SLAMDANCE FILM FESTIVAL - MY FAVORITES

 

Well at the closing ceremonies of the in-person portion of the Slamdance Film Festival the awards were handed out for the favorites by the selected juries (all former presenters of films at Slamdance) and the audience. Congratulations to all that were mentioned and who won. 

So now here are my favorites and accolades for what I like the most in the elements of this thing we call filmmaking. I hope you check them out when you get your pass for the virtual portion of the Slamdance Film Festival here at  Slamdance Channel Virtual Pass and let me know what you think when you do. 

MY OMAHA 

FOUND IN THE DOCUMENTARY FEATURE CATEGORY

****FAVORITE DOCUMENTARY***

• Year:
  2025
• Runtime:
  85 minutes
• Language:
  English
• Country:
  United States
• Premiere:
  World Premiere
• Genre:
  Documentary
• Subtitle Language:
  English
• 
  

•  Director:                Nick Beaulieu
• Screenwriter:
  Nick Beaulieu
• Producer:
  Nick Beaulieu, Doug Block
• Cast:
  Leo Louis II, Randy Beaulieu, Robert Wagner, Cynthia Ramirez Lindenmeyer, A'Jamal Byndon, Bill Jersey, Ghost RunningThunder
• 
  

MY OMAHA begins as Donald Trump is first elected president and the Black Lives Matter movement is burgeoning in Omaha. Nick, fresh out of journalism school, is determined to understand how these forces are colliding in his hometown. Along the way, he meets Leo Louis II, a fearless activist, who introduces him to the birthplace of Malcolm X in North Omaha.

In parallel, Nick explores the increasingly tense relationship with his fiercely pro-Trump father, Randy. After Randy is diagnosed with stage-4 cancer, they commit to finding a new place of mutual understanding. As Nick becomes closer with Leo, he documents Leo’s ascension in the city as Leo guides Omaha through crisis following the polarizing death of a protestor. All the while, Nick confronts the reality of his father’s illness and their uncompromising differences, as he searches for the deeper truths of what their relationship says about Omaha and America.

This was the film I was referring to in the last blog about how it could have been mentioned there but because I knew I was going to bestow this declaration of being my favorite it had to be here. 

It's not easy to make yourself and your relationships the focal point of a documentary and keep your director/producer hat on and create a cohesive, compelling narrative but that's exactly what Nick has done here. Even within the conventional setting of talking heads, a point of view device Nick managed to add this deft personal touch and a challenge approach that worked so well to make this a unique and bold experience for the viewer. 

I loved the dynamic of the various sides of all the discussed talking points. I loved Nick's bravery and boldness in letting the camera be his courage. It's one thing to say, "I am going into here, somewhere I haven't belonged before or at least thought I didn't belong" or talk to this person or that person about uncomfortable topics, but it's a whole other thing to stick a camera in their face and document it.

 Couple that with some nice aesthetic and fundamentally well-done framed shots, nice steady cam work, and a beautiful opening and closing shot, and this movie really had it all going on all cylinders.
Something very admirable here too is that with him being the subject but controlling the lens and narrative he had to be fair to that process and when it was turned on him, accept what the camera produced and not doctor the edit. I felt like he did so triumphantly. I felt he let himself be on camera as vulnerable and affected as his other subjects. From a technical standpoint, in environments where we are often drowned out because of the use of on-camera mics or what have you, and what is typically a forgivable element to a documentary, Nick chose or worked to get some of the cleanest audio I have ever heard on a documentary like this before. I can't tell you what that means for staying engaged and following all that is happening but it's a big deal. 

I have to say too, that beyond the convention and technical prowess, this documentary and what this young man did and reflected upon, changed a view of mine as well. I am already on the same side politically as Nick, but I haven't handled the other side and those I know and love very well because of it, and how Nick decided and concluded to do so, has made me think about that. 

This movie doesn't apologize, doesn't sugar coat, it is raw, effectual, and very true to itself. A masterpiece in design, editing, and execution as a documentary goes.    

A BRIGHTER SUMMER DAY FOR LADY AVENGERS

FEATURED IN THE NARRATIVE SHORTS CATEGORY

****FAVORITE SHORT FILM*****

• Year:
  2025
• Runtime:
  12 minutes
• Language:
  N/A
• Country:
  Taiwan, USA
• Premiere:
  No Premiere
• Genre:
  Horror, Experimental, Comedy, Fantasy
• Subtitle Language:
  English
• 
  

• Director:
  Birdy Wei-Ting Hung
• Screenwriter:
  Birdy Wei-Ting Hung
• Producer:
  Charlie Chen, Jay Lee
• Cast:
  Wei Huang, Yi-Chun Cheng

An experimental narrative film about the sexual awakening of Ming, a 15-year-old girl, at an adult film screening in 1980s Taiwan. Her sexual maturation merges with the spectacular reveries onscreen.

A playful homage to A Brighter Summer Day (Edward Yang, 1991) and The Lady Avengers (Chia-Yun Yang, 1982).

If you are a fan of old Kung Fu meets Tarantino meets Watermelon... I have the short film for you!

I love how much this short in its limited time frame packs a punch, literally. The choice to engage our senses versus just having visuals with exposition is super smart. The swift cuts enhance that reality even more.  The evolution of the protagonist played by Wei Huang is nicely done here. She adds this nice exploring innocence with a dolce curiosity with this always underlying mischievousness and it switches with a flick of the wrist into the stark metamorphosis of Lady Avenger. Thanks to the rich cadence accomplished through tight extreme close-ups and accentuated sensory sounds that lull you in this is one of those films where the visuals do all the heavy lifting. I love when the warrior is let out there that there is either a zoom-out or a pan across as it pays homage to anime and kung fu movies of 70s done in a very cinematic way. The colors here also create a vibrancy to supplement the visuals and in turn, sell all the above. There is a meticulousness to these turns that never feel forced and the continuity here is flawless, all of which leads to a very sharp 12 minutes and 1 kick-ass short.  

WRONG GUY 

FEATURED IN THE UNSTOPPABLE SHORTS CATEGORY

****FAVORITE COMEDY****

• Year:
  2024
• Runtime:
  6 minutes
• Language:
  English
• Country:
  United States
• Premiere:
  No Premiere
• Genre:
  Comedy
• Subtitle Language:
  English

• Director:
  Brett Maline
• Screenwriter:
  Brett Maline
• Producer:
  Brett Maline
• Cast:
  Brett Maline, Johnno Wilson, Kaitlyn Tanimoto, Monica Loomba, Ruha Taslimi, Andrew Lindh, July Diaz

Vince is a disabled dude and lately, people have been confusing him with some other disabled dude they know. Vince would rather just let it go and avoid the interaction completely but...it keeps happening. So when someone mistakes him for the dude that starred in the hit 90s movie SIMON BIRCH, offering him a free vacation, Vince and his best friend Rosie decide they've had enough.

I don't often like to split genres when recognizing favorites but I also don't want to skip out on mentioning hidden gems when I can find them. I lucked into this film by way of waiting for my live stream to start on the last day of the festival and striking a conversation with the DP and his family who were there for their premiere while we were all sitting in the atrium area. Knowing I had 6 minutes to spare before the stream I immediately popped on the short and I am so, so glad I did. 

I did not laugh harder for any other film in this line-up. The comedic timing, and the subtle cuts into Brett and his counterpart Kaitlyn Tanimoto's close up expressions, especially the one at the end, were beautifully done here. I am not much for running gags but when they work and in the manner and absurdity in which this one is performed in various settings and scenarios it works almost effortlessly. Brett has a great sense both in front of and behind the camera of how to pace this so it hits it hardest like its supposed to. Very funny, very nicely done.   

CHASERS 

FEATURED IN THE EPISODES CATEGORY

****FAVORITE CINEMATOGRAPHY****

• Year:
  2025
• Runtime:
  31 minutes
• Language:
  English, Tagolog
• Country:
  United States
• Premiere:
  No Premiere
• Genre:
  Drama
• Subtitle Language:
  English

• Director:
  Erin Brown Thomas
• Screenwriter:
  Erin Brown Thomas, Ciarra Krohne
• Producer:
  Elle Shaw, Olivia Haller, Erin Brown Thomas, Beth Napoli, Hayden Greiwe (EPs are Tara Hotchkis, Jake Thomas, Ciarra Krohne)
• Cast:
  Ciarra Krohne, Louie Chapman, Keana Marie, Brooke Maroon, Shannon Gisela, Xan Churchwell, Dexter Farren Haag, Amber Khieralla

Sophia, a young musician, arrives at an LA house party full of struggling twenty- somethings. She’s eager to ask her crush, Jacob, to be her date to her sister’s wedding, but his hot-and-cold behavior leaves her confused. As she confides in her distracted friends—each caught up in their own dramas—a deeper truth about their lives starts to surface. Through flashy dialogue, a flashback, and a literal flash mob, the Chasers pilot dives into the world of ambitious urban creatives, exploring the fine line between drive and exploitation, and the lies we tell ourselves to keep moving forward — all in one continuous 30-minute shot.

I don't know if I am so much the intended crowd with the subject matter of this early adulthood melodrama. I think if you are a YA reader you might really enjoy it and I am a casual ones of those at best. I know I was once a fan of Degrassi and this has some remnants of that type of storytelling, so I am not completely fossilized. However, I am now a huge fan of Erin Brown Thomas, her camera crew, and in particular the co-architect in Beth Napoli. Wow, some of the tracking shots, the fluid motions created by the cast members weaving in and out of the traffic of the halls and backyard party scene with some added jumping in and out from around corners to pull focus. In to the sharp dips that change the framing so perfectly that another head can just simply lie itself down in between two other already talking heads. Even the static wide group shots are framed so amazingly sharp to allow the actors to create the movement on their own. This is marvelous to watch. Add in the colors and the focal points like lights on a house or strobes penetrating a hallway; there is so much richness here. I even like how in a car or out on the street there is this glow to the actors and this nice point of focus that gives it almost a stage-like atmosphere.

The dialogue is a tad pretentious, and in fairness, it is somewhat meant to be. I enjoyed Ciarra Krohne's performance as Sophia the most and I appreciate her groundedness and somewhat nativity and how she plays that while still having a nice sharp wit and good sense about her as we are reliant on her steering this ship for the most part. Not unlike the quickness of the cameras and the cuts there is a snapiness that produces a great pacing. Still we all get a chance with most of the characters to sit in their skin and shoes and get a nice taste of what they might bring to subvert and utilize a real nice either cynical or playful approach. I think throughout what this is meant to be, a full fledged series, I can see how I might gravitate and really enjoy an arc with Billy Joel, I love the subtle moments of her vulnerability that Brooke Maroon added to this influencer persona, even when Billy was faking it. 

All in all I can easily see how over the course of 10 to 12 episode arc this could enrapture me, but mostly because the behind the camera aspects are near perfectly done. 

IN THE MOUTH

FEATURED IN THE BREAKOUTS CATEGORY

****FAVORITE NARRATIVE FEATURE****

****FAVORITE LEAD PERFORMANCE: 

COLIN BURGESS****

• Year:
  2025
• Runtime:
  84 minutes
• Language:
  English
• Country:
  United States
• Premiere:
  World Premiere
• Genre:
  Dark, Comedy, Thriller
• Subtitle Language:
  English

• Director:
  Cory Santilli
• Screenwriter:
  Cory Santilli
• Producer:
  Jesse Muro, Tatiana Bears
• Cast:
  Colin Burgess, Paul Michael

Merl has been living his life as a recluse, in complete isolation, unable to leave his house after discovering a giant version of himself protruding from his lawn, blocking any attempt at escape. He’s run out of money, but If he doesn’t pay his rent in the next 5 days his land lord is going to evict him. With no other options left, he is forced to get a roommate to pay him the debt in advance. Larry, an older man traveling shockingly light with only the clothes on his back, heeds the call and comes to live with Merl. It’s an adjustment for sure, but maybe they can learn a thing or two from each other. Or maybe Larry’s just found the perfect place to hide…

Ok in a true laying all my cards on the table fashion, I gave the nod of best Narrative Feature to In The Mouth but between it and Portal to Hell, it's really 1a vs 1b and it depends on what day you might ask me that question. 

That being said I gave it to this movie, on this blog, because I love the overall stylistic charm of this film just a smidge more. From its unconventional use of Black and White to its larger-than-life living through the POV of Merl and all his idiosyncrasies, only to be cleverly danced into how well the writing gets us from point A to point Z and allows us in on what is blinding to Merl. This has a convention to it that I found very unique, entertaining, and intriguing. Starting almost like a horror movie into a noir, to the leap it takes from almost an absurdist parody into this fantastical manner of factness. As if this movie wanted to have this David Lynch or Coen Brothers layering but really gave us a more Tim Burton-esque feel in the end. I am not saying that's a bad thing, in fact, quite the opposite. I love how the homage grows and blends into the narrative and doesn't just shift us through "here's the Coen Brothers part", "here's the Tim Burton call out", etc. In doing it this way, it also helps this story move when it is all about not moving.  

How this story is told and the stakes presented are such a clever design and it was all anchored and put on the shoulders of Colin Burgess and boy did he deliver. There are those performances where you might draw a comparison to this performance or that and then that the actor comes out of their shoes for and then there is the type of performance in which Colin accomplished here. The type where you can never imagine or see another actor portraying this part, not if you wanted to do it right. I would also say the same of Paul Michael who plays Merl's foil Larry. When Larry comes in there is a nice transition that happens and yet I also think it shows how great a grasp Colin has on Merl, as we get to see other elements and depths to that character only a Larry type can pull out. 

The shadow usage here is very nicely handled and not over the top as how an old house with secrets a plenty roaming around might play. Instead, I like how Cinematographer Mike Maglinick and Director Cory Santilli utilize lighter grays here and also frame wider at times to let the house breath and give us a whole other character. It's almost like a subversive play on the tension. It provides the cover of innocence and nativity that Merl needs to co-exist with Larry and within his own fears and we need as an audience to play along with it all. 

Something else that I think this movie in particular does better than most is how it moves the timeline and the mundane exercises into a uniquely interesting plot point or even sometimes red herring or Chekov's gun.    

The cleverness never fades, the tension rises differently in different acts, the acting is superb, and every way this movie moves is rewarding and enriching for the audience. 

PORTAL TO HELL 

FEATURED IN THE NARRATIVE FEATURE CATEGORY

****FAVORITE DIRECTING****

****FAVORITE ENSEMBLE CAST****

****FAVORITE SUPPORTING PERFORMANCE:

 ROMINA D'UGO****

• Year:
  2025
• Runtime:
  93 minutes
• Language:
  English
• Country:
  United States
• Premiere:
  World Premiere
• Genre:
  Horror, Comedy
• Subtitle Language:
  English

• Director:
  Woody Bess
• Screenwriter:
  Woody Bess
• Producer:
  Trey Holland, Lucas Ford
• Cast:
  Trey Holland, Keith David, Richard Kind, Michael McDonald, Romina D'Ugo, Casey Deidrick, Ray Porter, Jeremy Kerns

Dunn is a debt collector. His life of routine is interrupted when a portal to hell appears in his local laundromat. A demon follows and explains in no uncertain terms that he’s there to drag Dunn’s neighbor, Mr. Bobshank, to hell. Bobshank owes a debt.

Helping people pay their debts is what Dunn does best.

A deal is offered - three souls to save Bobshank. Dunn says no. But one of his debtors follows him to the laundromat and well… once you do one, what’s another two? Dunn makes good on his end of the bargain. But the portal stays. The demon explains. Who gets into heaven isn’t up to God or the Devil. It’s up to you. Bobshank hasn’t forgiven himself. Dunn can convince Bobshank to do just that. Or find a 4th soul. The question Dunn has to answer is if you throw away everyone that’s made mistakes, who’s left?

Director Woody Bess wasn't even alive when movies of the ilk of his film existed and once ruled the horror scene. Movies like The Toxic Avenger and Bubba-Hotep which he probably was a baby when that one came around but for this audience member who was very much alive and seeing those films in movie theaters and on VHS tape (google it don't have time to educate you) exchange nights with friends it was a welcome nostalgia and comfort feeling. Now while it may stay true to the genre what I also love is the personal stamp that not only he put on this but that his actors all put on this. It starts with Trey Holland, who is our unreliable narrator trying to be reliable. His goofiness, coupled with the internal battle of heroism really demands our attention. 

You throw in the likes of Keith David and Richard Kind doing what they do best to try and steal scenes from Trey only to get as good as they gave. Then you sprinkle in Michael McDonald and Ray Porter who sacrifice themselves for the greater good of the movie, literally. Add in an intriguing love interest in Monet Weir who becomes the angel beacon Dunn needs. 

All this led to the performance of Romina D'Ugo who stole the movie for me. Her strength layers her own shortcomings and the way Romina plays that, she becomes the sidekick that has the sass, the snark, and the badassery Dunn so desperately needs. She also gets to be a foil then a compatriot, and finally the poignant, sensible one, all in one role, and again the natural way in which Romina does this is so stellar, it is deep, advanced, powerhouse acting that makes her scenes jump off the screen. 

This is a fantastic cast directed by a young man who really shows why he could rule this genre for a long while if he wanted. The colors, the amazing shots like that of the hell portal, a scene in a bar, and then the montage scene all have this stamp of someone who has been making movies for decades. It is polished and very well-paced. It has a great set-up, a great reveal, and an even stronger pay-off.  The "jokes" all hit for me and the horror was perfectly placed and perfectly done. There is a great scene when Dunn tries to save one of the victims of the portal and he gets a souvenir for his troubles, loved that scene. The fool heartiness not only of Dunn but there is a play on the bully, a play on the boy band one-hit wonder and his living with that, and the play on living with sins that I think all resonate but still stay true to the voice and tone of this movie. In the end you are kind of left to draw on the experience this ride of a movie takes you on and I think that's what a great horror comedy does, it leaves you satisfied and keeps the door open for what's to come. Which in this cast and Woody's case I look forward to so much. 

ALICE HEART

FEATURED IN THE NARRATIVE FEATURES CATEGORY

****FAVORITE WRITING****

• Year:
  2025
• Runtime:
  93 minutes
• Language:
  English
• Country:
  United States
• Premiere:
  World Premiere
• Genre:
  Dramedy
• Subtitle Language:
  English

• Director:
  Mike Macera
• Screenwriter:
  Mike Macera
• Producer:
  Lissa Carandang-Sweeney, Zach Rineer, Alfred Giancarli, Adam McAlonie, Matt Connelly, Tony McCall
• Cast:
  Lissa Carandang-Sweeney, Tony McCall, Adam McAlonie, Kelsey O'Keefe, Gabriel W. Elmore, Lauren Serafica, Will Bricca

Alice-Heart is an aimless college student residing in Philadelphia. She aspires to be a famous writer but drops out of school in her last semester of senior year on a whim. Immediately cut off from her disappointed Filipino mother and dumped by her studious boyfriend, she finds that she has to pay bills on her own for the first time. Distraught, she takes solace in her neighbor Tony, a self-sufficient freelance photographer. Tony encourages her to pursue her passions and hold onto her friendships. With this in mind, Alice-Heart navigates the beginnings of adulthood and combats “adult baby” allegations along the way.

There's smart dialogue and then there is another level of smart dialogue like what we get in Alice Heart. I love that this movie never apologizes or dumbs down for the sake of plot point or catch your breath moments. This reminded me of Jim Jarmusch, and Noah Baumbach but neither of them went from this perspective. A young woman who for the most part is a child trying to be an adult without trying to do the adulting. In a fantastic performance from Lissa Carandang-Sweeney there is this resonate stickiness like popcorn kernels stuck in your teeth or that little bit of peanut butter that sits at the roof of your mouth. As annoying as it might be, it registers as harmless most of the time, even when it's intentionally trying to harm, and Lissa has that style down pat. Just when you think you get a little growth from her, she swivels right back to the comfort zone of being Alice Heart. It's the unforgettable magic Lissa has on the screen. I also think Tony McCall deserves a lot of praise thrown his way too, as you feel his insides twist and turn and then how he holds it in only to erupt is really nicely crafted character work. 

The dialogue has poignant moments, strong feeling pulls but it is also has these nice foreshadowing moments, and you really get the feeling of these characters at times like they are carefully picking the right words and saying them with irreverence or pointed venom. The times the words invoke feelings, both good straight up and then good layered with a bad type of I don't really want to say this aspect to them. It's so natural, so intelligent, and really demonstrates how powerful words and who says them can be. I like the 3 act structure set up by the script too. It is very Indie and works well within the confines of taking these characters somewhere but always to the promised land or even an actual ending. 

The one thing that bugged me was there was at times too much static, I would have loved to see these words dance with its auditors doing something even if was mundane.

There are those moments, and man do they hit strong because ultimately it always leads to a reveal or emotional outburst but lingering after a conversation deep in thought for a character and an actor playing that character has merit but it shouldn't book end nearly every scene. Still it never harmed the words or the script's intentions, and for that, this movie stands above and should be applauded. 

THE SWEATER

FEATURED IN THE NARRATIVE SHORTS CATEGORY

****FAVORITE EDITING****

• Year:
  2024
• Runtime:
  8 minutes
• Language:
  English
• Country:
  Canada
• Premiere:
  US Premiere
• Genre:
  Comedy
• Subtitle Language:
  English

• Director:
  Maziyar Khatam
• Screenwriter:
  Maziyar Khatam
• Producer:
  Anya Chirkova & Tyler Mason
• Cast:
  Maziyar Khatam, Dylan Ray Hatton, Jake Shannon, Anya Chirkova

Maz’s girlfriend pressures him to declutter their apartment, forcing him to part with a cherished sweater. Mocked by his friends for being “a bitch,” Maz becomes obsessed with retrieving it, embarking on a frantic odyssey to reclaim his masculinity.

This short is so clever and I love how innocently and nonchalantly it plays out and the voyeuristic nature in which the cast and crew play with the boundaries of real life inserted into fiction. There are just great shot designs here but what wins you over is how the edit plays into this retro aspect and gets this filtering of a home movie-esque visual. I love the "hidden camera" setups and I love how we get a cohesive, sensical, 8-minute, 3 act story. 

When you blur the lines, it becomes like a documentary and you then create this narrative in the edit and this is proof of how effective and powerful that is, this movie has such a great tongue in cheek tone all established with a ridiculous premise and Maz's over the top performance lends to all of that magic. 

This is how you get together with your friends and make movies. I loved every frame. 

 CONTOURS

FEATURED IN THE NARRATIVE SHORTS CATEGORY

****FAVORITE PRODUCTION DESIGN****

• Year:
  2025
• Runtime:
  13 minutes
• Language:
  English
• Country:
  United States
• Premiere:
  World Premiere
• Genre:
  Dramedy
• Subtitle Language:
  English

• Director:
  Aisha Amin
• Screenwriter:
  Brian Cohen
• Producer:
  Vivy Yupanqui
• Cast:
  Lauren Ridloff, John Autry II

A deaf couple struggling to reignite their marriage decides to shake things up with a playful role-play date at a modern art museum. What starts as a fun escape quickly goes sideways as their game exposes the cracks in their relationship. Just when things seem to fall apart, they stumble across an abstract sculpture that has a profound impact on them. Through their shared experience of the artwork, they find a moment of unexpected clarity and connection. Contours explores how love can be rediscovered in the most surprising places—and how art has the power to express the things we sometimes can't.

Another super clever short that I just ate up and even though I caught on and guessed the reveal a few moments before it happened it didn't take me out. In fact its like looking in the glass case at a supermarket and going ooh that looks interesting, then taking it home and eating it and it tastes better than you ever imagined. 

It helps that everything in this 13-minute is absolutely gorgeous from the art, the actors themselves, and their sensual movements, all of it is so beautifully designed and orchestrated. I love the framing here too. I applaud Aisha for the boldness of the nice movements and then still framing that jolts us. It's effective especially when it creates this interesting distance that speaks louder than any dialogue ever could. I love the emotions pouring out in everything too, from the colors to the art, to obviously the acting. 

The reveal is also super smart, even if you know it thanks to a very famous TV sitcom. You'll know it when you see it. I love how this movie ends too. Not enough films have the boldness to carry an ending like this and again have the right tone for the right action and leave you just in ahh. This one does that in spades, very nicely done.