her small college. But her life is unexpectedly upended by the arrival of a new student in her class: her charming but volatile younger brother Merritt. Directed and written by Bryan Poyser. Produced by Taylor Wright, Heather Kafka, Justin Arnold. With Heather Kafka, Justin Arnold, Macon Blair, Sara Paxton.

Lemonade Blessing, (United States) – World Premiere. Freshly tossed into a private Catholic high school by his devout mother, John falls head over heels for a devious classmate ready to push his faith (and morals) to the brink with a series of increasingly uncomfortable actions, all in the name of love. Directed and written by Chris Merola. Produced by Chris Merola, Raza Rizvi, Aruba Sülzana, Samuel Ashurov. With Jake Ryan, Jeanine Serralles, Skye Alyssa Friedman, Miles J. Harvey.

On a String, (United States) – World Premiere. Fresh out of Julliard, a young violinist returns home to live with her parents in the heart of New York City. Now it’s time to play gigs in the homes of strangers and make art with friends — nothing can go wrong, right? Directed, written and produced by Isabel Hagen. Produced by Olivia Vessel, Torrance Shepherd, Alex Vara, Annie McGrath. With Isabel Hagen, Dylan Baker, Ling Ling Huang, Eric Bogosian.

Ride or Die, (United States) – World Premiere. A casual reunion with her high school crush has unforeseen consequences when two young women embark on a high-stakes road trip with an uncertain destination. Directed by Josalynn Smith. Written by Josalynn Smith, Alicia Louzoun-Heisler. Produced by Josalynn Smith, Matthew Keene Smith, Jamie Foxx, Datari Turner. With Briana Middleton, Stella Everett.

Rosemead, (United States) – World Premiere. Based on a true story, Rosemead follows Irene, a Chinese immigrant mother driven to desperate measures by her unstable son’s escalating mental health crisis and growing obsession with mass shootings. Directed by Eric Lin. Written by Marilyn Fu. Produced by Mynette Louie, Andrew D. Corkin, Lucy Liu. With Lucy Liu, Lawrence Shou, Orion Lee, Jennifer Lim.

The Scout, (United States) – World Premiere. Sofia is a location scout for a TV show in New York City. Over the course of one day, she is invited into homes, businesses, and lives across the city, witnessing the private spaces and dramas of countless strangers, until her work takes a sudden, personal turn. Directed and written by Paula González-Nasser. Produced by Ryan Martin Brown, Mathew Romanski, Paula González-Nasser. With Mimi Davila, Sarah Herrman, Otmara Marrero, Matt Barats.

So Far All Good, (United States) – World Premiere. Following a stint in prison, a young man returns to friends and family waiting for him across New York. Except his girl has moved on, money ain’t what it used to be and this isn’t the same bustling city he left behind. It’s all good. Directed by $ECK. Written by $ECK, Rasan Kuvly. Produced by $ECK, Rasan Kuvly, Daniel Grossman, Gustavo Rosa. With Rasan Kuvly, Colter Ford, Natividad Alemany, Ashley Nord.

The Travel Companion, (United States) – World Premiere. Struggling documentarian Simon relies on his friend Bruce’s airline job to get free flights as his travel companion. But when Bruce starts dating Beatrice, Simon obsessively clings to his precious perk. Directed by Travis Wood, Alex Mallis. Written by Alex Mallis, Travis Wood, Weston Auburn. Produced by Weston Auburn, Travis Wood, Alex Mallis. With Tristan Turner, Anthony Oberbeck, Naomi Asa.

INTERNATIONAL NARRATIVE COMPETITION

The New-York based Festival breaks its geographical boundaries with the International Narrative Competition, welcoming global filmmakers redefining contemporary world cinema.

“Cuerpo Celeste”

Cuerpo Celeste, (Chile, Italy) – World Premiere. Celeste is a carefree 15-year-old coming of age after the fall of Pinochet when her life changes drastically and unexpectedly. Now, the desert and oceanside she once embraced feels alien. In an uncertain nation going through a transition of its own, Celeste is thrust into an adult world where she must grow up faster than she could have ever imagined. Directed and written by Nayra Ilic. Produced by Fernando Bascuñán, Úrsula Budnik. With Helen Mrugalski, Daniela Ramírez, Néstor Cantillana, Mariana Loyola.

Dragonfly, (UK) – World Premiere. When Colleen volunteers to care for her elderly neighbor Elsie, the two quickly bond. But beneath the pleasantries, motives start to be questioned leading to a devastating series of events. Directed and written by Paul Andrew Williams. Produced by Marie-Elena Dyche, Dominic Tighe. With Andrea Riseborough, Brenda Blethyn, Jason Watkins.

Happy Birthday, (Egypt) – World Premiere. Eight-year-old maid Toha goes to great lengths to ensure that her best friend Nelly, the daughter of her wealthy employer, has a successful birthday party in this poignant debut feature exploring classism in modern-day Cairo. Directed by Sarah Goher. Written by Sarah Goher, Mohamed Diab. Produced by Ahmed El Desouky, Ahmed Abbas, Ahmed Badawy. With Nelly Karim, Hanan Motawie, Hanan Youssef, Doha Ramadan.

Little Trouble Girls, (Slovenia, Italy, Croatia, Serbia) – North American Premiere. Shy 16-year-old Lucija joins her Catholic school choir and befriends bold Ana-Marija. During a weekend rehearsal at a convent under renovation, Lucija experiences a sexual awakening that tests her new friendship as the girls hatch a mischievous plan involving an attractive construction worker. Directed by Urška Djukić. Written by Urška Djukić, Maria Bohr. Produced by Jožko Rutar, Miha Černec. With Jara Sofija Ostan, Mina Švajger, Saša Tabaković, Nataša Burger. A Kino Lorber Release.

My Father’s Son, (China, France) – World Premiere. A father’s complicated legacy lives on in his son’s memories — and an AI boxing model — in Qiu Sheng’s unique and engrossing blend of sci-fi, family drama, and sports movie. Directed and written by Qiu Sheng. Produced by Zhang Yuxuan, Jia Ruocheng, Charles Gillibert. With Song Yang, Sun Ning, Tong Chenjie, Alice Ko.

People and Meat, (South Korea) – World Premiere. Three broke and lonely senior citizens reinvent themselves as the infamous “dine and dash trio” in a gambit to eat free across Seoul in this charming action-crime-comedy caper. Directed by Yang Jong-hyun. Written by Lim Namoo. Produced by Jang So-jung. With Park Keun Hyong, Jang Yong, Ye Su Jeong.

Pinch, (India) – World Premiere. When Maitri, an aspiring travel blogger, is groped by her landlord while traveling to a festival, she impulsively takes retributive steps. The ramifications rock her tight-knit community in this darkly comic exploration of guilt, trauma and the strength it takes to stand up to power. Directed, written and produced by Uttera Singh. Produced by Suneeta Singh, Muktesh Singh, Faissal Sam Shaib, Anirudh Singh. With Uttera Singh, Geeta Agrawal, Sunita Rajwar, Sapna Sand.

Reflection in a Dead Diamond, (Belgium, Luxembourg, Italy, France) – North American Premiere. A retired spy reminisces on his career in this surreal throwback to the stylish spy romps of the 1960s, filled with sexy action and outlandish gadgets. Directed and written by Hélène Cattet, Bruno Forzani. Produced by Pierre Foulon. With Fabio Testi, Yannick Renier, Koen De Bouw, Maria de Medeiros. A Shudder Release.

A Second Life, (France) – World Premiere. A hearing-impaired American and a free-spirited tourist form an unlikely friendship amid the buzz of Paris during the Olympic games in this charming tale of human connection. Directed by Laurent Slama. Written by Laurent Slama, Thomas Keumurian. Produced by Maxime Montagne, Laurent Slama. With Agathe Rousselle, Alex Lawther, Suzy Bemba, Jonas Bachan.

The Square, (South Korea) – Feature Narrative, North American Premiere. In this stunningly animated romantic drama, a young Swedish diplomat and North Korean traffic officer fall in illicit love, but as his posting to the Embassy in Pyongyang draws to a close, they must make an impossible decision. Directed and written by Kim Bo-sol. Produced by Kim Bo-sol, Park So-hye. With Jeon Woon-jong, Lee Chan-yong, Lee Ga-young, Lee You-jun.

Twelve Moons, (Mexico) – World Premiere. Sofia is 40, childless, with a neglectful marriage, and spiraling into chaos as her life unravels. With striking imagery and a raw central performance, the film is a haunting character study trapped in a social nightmare. Directed, written and produced by Victoria Franco. Produced by Michel Franco, Eréndira Núñez Larios, Yardena Maimon. With Ana de la Reguera, Enrique Arreola.

The Wolf, the Fox and the Leopard, (Netherlands, Luxembourg, Ireland, Croatia, Taiwan) – World Premiere. A feral girl who has spent her life living among wolves is taken on an odyssey through contemporary human life while the threat of climate apocalypse looms. Directed and written by David Verbeek. Produced by Erik Glijnis, Leontine Petit, Judy Tossell. With Jessica Reynolds, Nicholas Pinnock, Marie Jung, Naomi Kawase.

DOCUMENTARY COMPETITION

From unexplored worlds to intimate portraits, discover the nonfiction premieres that are set to define the documentary landscape in the year ahead.

Backside, (United States) – World Premiere. Over the span of one racing season, the strikingly intimate Backside foregrounds the lives and actions of immigrant workers who look after and rehabilitate prized racehorses at Churchill Downs barns in Louisville Kentucky — the site of the famous Kentucky Derby. Directed by Raúl O. Paz-Pastrana. Produced by Gabriella García-Pardo, Patricia Alvarez Astacio.

The End of Quiet, (Denmark) – World Premiere. A meditative documentary that offers a glimpse into one of the few inhabited places on Earth where Wi-Fi and phone signals are not allowed to reach. Directed by Kasper Bisgaard, Mikael Lypinski. Produced by Sara Stockmann.

An Eye for an Eye, (United States, Iran, Denmark) – World Premiere. Convicted of murdering her husband, Tahereh served her sentence and now faces a ticking clock to negotiate with her in-laws who, under Sharia law, have the legal right to either execute her or forgive her- for a price. Directed by Tanaz Eshaghian, Farzad Jafari. Produced by Christoph Jörg, Katayoun Arsanjani, Joey Marra, Gelareh Kiazand.

For Venida, for Kalief, (United States) – Feature Documentary, World Premiere. Kalief Browder’s story unfolds in full when his life, and that of his mother, Venida Brodnax Browder, are tragically derailed by years of malintent from the justice system. Venida’s poems serve as a guiding thread through this emotional journey, blending archival footage and contemporary political movements to honor the Browder family’s powerful legacy, both within their community and beyond. Directed by Sisa Bueno. Produced by Sisa Bueno, David Felix Sutcliffe, Jasmine Mans.

The Last Dive, (United States) – World Premiere. Terry Kennedy has lived several lifetimes- as a Navy Seal, a Hell’s Angel, and, most memorably, as the unlikely friend to a giant manta ray named Willy. Now in his 80s, Terry mounts one last diving expedition to a remote island in search of his long-lost friend. Directed by Cody Sheehy. Produced by Mark Monroe, Randy Gebhardt, Christopher Gebhardt.

Maintenance Artist, (United States) – World Premiere. What happens when art meets trash? Maintenance Artist profiles pioneering public artist Mierle Laderman Ukeles — the first artist-in-residence at NYC’s Department of Sanitation. Directed by Toby Perl Freilich. Produced by Toby Perl Freilich, Judith Mizrachy.

Natchez, (United States) – World Premiere. Filmmaker Suzannah Herbert takes a sharp look at the American South’s unreconciled history through a Mississippi town that mixes antebellum tourism with a community deeply divided over its past. With an unflinching lens, the film captures the debates, memories, and tensions that are building toward a reckoning. Directed by Suzannah Herbert. Produced by Suzannah Herbert, Pablo Proenza.

Runa Simi, (Peru) – World Premiere. The stirring and sensitive Runa Simi follows an indigenous Peruvian man and his young son in their ambitious quest to fully dub Disney’s animated “The Lion King” in their native Quechua — and, in the process, protect and rescue this disappearing Peruvian language. Directed by Augusto Zegarra. Produced by Claudia Chávez Lévano, Paloma Iturriaga.

Sun Ra: Do the Impossible, (United States) – World Premiere. A biographical, musical, illuminating journey into the work and vision of Sun Ra, exploring his jazz roots, endless innovations, and ceaseless artistic and social quests. Directed and produced by Christine Turner.

Underland, (United States, UK) – World Premiere. Follow explorers into places rarely glimpsed by human eyes: caves, flooded drains and underground laboratories, revealing hidden worlds beneath our feet. Narrated by Sandra Hüller and featuring stunning visuals, this sensorial journey offers a humbling perspective on our place within — not merely atop — this planet. Directed by Robert Petit. Produced by Darren Aronofsky, Ari Handel, Lauren Greenwood, Jessica Harrop.

VIEWPOINTS

Viewpoints is Tribeca’s home for audacious stories and fearless filmmaking — a showcase for directors who break rules, bend genres, and carve new cinematic paths.

Bruna Cusí and María Valverde in “All We Cannot See”

All We Cannot See, (United States, Spain) – Feature Narrative, World Premiere. Sometimes a chance meeting in a bathroom is all it takes. Two women are forever changed when they decide to take a road trip together from Portugal to Spain, where what begins as an otherworldly escapade quickly reveals secrets and truths that will shake them to the core. Directed by Alberto Arvelo. Written by Wendy Guerra, Alberto Arvelo. Produced by Gabriela Camejo. With María Valverde, Bruna Cusí.

A Bright Future, (Uruguay, Argentina, Germany) – Feature Narrative, World Premiere. Clever, curious and young, lucky Elisa has been selected for work placement in the North. While everything she’s heard about the North seems idyllic, the trouble is that the few people who do go there don’t ever come back. Directed and written by Lucía Garibaldi. Written by Federico Alvarado. Produced by Isabel García, Pancho Magnou Arnabal. With Martina Paseggi, Soledad Pelayo, Sofia Gala, Alfonso Tort.

Fior di Latte, (United States, Italy) – Feature Narrative, World Premiere. In this offbeat and surreal comedy, frustrated playwright Mark becomes addicted to huffing perfume to conjure memories from a previous Italian summer vacation. As he grows increasingly obsessed with chasing the high of the past, his present life unravels. Directed and written by Charlotte Ercoli. Produced by Sofie Hubbard Warshafsky, Paris Kassidokostas-Latsis, Terry Dougas, Stephanie Meurer. With Tim Heidecker, Marta Pozzan, Kevin Kline, Julia Fox.

Honeyjoon, (United States, Portugal) – Feature Narrative, World Premiere. Honeyjoon is a sexy comedy-drama — about a mother-daughter trip. Persian-Kurdish Lela and her American daughter June take a trip to the romantic Azores after a recent loss, both with polar opposite views about why they’re there, how to grieve, and the size of June’s tiny bikini. Amidst honeymooners, the Woman, Life, Freedom movement and their hot, philosophical tour guide, João, the pair find each other… coming back to life. Directed, written and produced by Lilian T. Mehrel. Produced by Andreia Nunes. With Ayden Mayeri, Amira Casar, José Condessa.

How Dark My Love, (United States) – Feature Documentary, World Premiere. Controversial painter Joe Coleman, known for his intricate portraits of serial killers and outlaws, undertakes his most challenging subject yet — a seven foot portrait of his wife, Whitney. Directed by Scott Gracheff. Produced by Jim Muscarella, Josh Diamond, Jason Diamond, Scott Gracheff.

Kites, (Brazil) – Feature Narrative, World Premiere. In a magical realist world where you can have a conversation with your guardian angel, Duvo, a 25-year-old gangster, searches for peace and redemption from a life marked by crime in this beautifully lyrical look at life in the favelas of Rio de Janeiro. Directed, written and produced by Walter Thompson-Hernández. With Daniel Fernando do Prado Dorea Lima, Phillipe Augusto da Silva Souza, Larissa Borges, Thiago Oliveira.

Our Hero, Balthazar, (United States) – Feature Narrative, World Premiere. In this bold dark satire, wealthy NYC teenager Balthy makes dramatic gun control videos to impress his activist crush. When an online troll targets his content, Balthy becomes convinced he’s communicating with a potential school shooter and embarks on an ill-advised journey to Texas to confront him. Directed, written and produced by Oscar Boyson. Written and produced by Ricky Camilleri. Produced by David Duque-Estrada, Jon Wroblewski, Miles Skinner, Alex Hughes. With Jaeden Martell, Asa Butterfield, Jennifer Ehle, Noah Centineo.

Videoheaven, (United States) – Feature Documentary, North American Premiere. In the early 1980s, the widespread adoption of the VHS format led to a fundamental shift in moviegoers’ relationship with film that continues to reverberate today. Director/cinephile Alex Ross Perry (assisted by a lively, wry voiceover from Maya Hawke) mines footage from a wide array of sources to explore the video store as a vitally important site of film culture. Directed by Alex Ross Perry. Produced by Andrew Adair, Jake Perlin, Daniel Herbert.

What Marielle Knows, (Germany) – Feature Narrative, International Premiere. When 11-year-old Marielle suddenly gains telepathic abilities, her parents Julia and Tobias find their private lives completely exposed. Forever altering the dynamics in their home, the family must either come to terms with their new reality or find a way to change her back. Directed and written by Frédéric Hambalek. Produced by Philipp Worm, Tobias Walker. With Julia Jentsch, Felix Kramer, Laeni Geiseler, Mehmet Ateşçi.

Widow Champion, (Kenya) – Feature Documentary, World Premiere. In rural Kenya, where tribalism and patriarchal values rule, a subjugated group of women who have lost their husbands and therefore the rights to their inherited land turn to a last resort: the Widow Champion, Rodah Nafula Wekesa. Directed by Zippy Kimundu. Produced by Heather Courtney, Zippy Kimundu.

ESCAPE FROM TRIBECA

The most exciting cult movies from our galaxy: present, past, and future. Far-out premieres and nerve-shredding classics along with giveaways, prizes and fan-focused fun. Escape the ordinary and embrace the psychotronic!

Maria Angelico, Travis Jeffery, Linda Cropper and Michael Hurst in “Birthright”

Birthright, (Australia) – World Premiere. It’s every adult’s worst nightmare: moving back in with their parents. Having done just that, a down-and-out husband and his pregnant wife quickly realize that his folks don’t want them around, triggering a raucous power struggle that goes off the rails. Directed and written by Zoe Pepper. Produced by Cody Greenwood. With Travis Jeffery, Maria Angelico, Michael Hurst, Linda Cropper.

Degenerate: The Life and Films of Andy Milligan, (United States) – World Premiere. Before unsung gay NYC exploitation maverick Andy Milligan died of AIDS, he cranked out grindhouse-ready shock and so-bad-it’s-good schlock movies throughout the late 1960s and ’70s. Yet, as captured in this fascinating documentary, his life and on-set persona were messy, complicated, and unforgettable. Directed by Josh Johnson, Grayson Tyler Johnson. Produced by Carl Daft, David Gregory, Josh Johnson. A Severin Films Release.

That’s TribecXploitation! The Andy Milligan Time Machine, Take a trip with Tribeca and Severin Films back to the heyday of Times Square grindhouse double bills, complete with vintage film trailers, to experience two long-lost Andy Milligan shockers: Kiss Me, Kiss Me, Kiss Me! (1968), an unhinged domestic drama from Hell, and The Degenerates (1967), a post-apocalyptic blast of sordid debauchery.

Dog of God, (Latvia, United States) – World Premiere. Rotoscope animation sets the stage for this wild 17th century look at a woman accused of witchcraft whose trial reveals the presence of a werewolf in a deeply religious Livonian community’s midst. Directed by Lauris Abele, Raitis Abele. Written by Lauris Abele, Raitis Abele, Ivo Briedis, Harijs Grundmanis. Produced by Raitis Abele, Kristele Pudane. With Jurgis Spulenieks, Agate Krista, Einars Repse, Regnars Vaivars.

Man Finds Tape, (United States) – World Premiere. Pulled in by a series of strange and unexplainable video clips, a brother and sister team up to investigate the events captured in the footage, only to discover a shocking secret that’s overtaking their small-town Texas community. Directed and written by Peter Hall, Paul Gandersman. Produced by David Lawson Jr., Aaron Moorhead, Justin Benson, Ashley Landavazo. With Kelsey Pribilski, William Magnuson, John Gholson, Brian Villalobos.

One Spoon of Chocolate, (United States) – World Premiere. Fresh out of jail, a military veteran relocates to a small Ohio town where many of the residents have a horrifying social agenda, leading the hardened vet to enact his own brand of brutal justice. Directed and written by RZA. Produced by Paul Hall, RZA. With Shameik Moore, RJ Cyler, Paris Jackson, Blair Underwood.

Predator: Killer of Killers, (United States) – New York Premiere. An original animated action-adventure film set in the Predator universe. Directed by Dan Trachtenberg and Co-Directed by Josh Wassung. Screenplay by Micho Robert Rutare and story by Trachtenberg and Rutare, based on characters created by Jim Thomas & John Thomas. Produced by John Davis, Dan Trachtenberg, Marc Toberoff, Ben Rosenblatt. A Hulu Release.

Queens of the Dead, (United States) – World Premiere. On what should be a fun night at a Brooklyn warehouse party, an outbreak of flesh-eating zombies forces a ragtag group of drag queens, partygoers and party-throwers to band together and somehow survive the night. Directed by Tina Romero. Written by Tina Romero, Erin Judge. Produced by Matt Miller, Natalie Metzger. With Katy O’Brian, Jaquel Spivey, Tomás Matos, Nina West, Quincy Dunn-Baker, Margaret Cho.

The Trainer, (United States) – North American Premiere. Maverick director Tony Kaye delivers a raucous, adrenaline-fueled comedy following Jack Flex, a delusional muscle-bound “creative genius” who maniacally pursues his dreams by selling a dangerous fitness gadget on TV. Given one week to prove his made-up credentials as a Hollywood trainer with celebrity endorsements, Jack spirals through a series of increasingly absurd situations across Los Angeles in this frenetic visual spectacle of ambition and delusion. Directed by Tony Kaye. Written by Vito Schnabel, Jeff Solomon. Produced by Vito Schnabel, Jeremy Steckler, Tony Kaye. With Vito Schnabel, Julia Fox, Paris Hilton, Lenny Kravitz.

MEMBER EXCLUSIVES

A curated selection of unique premiere events available only to our Tribeca Member community. Find out more at tribecafilm.com/membership

“Animals in War”

Animals in War, (Ukraine) – Feature Narrative, World Premiere. Animals in War is a poignant anthology film inspired by true stories of animals impacted by the war in Ukraine. A collaboration between Ukrainian and international artists — including actor and activist Sean Penn — the film is a haunting yet captivating call for global awareness and empathy. Directed by Sviatoslav Kostiuk. Produced by Oleksii Makukhin.

Bunny, (United States) – Feature Narrative, New York Premiere. Bunny is a hustler out on a job when things go sideways – and deadly. As cops poke around, an Airbnb guest longs for love, the downstairs neighbors party, and an estranged father makes an untimely return, Bunny’s plans spiral into absurdity in this frenzied New York comedy. Directed by Ben Jacobson. Written by Ben Jacobson, Mo Stark, Stefan Marolachakis. Produced by Sarah Sarandos. With Mo Stark, Ben Jacobson, Tony Drazan, Liza Colby.

Gonzo Girl, (United States) – Feature Narrative, U.S. Premiere. Set in 1992 in Aspen, Colorado, and inspired by a true story, Gonzo Girl follows Alley Russo, an aspiring writer who takes on an assistant job to the iconoclast and founder of gonzo journalism, Walker Reade. Thrown headfirst into his psychedelic, drug-fueled world, she falls deeper into the fading star’s chaotic world and tries to help him finish his long-awaited novel – by any means necessary. Directed by Patricia Arquette. Written by Rebecca Thomas, Jessica Caldwell. Produced by Tom Heller, Frank Hall Green, Patricia Arquette, Cameron O’Reilly. With Willem Dafoe, Camila Morrone, Patricia Arquette, Elizabeth Lail.

The 2025 Tribeca Festival, presented by OKX, announced its lineup of television and original independent episodic series. The Festival, which takes place June 4 – 15 in New York City, showcases highly-anticipated world premieres of new and returning programs, along with exclusive panels featuring select cast members, from major networks and streamers including Apple TV+, HBO, Prime Video, Paramount+, and more.

“Television is one of the most powerful storytelling mediums of our time, and Tribeca is proud to be a home for the visionaries who are redefining it,” said Tribeca Festival Director and SVP of Programming Cara Cusumano. “Tribeca TV is a cornerstone of our festival—an essential platform where innovation, artistry, and audience converge. As the lines between film and television continue to blur, our commitment to championing exceptional stories in all forms remains steadfast.”

World premieres include Apple TV+’s Smoke, a suspenseful drama starring Taron Egerton and Jurnee Smollett, which follows a small-town fire chief as he uncovers dark secrets, blending mystery, family, and crime; Prime Video’s We Were Liars, a fiery psychological thriller series based on the #1 New York Times bestselling novel by E. Lockhart; SundanceTV’s new docuseries The Furry Detectives: Unmasking A Monster, executive produced by Theo Love, which uncovers a chilling conspiracy beneath the whimsical world of the Furry community; and BritBox’s high-society saga Outrageous, executive produced by Matthew Mosley and created by Sarah Williams, which follows the scandalous lives of the Mitford sisters as they navigate political extremism, familial discord, and heartbreak.

The Festival’s TV program also celebrates the return of three fan-favorite series, including the world premiere of season three of HBO’s Emmy-nominated period drama The Gilded Age, starring Carrie CoonMorgan Spector and Cynthia Nixon, which marks the show’s first-ever premiere event for the series. Also featured is the season three premiere of Paramount+’s genre-bending hit Star Trek: Strange New Worlds, starring Ethan PeckAnson Mount, and Rebecca Romijn and the gripping season finale of MGM+’S historical drama, Godfather of Harlem featuring Oscar® winner Forest Whitaker.

“TV-lovers’ choices often seem overwhelmingly vast these days. We are excited to help our audience hone in on a selection of new series and returning favorites that they can experience at Tribeca in a truly exclusive way. From the luminous cast of The Gilded Age to the denizens of starship Enterprise (Star Trek: Strange New Worlds), the TV section offers an exclusive, post-screening discussion before the rest of the world gets a chance to partake,” said Tribeca Festival Senior Programmer Liza Domnitz. “Our NOW program speaks to the rapidly expanding universe of independently made episodic series and the buy-in from the creative community.”

This year’s NOW section, dedicated to new independently created pilots and series, features stories from emerging and up-and-coming filmmakers about self-discovery, social insecurities and comedic tales of relationship woes. The program includes the light-hearted, NYC comedy Seasoned, starring Mandy Patinkin; the coming of age drama series Hal & Harper, starring Lili ReinhartBetty Gilpin and Mark RuffaloEarth to Percy starring Jeremy BeilerAmy SchumerJosh CharlesWyatt Cenac and Maya Rudolph; and the dark, brash comedy Bulldozer featuring Oscar® winner Mary SteenburgenKate Burton and Oscar winner Nat Faxon. Featured docuseries within NOW include Mrs. America from storyteller Penny Lane and The Price of Milk from Nicholas Bruckman and Yoni Brook.

Learn more about the Tribeca Festival programming team at TribecaFilm.com.

The full festival lineup will be announced soon. For more updates on programming follow @Tribeca and #Tribeca2025 on TwitterInstagramFacebookLinkedIn, and YouTube. A Tribeca Membership or 2025 Tribeca Festival passes and ticket packages can be purchased at tribecafilm.com.

About the Tribeca Festival
The Tribeca Festival, presented by OKX, brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, music, audio storytelling, games, and immersive. With strong roots in independent film, Tribeca is synonymous with creative expression and entertainment. Tribeca champions emerging and established voices, discovers award-winning talent, curates innovative experiences, and introduces new ideas through exclusive premieres, exhibitions, conversations, and live performances.

The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. The annual Tribeca Festival will celebrate its 24th year from June 4–15, 2025 in New York City.

In 2019, James Murdoch’s Lupa Systems bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.

About the 2025 Tribeca Festival Partners
The 2025 Tribeca Festival is presented by OKX and with the support of our partners: AT&T, Audible, Bulleit Frontier Whiskey, Canva, CHANEL, City National Bank, Don Julio Tequila, Fiji Water, Indeed, KLM Royal Dutch Airlines, NBC4 and Telemundo 47, NYC Mayor’s Office of Media and Entertainment, National CineMedia, New York Magazine, Spring Studios New York, The Wall Street Journal, Variety, Vulture, and Whalar.

2025 TRIBECA FESTIVAL TV SELECTION

“The Furry Detectives: Unmasking a Monster” (Photo courtesy of Sundance TV)

The Furry Detectives: Unmasking A Monster (SundanceTV) New Series World Premiere. The Furry Detectives: Unmasking A Monster, The Furry Detectives: Unmasking A Monster, a four-part documentary, unpacks a horrifying conspiracy of animal abuse lurking beneath the Furry Fandom’s playful exterior. Navigating the line between amateur sleuthing and official police investigation, a pack of dedicated vigilantes from the Furry community fights for the victims and defends their community from the evil within. The series is directed and executive produced by Theo Love (The Legend of Cocaine Island) and produced by Alex Gibney’s Jigsaw Productions.
After the Screening: A conversation with series director Theo Love and producer Julia Lindau, moderated by Alex Gibney

The Gilded Age (HBO) – Season Three World Premiere. Following the Opera War, the old guard is weakened. The Russells stand poised to take their place at society’s head. Bertha sets her sights on a prize that would elevate the family to unimaginable heights; George risks everything on a gambit that could revolutionize the railroad industry. Agnes refuses to accept Ada’s new position as lady of the house. Peggy meets a doctor from Newport whose family is less than enthusiastic about her career.
After the Screening: A conversation with Carrie Coon, Morgan Spector, Christine Baranski, Louisa Jacobson and Denée Benton and series creator Julian Fellowes.

Godfather of Harlem (MGM+) – Season Four Finale. In Season 4 of Godfather of Harlem, Bumpy Johnson (Forest Whitaker) continues his bloody war for control of Harlem against New York’s Mafia families, while contending with the arrival of gangster Frank Lucas (Rome Flynn). After Malcolm X’s (Jason Alan Carvell) tragic assassination, Bumpy must also grapple with his daughter Elise’s (Antionette Crowe-Legacy) involvement with the Black Panthers.
After the Screening: A conversation with Forest Whitaker, Ilfenesh Hadera, Lucy Fry, Antoinette Crowe-Legacy and series Showrunner and Executive Producer Chris Brancato.

Outrageous (BritBox) – New Series World Premiere. Outrageous is the story of six aristocratic sisters who refused to play by the rules, their often-scandalous lives making headlines around the world. Set against the gathering storm clouds of the 1930s, masked by the decadence, frivolity and lavishness of British high society, Outrageous will bring the full, uncensored story of the Mitford sisters to the screen for the first time – a story of family bonds and betrayals, public scandal, political extremism, love, heartache and even imprisonment.
After the Screening: A conversation with Joanna Vanderham, Shannon Watson, Zoe Brough and series Creator Sarah Williams and Executive Producer Matthew Mosley.

Smoke (Apple TV+) – New Series World Premiere. Inspired by true events, Smoke follows a troubled detective and an enigmatic arson investigator as they pursue the trails of two serial arsonists. Starring Taron Egerton as arson investigator ‘Dave Gudsen’ and Jurnee Smollett as police detective ‘Michelle Calderone,’ the cast of Smoke also features Rafe Spall, Ntare Guma Mbaho Mwine, Hannah Emily Anderson, Anna Chlumsky, Adina Porter, Academy Award nominee Greg Kinnear, and John Leguizamo.
After the Screening: A conversation with Taron Egerton, Jurnee Smollett and Creator, Executive Producer and Writer Dennis Lehane.

Star Trek: Strange New Worlds (Paramount+) – Season Three World Premiere. In season three of Star Trek: Strange New Worlds, we reconnect with the crew of the U.S.S. Enterprise, still under the command of Captain Pike (Anson Mount), as they face the conclusion of season two’s harrowing encounter with the Gorn. But new life and civilizations await, including a villain that will test our characters’ grit and resolve. An exciting twist on classic Star Trek, season three takes characters both new and beloved, to new heights and dives into thrilling adventures of faith, duty, romance, comedy and mystery with varying genres never before seen on any other Star Trek.
After the Screening: A conversation with Anson Mount, Ethan Peck, Celia Rose Gooding, Babs Olusanmokun, Carol Kane, and Executive Producers Alex Kurtzman, Akiva Goldsman, and Henry Alonso Myers.

Tribeca Talks: In Conversation with Lena Dunham. Multi-hyphenate Lena Dunham returns to her Tribeca stomping grounds to discuss her highly anticipated return to TV, Too Much. Via exclusive clips and commentary, Dunham will delve into the Netflix series (premiering this summer) she co-created with her husband Luis Felber and how it mirrors her own departure from NYC to start a new life in London. Starring Megan Stalter and Will Sharpe with guest stars including Rita Wilson, Andrew Scott, Andrew Rannells, Janicza Bravo, Rhea Perlman, and Emily Ratajkowski.

We Were Liars (Prime Video) – New Series World Premiere. Based on the best-selling novel by E. Lockhart, We Were Liars, the series follows Cadence Sinclair Eastman and her tight-knit inner circle, nicknamed the Liars, during their summer escapades on her grandfather’s New England private island. The Sinclairs are American royalty — known for their good looks, old money, and enviable bond — but after a mysterious accident changes Cadence’s life forever, everyone, including her beloved Liars, seems to have something to hide.
After the Screening: A conversation with select cast.

2025 TRIBECA FESTIVAL NOW SELECTION

NOW Special Screenings

Lili Reinhart, Mark Ruffalo and Cooper Raiff in “Hal & Harper” (Photo courtesy of Apple TV+)

Hal & Harper, (United States) New York Premiere – Episodes 1-3. Hal and Harper, two codependent siblings living in L.A., are doing their best to navigate long term relationships, friendships, and situationships. When their Dad makes a big announcement, the two are forced to consider the current state of their lives, as well as their complicated childhood. While exploring the trauma of their past, and the dramatic changes of their present, Hal & Harper & Dad chart the evolution of their family, while discovering the ways their intense bond has shaped the ways they interact with those they love, for better or worse. Starring Cooper Raiff, Lili Reinhart, Mark Ruffalo, Betty Gilpin, Havana Rose Liu, and Addison Timlin. Created by Cooper Raiff.
After the Screening: A conversation with Cooper Raiff, Lili Reinhart, Mark Ruffalo, Betty Gilpin, Addison Timlin, and Executive Producers Daniel Lewis and Clementine Quittner.

Mrs. America (United States) World Premiere – Episodes 1 & 2. The stakes are high, and the heels are higher, as married women across the nation compete for the coveted Mrs. America crown in this funny and inspiring documentary series. Created by Penny Lane.

The Price of Milk (United States) World Premiere – Episodes 1-3. The untold battle behind the ‘90s ‘Got Milk’ campaign leads an investigative romp from the dairy farm to the White House, diving into Americans’ love/hate relationship with milk. Directed by Yoni Brook and Nicholas Bruckman.

NOW Showcase

Bulldozer (United States) New York Premiere. After discovering her boyfriend’s infidelity, Jo spirals and ends up involuntarily committed to a psychiatric facility. Upon her release, Jo attempts to rebuild her life, find love, and figure out what’s wrong with her (be it physical or mental). Starring Joanna Leeds, Nat Faxon, Mary Steenburgen, Kate Burton, Harvey Guillén, Chris “CP” Powell, Allen Leech, Tim Bagley, Nick Armstrong, Andrew Friedman, and Leonard Robinson. Created by Joanna Leeds.

Earth to Percy (United States) World Premiere. Floating 250 miles above the earth, NASA Astronaut Percy Dennis discovers the rest of the crew has made plans to hang out in Maui after their mission, but he’s not invited. Shocked to learn his friendships are not what he thought they were, he refuses to let it go even as his world unravels. Starring Jeremy Beiler, Amy Schumer, Josh Charles, Wyatt Cenac and Maya Rudolph. Created by Jeremy Beiler.

Mother, May I Have A Kidney? (United States) World Premiere – Episodes 1 & 2. When Doug learns he’s in need of a kidney transplant and the perfect match is his estranged mother, he’s forced to embark on a journey towards reconciliation with his family. Starring Doug Plaut, Tina Benko, Charlotte Ray Rosenberg, Darius de Haas, Troy Iwata, and Myra Lucretia Taylor. Created by Veronica Reyes-How.

Seasoned (United States) World Premiere. Based on the real lives of Mandy Patinkin and Kathryn Grody, Seasoned follows the delightfully tumultuous relationship and life of this successful, gregarious, deeply committed, slightly insane married couple.. As they navigate a society that feels as if it’s crumbling around them, will they remain standing? Starring Mandy Patinkin and Kathryn Grody. Created by Gideon Grody-Patinkin and Ewen Wright.

Review: ‘Audrey’s Children,’ starring Natalie Dormer, Jimmi Simpson, Brandon Micheal Hall, Julianne Layne and Clancy Brown

April 6, 2025

by Carla Hay

Natalie Dormer in “Audrey’s Children” (Photo courtesy of Blue Harbor Entertainment)

“Audrey’s Childen”

Directed by Ami Canaan Mann

Culture Representation: Taking place in 1969 (and briefly in 1974) in Philadelphia, the dramatic film “Audrey’s Children” (based on true events) features a predominantly white group of people (with a few African Americans) representing the working-class, middle-class and wealthy.

Culture Clash: Dr. Audrey Evans, a chief oncologist who works at Children’s Hospital of Philadelphia, has conflicts with her peers and superiors over her radical idea of how to give a new treatment to people with cancer.

Culture Audience: “Audrey’s Children” will appeal primarily to people who are interested in watching dramatic movies about medical breakthroughs that are based on true stories.

Jimmi Simpson and Natalie Dormer in “Audrey’s Children” (Photo courtesy of Blue Harbor Entertainment)

“Audrey’s Children” can get formulaic and clunky in telling the true story of Dr. Audrey Evans, a diligent oncologist whose unorthodox ideas led to breakthroughs in medical treatments for cancer. However, this drama’s performances and story are compelling. The movie is not a full biopic because it covers mostly just one year in the life of Evans, who died in 2022, at the age of 97. The movie mostly takes place in 1969, which was a pivotal year for Evans and oncology medicine.

Directed by Ami Canaan Mann and written by Julia Fisher Farbman, “Audrey’s Children” had its world premiere at the 2024 Tribeca Festival, where the movie won the Tribeca X Award for Best Feature. “Audrey’s Children” begins in 1969, by showing a scene at Children’s Hospital of Philadelphia, also known as CHOP. Dr. Audrey Evans (played by Natalie Dormer), an immigrant from England, is showing a young girl who’s a cancer patient that she has nothing to fear from a radiology machine that needs to be used on her for a test. (For the purposes of this review, the real people are referred to be their last names, while the characters in the movie are referred to by their first names.)

To show the girl that she won’t be harmed, Audrey has brough a rabbit from the hospital’s test lab and uses the machine on the rabbit to prove that the rabbit won’t be harmed. Dr. Brian Faust (played by Brandon Micheal Hall), an eager learner who is Audrey’s resident physician, speaks to her in the hallway after this demonstration. Brian tactfully reminds Audrey that rabbits are not allowed in the patient’s quarters. Audrey’s response is to cheerfully tell Brian to bring the rabbit back to the lab. As far as Audrey is concerned, this rule was broken for a greater good.

This scene sets the tone of what’s to come in how Audrey handles what she wants to do to make progress in her research and do what she thinks is best for her patients, even if she breaks rules and gets resistance from her colleagues. The movie soon shows that Audrey (a bachelorette with no children) is someone whose life revolves around her work. She was recruited to join the hospital as chief of oncology, a leadership position that women rarely had at the time. Audrey has impeccable credentials, but her style of working and communication clash with others who want to do things in a stricter, more traditional manner.

At home, where she lives by herself, Audrey is shown to be a little bit of an eccentric. She has a stuffed lamb that she talks to like it’s a little kid. When she practices a speech in front of the lamb, she says how she’ll change her speech: “I’ll be less oncologist-y.” she then kisses the lamb and puts it back on the shelf.

Audrey has a soft spot for animals and children. For example, she insists that the animals in her lab get treated with kindness and respect. Her child patients all get compassion and doting care from her, which is in contrast to the no-nonsense and stubborn way that she often interacts with her work colleagues. There’s a scene in the movie where she’s training some resident doctors on how to give injects to lab animals. One of the doctors giggles at her method. Audrey immediately and coldly dismisses him from the lab for the day.

Audrey’s insistence on doing things in the way she wants is also on display in the scene where she first meets Dr. Dan D’Angio (played by Jimmi Simpson), a radiation oncologist who also does research at the hospital. Dan meets Audrey for the first time when he finds her sitting at a desk in his office, with her feet up on the table, as she’s reading his mail. It’s downright rude for Audrey to do this, and she brushes off Dan’s comment that it’s illegal to open and read other people’s mail.

Audrey is unflustered when she gives criticism to Dan about his treatment diagnoses. She also comments that the hospital’s waiting room is “dreary.” She says how she thinks the waiting room’s ambience could be improved: “An aviary would do wonders.”

She delivers these cutting remarks in a way that is perky yet sassy and blunt. Dan is taken aback by his strong-willed woman. And although they have conflicts throughout the story because rule-following Dan wants to do everything “by the book,” Audrey and Dan end up becoming close allies.

Audrey wants to try what was a radical idea at the time: combination chemotherapy, which would mix approved medicine in low doses with radiation chemotherapy. This method, also called a staging system, has proven to be effective in treating leukemia. But at the time, it was an untested method for treating neuroblastoma, a type of cancer that starts in early nerve cells called neuroblasts.

Audrey is excited about this research and tells her supervisor Dr. C. Everett Koop (played by Clancy Brown), who is CHOP’s surgeon-in-chief (and who would later become U.S. Surgeon General from 1982 to 1989), that she can’t wait to get started on the research. However, Everett tells her it will take about one year for her research application to be approved. Audrey tells him that she and her patients don’t have time to wait one year. You know where all of this is going, of course.

The movie sometimes has scenes that look very contrived and probably didn’t happen in real life. For example, there’s a scene where Audrey tries to convince Everett to approve her research as he is swimming laps in an indoor pool. In order to get his attention, Audrey jumps into the pool while wearing her work clothes. Everett agrees to look at her preliminary study results but tells her she has a two-week deadline.

Meanwhile, Audrey takes on an additional crusade that doesn’t have to do with scientific research. She notices that families of CHOP’s cancer patients often have to travel from out of the area so that the child patients can get the cancer treatment or clinical trials. These family members often have to cut the treatment short and have the patient discharged because they can no longer afford the cost of staying in hotels. And so, Audrey goes on a fundraising mission to buy places where family members of these patients can stay for free. Her efforts lead her to become a co-founder of Ronald McDonald House Charities.

“Audrey’s Children” sometimes clumsily balances these two crusades that Audrey juggles at the same time. A lot of it looks very “only in a movie” simplistic because it’s presented in the movie as Audrey being the only person with the unwavering driving force to get things done. She gets help from Dan, Brian and Dr. Laurie Naiman (played by Jeff Panzarella), who works at the rival Keystone General Hospital. Audrey is presented as the only one who doesn’t doubt her plans.

Audrey sees the benefit of hospitals working together in advancing cancer research instead of trying to be competitive with each other for a research breakthrough. Everett and CHOP’s board of directors don’t see it that way, as Audrey flaunts the rules about doing research that wasn’t approved by her supervisors. It all leads to an inevitable showdown.

In every story like this, there’s a villain. And in “Audrey’s Children,” the villain is Dr. Jeremy Lewis (played by Ben Chase), a jealous doctor at CHOP who tries to turn Everett, Dan and other colleagues against Audrey by calling her an attention-seeking troublemaker. Jeremy is a sneaky gossip who does everything he can to get Audrey suspended or fired. Jeremy also tries to persuade Everett and others that the sponsorship money that Audrey obtained for her research could be put to better use for other research.

Part of Audrey’s charitable generosity starts in her own home. She invites a young single mother named Kate Watson (played by Evelyn Giovine) from Tennessee to stay in Audrey’s home for free while Kate’s baby son Charlie Watson (played by Dominic Sacchetti) gets cancer treatment at CHOP. Charlie is one of the patients who becomes part of Audrey’s combination chemotherapy trial. However, Kate can’t stay at Audrey’s place for an extended period of time, so it motivates Audrey even more to get temporary housing for families in need.

Audrey also becomes emotionally attached to a cancer patient named Mia McAlister (played by Julianna Layne), a 7-year-old girl with neuroblastoma. Her parents Alvin McAllister (played by J.P. Edwards) and Rita McAlister (played by Kat Murphy) agree to have Mia undergo Audrey’s unauthorized clinical trials for the combination chemotherapy. There’s really no suspense on what the outcome will be because a movie wouldn’t be made of this story if it didn’t have the expected outcome.

“Audrey’s Children” show some of the sexist barriers that Audrey came up against in her quest. For example, she successfully convinced a cranky home owner to sell his house to the hospital after he insisted that he meet her husband. Audrey had Brian pretend to be her husband. But when Audrey goes to a bank to apply for a mortgage, she finds out she can’t get a mortgage without a man to co-sign on ownership of the house.

Dormer gives an admirable performance in showing how Audrey is an unstoppable force of nature, even when she gets discouraging setbacks and opposition. The supporting cast members are very capable in their roles. There’s noticeable chemistry between Audrey and Dan, but he’s married, so they keep things strictly professional in this story. The movie has an epilogue that tells what happened in real life to the story’s main characters. “Audrey’s Children,” although not a perfect or surprising movie, can appeal to many types of viewers and is inspiring in all the right ways.

Blue Harbor Entertainment released “Audrey’s Children” in select U.S. cinemas on March 28, 2025. The movie will be released on digital and VOD on May 6, 2025.

2025 Tribeca Festival: opening film announced

April 6, 2025

An archival photo of Billy Joel in “Billy Joel: And So It Goes” (Photo courtesy of HBO)

The following is a press release from the Tribeca Festival:

The 2025 Tribeca Festival, presented by OKX, unveiled its opening night film, Billy Joel: And So It Goes, an HBO original two-part documentary, announced by Jane Rosenthal, Co-Founder and CEO of Tribeca Festival and Tribeca Enterprises, on stage at NAB Show’s Business of Entertainment event, in partnership with The Ankler. The 2025 Tribeca Festival Opening Night is presented by OKX and City National Bank.

“For nearly 25 years, the Tribeca Festival has celebrated the artists who give New York its heart and soul, and on the opening night of the 2025 Festival, we are thrilled to honor Billy Joel—an artist who has embodied that very spirit,” said Rosenthal. “Paying tribute to the legendary performer who captured the essence of a ‘New York State of Mind’ is a perfect way to kick off this year’s celebration of creativity and inspiration.”

This year’s Tribeca Festival, scheduled to run June 4-15 in New York City, will feature curated lineups across film, music, TV, audio storytelling, talks, games, and immersive programming. From independent narratives showcasing emerging filmmakers and talent to a music lineup like never before, the annual festival continues to highlight groundbreaking stories that unite communities and fans globally.

The 2025 Tribeca Festival kicks off Wednesday, June 4 with the world premiere of Billy Joel: And So It Goes at the Beacon Theatre. The HBO original two-part documentary is an expansive portrait of the life and music of Billy Joel, exploring the love, loss, and personal struggles that fuel his songwriting. With unprecedented access to never-before-seen performances, home movies, and personal photographs, along with extensive, in-depth one-on-one interviews, the documentary intimately explores the life and work of Joel, whose music has endured across generations.

“I and my co-director, Jessica Levin, couldn’t be more thrilled about our film Billy Joel: And So It Goes opening the esteemed Tribeca Festival. Our thanks go out to Jane Rosenthal and the Festival team and to HBO and the wonderful folks there who have supported us throughout in our efforts to bring an in-depth, honest, and musically expressive portrait of this complex talent,” said director and producer Susan Lacy. “We are beyond appreciative of Billy Joel’s trust in us to bring his story to the screen. There is no better place for this film to premiere than at the Beacon Theater, the venue for so many historic musical events for decades, and in the city so important to Billy Joel.”

The documentary, directed and produced by Emmy® winners Susan Lacy (HBO’s “Jane Fonda in Five Acts” and “Spielberg”) and Jessica Levin (HBO’s “The Janes” and “Jane Fonda in Five Acts”), will debut on HBO and will be available to stream on Max this summer following its world premiere at the Tribeca Festival.

The full festival lineup will be announced soon. For more updates on programming follow @Tribeca and #Tribeca2025 on TwitterInstagramFacebookLinkedIn, and YouTube. A Tribeca Membership or 2025 Tribeca Festival passes and ticket packages can be purchased at tribecafilm.com.

About the Tribeca Festival
The Tribeca Festival, presented by OKX, brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, music, audio storytelling, games, and immersive. With strong roots in independent film, Tribeca is synonymous with creative expression and entertainment. Tribeca champions emerging and established voices, discovers award-winning talent, curates innovative experiences, and introduces new ideas through exclusive premieres, exhibitions, conversations, and live performances.

The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. The annual Tribeca Festival will celebrate its 24th year from June 4–15, 2025 in New York City.

In 2019, James Murdoch’s Lupa Systems bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.

About the 2025 Tribeca Festival Partners
The 2025 Tribeca Festival is presented by OKX and with the support of our partners: AT&T, Audible, Bulleit Frontier Whiskey, Canva, CHANEL, City National Bank, Don Julio Tequila, Indeed, KLM Royal Dutch Airlines, NBC4 and Telemundo 47, NYC Mayor’s Office of Media and Entertainment, National CineMedia, New York Magazine, Spring Studios New York, The Wall Street Journal, Variety, Vulture, and Whalar.

Review: ‘Jazzy,’ starring Jasmine Bearkiller Shangreaux, Syriah Fool Head Means and Lily Gladstone

February 14, 2025

by Carla Hay

Syriah Fool Head Means and Jasmine Bearkiller Shangreaux in “Jazzy” (Photo courtesy of Vertical)

“Jazzy”

Directed by Morrisa Maltz

Culture Representation: Taking place in Spearfish, South Dakota, the dramatic film “Jazzy” features a predominantly Native American cast of characters (with a few white people) representing the working-class and middle-class.

Culture Clash: A 12-year-old girl experiences ups and downs in her relationship with her best friend.

Culture Audience: “Jazzy” will appeal mainly to people who are interested in stories about childhood friendships from a Native American perspective.

Jasmine Bearkiller Shangreaux and Lily Gladstone in “Jazzy” (Photo courtesy of Vertical)

“Jazzy” is a beautifully filmed cinematic portrait of girlhood, friendships and learning to deal with life’s unexpected events. Some viewers might be bored by this drama’s meandering qualities, but the kid conversations are very authentic. Most movies made about Native Americans are usually about extreme trauma. And that’s why it’s refreshing that “Jazzy” doesn’t present Native Americans in that stereotypical context and instead shows Native Americans as everyday people living their lives.

Directed by Morrisa Maltz, “Jazzy” was written by Maltz, Lainey Bearkiller Shangreaux, Vanara Taing and Andrew Hajek. “Jazzy” had its world premiere at the 2024 Tribeca Festival. This is the type of movie where children are the focus, but “Jazzy” doesn’t have the flaw of that too many movies have that make children unrealistically sound like they are adults. As such, many of the scenes in “Jazzy” show a lot of goofy and playful conversations. Don’t expect to see precocious kids having deep philosophical discussions.

“Jazzy” takes place in Spearfish, South Dakota, and shows the movie’s title character Jasmine, nicknamed Jazzy (played by Jasmine Bearkiller Shangreaux), from the ages of 6 to 12. “Jazzy” was filmed over the same six years that Bearkiller Shangreaux was ages 6 to 12. The majority of the story happens when Jazzy is 12. All the children in the movie portray characters who have the same first names.

Jazzy is a bright and sensitive child who is friendly but not interested in being the most popular girl in her school. She is content to hang out with a few friends at a time. Her best friend is Syriah (played by Syriah Fool Head Means), who is also a classmate of Jazzy’s.

Syriah is slightly more outgoing and more direct than Jazzy, who tends to be less assertive and more introspective than Syriah. It’s later revealed that Jazzy and Syriah are distant relatives and belong to the Lakota Nation tribe. Jazzy is kind and respectful to animals. At home, Jazzy has a brown pet rabbit named Pickles and a cat.

The parents (usually the mothers) of Jazzy and Syriah are heard but barely shown in the movie. Jazzy’s parents are married, while Syriah is an only child being raised by a single mother. Jazzy has an unnamed younger sister, who’s about seven years younger than Jazzy.

At 12 years old, Jazzy and Syriah like to do a lot of typical things that girls like to do: They try on makeup, they talk about boys and friends, and they dream about their future. By this age, Jazzy is aware that this is an ideal time in her childhood when she doesn’t have adult responsibilities and she doesn’t have to plan what she wants to do with her life after high school.

Jazzy and Syriah, who take the bus to school, are seen in various situations that show they have a safe and healthy working-class life. When Jazzy turns 7 years old, she has a small birthday party near the swimming pool at the Walnut Park Mobile Estates (trailer park) where she and her family live. The only guests at the party are Syriah and another female friend named Goldie (played by Golden Rose Lebovich).

Later, when Jazzy is 12 years old, the girls spend more time hanging out with boys instead of just other girls. A nerdy boy named Landon (played by Landon Schmidt), who lies about being an experienced dater, has a crush on Jazzy. The movie shows what happens when Landon asks Jazzy to be his girlfriend.

A girl named Grace (played by Grace Carriveau) becomes estranged from Jazzy, although the movie never really shows what the friendship was like between Grace and Jazzy. In a private conversation while Syriah is combing Jazzy’s hair, Syriah asks Jazzy why Jazzy stopped talking to Grace. Jazzy says, “I feel ignored by her, so I sent her an unfriending note.” Jazzy adds that she feels sad about cutting off her friendship with Grace in that way.

It won’t be long before Jazzy will know what it’s like to be “ghosted” by a friend. One day on a school bus, Jazzy finds out that Syriah is deliberately ignoring and refusing to talk to Jazzy. Jazzy makes several attempts to get Syriah to talk to her and say what’s wrong. Finally, Syriah blurts out to Jazzy: “I can’t talk to you. Our moms are fighting.”

Jazzy is emotionally hurt and shocked but gets even worse news when she finds out that Syriah and her mother are moving away for an unrelated reason. (None of this is spoiler information because it’s in the movie’s offcial synposis.) The scene where Syriah and her mother drive away might be considered the movie’s big tearjerking moment. It’s not sappy but it might resonate with anyone who’s ever seen a loved one drive away because of a relocation to a new home.

A turning point in “Jazzy” is when her grandmother Carla dies. Jazzy is at the funeral and the wake, where she sees certain relatives whom she hasn’t talked to in a long time. One of these family members is her compassionate aunt Tana (played by Lily Gladstone, one of the executive producers of “Jazzy”), who treats Jazzy with respect and listens to what Jazzy has to say. Gladstone has limited screen time in “Jazzy” (less than 15 minutes), but Tana is the only adult who is fully seen on screen javing a meaningful conversation with Jazzy.

“Jazzy” has vibrant cinematography by Hajek that wonderfully captures the natural beauty of South Dakota landscapes and the personalities of the story’s main characters. Equally vibrant are the naturalistic performances by the cast members. Bearkiller Shangreaux and Fool Head Means do wonderful jobs of depicting the friendship between Jazzy and Syriah. It’s easy to see that all of the movie’s child performers are playing versions of themselves and probably did a lot of improvising.

Native American culture is respected in “Jazzy,” and it’s not propped up as the main part of Jazzy’s identity. Native American culture is also used as a reason why people might inflict pain on Jazzy and other people with the same ethnic identity. Jazzy goes to a racially diverse school, but the movie doesn’t talk about racism. Jazzy and Syria are proud of their Lakota Nation heritage, but they admittedly are still learning the Lakota language because the girls’ main cultural references are American English.

Some viewers might think “Jazzy” is naïve for not having such a heavy topic as racism in a movie about a Native American girl. However, the point of the movie is to show that children of any race often don’t let the poison of racism (which is usually taught by adults) affect them or their friendships. With so many on-screen stories about children growing up too fast, “Jazzy” is an enjoyable alternative that celebrates the joys of kids being allowed to be kids.

Vertical released “Jazzy” in select U.S. cinemas, on digital and VOD on February 7, 2025.

Review: ‘The Damned’ (2025), starring Odessa Young, Joe Cole, Siobhan Finneran, Rory McCann, Turlough Convery, Lewis Gribben, Francis Magee and Mícheál Óg Lane

February 3, 2025

by Carla Hay

Joe Cole and Odessa Young in “The Damned” (Photo courtesy of Vertical)

“The Damned” (2025)

Directed by Thordur Palsson

Culture Representation: Taking place in Iceland’s Westfjords region in 1870, the horror film “The Damned” features an all-white cast of characters representing the working-class.

Culture Clash: Fishing workers in a remote part of Iceland encounter strangers and a possible supernatural killer on the loose.

Culture Audience: “The Damned” will appeal mainly to people who don’t mind watching well-acted horror movies that aren’t about non-stop violent scares but are more about psychological torment.

Pictured clockwise, from left: Joe Cole, Lewis Gribben, Rory McCann, Turlough Convery, Mícheál Óg Lane, and Francis Magee in “The Damned” (Photo courtesy of Vertical)

“The Damned” is a “slow burn” psychological thriller about a widow leading a group of fishermen with a “survival of the fittest” attitude in a remote part of Iceland. It’s a horror film about the evil that can come from extreme mistrust. Some viewers might be bored by the movie’s deliberate pacing, or if they are expecting a typical slasher film. “The Damned” is more about toxic fear that can develop from being isolated.

Directed by Thordur Palsson and written by Jamie Hannigan, “The Damned” had its world premiere at the 2024 Tribeca Festival. The movie takes place in the winter of 1870, in a remote area in Iceland’s Westfjords region, where the movie was filmed on location. Certain viewers who might immediately be disinterested in watching this movie because of the time period and location because they might want to watch a movie taking place in modern times.

The main protagonist of “The Damned” is a young widow named Eva (played by Odessa Young), whose husband Magnus died the previous year, near the rocks at sea during a fishing expedition. Magnus was the owner of a fishing station business that employs fishermen for seasonal work and provides lodging for them during their employment. After the death of Magnus, Eva took over the business. Magnus and Eva did not have any children.

There is trouble brewing because of a decreasing supply of food. In the movie’s very first scene, Eva can be heard saying in a voiceover: “We should not be here. Magnus said it was a place of opportunity if you can enjoy the cold, the long nights, the hunger.”

As empty fish racks are shown, Eva says in the voiceover: “This time last year, all of these racks were full. Yesterday, we started eating the fish set aside for bait. The men don’t want to think of anything but the next day at sea. Perhaps, that way they can survive. But walking blindly into the dark is something I will not do.”

The fisherman are mostly roughneck types who are crude and not accustomed to a woman being their boss. Many are somewhat skeptical about Eva’s abilities to be a leader. However, whatever doubts that these fishermen have about Eva, they still know that she is their employer, so they follow her orders.

In an early scene in the movie, the fishermen are gathered at night around a table to drink alcohol and eat. The men tell Eva that Magnus had a tradition of giving the fishermen a drinking toast on a mid-winter’s night. Eva feels pressure to continue the tradition, and she gives a short and slightly awkward toast: “May the Lord protect you from hidden rocks, harmful creatures and dangerous pirates.”

The only other woman in this isolated group is middle-aged Helga (played by Siobhan Finneran), who has cooking and cleaning duties for the living quarters. Helga is very superstitious and is the person in the group who is most likely to tell folk tales and ways to ward off evil spirits. Helga has a certain flair for storytelling which can make people wonder if there’s some truth in what she’s saying.

When “The Damned” begins, about 10 fishermen are part of the crew that uses a large rowboat (owned by Eva) for their fishing duties. Daniel (played by Joe Cole) is close in age to Eva. There’s an unspoken attraction between Eva and Daniel. The movie shows whether or not Daniel and Eva act on this attraction. At one point, Eva tells Daniel: “Magnus was my family … The fishing station is all I have left.”

Many of the other fisherman are generic characters that don’t have significant speaking roles. However, some of the men are deliberately written as having noticeable personalities. Daniel is mostly a “good guy” who is genuinely respectful of Eva, unlike some of the other men, which is why Eva trusts him the most. Ragnar (played by Rory McCann) is aggressive and highly suspicious of people whom he considers to be “outsiders.”

Aron (played by Mícheál Óg Lane) is mostly mild-mannered and seems to have learning development that’s slower than the other men. Jonas (played by Lewis Gribben) is a very religious Christian. Skúli (played by Francis Magee) doesn’t believe in ghosts or anything supernatural. Hákon (played by Turlough Convery) is an unpredictable loose cannon.

“The Damned” has a total running time of 89 minutes. Not much happens for the first 20 minutes, but a pivotal point in the movie is when the Eva and the fishermen see a recent shipwreck from a distance. Eva agrees with Ragnar’s adamant opinion that they shouldn’t help anyone from this shipwreck because they can’t trust these strangers, and there isn’t enough food to accommodate anyone new in their small and isolated community.

At night, Eva accompanies the fishermen on the boat to get a closer look at the shipwreck and to see if they can take any valuables that were left behind. The shipwreck has some survivors, who try to fight their way on to boat. All hell breaks loose, setting the course of the rest of the story. The tone of “The Damned” is best described as “brooding and spooky” instead of “intensely scary.”

The cast members capably perform their roles “The Damned,” whose emotional core is primarily with Eva. Young gives a compelling performance in the role. The movie keeps viewers guessing if Eva has psychic abilities to see the supernatural or if she is mentally ill. Either way, as tensions begin to soar within the community, Eva sees disturbing things that affect her tenuous authority over the increasingly agitated fishermen.

Viewers who appreciate “The Damned” have to be open-minded enough to not expect a formulaic horror movie or an assumed outcome. The movie (which has excellent cinematography by Eli Arenson) gets a little repetitive, but it’s effective at showing how monotony and desperate starvation can erode relationships, trust and loyalty in a community. What’s most haunting about “The Damned” isn’t any real or imagined supernatural activity but how destructive inhumanity can be.

Vertical released “The Damned” in U.S. cinemas on January 3, 2025. The movie was released on digital and VOD on January 21, 2025.

Review: ‘Chasing Chasing Amy,’ starring Sav Rodgers, Kevin Smith, Joey Lauren Adams, Riley Rodgers, Guinevere Turner and Scott Mosier

December 31, 2024

by Carla Hay

Joey Lauren Adams, Sav Rodgers and Kevin Smith in “Chasing Chasing Amy” (Photo courtesy of Level 33 Entertainment)

“Chasing Chasing Amy”

Directed by Sav Rodgers

Culture Representation: The documentary film “Chasing Chasing Amy” (filmed from 2018 to 2022) features a predominantly white group of people (with a few African Americans, Latin people and Asians) discussing the culture and personal impact of the 1997 film “Chasing Chasing Amy” (written and directed by Kevin Smith), a comedy/drama about a heterosexual man who falls in love with a sexually fluid/queer woman.

Culture Clash: “Chasing Chasing Amy” director Sav Rodgers, a “Chasing Amy” superfan went through his own sexual identity journey while making the documentary when he got engaged to a queer cisgender woman and when he came out as a transgender man.

Culture Audience: “Chasing Chasing Amy” will appeal primarily to people who are fans of “Chasing Amy,” filmmaker Kevin Smith and documentaries about the intersections between pop culture and LGBTQ personal stories.

Riley Rodgers and Sav Rodgers in “Chasing Chasing Amy” (Photo courtesy of Level 33 Entertainment)

“Chasing Chasing Amy” is more than just a fan tribute for the 1997 comedy/drama “Chasing Amy.” This charming and insightful documentary has layers of meaningful perspectives of LGBTQ on-screen representation and off-screen dynamics in love and filmmaking. “Chasing Chasing Amy” might take some viewers by surprise by how deeply personal some people are in telling their stories in this documentary.

Directed by Sav Rodgers, “Chasing Chasing Amy” is his feature-film directorial debut. “Chasing Chasing Amy” had its world premiere at the 2023 Tribeca Festival and subsequently screened at several other film festivals in 2023, including the Frameline Festival and BFI London Film Festival. “Chasing Chasing Amy” was filmed from 2018 to 2022 in various parts of the United States. Rodgers appears in “Chasing Chasing Amy” and is the movie’s narrator.

“Chasing Chasing Amy” begins by Rodgers explaining that when he was a child growing up in Kansas, he became obsessed with watching “Chasing Amy,” written and directed by Kevin Smith. Rodgers says that at one point, he was watching “Chasing Amy” every day including a period of time when he watched the movie very day for a month. Rodgers was bullied at school for being queer. He says “Chasing Amy” helped him stay alive during dark periods of his life when he was feeling suicidal.

In “Chasing Amy,” a comic book artist named Holden McNeil (played by Ben Affleck) meets aspiring writer Alyssa Jones (played by Joey Lauren Adams), and they begin dating each other and fall in love. What makes their relationship complicated is that at the time Holden and Alyssa met, she identified as a lesbian. In her relationship with Holden, Alyssa isn’t quite so sure she wants to continue to identify as a lesbian, but she knows she’s not heterosexual either. Adams was nominated for a Golden Globe Award for her role in “Chasing Amy.”

Nowadays, Alyssa would probably identify as queer, bisexual or sexually fluid. But in 1997, it was rare to for a mainstream movie to have a main character who was experiencing what Alyssa was feeling. Rodgers says that he connected immensely with “Chasing Amy” because it was the first movie he saw at the time where he saw a character who was neither gay nor straight but defining sexuality on their own terms. It was a something that Rodgers could relate to but he couldn’t express himself about it at the time.

In 2019, Rodgers gave a TED Talk about how “Chasing Chasing Amy” changed his life for the better and helped him come out of the closet as a queer person. Footage from this TED Talk is in the documentary. By this time, Rodgers had already decided to make a documentary about his love of “Chasing Amy.” After the TED Talk, “Chasing Amy” director Smith reached out to Rodgers on social media and arranged for Rodgers to meet and interview Smith at Smith’s Los Angeles home. It was a turning point for Rodgers and this documentary, as Smith eventually became a mentor of sorts to Rodgers.

“Chasing Amy” is a movie where art imitated life in more ways than one. Smith (who is described by colleagues in the documentary as a constant jokester and highly creative) and Adams (who is described by colleagues in the documentary as intelligent and grounded) dated each other from 1995 to 1997. Smith and Adams have both said in many interviews that the characters of Holden and Alyssa were partially based on Smith and Adams, except that Adams did not identify as a lesbian in real life. Adams is one of the people interviewed in “Chasing Chasing Amy,” which was released in April 1997, about six months before she and Smith broke up.

What many people might not know, but which is included in the “Chasing Chasing Amy” documentary, is that the queer aspect of Alyssa and Holden’s romance was based on a real-life relationship that “Chasing Amy” producer Scott Mosier had circa 1994 with filmmaker/actress Guinevere Turner, who identifies as a lesbian. Mosier and Turner, who both had small roles in “Chasing Amy,” are interviewed separately in “Chasing Chasing Amy.” Mosier and Turner both describe their relationship at the time as a “romantic friendship.” Smith decided to write “Chasing Amy” based on that relationship, but he made the Alyssa character have a personality that was a lot like Adams’ real personality.

“Chasing Chasing Amy” admirably acknowledges that although the low-budget independent film “Chasing Amy” was a critically acclaimed hit (“Chasing Amy” had a $250,000 production budget and $12 million in ticket sales), some people consider it problematic that a movie about an unconventional romance with a queer woman was written by a heterosexual man and told from a very hetereosexual male perspective. In “Chasing Chasing Amy,” Smith says that he understands how people have that opinion, but he can’t change who he is and how he made the movie.

The documentary also points out that the issue isn’t just about “cultural appropriation.” It’s also about the hierarchy in the film industry where cisgender men still get the best opportunities as filmmakers, compared to people who aren’t cisgender men. Turner comments that when she and Smith were at the 1994 Sundance Film Festival, they were peers starring in separate buzzworthy movies filmed in black and white: Turner was at Sundance for her lesbian comedy/drama “Go Fish” (a movie she co-wrote with “Go Fish” director Rose Troche), while Smith was at Sundance for his feature-film debut “Clerks,” a comedy/drama written by Smith. Looking back at what happened after that fateful 1994 Sundance Film Festival, Turner says bluntly: “What emerged was Kevin got an empire, and we were just some dykes.”

“Chasing Chasing Amy” also peels back the curtain in how making “Chasing Amy” was a very different experience for Smith than it was from Adams. In “Chasing Chasing Amy,” Adams and Smith are interviewed separately and together. The interviews that Smith and Adams do together are jovial, but they get more somber in their separate interviews. Their experiences are reflections of larger issues of gender and power dynamics in filmmaking.

In his interviews for “Chasing Chasing Amy,” Smith seems to be basking in the praise that he gets from Rodgers at how “Chasing Amy” changed Rodgers’ life. However, Smith says he now has mixed feelings about “Chasing Chasing Amy” being distributed by Miramax, the company co-founded by Harvey Weinstein, who later became a disgraced mogul/convicted rapist in the late 2010s. Smith notes in the interview that the Miramax deal for “Chasing Amy” started at the 1997 Sundance Festival, where actress Rose McGowan says Weinstein raped her. Smith says he was “naïve” and the time didn’t know at the time about Weinstein’s criminal acts behind the scenes.

In her separate interview in “Chasing Chasing Amy,” Adams is visibly uncomfortable and gets emotionally tearful a few times. Adams makes it clear that she’s grateful for the opportunity of making “Chasing Amy” and says she’s happy that the movie helped save Rodgers life. However, making the movie brings up bittersweet memories of her that are still painful. Smith says that Adams was his “muse” at the time, but she remembers their relationship falling apart over similar issues that plagued “Chasing Amy” characters Alyssa and Holden: He was insecure that she was more sexually experienced than he was. He also constantly questioned if she loved him less than he loved her.

Adams also says that her filmmaking experiences as an actress who was forced to have meetings with “old men” and getting rejected for roles is different from Smith’s experiences where he can get a laugh out of these types of meetings. Adams doesn’t come right out and say it, but it’s obvious that what she means to say that when a man like Smith goes into these types of meetings with predatory people like Weinstein, Smith never had to worry about possibly being sexually harassed or worse. Adams says about the “Chasing Amy” filmmaking experience, “Kevin’s truth is not my truth. It wasn’t a cathartic thing [for me] for me as it was for Kevin.” Adams adds, “I was dating this guy [Smith] who was making me feel bad about myself.”

“Chasing Chasing Amy” also has an “art imitating life” storyline with Rodgers and his love partner Riley, who have been a couple since they were in their late teens, when they met online through Tumblr. The documentary was filmed during the evolution of their romance— from long-distance dating to getting engaged to getting married—all before, during and after Sav came out as a transgender man and later went through his hormonal transition. (The couple’s marriage proposal and wedding are shown in the movie.)

Riley Rodgers, who describes their relationship as being “soul mates,” is interviewed in the documentary and asks Sav some candid questions at the end of the film. Riley mentions that—just like “Chasing Amy” character Alyssa—she identified as a lesbian until she found out that she was in love with a man. It’s briefly mentioned that Sav and Riley’s parents are supportive of their relationship. Sav’s mother Natalie Giannakis is seen toward the end of the film.

Other people interviewed in the documentary are “Chasing Amy” casting director Shana Lory, Outfest executive director Christopher Ractser, writer/lesbian culture critic Trish Bendis, film critic Teo Bugbee, pop culture writer/editor Princess Weekes, “Chasing Amy” associate producer Bob Hawk, filmmaker Andrew Ahn, AFI Festival senior programmer Eric Moore, Film Threat founder Chris Gore, filmmaker Kevin Willmott, “90s Bitch” author Allison Yarrow, writer/filmmaker Carlen May-Mann, filmmaker Dana St. Anand, University of Kansas bisexuality studies professor Dr. Sarah Jen, and “Chasing Amy” co-star Jason Lee. Rodgers also visits some of the New Jersey locations associated with Smith, such as Jack’s Music Shoppe (where Rodgers interviews manager Tim Cronin) and Jay and Silent Bob’s Secret Stash, where Rodgers interviews manager Mike Zapcic.

“Chasing Chasing Amy” tends to go off on little tangents when talking about other movies or when Sav geeks out about seeing “Chasing Amy” memorabilia, but the film mostly stays on course. The documentary has a fairly good balance between telling commentaries about “Chasing Amy” and telling Sav’s personal story about what was going on in his own life. In its purest form, “Chasing Chasing Amy”—just like “Chasing Amy”—is a celebration about finding true love wherever you happen to find it and not necessarily being restricted by gender labels.

Level 33 Entertainment released “Chasing Chasing Amy” in select U.S. cinemas on November 1, 2024. The movie was released on digital and VOD on December 17, 2024.

Review: ‘Avicii — I’m Tim,’ starring Klas Bergling, Anki Lidén, Ash Pournouri, Flip Akeson, David Guetta, Per Sundin and Aloe Blacc

December 30, 2024

by Carla Hay

A 2018 photo of Tim Bergling, also known as Avicii, in Cape Town, South Africa, in “Avicii — I’m Tim” (Photo courtesy of Candamo Film/Avicii Music AB/Netflix)

“Avicii — I’m Tim”

Directed by Henrik S. Burman

Culture Representation: The documentary film “Avicii — I’m Tim” features a predominantly white group of people (with a few African Americans and Asian people) who are friends, colleagues or family members talking about life and career of Avicii, the Swedish electronic dance music (EDM) artist whose real name was Tim Bergling, died by suicide (cutting himself with glass) in 2018, at the age of 28.

Culture Clash: Avicii was one of the top EDM artists in the world, but he struggled in with mental health and addiction issues at the height of his fame.

Culture Audience: “Avicii — I’m Tim” will appeal primarily to people who are fans of Avicii and 2010s EDM/pop music.

Tim Bergling, also known as Avicii, in “Avicii — I’m Tim” (Photo courtesy of Netflix)

“Avicii — I’m Tim” is a bittersweet documentary about this talented artist but it omits a lot of details about his life, even with rare archival interviews. It’s ultimately a cautionary tale about how fame and fortune cannot erase mental health struggles. Through archival recordings, Avicii (whose real name was Tim Bergling) is the narrator of the documentary, which gives the movie a haunting quality but serves as a vital voice for an overall conventionally made but effective biography film.

Directed by Henrik S. Burman, “Avicii — I’m Tim” had its world premiere at the 2024 Tribeca Festival. Netflix is releasing the documentary on the same day (December 31, 2024) as the Avicii concert film “Avicii — My Last Show,” which was filmed in 2018 at Ibiza’s Ushuaïa. “Avicii — I’m Tim” is told in chronological order and has the expected mix of archival footage mixed with interviews that were done exclusively for the movie.

Avicii (pronounced ah-vee-chee)/Tim Bergling was born on September 8, 1989, in Stockholm, Sweden. As he says in previous interviews, he had a very sheltered childhood, which was centered on just a five-block radius in his Stockholm neighborhood. He was the son of Klas Bergling (a manager of an office supply business) and actress Anki Lidén. Avicii’s mother and father provide some of the commentary in the documentary. Avicii’s three siblings—David Bergling, Linda Sterner and Anton Körberg—are not interviewed in the movie. In 2019, Avicii’s family established the Tim Bergling Foundation, to help with suicide prevention and people struggling with mental health issues.

“Avicii — I’m Tim” begins with a montage of Avicii’s career highlights. He can be heard saying in a voiceover: “I’ve always wanted to make timeless music. I feel like I’m filled with music. It’s my life’s biggest passion.” As a child, he says he was a class clown to avoid getting bullied. He also says he became nicer to people after a teacher told him that he had a reputation for being a snitch.

Tim began making music by remixing songs when he was 8 years old. He had diverse tastes in music, but eventually was most attracted to electronic dance music (EDM) because the technology gave him more freedom to experiment on his own. However, even before he became famous, Tim/Avicii knew he needed to find collaborators because he had no aspirations to be a singer.

In his teenage years, one of his earliest music collaborators was his best friend at the time: Flip “Philgood” Akeson, one of the people interviewed in the documentary. Akeson says that teenage Tim was “shy” and “very anxious. We were polar opposites.” Akeson adds, “He was a geek, to be honest.” Bergling chose the stage name Avicii (respelling of Avīci), which means “the lowest level of Buddhist hell.” Akeson says that he and Avicii drifted apart as Akeson went into a self-described “downward spiral” of drug addiction.

It was during these formative years that Tim developed his “night owl” lifestyle because less people bothered him at night. Tim soon caught the attention of Arash “Ash” Pournouri, who became Tim’s manager and is one of the people interviewed in the documentary. By all accounts, Pournouri becoming Tim’s manager was the turning point for Tim, who was too introverted to be a self-promoter. Pournouri’s unshakeable ambition and confidence to make Avicii a rich and famous artist, combined with Avicii’s prodigious talent, proved to be an unbeatable combination.

The rest of “Avicii — I’m Tim” chronicles Avicii’s rapid rise from EDM star to mainstream celebrity who could sell out arenas and festivals as a headliner DJ/artist. (His best-known hits are 2011’s “Levels” and 2013’s “Wake Me Up.”) He also became an in-demand producer and remixer with a reputation of not being afraid to experiment musically. But with success came enormous pressure to work as much as possible and continue making several hits.

Akeson says that when he knew Avicii, Avicii was very much against drugs, even marijuana. Toward the end of his life, Avicii had gone public about being in rehab for alcohol addiction and pills. Avicii’s anxiety also got worse in dealing with the demands of fame. As he says in an archival interview: “I was a lot happier before I was famous than after I was famous.” On April 20, 2018, Avicii committed suicide (cutting himself with glass) in Muscat, Oman, while he was on vacation.

Although “Avicii — I’m Tim” has a lot of talk about Avicii’s personal struggles and his career achievements, there’s not enough information in the documentary about what was really done behind the scenes to get him the help that he needed. Pournouri (who parted ways with Avicii in 2016) makes vague comments about people trying to do the best they can to help Avicii. Jesse Waits (a Las Vegas nightclub entrepreneur) says of Avicii: “He was very fragile and insecure. He was like a little brother to me.”

The movie, without explanation, also never talks about Avicii’s love life or how he dealt with fans/hangers-on who wanted to date him. Someone in Acivii’s position obviously gets this type of attention. (Waits tells a brief story of how he met Avicii when Avicii and two women used Waits’ home as an overnight crash pad.) But the documentary refuses to even mention any former lovers he had who might have known about his personal challenges and who possibly tried to help him. Did Avicii ever fall in love? That’s a question the documentary won’t answer.

Most of the people interviewed in “Avicii — I’m Tim” are people who knew Avicii because they had a business relationship with him. They include Per Sundin, CEO of Universal Music Nordic Region; singer Aloe Blacc; DJ/artist David Guetta; Neil Jacobson, A&R executive at Interscope Records; Chris Martin, lead singer of Coldplay; country singer Dan Tyminski; music producer songwriter Nile Rodgers; Sony Music Publishing executive Johnny Tennander; songwriter/producer Carl Falk; musician/songwriter Mike Eizinger; music journalist Katie Bain; musician Salem Al Fakir; and singer/songwriter Joe Janiak.

In 2016, Avicii announced that he was taking a hiatus from touring because he was exhausted and wanted to work on his mental health. When people experience this type of burnout, they often feel like they are being treated like workhorse robots in their life. By refusing to show a full picture of who was in Avicii’s support system at the lowest points in his life, “Avicii — I’m Tim” sidelines some of his humanity. But with his voice as the narration, some of that humanity is retained instead of being drowned out by the documentary’s talking heads who profited from knowing Avicii in some way.

Netflix will premiere “Avicii — I’m Tim” on December 31, 2024.

Review: ‘Lake George’ (2024), starring Shea Whigham, Carrie Coon, Max Casella and Glenn Fleshler

December 28, 2024

by Carla Hay

Shea Whigham and Carrie Coon in “Lake George” (Photo courtesy of Magnet Releasing)

“Lake George” (2024)

Directed by Jeffrey Reiner

Culture Representation: Taking place in California, the dramatic film “Lake George” features an all-white group of people representing the working-class, middle-class and wealthy.

Culture Clash: A recently paroled fraudster gets pressured to kill a woman in a murder-for-hire plot, but she convinces him let her live so that they can steal from the person who ordered the murder.

Culture Audience: “Lake George” will appeal primarily to people who are fans of the movie’s headliners and are interested in watching a crime thriller that is darkly comedic.

Carrie Coon and Shea Whigham in “Lake George” (Photo courtesy of Magnet Releasing)

“Lake George” is a topsy-turvy crime thriller that has touches of dark comedy and is mostly watchable because of compelling lead performances from Shea Whigham and Carrie Coon. Some of the movie’s dialogue is a little forced but the story is engaging. “Lake George” has a familiar concept of two people with opposite personalities who go on a road trip and have conflicts with each other but find a way to work together toward a shared goal.

Written and directed by Jeffrey Reiner, “Lake George” had its world premiere at the 2024 Tribeca Festival. “Lake George” has a total running time of nearly two hours, which seems a little long for a compact story where the ending can easily be predicted. The same story could’ve essentially been told in 90 minutes or less because a few of the scenes in “Lake George” tend to wander a little bit. The movie takes place in California (mostly in the Los Angeles area), where “Lake George” was filmed on location.

Despite certain predictable plot developments, “Lake George” can still maintain viewer interest because of the movie’s characters, who aren’t exactly upstanding people, but nevertheless might get viewers intrigued about what will happen to these characters. “Lake George” begins by showing protagonist Don (played by Whigham) waking up in his motel room and having a mild panic attack. Don is a recovering gambling addict who has recently been paroled for insurance fraud and is trying to find a legitimate job.

A montage shows that Don hasn’t been having much luck with his job search. In phone call after phone call, Don gets bad news. People who promised him a job after he got out of prison no longer have the job available. In one case, the person who promised the job is now deceased.

It’s later revealed that Don is divorced and on his own. Don’s wife divorced him because of his criminal activities, and he is estranged from his children. The reason why Don spent time in prison is also revealed much later in the movie. Don is the most realistic character in this movie, which has a tendency to make other characters a little bit on the cartoonish side.

One day, when Don is in his motel room and trying to figure out what to do next, he gets an unannounced visitor: a thug named Harout (played by Max Casella), who forces himself into the room, points a gun at Don, and says, “Armen wants to see you.” Harout works for a wealthy criminal named Armen (played by Glen Fleshler), who has a nefarious job offer that Don is forced to take.

When Don arrives at Armen’s mansion, Armen says that he and Don owe each other a favor. “You pay me for your fuckup, and I’ll pay you what I owe you.” It’s later revealed that Don used to be an insurance agent, and he got pulled into Armen’s criminal activities when Armen paid Don to create false insurance claims. Don took the money to support Don’s gambling habit.

Eventually, Don and Armen got arrested for their insurance fraud. Armen was acquitted because he could afford better legal representation, while Don was the one who was sent to prison for their insurance fraud crimes. Armen is still bitter about the arrest and blames Don for both of them getting caught.

And now that Don is out of prison, Armen tells Don that he wants Don to kill Armen’s ex-girlfriend Phyllis (played by Coon) because, as Armen says: “She’s a dirty cunt. She knows too much.” Armen explains that he met Phyllis when they were in rehab together for cocaine addiction.

After they both got of of rehab, Armen made Phyllis his assistant, and she found out about all of his dirty dealings but stayed with him. Phyllis is no angel: It’s revealed later in the movie that she’s spent time in prison for cocaine trafficking. Now that Armen and Phyllis have had a bad breakup, Armen wants her dead because Phyllis knows a lot of his secrets.

Don immediately refuses to become an assassin because he says he’s not a murderer. Armen insists that’s exactly why Armen wants Don for this murder-for-hire job—because Don would be an unlkely suspect. After some arguing back and forth, Armen gets impatient and tells Don that Don will be murdered if Don doesn’t kill Phyllis.

Armen supplies Don with the .45 caliber gun and a 1983 Mercedes-Benz diesel station wagon that Don is supposed to use to commit this murder. Don is also given a photo of Phyllis and is tasked with stalking her and killing her wherever Don thinks is best, within a 72-hour period. It’s a crucial mistake for Armen to let a nervous and reluctant amateur do this type of planning on his own because too many things could go wrong. No one ever said that all criminals are smart.

Don carries out the stalking part of this plan and eventually kidnaps Phyllis in a parking garage where there are no other witnesses. Phyllis is talkative and sarcastic. As already revealed in the “Lake George” trailer, Phyllis convinces Don not to kill her when she tells Don that she knows where Armen keeps a fortune worth hundreds of thousands of dollars, locked in safes in his various homes (which she calls “stash houses”) in California. Phyllis says she knows how to open each safe, so she persuades Don that they should steal this fortune, split the money, and then go their separate ways.

Don agrees to this idea because he never wanted to kill Phyllis. The rest of “Lake George” is a “race against time” for Phyllis and Don to steal this fortune without getting caught. Don has been dreaming of retiring and living in a remote house near Lake George in Mammoth Lakes, California, which is about 311 miles northeast of Los Angeles. Getting an instant fortune would allow Don to live out that dream.

“Lake George” is more than a crime caper. Much of the movie is about the tension-filled relationship between “sad sack” Don and “firecracker” Phyllis. In order to pull off this audacious robbery spree, they both need to have some trust in each other, but it’s easier said than done. Even though Phyllis and Don take fake death photos of Phyllis to send to Armen, other things don’t go quite like how Don and Phyllis thought they would.

The prickly banter between Phyllis and Don keeps “Lake George” rolling along at a fairly even pace, although some parts of the dialogue tend to drag. The best parts of the movie are seeing how Don and Phyllis handle unexpected occurrences. It should come as no surprise that Phyllis is much more trigger-happy than Don. “Lake George” won’t be considered a classic movie, but it’s better than the average film of this type because the talented principal cast members keep this somewhat formulaic story afloat.

Magnet Releasing released “Lake George” in select U.S. cinemas, on digital and VOD on December 6, 2024.

Review: ‘Luther: Never Too Much,’ starring Fonzi Thornton, Robin Clark, Carlos Alomar, Clive Davis, Jamie Foxx, Mariah Carey and Richard Marx

November 27, 2024

by Carla Hay

A 1980s archival photo of Luther Vandross in “Luther: Never Too Much” (Photo by Don Hunstein/Sony Music/Giant Pictures)

“Luther: Never Too Much”

Directed by Dawn Porter

Culture Representation: The documentary film “Luther: Never Too Much” features a predominantly African American group of people (with a few Latin and white people) discussing the life and career of R&B singer/songwriter/producer Luther Vandross, who died from stroke complications in 2005, at the age of 54.

Culture Clash: Vandross had public and private battles over racism, his weight and his sexuality.

Culture Audience: “Luther: Never Too Much” will appeal primarily to his fans and people who are interested in documentaries about famous singers.

A 1980s archival photo of Luther Vandross in “Luther: Never Too Much” (Photo by Don Hunstein/Sony Music/Giant Pictures)

Conventionally made but still enjoyable, the documentary “Luther: Never Too Much” tells a very laudatory version of Luther Vandross’ life. More insight was needed for what he liked to do when he wasn’t working, but it’s an overall competent biography. The movie is an expected mix of archival footage with exclusive interviews filmed for the documentary. The interviewees are mostly Vandross’ friends and colleagues.

Directed by Dawn Porter, “Luther: Never Too Much” had its world premiere at the 2024 Sundance Film Festival and made the rounds at several other film festivals in 2024, including Hot Docs and the Tribeca Festival. The movie focuses almost entirely on Vandross’ career and has the bare minimum of information about who he was apart from being an entertainer. “Luther: Never Too Much” has an impressive group of interviewees, but die-hard Vandross fans will not learn anything new about him from this documentary, except maybe seeing some rare archival footage.

Vandross was born in New York City on April 20, 1951. He was the fourth and youngest child of Luther Vandross Sr. (who was an upholsterer and singer) and Mary Ida Vandross, who was a nurse. Luther Sr. died of diabetes when Luther Jr. was 8 years old. According to the documentary, Mary Vandross believed that Luther Jr. inherited his father’s musical talent.

And like his father, Luther Jr. had diabetes, which caused Luther Jr. to have health issues for his entire life. Luther Jr. was a child prodigy in music and knew from an early age that he wanted to be a singer. He learned to play the piano by ear at the age of 3. As he grew older, he became a prolific songwriter, but he wasn’t able to fully showcase his songwriting talent until he became a solo artist.

“Luther: Never Too Much” skips over most of Vandross’ childhood. Don’t expect the documentary to reveal what types of relationships he had with his siblings or what he was like in school. Instead, there is brief archival interview clips of Vandross saying that he had a happy childhood where he never felt deprived, and he felt safe and loved.

His singer idols when he was a child were Diana Ross, Aretha Franklin and Dionne Warwick. As a famous artist, he produced two albums for Franklin: 1982’s “Jump to It” and 1983’s “Get It Right.” Vandross produced Warwick’s 1983 album “How Many Times Can We Say Goodbye.” Vandross also did backup vocals for Ross and was a guest performer at two concerts (one in New York City, one in Philadelphia) that Ross did in 2000. Vandross said in many interviews that the music and culture of Motown Records had a huge influence on him as a child.

The documentary’s stories about Vandross before he became famous are mostly when he was a teenager. As an aspiring singer who lived in New York City, Vandross was able to regularly attend and learn from shows at the world-famous Apollo Theater in New York City’s Harlem neighborhood. Musicians/singers Fonzi Thornton, Robin Clark and Carlos Alomar (who are all interviewed in the documentary) were friends and collaborators with Vandross, beginning from their teenage years and through their adulthoods.

Vandross became known for his suave and soulful vocals and his romantic songs, but he didn’t start out as a solo artist. He got his earliest experiences as a professional singer by being a member of singing groups. As a teenager, Vandross was in a group with Thornton and Alomar called Shades of Jade, which performed once at the Apollo. Even in these early years, Vandross had a clear vision of the stylish image that he wanted as an entertainer.

Thornton tells a story about how Vandross insisted that the members of Shades of Jade wear a certain type of green shoes that cost $23 per pair at the time. Thornton says that Thornton’s mother initially refused to pay that amount of money for the shoes. But somehow, after Vandross had a conversation with Thornton’s mother, she changed her mind. Thornton says with admiration: “He was a boss from the beginning.”

Shades of Jade didn’t last. But as a young adult in the late 1960s, Vandross went on to get his first big break as part of a theater singing group of men and women called Listen My Brother, which had many songs about Black Pride and was managed by Apollo Theater leaders. Thornton, Clark and Alomar were also members of Listen My Brother, which had 10 to 16 members. One day, “Sesame Street” puppeteer Jim Henson saw Listen My Brother perform and was so impressed, he got the group booked on “Sesame Street” for several episodes during the show’s first season in 1969. It was the type of exposure that led to Listen My Brother getting bigger and better gigs.

Even though Vandross clearly had a unique voice and exceptional talent, Vandross was prevented from being a frontman in the confines of Listen My Brother. “He wasn’t the top dog,” according to Alomar, who blames it on the entertainment industry’s tendency to give preference to slender entertainers who fit conventional beauty standards. Alomar candidly says that Vandross had limitations put on his career aspirations because of bias against Vandross’ physical appearance: “He was too black and too heavy.”

After Vandross graduated from William Howard Taft High School in New York City in 1969, he attended Western Michigan University, but he dropped out after less than a year to pursue a career as a professional singer. According to Thornton, Vandross’ mother wasn’t too upset about him being a college dropout because she believed that her youngest child had a special talent as a singer and he was destined to become a star.

Unfortunately, “Luther: Never Too Much” doesn’t say much else about Vandross’ family during his formative years as a professional singer, particularly when it comes to his mother, who seemed to be his biggest supporter at this time. Vandross’ niece Seveda Williams is interviewed in the documentary, but she makes mostly generic comments about Vandross’ work ethic and talent.

During the 1970s, Vandross became an in-demand backup singer and a singer for commercial jingles. As an up-and-coming artist, he was influenced by 1970s Philadelphia soul music, as exemplified by hits written and produced by Kenneth Gamble and Leon Huff for artists such as the O’Jays, Harold Melvin and the Blue Notes, and Teddy Pendergrass. It was during this time that Vandross began to hone his skills as a musical arranger and producer.

Vandross’ first “crossover” hit as a backup singer was working on David Bowie’s 1975 “Young Americans” album, where Vandross can be heard prominently on the album’s title track. Vandross met Bowie through Alomar, who was Bowie’s longtime guitarist/backup singer. Clark and Alomar (who have been married since 1970) are among the backup singers on Bowie’s “Young Americans” album. The documentary includes some rare archival footage of Vandross and Bowie in these recording sessions.

Ava Cherry, who worked with Bowie as a backup singer on the “Young Americans” album and other collaborations, is one of the people interviewed in the documentary. Bowie encouraged Vandross’ songwriting talent and co-wrote the “Young Americans” album track “Fascination” with Vandross. “Fascination” was originally a Vandross song called “Funky Music (Is a Part of Me).”

Vandross also had success as a backup singer for numerous other artists, including Bette Midler, Roberta Flack, Chic and Sister Sledge. But he made even more money as a singer/songwriter for commercial jingles for company brands such as Juicy Fruit, Miller Beer, Gino’s and Löwenbräu, just to name a few. As seen in archival interviews, Vandross said he used a lot of the lucrative income that he made as a jingle singer/songwriter to fund his own demo recordings, with the hope of getting a record deal where he could perform songs that he wrote, arranged and produced.

Vandross eventually got record deals as the frontman for a group named Luther and later for a group called Change, while still maintaining a career as a backup singer. Flack is the person who is credited the most with encouraging Vandross to make the leap to become a solo artist. It wasn’t easy because he got rejected by every major label. But after getting a second chance from a different person at Epic Records, Vandross signed with Epic as a solo artist. And that’s when his career took off and never looked back.

His first solo album—1981’s “Never Too Much”—was a hit and featured the title track as his breakout solo single. The cadence of the song was unusual for R&B hits at the time and was an example of Vandross’ determination to stand out from other R&B singers. Most of Vandross’ songs were about the joys and heartbreak of love. Don’t expect the documentary to reveal the inspirations for most of these songs, since Vandross was secretive about his love life.

Nat Adderley Jr., who was Vandross’ music director at the time, comments in the documentary about the first time he heard the “Never Too Much” song: “It sounded so different than anything on the radio, but I didn’t [think] it would be a hit.” The documentary has some commentary on how Vandross created and recorded his music. But considering all the great songs that he wrote and produced, “Luther: Never Too Much” does not have enough information about this aspect of his artistry as a songwriter and a producer.

Several people in the documentary also say that in addition to his recordings, Vandross was very particular and specific about every aspect of his live performances. He personally chose the elaborate costumes for his backup singers and the type of theatrical-inspired productions he wanted to bring to his concerts. His own personal fashion sense on stage can be described as being a Vegas performer and cabaret singer.

Vandross had a steady string of hits for the rest of his solo career. His best-known songs include 1986’s “Stop to Love”; 1989’s “Here and Now” (for which he won his first Grammy Award in 1991, after previously being nominated nine times); 1991’s “Power of Love/Love Power”; 1992’s “The Best Things in Life Are Free” (a duet with Janet Jackson); a 1994 cover version of “Endless Love” (a duet with Mariah Carey); and 2003’s “Dance With My Father.”

With all of this success, Vandross still had deep insecurities about his physical appearance. In several interviews, he said he was an “emotional eater” who used food to cope with anxieties and stresses in his life. His weight drastically fluctuated and was the topic of many jokes and interview questions. (The documentary includes a 1980s clip from an Eddie Murphy stand-up comedy show where Murphy pokes fun at Vandross’ weight.) Publicly, Vandross mostly took this type of scrutiny in stride. Privately, it all bothered him immensely.

There was also gossip abut Vandross’ sexuality. Although he never publicly stated his sexual identity, Vandross (a lifelong bachelor with no kids) was a mostly closeted gay man who was afraid to come out of the closet because he knew it would upset his mother and hurt his career. “Luther: Never Too Much” doesn’t mention anything about anyone whom Vandross dated, although some of that information is publicly available elsewhere. It was only after Vandross died that people who knew him felt comfortable to publicly admit that he was gay.

Vandross usually ignored or refused to confirm or deny media reports about his sexuality. People he dated when he was famous also kept quiet about his sexual identity by not talking to the media about their experiences with him. However, one rumor that he vehemently denied was that he had AIDS. The documentary mentions that Vandross sued a British magazine in 1985, because the magazine claimed that AIDS, not dieting, was the reason for his weight loss that year.

A huge reason for Vandross’ reluctance to publicly admit his homosexuality is because so much of his image was about being a singer whose songs were the soundtracks of many heterosexual people’s love lives. Jamie Foxx (one of the documentary’s producers) comments on the effect that Vandross’ music had on people’s romances: “Back in the day, if you wanted to fall in love, you let Luther do the work for you.”

The only thing that anyone in the documentary will say about Vandross’ personal life as a celebrity was that he was unlucky in finding lasting love with a romantic partner. Vandross’ former personal assistant Max Szadek says that Vandross’ 1988 song “Any Love” (a bittersweet ballad of wanting any love that is offered) was Vandross’ favorite song because it was autobiographical for Vandross. Vandross co-wrote “Any Love” (the title track from his 1988 album) with Marcus Miller, a frequent collaborator with Vandross as a songwriter and bass player in Vandross’ band. Miller is one of the people interviewed in the documentary.

Szadek says he saw firsthand how lonely Vandross’ life was behind the scenes, which is why Szadek says “Any Love” became difficult for Szadek to hear the more he got to know Vandross. As for Vandross being coy and vague with the public about his love life, Szadek will only say, “I think he couldn’t share all of himself.” Szadek gets tearful later in the documentary when he remembers finding Vandross unconscious from a stroke in Vandross’ New York City home in 2003. The documentary gives almost no information—aside from brief archival interview clips of Vandross—about Vandross’ recovery process after he had his stroke, such as how he lost and regained his ability to walk.

Racism was another struggle that Vandross had, according to singer/songwriter Richard Marx, who collaborated with Vandross on “Dance With My Father.” Marx says in the documentary that Vandross would privately confide in him about how record companies that had contracts with Vandross would give him lower budgets and less support than white artists who were at the same level of celebrity as Vandross. Vandross also had frustrations about being pigeonholed as being an artist for mostly black audiences, when Vandross believed that his music appealed to people of all races.

Music mogul Clive Davis signed Vandross to Davis’ now-defunct J Records in 2000, after Vandross left Epic Records and had a brief one-album stint with Virgin Records. Davis is interviewed in the documentary but only comments on the race issue by saying an obvious fact: Radio can be very racially segregated. It’s a missed opportunity that the documentary did not get Davis to comment on how record-company racism affects artists, especially since Davis was in charge of one of the record companies that signed Vandross.

Even though people in the documentary explicitly say that Vandross felt he got racial discrimination from record companies, you get the feeling that Davis didn’t comment on this issue in “Luther: Never Too Much” because the documentary filmmakers were too afraid to ask Davis. “Luther: Never Too Much” has a reluctance to dig deeper and reveal uncomfortable truths about Vandross’ life. It’s a celebrity documentary that stays in the comfort zone of having interview soundbites that do nothing but praise the celebrity.

Some of the soundbites are nice but utterly bland. Vandross’ “Endless Love” duet partner Carey says predictable things about Vandross such as, “I was really honored when he brought me out to sing with him.” Warwick says in the documentary about Vandross’ tribute to her at the 1986 NAACP Image Awards, where he performed “A House Is Not a Home” and she got tearful in the audience: “He really showed out that night.” These are perfectly pleasant soundbites but ultimately say nothing interesting or informative.

Other people interviewed in the documentary include Chic co-founder Nile Rodgers, singer/songwriter Valerie Simpson, music journalist Danyel Smith, music executive Jon Platt, commercial producer Deborah McDuffie and backup singer Kevin Owens. Rodgers gives credit to Vandross for helping shape Chic’s catchy disco sound. “Luther Vandross’ vocals played a big part,” Rodgers comments in the documentary.

Even when “Luther: Never Too Much” mentions a big tragedy in Vandross’ life, the documentary leaves out important details. On January 12, 1986, Vandross was driving a car in Los Angeles, with two passengers in the car: his then-protégé Jimmy Salvemini (a singer who was 15 years old at the time) in the back seat and Larry Salvemini (who was Jimmy’s older brother/manager) in the front seat. Vandross was speeding (driving 50 mph in a 35 mph zone) when he crossed over a double line and collided with another car going in the opposite direction.

Larry was killed in this accident, while Vandross and Jimmy were injured. Vandross’ most serious injuries were a broken hip and three broken ribs, while Jimmy had bruises and cuts. Vandross was facing a charge of vehicular manslaughter, but it was reduced to a charge of reckless driving, after no evidence was found that drugs or alcohol were involved in the accident. Vandross pleaded no contest to reckless driving. His driver’s license was suspended for a year.

The documentary’s brief mention of this car accident is mostly about how Vandross felt guilty about the accident and had to take a hiatus to recover from his injuries. The documentary does not mention how this tragedy affected the Salvemini family. That doesn’t mean anyone in the Salvemini family had to be interviewed for the documentary. However, the documentary definitely downplays or ignores how this accident affected anyone other than Vandross.

What “Luther: Never Too Much” doesn’t mention is that the Salvemini family filed a wrongful death lawsuit against Vandross. The case was settled out of court with a reported $630,000 payment to the Salvemini family. There is no reason for a documentary to omit this big fact about the accident except to deliberately leave out unflattering information about the celebrity who’s the subject of the documentary. It’s really unnecessary to try to gloss over or pretend that this lawsuit didn’t exist when it’s public information and part of Vandross’ life.

In interviews, Vandross admitted that food was his biggest addiction. Some of the people who knew Vandross say in this documentary that he was also addicted to work. Lisa Fischer, who was a backup singer for Vandross from the mid-1980s until his 2005 death, remembers him as a “taskmaster” who was inspiring to work with as an artist but who demanded that his subordinates have grueling work schedules with very little free time.

Vandross’ workaholic tendencies no doubt affected his personal life. But because this documentary refuses to give or discuss any information on how Vandross liked to spend his free time, it leaves noticeable voids of unanswered questions. “Luther: Never Too Much” works best as a documentary for people who want an overview of Vandross’ public persona and his extraordinary talent as an entertainer. But for people who want a complete story of who Vandross was as a person, “Luther: Never Too Much” is not that documentary, even though it offers a few glimpses into some of his private pain.

Giant Pictures released “Luther: Never Too Much” in select U.S. cinemas on November 1, 2024. CNN will premiere the movie on January 1, 2025.

Review: ‘In the Summers,’ starring René Pérez Joglar, Sasha Calle, Lío Mehiel, Allison Salinas, Kimaya Thais Limòn, Luciana Quiñonez and Dreya Renae Castillo

August 2, 2024

by Carla Hay

Dreya Renae Castillo, Luciana Quiñonez and René Pérez Joglar in “In the Summers” (Photo courtesy of Music Box Films)

“In the Summers”

Directed by Alessandra Lacorazza Samudio

Culture Representation: Taking place over an approximately 15-year period in Las Cruces, New Mexico, the dramatic film “In the Summers” features a predominantly Latin cast of characters (with a few African Americans and white people) representing the working-class and middle-class.

Culture Clash: Two daughters have a volatile relationship with their father, who has a bad temper and who spent time in prison. 

Culture Audience: “In the Summers” will appeal primarily to people who are interested in watching well-acted dramas about emotionally difficult family relationships.

Lío Mehiel, Sasha Calle and René Pérez Joglar in “In the Summers” (Photo courtesy of Music Box Films)

“In the Summers” is a well-acted portrait of two daughters and their troubled father, in a story that spans several years. More character development was needed for the daughters’ adult years, but the movie has impactful authenticity. Do not expect “In the Summers” to answer all of the questions that viewers might have about these characters. The narrative for the movie is a journey where certain time-period gaps in the characters’ lives are not shown or explained.

Written and directed by Alessandra Lacorazza Samudio, “In the Summers” is Samudio’s first feature film. “In the Summers” had its world premiere at the 2024 Sundance Film Festival, where it won two awards: Grand Jury Prize: U.S. Dramatic (the festival’s highest accolade) and Grand Jury Prize: U.S. Dramatic and Directing Award: U.S. Dramatic. “In the Summers” had its New York premiere at the 2024 Tribeca Festival.

The two daughters in the movie are named Violeta and Eva. Their ages are only about 12 to 18 months apart from each other. Violeta is the introverted and moody older daughter, while Eva is the extroverted and fun-loving younger daughter. “In the Summers,” which takes place over a span of about 15 years, is told in chronological order in three chapter-like sections, with each section focusing on Violeta and Eva at certain points in their lives.

When Violeta and Eva are underage, they visit their father Vicente (played by René Pérez Joglar, also known as rapper Residente) during the summer seasons at his home in Las Cruces, New Mexico, as part of a custody arrangement that he has with the mother of Violeta and Eva, who live with their mother in California. This mother (who is unnamed in the movie) and Vicente were never married. She is also not seen in the movie, but she is mentioned multiple times in ways that make it obvious that she and Vicente had a bitter breakup. Her absence from the movie indicates that the mother of Violeta and Eva wants as little to do with Vicente as possible.

The first third of “In the Summers” shows Violeta (played by Dreya Renae Castillo) at about 9 or 10 years old and Eva (played by Luciana Quiñonez) at about 7 or 8 years old. The middle of the movie shows Violeta (played by Kimaya Thais Limòn) at about 13 years old and Eva (played by Allison Salinas) at about 12 years old. The last third of the movie shows Violeta (played by Lío Mehiel) at about 25 or 24 years old and Eva (played by Sasha Calle) at about 24 or 23 years old.

“In the Summers” begins by showing Vicente picking up tween Violeta and Eva to take them to his house, where the two girls hang out by the swimming pool. Vicente mentions that even though he was born in Puerto Rico, all of his friends are in the United States. “This is my home now,” he says of his place in New Mexico.

Vicente takes Violeta and Eva to a bar where he frequently hangs out and introduces them to bartender Carmen (played by Emma Ramos), whom Vicente has known since childhood. Vicente teaches Violeta and Eva how to play pool at this bar. Carmen treats Violeta and Eva with kindness and respect.

It all seems like enjoyable family time, but Vicente’s flaws start to show when he takes Violeta and Eva to an amusement park, where he and the girls go on a Tilt-A-Whirl ride. After the ride is over, Eva get sick and vomits in a garbage can. A concerned passerby woman (played by Erin Wendorf) asks if they need any help. Vicente gets very angry at the woman, curses at her, and tells her to mind her own business. It won’t be the last time that Vicente loses his temper in a very hostile way.

Through conversations, it’s revealed that Vicente spent time in prison and has a hard time finding or keeping a job. He also appears to have alcoholism—or, at the very least, he gets drunk in ways that are excessive, embarrassing, and potentially dangerous to himself and people around him. Vicente is also fond of smoking marijuana. It’s unclear where Vicente is getting money to pay his bills and party habits when he’s unemployed.

“In the Summers” is told from the perspectives of Violeta and Eva, who aren’t old enough at this point in their lives to get professional help for Vicente. And if even if they were old enough, it wouldn’t matter because insecure and arrogant Vicente gives the impression that he wouldn’t want the help. He has a macho personality that is quick to deny that he has any weaknesses or vulnerabilities.

The sisters are tight-knit and rely on each other for emotional support. As an example of their different personalities, there’s a scene where Vicente is driving Violeta and Eva at a high speed in his car on a street, just because he feels like being a daredevil. Violeta is fearful during this reckless driving, while Eva loves it.

Near the end of the movie’s segment that shows tween Violeta and Eva, there’s a scene where Violeta asks Eva to cut her hair short. Violeta will keep her hair short for the remainder of the years shown in the movie. She also stops wearing traditionally “feminine” clothes and wears outfits that are more unisex or “masculine.”

During the period of time depicting the adolescence of Violeta and Eva, it becomes much clearer to Violeta that she is a lesbian or queer. She becomes romantically attracted to a girl who’s about the same age named Camila (played by Gabriella Surodjawan), who shows up at one of the many house parties that Vicente likes to host. Vicente is very homophobic, so Violeta is afraid to tell him about her true sexuality.

Violeta becomes increasingly alienated from Vicente, who senses that Violeta is not heterosexual, but he doesn’t want to talk about it with her. Because he is such an irresponsible parent, Vicente thinks that one way he can bond with teenage Violeta is to teach her how to smoke marijuana. But he still has a raging temper that comes out in very ugly and harmful ways. Later, Carmen (who is an out lesbian) becomes an important role model and confidante to Violeta.

“In the Summers” has a somewhat awkward and abrupt transition to the last third of the movie that shows Violeta and Eva in their early-to-mid-20s. By this time, they no longer have to visit Vicente or spend any time living with him. Vicente has a much-younger live-in girlfriend named Yenny (played by Leslie Grace), and they have an infant daughter named Natalia (played by Indigo Montez), who are accepted by Violeta and Eva.

By the time the movie shows Violeta and Eva in their early-to-mid-20s, there are many unexplained and unspoken things that happened in between their early teens and their early-to-mid-20s. “In the Summers” doesn’t adequately show or tell what Violeta’s and Eva’s interests or hobbies are, as indications of their hopes and dreams. Instead, “In the Summers” defines Violeta and Eva in terms of how they cope with their father’s messy parenting.

Viewers learn that by the time adult Violeta and adult Eva see Vicente again after a period of estrangement, Violeta is in grad school. What type graduate program? The movie never says. However, it’s easy to predict what will happen when adult Violeta and single mother Camila (played by Sharlene Cruz) encounter each other after not seeing each other since they were in high school. As for adult Eva, at this point in her life, she’s unattached and having meaningless flings with men.

Mehiel and Calle give perfectly fine performances as adult Violeta and adult Eva, but there are too many unanswered questions about Violeta and Eva as adults. How did their upbringing affect their relationships with other people? What type of relationships do they have with their mother? What are the most important things in life to Violeta and Eva? The movie’s story really didn’t need the parts where Violeta and Eva are under the age of 10 and should have spent more time developing the characters of Violeta and Eva as adults because those questions are never answered in the movie.

The meaningful and best-acted part of “In the Summers” is in the middle section, when the tensions between teenage Violeta and Vicente flare up and boil over into angry conflicts. As an underage teen, Violeta is too young to be able to get out of this custody visitation with her father, but she’s too old to no longer be fully controlled by Vicente, in terms of what she does in her free time and what types of clothes she wants to wear. Violeta wants to assert her independence, but as an underage teen, she still has be somewhat under the control of a parent (Vicente) whose life is very much out of control.

Joglar gives a naturalistic performance as Vicente, who has a lot of flaws, but there are many people in real life who are like Vicente or who have parent similar to Vicente. The movie doesn’t sugarcoat or make excuses for Vicente’s bad decisions and awful temper, but instead presents these characteristics as harsh realities. “In the Summers” is more of a “slice of life” film than a fully complete story about this dysfunctional family that’s trying to heal from emotional wounds. The movie isn’t groundbreaking, but it offers several poignant moments that are credibly acted.

Music Box Films will release “In the Summers” in select U.S. cinemas on September 20, 2024. The movie will be released on digital and VOD on November 5, 2024.

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