Agent of Happiness (2024), which screened at Indie Meme Fest 2025 takes place in Bhutan, a beautiful, small country with a unique policy: collecting and analyzing data on the happiness of its people.
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What does it mean that the industry of death photography is itself dying? Madan and Lahiri offer a wonderfully Asian response: Absolutely nothing.
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Into the Gallnerverse
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Sad Letters of an Imaginary Woman is a psychological horror at the level of identity, and part of a powerful wave of tense, feminist indie horror in South Asian cinema.
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Dangerous Animals is director Sean Byrne’s newest film, coming ten years after his sophomore feature The Devil’s Candy.
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In her follow-up to Past Lives, Celine Song crafts a visually polished rom-com that questions modern dating, ambition, and emotional connection—but struggles to ground its characters in real change.
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Neither movies or love are straightforward, which is why these kinds of romantic comedies tend to hit the hardest for me.
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Egoyan’s Exotica is fundamentally a story about grief, loneliness, and obsession. Although enduring loss is a universal experience, it is emotionally isolating.
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Brutalist architecture and the immigrant experience are on the surface, but the film is truly about homesteading, occupation, and the space buildings take from nature and other people.
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Tom DiCillo’s Living in Oblivion (1995) is a dark satire of independent filmmaking that reveals within the nightmare of production lies the dream of creativity.
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Killer clowns are so back! Based on the successful novel by Adam Cesare, Clown in a Cornfield has all the slasher tropes we know and love: killer opening scene, new town, dead mom, cute boy, questionable friend group. It plays the parts perfectly but is far from predictable as Frendo wreaks havoc on the remote town of Kettle Springs, Missouri.
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Going Down, director Haydn Keenan’s scrappy DIY debut feature, is a feverish portrait of early 1980s Sydney and its chaotic punk underbelly.
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Death is an inevitability, Alexis Franco affirms in his documentary Donde Los Árboles Dan Carne (Where the Trees Bear Meat). Shown during Austin Film Society’s annual Doc Days, Franco’s film is an intimately quiet portrait of the modern Argentine gaucho shaped by the slow destruction of climate change.
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Regardless of your relationship with the 90s, you will feel nostalgic for your own youth while watching Middletown, the third directorial collaboration between spouses Amanda McBaine and Jesse Moss, following the lauded Boys State (2020) and Girls State (2024).
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Love On A Leash exists in that space between a movie that shouldn’t have been released and one that should be seen by anybody with the patience for something truly weird.
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For his tenth feature film (eleventh if you count his student featurette, Xiaoshan Going Home), Jia Zhang-ke has made what is perhaps his most ambitious project yet.
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Today, we got the opportunity to speak to Hannia Yeverino about her film Punks, which played this year at the Houston Latino Film Festival.
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Like a well-mixed but not particularly innovative cocktail you might order at a chain restaurant in the suburbs, this movie goes down easy but doesn't linger long in the memory.
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In Mistress Dispeller, Elizabeth Lo’s (罗宝) second documentary feature, the camera feels almost absent, disappeared in the way of a narrative film. It’s a documentary shot like a romantic drama, specifically evoking the dreamy, languid camera most associated with slow cinema.
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Bring Her Back, directed by Danny and Michael Philippou and written by Bill Hinzman and Danny, finetunes the jumpscares and creeping atmosphere of their debut Talk to Me while offering a storyline that’s both more cogent and emotionally intuitive than its predecessor.
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