Bonus Features (and shorts) with Cinephile Mike
I get to see a lot of AMAZING FILMS (features and shorts) that I am invited to review, and while not a part of a specific festival I am covering,
you never know where it could go…
These are my exclusive print reviews of said feature and short films!!!
Keep checking back for more!!!
Films are alphabetical!!! Click the poster for the review!!!
FEATURE FILMS
BTS: Forever
We Are Young
The Right Track
The Ruse
Thinestra
We Are Guardians
Slumlord Millionaire
Sirena’s Gallery
SHORT FILMS
Largo
Pas Vraiment Ordinaire
Pearls
Strays
Synthesize Me
And Now I Lay Me Down
After Dark
Almost Home
Undeleteable
Trapped
After Dark
⭐️⭐️⭐️⭐️
Short Film
Film Production Companies: Fountainhead Production, Fort Greene Filmworks
Rating: NR / Run Time: 10 minutes
Language: Norwegian with English subtitles
Director: Iain Forbes
Writer: Andreas Lübker
Starring: Simen Bostad and Billie Barker
“Do you know the way to the train station?”
There’s an old saying that no good deed goes unpunished, and that idea lies at the heart of the suspenseful short After Dark. One night, Kristian (Bostad) is walking home when a young woman, Mia (Barker), approaches and asks for help getting to the train station. She claims she’s afraid to go alone because a man—who she refuses to name—may be after her. Cold and scared, Mia borrows Kristian’s phone to call her mother, but when her mother asks to speak to him directly, Kristian begins to grow uneasy. Trying to help, he walks Mia to a nearby 7-Eleven so she can charge her phone, but when she asks to stay at his place and he instead offers her money, the situation unravels. Soon after, a call comes that makes him question whether anything he experienced was as it seemed.
Within just ten minutes, director Forbes crafts a taut, unsettling tale that forces us to examine the tension between compassion and fear, and what we decide counts as a genuine cry for help. Lübker’s script taps into the unease of our current moment, when people are more on edge than ever before. Anchored by compelling performances from Bostad and Barker, and intensified by Sebastian Raft’s pulsing, ominous score, the film plays almost like the chilling opening scene of a larger psychological thriller. All in all, After Dark leaves you questioning not only the choices of its characters, but also how you might react if confronted with the same situation.
Review by Cinephile Mike
Almost Home
⭐️⭐️⭐️⭐️⭐️
Short Film
Film Production Companies: Almost Home Film and Rising Tides Films
Rating: NR / Run Time: 20 minutes
Language: English
Director: Menhaj Huda
Writer: Kamal Khan
Starring: Kamal Khan, Erica Ibsen, Aleena Khan, Rayaan Kamal Khan and Bernard White
“Don’t make the same mistakes I made. Don’t sacrifice your family on the way.”
Aamir (Kamal Khan) is a Muslim-American Marine returning home from a current tour, grappling with severe PTSD from recent experiences. He strives to piece his life back together, but nightmares and his inability to communicate put a strain on his marriage to Ida (Ibsen) and their two children, Lily (Aleena Khan) and Ayaan (Rayaan Kamal Khan). Acting out and unsure how to move forward, Aamir leans on the guidance of his good friend and fellow Marine, Malem (White), though he often questions whether he can truly find a way forward. Complicating matters, Aamir struggles with the perception of his own people, who view him as a traitor for actions he took during his mission in Afghanistan—a tension that even spills over to his young son in a confrontation with a peer.
In just twenty minutes, Khan crafts a story that vividly explores the horrors of PTSD and its ripple effects on family, while also examining the internal conflict of those at odds with their community despite a larger mission. Ibsen shines as Aamir’s suffering wife, bringing moments of power and heartbreak that ground the story, while White serves as the moral anchor helping Aamir navigate his choices. Huda’s direction strikes a careful balance between character study and the depiction of illness, avoiding overly sentimental tropes. All in all, this poignant short examines PTSD and guilt with honesty and care, leaving the viewer moved yet aware that hope remains possible even in the aftermath of trauma.
For an exclusive discussion with Director and Executive Producer Menhaj Huda and Writer, Star and Executive Producer Kamal Khan, click HERE.
Review by Cinephile Mike
And Now I Lay Me Down
⭐️⭐️⭐️⭐️⭐️
Short Film
Film Production Companies: No. 5, Brooklyn Reptyle Productions,
Drama School and KNR Productions
Rating: NR / Run Time: 27 minutes
Language: English
Director: Rani DeMuth
Writer: Rani DeMuth
Starring: Jane Kaczmarek, David Guerra, Shi Ne Nielson and Alejandra Flores
“I want Cheetos. Give me the key.”
Celia Davi (Kaczmarek) appears to have it all in her life of luxury. Her palatial home, covered in every shade of pink you can imagine, shows the life of the famous star she once was. She bathes to candlelight, she plays solo tennis in her pink nightgown and floats through her home with a ballet dancer like grace. However, behind the effusive pink, she is in the midst of a crisis. She can’t get cast in roles that she is the correct age for because they want someone younger, and her ex-husband, awaiting her to sign their divorce papers, has moved on with his new partner, and she fights with her assistant Maya (Nielson) to get into her Cheetos cabinet, her comfort food. In the midst of all of this, she decides that she needs to take a new path, and so, after a rather poignant scene with Maya and the others who help keep her home in its splendor, she says her goodbyes through distribution of tokens of affection. As she sees no more way forward, she will reflect on her own mortality and what it is worth.
Kaczmarek is both a comedic and tragic force, and finds the humor even in the darkest of moments as we see this descent of a falling star. As the film builds towards its conclusion, DeMuth crafts a clever tale to subvert expectations. Juxtaposing the depression against a candy colored world, we see a quasi-farcical representation of the realities one faces when they feel they have aged out of the life that they want. All in all, this poignant look at aging and accepting one’s place in the world will make you laugh and cry up to the closing moments.
For an exclusive discussion with Writer and Director Rani DeMuth, click HERE.
Review by Cinephile Mike
BTS ARMY: Forever We Are Young
⭐️⭐️⭐️⭐️
Feature Film
Film Production Companies: Trafalgar Releasing,
Tremolo Productions and Lee Lee Film
Rating: NR / Run Time: 90
Language: English and Korean, Spanish with English Subtitles
Director(s): Grace Lee and Patty Ahn
Starring: The BTS A.R.M.Y.
“When I think about my life before and after BTS, I feel like I’m not alone anymore.”
There’s little doubt that in today’s media landscape, fandoms are a driving force. If a tree falls in the woods and no one hears it, does it matter? Maybe not—but if a song drops and no fandom rallies behind it, it might disappear without a trace. Whether the object of devotion is a book, a film, an actor, or, in this case, a musical group, passionate fans give it life. One of the biggest and most influential fanbases in modern pop culture is BTS ARMY—and that’s the subject of BTS ARMY: Forever We Are Young, a heartfelt tribute from directors (and ARMY themselves) Grace Lee and Patty Ahn.
Formed just over a decade ago in 2013, BTS—comprising Jungkook, V, Jimin, Suga, Jin, j-hope, and RM—has become a global juggernaut. Beyond dominating charts and stadiums, they’ve stepped into the world as global citizens, supporting causes meaningful to both themselves and their fans. The ARMY (short for Adorable Representative M.C. for Youth) is as diverse and inclusive as fandoms come: regardless of age, race, gender, nationality, or sexuality, if you love the group, you belong.
Lee and Ahn’s film traces the band's rise from their first U.S. concert in 2014 at the Troubadour in West Hollywood—the same venue where Elton John had his American debut—to their record-breaking win over Justin Bieber for Billboard’s Top Social Artist award in 2017 (an honor BTS held until the award’s retirement in 2021), and to the present-day anticipation of a reunion in 2025, following the group’s mandatory military service.
But this isn’t a documentary about BTS. It’s about their fans—and the ripple effects BTS has had on millions of lives. Through a series of talking-head interviews, we hear from a range of ARMY members: YouTube reactors in Texas, a DJ in Tennessee, a dance group in Mexico, and a choreography instructor in Seoul. What emerges is a portrait of devotion, transformation, and global connection. Those looking for a behind-the-scenes story of BTS’s formation or inner workings won’t find that here. Instead, the film focuses on the fans—how they’ve organized global campaigns, responded to tragedies, supported social justice movements, and found strength in each other.
Lee and Ahn structure the film to highlight each of the seven BTS members, allowing fans to share their personal “bias” (favorite member) and how that connection helped shape their lives. That “why” might be the confidence to change careers, like Chaehyun, a former actress turned dance studio owner whose BTS-inspired video went viral. Or it might be the courage to start fresh in a new country, like Farida, an Indonesian immigrant who found hope in BTS’s story. Or it could be the strength to embrace one’s identity, like Norman, a gay Asian man who credits BTS’s lyrics with helping him come out.
As someone only casually familiar with the band, I found the film enlightening. While clearly a love letter to ARMY, the documentary also succeeds in Lee and Ahn’s goal of offering wider audiences a glimpse into Korean culture and its far-reaching influence. Many of the testimonials are deeply moving, showing how BTS helped people not just survive but thrive—building careers, finding purpose, and forming global friendships along the way.
Should the band’s reunion not come to pass, Forever We Are Young still stands as a celebration of the enduring bond between artist and audience—a reminder that love, inspiration, and connection don’t end when the music pauses.
All in all, whether you're a lifelong ARMY member or just discovering BTS, this is a heartfelt tribute to a group that once told the world at the United Nations: “We have learned to love ourselves, so now I urge you to ‘speak yourself.’”
Review by Cinephile Mike
Largo
⭐️⭐️⭐️⭐️
Short Film
Film Production Companies: Slick Films, Studio Good Luck, Plan
Nine Pictures and Good Chance
Rating: NR / Run Time: 19 minutes
Language: English and Arabic with English subtitles
Director(s): Salvatore Scarpa and Max Burgoyne-Moore
Writer(s): Salvatore Scarpa and Max Burgoyne-Moore
Starring: Tamsin Greig, Zack Elsokari, Ammar Haj Ahmad and
Kevin McNally
“Remember, home is like a turtle in its shell, you take it with you wherever you go.”
Musa (Elsokari) is a 10-year-old Muslim refugee living in foster care with Grace (Greig), a widow trying to give him a good life on their small fishing island in the UK. With the influx of refugees into this economically challenged town, Musa overhears the bitterness of locals like Angus (McNally), who makes it clear he’d rather not have “them” around. Even the local youths echo these sentiments, parroting the prejudices of adults without fully grasping the weight of their words. One day, Musa realizes he needs to find his parents. Discovering an old boat with the name “Largo” painted on its side, he cobbles together his own makeshift vessel and sets out on a journey—one that won’t come without challenges.
In their second collaboration as writing and directing partners, Scarpa and Burgoyne-Moore craft a poignant tale that sheds light on the refugee crisis. A postscript reminds us that in the UK alone there are 127,000 child refugees—just a fraction of the 1.3 million across Europe. The filmmakers handle this sensitive subject with empathy, presenting the reality of opposing perspectives while also highlighting the importance of compassion in society. In his acting debut, Elsokari makes a strong impression as Musa, whether standing up to peers or asserting himself when confronted by adults who reject him. Though the ending feels a bit rushed, the film is unwavering in the clarity of its message. All in all, Largo speaks powerfully to the urgency of our current moment, offering its perspective with heart rather than heavy-handedness.
Review by Cinephile Mike
Pas Vraiment Ordinaire (Not Really Ordinary)
⭐️⭐️⭐️⭐️
Short Film
Film Production Company: Clearview Productions
Rating: NR / Run Time: 16 minutes
Language: English and French with English subtitles
Director: Gil Henry
Writer: Gil Henry
Starring: Jordan Belfi, Floriane Andersen, Guy Heilweil and Vivian Stein
“The harder thing to do and the right thing to do are usually the same thing.”
Renée (Andersen) is not well. On the surface, things seem fine, but underlying factors trigger schizophrenic episodes. Having been hospitalized in the past, she is adamant about not returning, making this clear to her husband Will (Belfi) and the police when they arrive to take her in. It’s a tense moment for the family, and it seems the only one who can truly reach her is her son Adrien (Heilweil). Appealing to memories of happier times, he tries to guide his mother toward the care she needs, all while shielding his younger sister Justine (Stein) from the full truth. Director Henry crafts a poignant story of love and pain in just fifteen minutes.
Within this short runtime, we glimpse both a fantasy world and the harsh realities this family must navigate, confronting the choices that are painful yet necessary. Of the family of four, Heilweil has the most demanding role, delivering surprising emotional depth for such a young actor. His decisions drive the story toward its heartrending climax. Andersen complicates these moments with a layered performance as Renée, a woman who seems aware of her illness yet deeply committed to her family. Underscored by Tony Kanal’s serene musical score, the film makes the internal struggles of this family palpable. All in all, Henry delivers a short but powerful glimpse into the sacrifices we sometimes must make for the ones we love, a story that is as painful as it is heartfelt.
Review by Cinephile Mike
Pearls
⭐️⭐️⭐️
Short Film
Film Production Company: Trainwrecked Productions and Lunar Dragon
Rating: NR / Run Time: 15 minutes
Language: English
Director: Alastair Train
Writer: Alastair Train
Starring: Rory Murphy, Helen Jessica Liggat and Mark Wingett
“Sometimes all we need is a little push.”
Tony (Murphy) is struggling in the bedroom with his wife Linda (Liggat), and the one thing they both want is a child. Tony, facing fertility issues, tries various methods and materials before discovering a pamphlet for Frederick’s Frisky Oysters, which promises to increase sex drive, improve testosterone, and enhance sexual function. Hoping this is the answer, he ventures into the orbit of Marvin (Wingett), whose factory sits in a rather questionable locale. Tony takes the oysters home, and while they have some of the desired effects, there are consequences neither he nor Linda anticipated. In this short horror film, Train presents an interesting Faustian premise, but the story never quite reaches its potential.
The setup is promising, yet the aftermath and character motivations feel underexplored, and the 15-minute runtime leaves some ideas hanging. Wingett brings a compelling presence as Marvin, though it’s a shame the film doesn’t delve further into his character. The prosthetic and makeup effects by Rebecca Birch and Francesca Reidie are effective, delivering genuinely unsettling moments. All in all, while the film has strong visuals and performances, it struggles to fully develop its concept, leaving the audience intrigued but ultimately wishing for a deeper exploration of its darker premise.
For an exclusive discussion with Writer, Director and Executive Producer Alastair Train, click HERE.
Review by Cinephile Mike
The Right Track
⭐️⭐️⭐️⭐️⭐️
Feature Film
Film Production Companies: Fountainhead Production, Fort Greene
Filmworks
Rating: NR / Run Time: 92 minutes
Language: English
Director: Shareen Anderson
Starring: Bella Cummins, Audra Doody, Eileen Dueñas, Tricia Grant,
Janet Jensen, Ava Kamdem, Torrey Lisa, Brenda Meyers Powell and Angela Williams
“If this was such a great profession, and everybody loved it, then why is everybody dying to get out of it?”
In 1990, Julia Roberts walked down Hollywood Boulevard in her black leather boots and blonde bob wig, trying to flag down Richard Gere’s Lotus Esprit in Pretty Woman. That iconic setup soon turned into a Cinderella story, one that romanticized Vivian’s profession and, in some cases, made sex work appear like a viable option. Shareen Anderson’s new documentary The Right Track digs into the reality behind that image, asking how many women may have followed a similar path — and what it really means to live that life.
The film quickly establishes that sex work carries stigma, but also that circumstances often leave people with limited options. Anderson explores the societal debate with nuance: in places like New Zealand, Greece, and the Netherlands, both buying and selling sex are legal, while in the U.S., only a handful of Nevada brothels operate legally. Maine, meanwhile, is implementing the Survivor Model, which decriminalizes the selling of sex—so survivors can seek help without punishment—while criminalizing the buying, aiming to address the root issue of demand. Advocates argue that legalization offers safety and structure, while critics maintain that exchanging money for sexual acts inherently carries risk of exploitation, even when both parties consent. Anderson doesn’t flatten these perspectives into a simple binary; instead, she presents a layered discussion, giving weight to all sides.
At the heart of The Right Track are the survivors who share their stories. We meet women who have escaped pimps, brothels, and trafficking, and who now dedicate their lives to advocacy through organizations like the Safe Exit Initiative, Ernestine’s Daughter, the Innovation Human Trafficking Collaborative, The Network, and the Stolen Sisters and Brothers Movement. One powerful sequence follows Brenda Myers-Powell, founder and CEO of Ernestine’s Daughter, as she walks the streets of Midwestern towns handing out water and supplies while offering compassion and support to women still working. Some of these women, in candid interviews with their faces obscured, explain that they find a sense of choice or agency in the work they do — highlighting the complexity of the lived experience.
Another thread features Janet Jensen, founder of the Jensen Project, who purchases the long-standing Love Ranch in Nevada (once owned by Dennis Hof) and shares her plans for the space. These scenes bookend the film emotionally, offering both reflection on the past and hope for a reimagined future. Anderson also does not shy away from the perspectives of those still running the business side of sex work. An extended sequence at Bella’s Hacienda Ranch highlights Madam Bella Cummins, who has managed the brothel for nearly four decades. Alongside her courtesans, Happy and Torrey Lisa, Bella advocates for decriminalization while emphasizing the importance of business structure, financial security, and support for the women who work there. These sequences complicate the narrative, showing that there is no single story, and that experiences vary widely across geography, race, and socio-emotional background.
Anderson’s greatest strength lies in centering survivor voices while allowing the audience to navigate the broader conversation. The film never glorifies sex work, but it also doesn’t erase the voices of those who defend aspects of it. Across all perspectives, one constant emerges: the safety and protection of those involved must be paramount.
Technically, the film is strong. Director of Photography Andrew Dunn captures a variety of footage, from intimate talking-head interviews to unobtrusive fly-on-the-wall sequences. Editors Sean E. Stall, Tim Sternberg, and Pamela French craft it into a sharp, well-paced structure that incorporates archival material, including interviews with Hof, and survivor Eileen Dueñas’ musical performances, which transform personal trauma into art.
All in all, Anderson delivers a powerful and balanced documentary that amplifies survivor voices and shows how much work remains, inviting viewers to reflect on their own assumptions — and to recognize the humanity at the heart of this difficult conversation.
Review by Cinephile Mike
The Ruse
⭐️⭐️
Feature Film
dis. Seismic Releasing and Mena Films
Rating: R / Run Time: 100 minutes
Director: Stevan Mena
Writer: Stevan Mena
Starring: Veronica Cartright, Michael Steger and Madelyn Dundon
“What happened last time wasn’t your fault.”
Olivia, a delightful Veronica Cartwright, is a former orchestra conductor who has built the life she always wanted. She has a beautiful home by the sea in Maine, an excess of money, and…24 hour care as she has now slipped into a form of dementia where she is unable to recall certain things and also suffers from OCD (beware of where you put that cup). One day, her home health aid Tracy, played by Kayleigh Ruller, goes missing, and Olivia needs new care. Enter Dale, relative newcomer Madelyn Dundon. Dale, whom we first meet at home jumping at the chance to prove herself to her boss and get off probation (what happened that she needs to prove herself), packs up leaving her partner Ben, played by Drew Moerlein, and heads up to Olivia’s waterfront home to begin her new job. When she meets Olivia, Olivia isn’t sure what to make of her, but she goes about her bedridden ways, asking for tea and respect from the people who work for her, and that’s all she has to say about that. Trying to acclimate, Dale settles in and begins to take care of her new patient.
Almost immediately, she meets the charming neighbor Tom, played by Michael Steger and his precocious daughter Penny in a solid debut performance by Nicola Jeanette Silber. Penny warns Dale that Olivia’s house is haunted. She has seen the ghosts walking about in the upper floors. Dale is hesitant, but she entertains Penny and goes about getting situated. Tom is helpful, he is Olivia’s emergency contact, and he has helped with work around the house. Penny avoids the house, and Dale soon begins to understand why, as Olivia even explains that her deceased husband Albert keeps coming to visit her, informing her that the concert is over and time for her to move on. Dale just listens and Olivia realizes that Dale is much nicer than the previous girls, lie Tracy. One has to wonder, what did happen to Tracy? No sooner does Olivia say this that Dale notices strange things occurring…hearing doors opening and closing…paintings are crooked on the walls…papers are scattered all over the floor, and how can this be occurring, Olivia is bedridden on oxygen tanks. She tries to ignore it, but different circumstances begin to occur and she can’t tell who is on her side. Tom? The local Detective Burke, played by Michael Bakkensen, Penny, the food delivery boy who seems to keep showing up, Jacob, played by T.C. Carter? All will out as Dale tries to solve the mystery of her predecessor, whose phone and ID were left in the house, and, try to get off work probation.
Right off, there is a lot here. The title best describes the film. The Ruse…is…what kind of film are we making here? We think we are watching a paranormal thriller, but then it veers off course switching genres to a variant of soft horror (and not clearing up select scenes which leave several loose strands). The film starts off solid with decent chemistry between Cartwright and Dundon. They have a fairly decent rapport with Cartwright’s high pitched almost sounding like she may break out into song first tone and Dundon’s more reserved deadpan, a la Billie Lourd, but not quite as snarky as Aubrey Plaza.The haunted house premise they set up is fascinating, and could have carried the story, but, we delve into so many more characters that weren’t necessary, and shift to a murder mystery with many red herrings. Without spoiling too much, the film veers so indirectly, that we need a character to explain much of the events of the film in almost a synopsis before a very rushed climax that doesn’t feel earned. Writer/director Stevan Mena may have bitten off more than he could chew here. He wanted to create a throwback to the mystery thrillers of Agatha Christie and Hitchcock, and could have been successful if that was the direction he went from the get go, not the supernatural aspect, which again, may have been The Ruse, hiding what could have been a decent film in a mashed up one.
Where the film truly succeeds though, is Mena’s score. Having scored his own film, he was able to create pieces that evoke some of the better thrillers of yesterday, which did at times cause me to shift in my seat to better pay attention. Unfortunately, what I turned into was a messy story with a lot of missed opportunities. Given all the checks Mena writes to get this story across, some bounce where some basically clear. All in all, this is a film we have seen before, but is worth it for a standout performance by Cartright who gives it her all given the confined nature of her character. She earns this film the second star.
Review by Cinephile Mike
Sirena’s Gallery
⭐️⭐️⭐️
Feature Film
dis. BayView Entertainment
Rating: NR / Run Time: 75 minutes
Director: Christine Sloan Stoddard
Writer: Christine Sloan Stoddard
Starring: Christine Sloan Stoddard, Ghia Vitale, Disney Sebastien,
Art Jones, Deniz Zeynap, Ben Nardolilli, Zach Bowman and Sherwood Buckley
“Loneliness is the universal new reality.”
Opening with a haunting musical number and images of a woman both in an empty park looking over a river, and then visiting a grave of an unknown individual, we quickly learn that this woman is Sirena. In the midst of the pandemic, returning home from El Salvador, we learn that her husband committed suicide and now in the midst of the most isolating time in recent history, Sirena must address this new loneliness. Working in a Virginia-based art gallery that she owns, the walls and floors are barren and emptied as a result of the COVID-19 pandemic. Sirena must find a way to make a living as she is dealing with calls from the funeral home asking her for the remaining payments, plus interest, for her husband’s burial costs. Unfamiliar with social media and other marketing, we will see how Sirena learns how to create a social media presence and website complete with online store to sell artwork as a means to earn money, and engage with an entertaining set of clients from those who are wondering how to best matte and frame the work to one who even proposes a potential collaboration in the future.
Stoddard presents a unique view of the pandemic. Filmed during 2020, she shows images of abandoned streets, parks, town streets and various other settings. As we were all in lockdown, there wasn’t much to see, and she shows us just that. It helps to further her theme of loneliness and the fact that the only interactions we see are one sided phone calls with the funeral home, and the video calls with some clients, none with family of hers or her deceased husband. Spending her nights sleeping in the gallery, you wonder how this will shape up for her, and you can’t help but root for her. Also, other revelations that come to the forefront will have the same emotional gut punch to the audience of what she is dealing with.
At a short run time of 75 minutes, the film, while ambitious, unfortunately tries to accomplish too much. It almost feels like there are two films in one. We have the one film that shows how a woman attempts to deal with grief and loss in a pandemic, due to unrelated causes, which in and of itself is a heady topic, and then the other is the story of a woman trying to find a way to navigate a business in an industry that makes its most impact when people socialize and interact in person, as opposed to over a Zoom or Facetime call. Choosing a focus would have led to a more solid film. This isn’t to take away from Stoddard’s performance. She has a lot on her shoulders as she is the prominent character on film, and she has a very expressive face and vocal tone that supports her work and this is a nice teaser to see what else her voice can present. The other actors playing the clients provide some entertainment, however, the sound mixing unfortunately makes some of the conversations a little difficult to listen to. Additionally, while there is a story of loneliness, she bookends her film with interesting imagery of nature which was one of the few things that gave some comfort in the pandemic, if some have more weight for her given the allusion we have to her husband’s passing.
All in all, an interesting mix of recorded Zoom or Facetime calls with barren shots of Stoddard’s surroundings gives an honest tale of survival in the pandemic. If you would like to catch this film, as of this publication, the film is streaming with ads on Tubi.
Review by Cinephile Mike
Slumlord Millionaire
⭐️⭐️⭐️
Feature Film
Film Production Companies: PBS, After Spring LLC, Latino Public
Broadcasting, Center for Asitan American Media and Firelight Media
Rating: NR / Run Time: 86
Language: English, Spanish and Chinese with English Subtitles
Director(s): Steph Ching and Ellen Martinez
Writer(s): Steph Ching and Ellen Martinez
Starring: Moumita Ahmed, Fabian Bravo, Samantha Bravo-Huertero,
Janina Davis and Alina Shen
“Housing is a human right. Everyone should have a healthy, sustainable place to live.”
For the last fifteen years or so, we have heard Alicia Keys belt it out: “Now you’re in New York. Concrete jungle where dreams are made of, there’s nothing you can’t do. Now you’re in New York. These streets will make you feel brand new; big lights will inspire you.” However, how can you chase dreams, feel inspired, or start fresh when you can’t afford to live there?
That’s one of many questions raised by Slumlord Millionaire, a timely and pointed documentary from Steph Ching and Ellen Martinez. Premiering on PBS in July 2025, the film takes a hard look at New York City’s housing crisis and the deeply unequal systems keeping so many residents on the brink. Right out of the gate, the film hits us with staggering statistics: 69% of New Yorkers rent, but only half of those apartments are rent-stabilized. Over a third of residents are spending more than 50% of their income on rent—and year after year, costs rise while conditions decline. Ching and Martinez follow several individuals caught in the crosshairs of this housing emergency, from renters to homeowners, all facing increasingly hostile and at times illegal efforts to push them out.
Among the most compelling is the Bravo-Huertero family in Sunset Park, Brooklyn. Fabian, the father, has spent more than a decade filing complaints against a landlord who not only neglects dangerous mold outbreaks and roach infestations—but exhibits blatant racism toward the family. His daughter Samantha, a high school senior at the time of filming (she graduated in 2022), speaks annually before the NYC Rent Guidelines Board, advocating for rent rollbacks. Their story is both specific and deeply emblematic of the housing struggles faced by working-class immigrant families across the city.
We also meet Janina Davis, a former supermodel who used her success to invest in her community at the peak of her career in the 90s. She bought a brownstone in Clinton Hill, lived on two floors, and rented the rest out affordably. But when she attempted renovations, she thought she found a willing partner in the work, but instead, fell victim to deed theft—a predatory tactic used by corrupt developers to steal homes from longtime owners. Janina’s loss is devastating, and we follow her as she fights back legally.
Other figures include Alina Shen, an activist with CAAAV (Committee Against Anti-Asian Violence) in Manhattan’s Chinatown, who leads tours through rodent-infested buildings, and Moumita Ahmed, a Queens resident who ran for City Council in hopes of reform—only to be met with an aggressive mail campaign supporting her incumbent opponent. The systemic rot is visible on every level.
The film’s structure blends interviews, fly-on-the-wall moments, and media archives, with cinematography from Ching, Vanessa Carr, Nick Curran, and Mansee Kong. It’s intimate and urgent—but also dense. While the doc attempts to include “both sides,” including perspectives from alleged slumlords, there’s so much packed into its runtime that not every thread lands. Some narratives feel underdeveloped or unresolved, which may be intentional—the crisis is ongoing—but it leaves the viewer wanting more clarity, and sometimes, more closure. The sequence during the end credits attempts to show the impact of these issues across the country, but this only raises more curiosity.
It was a fascinating look, and given that PBS is a producer, there is a large educational element where even I learned some new concepts, which is always a standout for me in a documentary, but some of the organizations presented and some of the stories seemed a bit too underdeveloped, and as a result, led to more questions that were left unanswered. Many of the endings are left open ended which may have been the intent as this problem is still ongoing, but in its brief runtime (that still managed to feel sluggish at times) it gets a few key points across. Ching and Martinez, both New York City residents, crafted an interesting story that shows just how real estate, politics and housing weave an intricate and messy web where it seems, ultimately, no one may win this ongoing battle.
All in all, the film fulfills the directors’ goal to “spark passionate conversation” by raising awareness and reminding us that not everything is black and white—but that’s no reason not to fight.
Review by Cinephile Mike
Strays
⭐️⭐️⭐️⭐️
Short Film
Film Production Company: Jamal Rana Productions
Rating: R / Run Time: 12 minutes
Director: Or Schraiber
Writer: James Rana
Starring: James Rana, Aizzah Fatima, Coleman Itzkoff and Stewart the Cat
“Happy Birthday, Papa.”
On his birthday, we meet Shamsul (played by Rana), an immigrant working as a rideshare driver to make money to support his family. As he begins his day, after birthday wishes from his family over the phone, he hears a sound that turns out to be a stray black cat. Not wanting this, he takes the cat outside, goes about his day, but this will not be the end of the cat. As he goes about his day, in a dialogue free performance, save his family and some fares, we follow Shamsul and the many passengers he drives around, and see him long for just a simple connection.
Being alone in a new country far from his family, he tries to be the best person he can, and we will see some interactions with fares that may not be of the norm as well as see him fantasize about different events that could be occurring to give him a semblance of home.
Rana is a very engaging performer evoking some characteristics of the silent film actors of the past where he conveys more with a look or expression than he would if he had dialogue to say. As the writer of the film, Rana chooses expression over dialogue and it works, especially in a funny scene with some oranges. In a short run time of about 11 minutes or so, we see his love of life, although he may be just as much a stray as that black cat or some of the fares he interacts with. Additionally, there are several moments of music that play in the reality of the situation that underscore the emotional range Shamsul goes through, and this adds a layer of beauty to the circumstances he is in especially during an enjoyable moment set at sunset of the Coney Island boardwalk, captured gorgeously by cinematographer, Adam Gundersheimer.
All in all, director Or Schraiber crafts a touching day in the life story that should leave viewers with a smile on their face. If you would like to watch “Strays” you have to wait a bit, as it is awaiting distribution.
Review by Cinephile Mike
Synthesize Me
⭐️⭐️⭐️⭐️
Short Film
Film Production Company: Couscous and Violeta Films
Rating: NR / Run Time: 15 minutes
Language: Spanish with English subtitles
Director: Bear Damen
Writer: Bear Damen
Starring: Ivanna Plantier and Antonio Trejo Sánchez
“I just wanted to see her stuff...”
Set in 1989 in a small town near Mexico City, young Violeta (Plantier) works alongside her father as he goes about his job as an electrical maintenance worker. Both are grappling with the grief of Violeta’s mother’s passing. One remaining thread of her mother’s presence is a small workshop containing her synthesizers, which once created beautiful music. One night, Violeta enters the room to play, and her innocent curiosity—combined with the flimsy wiring—triggers a widespread power outage. The incident has serious repercussions for her father’s job and pushes both of them to confront their grief head-on.
In its brief runtime, Damen crafts a powerful allegory about love, loss, and acceptance. Plantier delivers a remarkable performance, displaying emotional maturity beyond her years as she navigates the film’s delicate emotional landscape. Damen’s understated score weaves love and pain together, reinforcing the bond between father and daughter even as they struggle with feeling left behind. Alfonso Herrera Salcedo’s cinematography further enhances this world, capturing the vastness of their surroundings and the quiet power of the music that connects them. As the film builds toward its climax, subtle hints of what’s to come leave you longing for more. All in all, this is a poignant, beautifully observed story about grief and the ways we find to move forward.
Review by Cinephile Mike
Thinestra
⭐️⭐️⭐️⭐️
Feature Film
Film Production Company: Mary Ellen Moffat, Hitmakers Media,
Dogplayer Productions, Stay Lucky Studios
Rating: NR / Run Time: 87 minutes
Language: English
Director: Nathan Hertz
Writer: Avra Fox-Lerner
Starring: Michelle Macedo, Melissa Macedo, Shannon Dang,
Gavin Stenhouse, Brian Huskey, Mary Beth Barone, Annie Ilonzeh and Norma Maldonado
“Crazy question. What’s it like? To just be so perfect?”
Reflecting a society where so many people struggle with body image and their relationship with food, we meet Penny (Michelle Macedo). Like many, Penny is trying everything she can to become the “socially accepted” version of herself. She diets, uses apps, attends constant spin classes, listens to affirmations, drinks her diet shakes—and no matter what, she can’t quite reach her goal. Working as a photo retoucher, constantly surrounded by models, only heightens her unease. She avoids telling her cute neighbor Josh (Stenhouse) how she feels, while her mother Amanda (Maldonado) continually comments on her eating habits. Penny is desperate to find the “right” way forward.
On a shoot, Penny fixates on model Mariah (Barone), who embodies everything she wants to be. When she asks Mariah what it feels like, Mariah tells her it’s wonderful—and slips her a new drug, Thinestra, not yet on the market. Penny hesitates, pockets the pill, but soon gives in to temptation. The first dose changes everything: the weight begins to ooze away through vomiting and sweating, creating a Hyde to Penny’s Jekyll—Penelope (Melissa Macedo). Penelope embodies the uninhibited id Penny never dares to express, though her cravings stretch beyond the glazed donuts that tempt her at craft services tables and Christmas parties alike. Holiday cheer becomes another layer of torture, as Penny’s world fills with sweets she can’t allow herself to touch. As she descends deeper into her Thinestra spiral, parts of her life appear to improve—but the threat of Penelope looms, with devastating consequences.
It’s easy to compare this film to Coralie Fargeat’s Oscar-nominated The Substance. While some of the same body-horror elements are present, Fox-Lerner’s script feels more grounded, reflecting our current fixation on weight-loss drugs like Ozempic and Wegovy. Setting the story at Christmas is particularly poignant: a time of year when food, indulgence, and family pressures collide, amplifying Penny’s struggles in ways many viewers will recognize. Penny’s journey is painfully relatable—including, for this reviewer. Fox-Lerner smartly balances horror with humanity, and Hertz’s direction heightens the shocks while maintaining empathy for the characters.
Casting the Macedo twins proves inspired. Michelle leads us through Penny’s emotional turmoil with nuance and vulnerability, while Melissa brings Penelope to life in shocking, unforgettable bursts. Their dual presence allows Hertz to stage some very clever, disturbing sequences.
Relying on practical effects, the team behind Thinestra creates images that are both grotesque and thematically potent. As a first feature, Nathan Hertz proves a fascinating new voice in horror, crafting a story that mirrors a metaphor all too many experience.
All in all, Hertz and Fox-Lerner deliver a unique horror film that is far more relatable than we’d like to admit—a cautionary tale about obsession with body image, sharpened all the more by its Christmas setting. At a time of year when food, temptation, and self-image are inescapable, Thinestra reminds us that while change is possible, it should never come at the cost of who we are.
For an exclusive discussion with Director Nathan Hertz, click HERE.
Review by Cinephile Mike
Trapped
⭐️⭐️⭐️⭐️
Short Film
Film Production Company: Lefty
Rating: NR / Run Time: 15 minutes
Language: English
Director(s): Sam Cutler-Kreutz & David Cutler-Kreutz
|Writer(s): Sam Cutler-Kreutz & David Cutler-Kreutz
Starring: Javier Molina, Keith William Richards, Kamron Ali Toosi,
Matt Woodward, Ethan Jones, Aedan Jayce, and Joel Meyers
“I’d like a sincere apology.”
Joaquin (Molina) works as a janitor at an elite prep school. One night during his overnight shift, he’s just trying to get through his work while also pushing his partner to pick up his young son, Tony (Toosi), before the boy gets into trouble. Joaquin isn’t supposed to have his child with him, and the tension of that secret lingers in the background. While cleaning, Joaquin hears a commotion in the gymnasium. Investigating, he discovers five students, led by Dylan (Woodward), setting up a maze of mousetraps as part of their senior prank. Unsure how to handle the situation, Joaquin tries to usher them out—until Dylan tempts him with $500 to not only look the other way, but to help set the prank in motion. Reluctantly, Joaquin accepts, though he soon begins plotting to turn the tables on these privileged teens. But after an encounter with his supervisor (Richards), he realizes there may be far more at stake than just his job.
As they did with last year’s Oscar-nominated short A Lien, the brothers Cutler-Kreutz deliver a slick and suspenseful story that explores what it means to survive in a society that so often looks down on those just trying to live. With Trapped, they examine the lengths a person will go to provide for family, while cleverly subverting expectations of how the narrative might play out. Molina anchors the film with quiet intensity, shaping Joaquin into a truly empathetic figure. And Freya Berkhout’s haunting score deserves special mention—its ominous tones act as another character, steadily ratcheting up the tension and keeping the audience uneasy throughout. All in all, Trapped is a taut thriller that digs into privilege, survival, and sacrifice, leaving behind a message that lingers well after the credits roll.
Review by Cinephile Mike
Undeletable
⭐️⭐️⭐️⭐️
Short Film
Film Production Company: Charlie Productions
Rating: NR / Run Time: 7 minutes
Language: English
Director(s): Chris Blaine and Ben Blaine
Writer(s): Chris Blaine and Ben Blaine
Starring: Sophia Di Martino and Elizabeth Elvin
“Hi, Susan. You don’t know me.”
One of the worst experiences in life is losing a parent. When that happens, notifying others can be one of the hardest parts. Sometimes we reach out to people we expect, and sometimes to those we’re hesitant—or even surprised—to contact. This is the situation confronting Emma (Di Martino). As she walks down the street, Emma calls Susan (Elvin), a contact of her father’s. Before his passing, Michael asked his daughter to notify Susan when the time came. Susan was someone important in Michael’s life, yet completely unknown to Emma. Ever the faithful daughter, Emma honors his wish. But when she dials, she only reaches Susan’s voicemail. Searching for the right words, she makes several attempts to leave the message—only to discover that not all phones work in quite the same way.
Told in a single shot and full-screen aspect ratio, Chris and Ben Blaine take a deeply uncomfortable situation and turn it into something awkwardly laughable. The black-and-white palette lends the film a timeless quality, while also reflecting the thematic duality of such calls: they fall either on one side or the other, and they’re never easy. Di Martino captures the spirit of the bereaved with remarkable honesty, turning this “confession time” voicemail into both an act of duty and a painful, human moment of awkwardness. All in all, Undeletable makes you laugh in the midst of tragedy, leaving you with that strange, uneasy truth: it’s funny because it’s both sad and real.
For an exclusive discussion with co-writers and co-directors Ben Blaine and Chris Blaine, click HERE.
Review by Cinephile Mike
We Are Guardians
⭐️⭐️⭐️⭐️
Feature Film
dFilm Production Companies: Mídia Índia, Highly Flammable,
Appian Way, Random Good and One Forest
Rating: NR / Run Time: 70
Language: Portuguese and Tupi with English Subtitles and English
Director(s): Edivan Guajajara, Chelsea Greene, and Rob Grobman
Starring: Valdir Duarte, Tadeu Fernandes, Luciana Gatti, Marçal
Guajajara, Sônja Guajajara, Bruno Stankevicious Bassi and Puyr Tembé
“For us, they killed a life. And that’s sad.”
Deep in the Amazon Rainforest, where the trees are lush and the sloths hang out, several Indigenous communities live simple, grounded lives. However, all is not well, as they are constantly at risk of losing their homes—and one of the greatest sources of biodiversity in the world—due to the ongoing invasion of those stripping the rainforest of its trees and natural resources. The economic demands of the world are fueling illegal deforestation activities, cutting into Indigenous lands and potentially contributing to the natural disasters and flooding we’ve seen as these environmental losses accelerate global warming.
That’s the urgent insight directors Edivan Guajajara, Chelsea Greene, and Rob Grobman set out to present. This powerful documentary centers on several individuals doing all they can to survive and resist these violations while living under the regime of former President Jair Bolsonaro. His administration has been widely perceived as antagonistic toward Indigenous peoples, permitting these illegal acts and aiding in the removal of communities from their ancestral lands. But this injustice will not go unanswered—and the directing trio introduces us to a core group of people determined to fight back.
One is Marçal Guajajara, a young Indigenous man who has taken on the mantle of leader of the Forest Guardians, despite his wife’s concerns. With few willing to step up, he trains fellow villagers to defend their home from the loggers encroaching on their territory. Another is Puyr Tembé, an Indigenous woman who left her territory early on and moved to the city to advocate for the Amazon. A powerful political force, she appears at congressional hearings and on protest lines to fight for the rights of her people and their land. Finally, we meet Tadeu Fernandes, a landowner and conservationist who has purchased several plots of land to protect them—despite illegal logging and ranching that continue to plague his property. He’s filed cease-and-desist orders with nearly every government body in the country in his fight for preservation.
These are just three of the many stories we follow. Their journeys aren’t without danger, including a tense riverside encounter over açaí berries with poachers. We trail these individuals from their work in the forest to their presence on the front lines at the 2021 United Nations Climate Change Conference (COP26) in Glasgow. Their passion radiates through every chant, every plea, and every moment captured on screen. We're also given essential scientific context from Luciana Gatti, a senior climate researcher with Brazil’s National Institute for Space Research (INPE), whose testimony underscores the stakes of these ongoing environmental crimes.
Importantly, the filmmakers don’t shy away from complexity. They introduce voices on the other side, like Valdir Duarte, an illegal logger who, despite his misgivings, sees few options in a region where the highest-value trees in the world offer a rare means of providing for his family.
Produced by Academy Award winner Fisher Stevens and Leonardo DiCaprio serving as an Executive Producer, this documentary goes straight to the heart of the matter. The directing team’s stunning cinematography invites you into this irreplaceable part of the world with sweeping landscapes that inspire awe—and sorrow—when juxtaposed with scenes of devastation.
All in all, while the film may feel like it leans toward assigning blame, it ultimately opens up a necessary conversation about what's happening in the world around us. It asks us not only to pay attention—but to reflect on our role in all of it.
Review by Cinephile Mike
