Review: “Roofman”

By Morgan Roberts

Director: Derek Cianfrance
Writers: Derek Cianfrance and Kirt Gunn
Stars: Channing Tatum, Kirsten Dunst, Ben Mendelsohn, Uzo Aduba, Peter Dinklage, Juno Temple, Emery Cohen, LaKeith Stanfield, Melonie Diaz, Molly Price, Lily Collias, Tony Revolori, Jimmy O. Yang, Kennedy Moyer
Runtime: 126 minutes
Year: 2025

For two years, Jeffrey Manchester (Channing Tatum) found himself robbing McDonald’s restaurants across the country. Meticulously planned, Manchester used the only skills he had following his time in the US Army to rob each McDonald’s, remaining calm and cordial to the workers inside. That is, until one day, Manchester’s robbery didn’t go as planned. While police could not confirm he was responsible for the 40-60 robberies attributed to The Roofman - Manchester entered buildings by hacking or sawing through the roof - he was ultimately sentenced to 45 years in prison.

In the film based on these true events, “Roofman” explores the real-life crimes of Jeffrey Manchester, investigating the ways poverty shapes of the lives of ordinary people, and how grace can be bestowed upon the most complicated people. Through voiceover, the film provides this background of Manchester’s life and what led to his incarceration which quickly became his escape. After escaping prison, Manchester lays low by hiding in a Charlotte, North Caroline Toys “R” Us store - remember those?! While in the store, he finds a place to hide during the day, roaming the store at night after disabling the security cameras. Soon, he becomes enamored by single mom, Leigh (Kirsten Dunst) who works at the store. It is his eventual desire to connect with Leigh that begins the biggest risk he’s ever taken: hiding in plain sight.

Channing Tatum and Kirsten Dunst in “Roofman” | Paramount Pictures

The film follows the actual events quite closely, while, understandably, making some alterations for the flow of the film. On paper, “Roofman” appears to be some combination of a heist film and a rom com, but the film happens to be far more. At the core of the film is a deeply human understanding of the complicated circumstances Jeffrey found himself in. We know that the leading driver for people to join the military is poverty. As of writing this, in the midst of a government shutdown, we are witnessing service members and their families utilizing food banks as pay days come and go without checks or deposits. “Roofman” doesn’t have to fully spell it out for its audience for people to grasp the ways in which poverty have shaped Jeffrey’s life and been the catalyst for his choices. The film also understands that you can contextualize without condoning Jeffrey’s actions. The comedy of the film works because, even as an armed robber, Jeffrey is polite, calm, seemingly caring despite his act of violence. The film expertly allows for both truths of Jeffrey to exist: he is trying his best to provide for his family and in doing so, is partaking in criminal activity.

We see Jeffrey even try to reckon with his own decisions as he begins attending church with Leigh, becoming a member of that community. There is a drive to provide for Leigh and her two daughters, but that ultimately comes from a place of self-interest. His desire for connection outweighs any possible consequences not just for himself but for Leigh. It is truly striking that a film marketed so heavily on the hijinks and romance could be so deeply moving and empathetic. But that is unsurprising from a filmmaker like Derek Cianfrance who has always excelled in the murky complexity of people. Nevertheless, unlike some of his past work, “Roofman” feels like a film that wears its heart on its sleeve. It is certainly elevated by its performances. Tatum is at his best here, delving so earnestly into Jeffrey’s reality and worldview. One Wikipedia search tells you that Jeffrey’s days at Toys “R” Us were numbered before being captured again, so, we have to understand that even with his extreme intelligence, there is a caring person who struggles the path he has chosen. Tatum has always been great at comedy, but there are many heartfelt and tender moments that set this performance apart. And even with his touching moments, it is Dunst who is the heart of the film. She so assiduously walks in Leigh’s shoes. There are moments of Leigh’s compassion cut through the core of a scene, recentering the moment from jovial and comedic, to deeply human and sympathetic.

Furthermore, aiding this film are a host of lived-in supporting performances. From fellow former 82nd Airborne Division member turned criminal Steve (LaKeith Stanfield) to Toys “R” Us manager Mitch (Peter Dinklage), Pastor Ron Smith and his wife Eileen (Ben Mendelsohn and Uzo Aduba) to Leigh’s daughters Lindsay and Dee (Lily Collias and Kennedy Moyer), the film is populated with supporting performances that make the world we’ve entered feel complex and layered. No part is too small, and each actor feels real - I understand this is based off of a true story, but news interviews and documentary footage can only tell you so much about a person. You feel you understand who these people are, how they relate to one another and the journey they take us on. There are many times when a film has numerous big names, many supporting characters, and it can feel as if people are underutilized or the space feels too crowded. But in “Roofman,” it feels natural to have these characters make up the fabric of this story.

“Roofman” manages to retain the extraordinary nature of the true story, while exploring profoundly compassionate moments rooted in the humanity of its subjects. With moving performances and Cianfrance’s attune execution, the film is a rollercoaster worth your time.

Grade: A-
Pair This Film With: “Can You Ever Forgive Me?” (2018) dir. Marielle Heller; “Kajillionaire” (2020) dir. Miranda July; “Mikey and Nicky” (1976) dir. Elaine May

Review: “A House of Dynamite”

By Morgan Roberts

Director: Kathryn Bigelow
Writer: Noah Oppenheim
Stars: Idris Elba, Rebecca Ferguson, Gabriel Basso, Jason Clarke, Greta Lee, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Malachi Beasley, Brian Tee, Brittany O’Grady, Gbenga Akinnagbe, Willa Fitzgerald, Renée Elise Goldsberry, Kyle Allen, Kaitlyn Dever
Runtime: 113 minutes
Year: 2025

A nuclear missile is headed towards the United States. Government intelligence agencies, military leaders, emergency response sectors, and the administration all must respond. Who is attacking them, why, and is this just the beginning? In a call back to Cold War-era anxieties, Kathryn Bigelow explores the tensions aid today, interrogating the current state of the world in a “what-if” scenario in her latest film, “A House of Dynamite.”

The film has a three-act structure. Each act watches the events unfold from various perspectives. The first act - which was my favorite - saw the initial discovery of missile launch from Fort Greely, Alaska and from the White House situation. At Fort Greely, an Army base, service members including Major Daniel Gonzalez (Anthony Ramos) race against the clock to launch anti-ballistic missiles in hopes of saving countless lives in a yet-to-be-determined target. Meanwhile, Captain Olivia Walker (Rebecca Ferguson) and her team in the White House Situation Room attempt to coalesce the President, the Defense Secretary, security advisers, and emergency response teams to determine the validity of this attack. It is in this act that the film works best. The tension throughout this portion of the film is palpable. The actors portraying the service members in Fort Greely so effortlessly set the tone of the stakes. This is elevated largely by Ferguson’s performance in the Situation Room and in particular with her main acting partner in the scene Malachi Beasley (who plays SCPO William Davis). Ferguson shifts through calm, cool, and collected to in denial to in survival so seamlessly. By the end of the initial act, there is a visceral reaction to the film.

Rebecca Ferguson in “A House of Dynamite” | Netflix

Sadly, “A House of Dynamite” never reaches Act I’s tone or tension, though later acts certainly divulge further information on the events which transpired. There are standout performances in the later acts with Moses Ingram as Cathy Rogers of FEMA, Tracy Letts as General Anthony Brady, and Jared Harris as Secretary of Defense Reid Baker. Nevertheless, with an ensemble this big, there is great work lost in the mix - Greta Lee as Ana Park, NSA’s North Korea expert, immediately comes to mind.

Given the state of the world geopolitically, “A House of Dynamite” feels like a call to action on the very real anxieties we all hold. In the same vein as Stanley Kubrik’s “Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb” or Sidney Lumet’s “Fail Safe,” the film wants to interrogate those fears and explore the possibilities if something such as this did occur. Unlike those Cold War films, “A House of Dynamite” quickly loses steam in the monotony of structure of the film. If there was some retooling to how the film played out, or trimming it into two acts, the film could have retained some of its steam. Moreover, while there is some ambiguity in the film that keeps it intriguing, the ending of the film does a disservice to it. Maybe because it was easy to compare the film to Lumet’s  “Fail Safe,” but if “A House of Dynamite” took some inspiration from the 1964 film’s ending, the film could have concluded on a much stronger note.

There is no denying Bigelow’s prowess as a filmmaker and storyteller. Her career has taken her to investigating themes of intelligence, purpose, the gray areas when trying to do what is “right.” It has been eight years since her last film, “Detroit” which was released in 2017. “A House of Dynamite” felt easier to connect to than her previous endeavor, and felt like a return to her wheelhouse even if it is a screenplay by Noah Oppenheim and not her collaborator on her previous three films, Mark Boal. Bigelow sets the stage for a tense thriller, but falters through the later acts. Luckily for “A House of Dynamite”, Ferguson gives a stunning performance making her work a true standout in the film.

“A House of Dynamite” begins a two-week theatrical run on Friday, 10 October 2025 and premieres on Netflix on Friday, 24 October 2025.

Grade: C
Pair This Film With: “Black Widow” (2021) dir. Cate Shortland; “The Peacemaker” (1997) dir. Mimi Leder

Review: “Eleanor the Great”

By Morgan Roberts

Director: Scarlett Johansson
Writer: Tory Kamen
Stars: June Squibb, Erin Kellyman, Chiwetel Ejiofor, Jessica Hecht, Rita Zohar, Will Price
Runtime: 98 minutes
Year: 2025

Eleanor Morgenstein (June Squibb) is at a crossroads in her life. Following the death of her best friend Bessie (Rita Zohar), Eleanor is moving back to New York City after living in Florida for years. She moves in with her recently divorced daughter Lisa (Jessica Hecht) and her grandson Max (Will Price). The Yorkville apartment begins to feel constricting as Eleanor spends long periods alone, even on Shabbat when no one joins her for dinner. Lisa signs up Eleanor for a group at the local Jewish Community Center (JCC), where she accidentally joins a Holocaust survivor support group. The only problem is that her survivor story actually belongs to Bessie. Nevertheless, this harrowing tale piques the interest of journalism student Nina (Erin Kellyman). Soon, Nina and Eleanor begin an unlikely friendship, one which connects Nina to her Jewish roots following the recent death of her mother. But as Nina continues to pursue the tales Eleanor tells, her father, news anchor Roger (Chiwetel Ejiofor), becomes involved, which jeopardizes Eleanor’s friendship with Nina.

“Eleanor the Great” is the feature directorial debut from Oscar-nominated actress Scarlett Johansson. A New York, native, Johansson infuses the city as an omnipresent character throughout the film, paying homage to the neighborhood that shaped her youth. The city is as much a character as Eleanor and the people who populate her world.

Eleanor herself is a tad of a prickly character. She is self-assured and while it demonstrates her independence, it can also come across as arrogant and belittling. But her harsh delivery comes from a desire to care for those around her, especially Bessie, who, even after her passing, Eleanor finds ways to continue to care for her memory. Eleanor also has a connection to her Jewish faith, seeking to have a bat mitzvah in her 90s. It’s this connection that leads her to Nina. Squibb shines in Eleanor’s layers. A woman so desperate for connection, she goes to great lengths for it. Squibb also fearlessly leans into Eleanor’s imperfections, giving her hues and shades which demonstrate that making mistakes and learning from them is a timeless journey. It’s a deeply human performance that is also aided by the great work of her frequent scene partner, Erin Kellyman.

Nina (Erin Kellyman) and Eleanor (June Squibb) in “Eleanor the Great” | Sony Pictures Classics

Kellyman brings a beautiful depth to her performance. Nina has recently lost her mother, her father - in his own grief - isn’t able to talk to Nina about her mom, and in an effort to connect with her parents, she finds avenues to interrogate their identities. To connect with her father, Nina deviates from creative writing and focuses her education on journalism. Rooted in her education is a desire to be seen by her own father. To connect with her mother, she begins to explore Judaism, with support and guidance from Eleanor. Kellyman allows Nina’s vulnerabilities and hopes and dreams shine in truly nuanced ways. Her characterization is far more interior, but it draws the audience in. Kellyman truly holds her own in many scenes with Squibb, adding a soft assured nature to juxtapose Eleanor’s sometimes abrasive demeanor. Her gentleness gives Eleanor room to soft a bit herself. Squibb and Kellyman truly are the highlights of this film.

While “Eleanor the Great” has heart and charm thanks to the performances of Squibb and Kellyman, the film wavers in its sources of conflict. The film feels as if it is trying too hard and trying to say too much when really, this is just a story about grief, living in bereavement, and what it means to be a person. Instead, we have unnecessary plot points and too much it plans to explore that what it is saying is far more superficial than it believes itself to be. For instance, the main source of conflict is Eleanor pretending to be a Holocaust survivor, sharing Bessie’s experience as her own. This could be plausible pre-2000, but given how easy it is to research someone on the internet, this catalyst is utterly baffling and unbelievable. Additionally, the threads of grief and Jewish identity aren’t able to co-exist without this mind-boggling source of conflict, which is a shame because these explorations, while very surface-level, are the more compelling aspects of the film. The film suffers from an inconsistent thesis,l which undermines the work of the actors.

There are moments where “Eleanor the Great” shines, and it is largely due to the captivating work of its actors. Sadly, because of a muddled execution, the film is difficult to believe, and, at times, frustrating to watch. My hope is that Johansson finds another story to return to directing. You can tell there’s talent as a director by the performances seen in the film; those are glimmers of hope. But you can’t help but wonder what Johansson would be able to achieve with a tighter script, a clearer thesis, and other personal avenues to explore. “Eleanor the Great” truly wears its heart on its sleeve but struggles to truly get to its emotional core.

Grade: C
Pair This Film With: “Laggies” (2014) dir. Lynn Shelton; “Late Bloomers” (2023) dir. Lisa Steen

Review: “Twinless”

By Morgan Roberts

Director: James Sweeney
Writer: James Sweeney
Stars: James Sweeney, Dylan O’Brien, Lauren Graham, Aisling Franciosi, Chris Perfetti
Runtime: 100 minutes
Year: 2025

There is a special kinship that twins share. What happens to those who lose their twin? And who enters their life as a way to fill that void? In his second feature film, James Sweeney explores how one man’s recent loss becomes another man’s obsession. Roman (Dylan O’Brien) journeys to Portland after the death of his twin brother Rocky (also portrayed by O’Brien). Struggling to cope, Roman remains in the city but finds a grief support group for “twinless” individuals. It is here that he meets Dennis (James Sweeney). The two men quickly befriend each other, with Roman gravitating toward the companionship Dennis is extremely willing to provide. But there’s more to Dennis’s story than what he’s initially willing to share.

As writer and director Sweeney is unafraid to make this dark comedy, well, dark. The trailer for “Twinless” certainly hooks you on the quirkiness of the film; yet, the film has a darkness which grows throughout the film, eventually permeating the world and the characters which inhabit it. It is difficult to write about the film without giving away the intriguing and surprising elements. It is a testament to Sweeney’s writing and vision. So frequently, we are anticipating plot points and certain beats. Sweeney doesn’t necessarily break rules, but he certainly tests the boundaries.

Elevating this film are the performances. O’Brien plays double duty as both twins. Even with some slight physical appearance alterations, O’Brien is able to fully flesh out both characters, highlighting their district personalities without minimizing the singularly unique bond shared by twins. We never see the twins together and O’Brien is still able to convey a closeness only twins can have. Moreover, O’Brien expertly weaves in Roman’s vulnerabilities with the shield of anger he reverts to. So infrequently do we get to see the internal struggle of societal expectations of masculinity with the emotional depth men have. It is through Roman’s imperfect journey with grief that we find his humanity. I find it rare to find male characters given the room to grieve in a complex, nuanced way.

Roman (Dylan O’Brien), Marcie (Aisling Franciosi), and Dennis (James Sweeney) in “Twinless” | Photo Courtesy of Roadside Attractions

In front of the camera, Sweeney brings Dennis and his prickliness to life. Dennis is quiet and introverted, but deeply lonely. His search for connection and companionship guides his journey. Yet, he can also be dismissive and a bit self-righteous, particularly with his co-workers such as Marcie (Aisling Franciosi). It can be difficult to toe the line between tenderness and thorniness, and yet Sweeney manages to ensure the spectrum of Dennis’s behaviors, desires, and attributes feel true. So often, the “unlikeable” character is left for minor characters or antagonists. Even when we encounter the anti-hero archetype, there is something honorable about their actions. Dennis and his yearning for connection feels authentic, but his other attributes are not diminished or excused if he fit into the typical character archetypes we see male characters fall into.

As a writer, Sweeney clearly understands the importance of world building, particularly how characters can greatly impact what the world feels like for audiences. Big and small, characters have some nuance or some layers which give us the sense of where they inhabit. In particular, the Marcie character greatly demonstrates this. In lesser hands, the eventual love interest of centra character would usually be quite one note. In “Twinless,” Marcie takes us by surprise with the glimpses into her world and those who populate it. It gives the audience the opportunity to be just as surprised as Dennis by the life Marcie leads that is not tied directly to Dennis or even eventually Roman. This attention to detail struck me as I would expect for this character to feel very serving to our main character; in this film, she is very important for both characters, and while used as a catalyst in propelling the film forward, it feels like the correct choice, and not forced.

“Twinless” garnered a lot of attention following its premiere at Sundance. Rightfully so. It is grounded in the humanity and existential desire for community and connection, whether that be due to the death of a loved one or something even more innate. While O’Brien gives a charming and thoughtful performance, Sweeney truly steals the show with his thorny performance. In front of and behind the camera, Sweeney’s voice and vision is singular and efficacious.

Grade: A
Pair This Film With: “Kajillionaire” (2020) dir. Miranda July; “The Pretty One” (2013) dir. Jenée LeMarque

Review: “It’s Never Over, Jeff Buckley”

By Morgan Roberts

Director: Amy Berg
Runtime: 106 minutes
Year: 2025

The conversation around Jeff Buckley has largely been shrouded by the events of his passing. His death, for many years, was incorrectly attributed to drugs and/or alcohol. Throughout his life, the albatross of being Tim Buckley’s son weighed him down a bit, particularly for comparisons to a man Jeff never really knew before Tim’s untimely death. But the truth and Jeff’s life lies somewhere in between these tragedies. His music, his artistry, his voice have long been muddled, and now, through interviews, archival footage, and his music, his story is brought to light in new ways in Amy Berg’s documentary film, “It’s Never Over, Jeff Buckley.”

Through interviews with his family and friends, archival footage, and his music, Berg delves into Buckley’s life. The son of teen parents, Buckley was raised primarily by his mother, Mary Guibert. In her interviews, Mary highlights Jeff’s early years, his musical interests. The film also delicately handles Jeff and Tim’s relationship. Noting Tim’s absence for much of Jeff’s life and their single meeting before Tim died of a drug overdose. His father’s death, along with his shadow hung over Jeff throughout much of his life. Hearing his mother and others talk about that displays that his father’s abandonment and unexpected passing had a larger impact on Jeff than maybe Jeff was able to fully discuss or comprehend. And even though the film touches on it, it does not dwell in a way that I think, in lesser hands, one would expect. It is not the only event (or ripple effects) which shaped Jeff’s life, and Berg ensures it is not the only aspect we explore as we aim to understand Jeff.

Jeff Buckley and Mary Guibert in IT’S NEVER OVER, JEFF BUCKLEY, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.

Berg paints a portrait of the art that influenced Jeff. Led Zeppelin, Nina Simone, Judy Garland, and Nusrat Fateh Ali Khan were huge influences on Jeff’s music. Berg gives a sense of that art and pairs it with the melodies, lyrics, and vocalizations Jeff explored in his music. Music documentaries can be exceedingly difficult with just the investment in the music alone. In addition to Jeff’s music, the film is filled with Zeppelin, Simone, and others to give audiences a tapestry of sound. They become puzzle pieces that begin to fit together as you hear how “The Man Who Got Away” influenced Jeff’s work. Moreover, for a musician who started by doing covers - and one of his most noted songs, “Hallelujah,” is a Leonard Cohen cover - you also get glimpses of how Jeff made covers uniquely his. He is not the only artist to make a name for themselves with a cover - or some artists really only do covers. What makes it compelling is how an artist can take a song and make it their own. We get snippets from footage from shows or his cover of “Hallelujah,” and his unique artistry, his vocalizations shine through.

His music plays a huge role in this documentary, weaving togethers the stories others share with the reflections of his own experiences of those reality in his songs. It is breathtaking to hear from Rebecca Moore, her relationship with Jeff, and the music that came from the end of their romance. Listening to Mary talk about her son, and hearing how that came to life in his work. Joan Wasser, his partner at the time of his death, discussing their relationship, and witnessing Jeff’s understanding of love. It is the most moving element of the film, and it brings him to life in a way. It finds new shades and meanings and little revelations which make the songs we’ve heard for three decades feel new.

Jeff Buckley in IT’S NEVER OVER, JEFF BUCKLEY, a Magnolia Pictures release. Photo credit: Merri Cyr. Photo courtesy of Magnolia Pictures.

Berg also does not shy away from the difficulties Jeff faced with the pressures of the music industry and the need to make a second record. Those pressures caused Jeff’s mental health to begin to waver, creating internal struggles that would manifest in agitation, rumination, and depressed mood. Considering Jeff’s untimely death has been attributed to the “rock start lifestyle,” it feels a bit risky to explore this part of Jeff’s story; but it would also be a disservice to his memory to omit it. Berg ensures that we hear from those who were around him during this period. Having a parent die young - Tim was only 28 years old when he died - did create a sense of dread in Jeff. You hear from others that he feared he would die young, just like his father. But, you also hear how he was navigating fame and industry pressures; how he was beginning to find peace and letting go of the elements he could not control. He wasn’t a perfect human, and his mental health certainly suffered with the need to make a second album, but he clearly was finding a way to move forward, feeling confident about the new music he was creating. When we do come to Jeff’s passing, the tragedy feels insurmountable all over again. 28 years later, it seems so unimaginable how much Jeff had to give and how short his time was on earth.

It is a fascinating and moving portrait of an artist and a human who used music to connect with others and themself. As younger generations discover Jeff Buckley’s music, “It’s Never Over, Jeff Buckley” is a documentary which pays tribute to the musician and the man who touched so many with his work. The film is deeply emotional and beautifully honors Jeff Buckley.

Pair This Film With: “Her Effortless Brilliance: A Celebration of Lynn Shelton Though Film and Music” (2020) dir. Megan Griffiths; “Miss Sharon Jones!” (2015) dir. Barbara Kopple; “Thank You and Good Night” (1991) dir. Jan Oxenberg
Grade: A

Review: “Don’t Let’s Go to the Dogs Tonight”

By Morgan Roberts

Director: Embeth Davidtz
Writer: Embeth Davidtz
Stars: Lexi Venter, Embeth Davidtz, Zikhona Bali, Fumani Shilubana, Rob Van Vuuren, Anina Reed
Runtime: 100 minutes
Year: 2025

How do we reckon with our past? Following fights for freedom from white colonization, oppression, and apartheid, nations in Africa began declaring independence. Many of the white inhabitants of these nations were forced to confront their own culpability in their abuses of the people of Africa. In Embeth Davidtz’s directorial debut, “Don’t Let’s Go to the Dogs Tonight,” the real life story of one family’s reckoning is told through the eyes of a young child.

The film is based off of the memoir of the same name by Alexandra Fuller. Admittedly, I have not read the book and thus, would be unable to fully compare this film to the source material. In this adaptation, Bobo (Lexi Venter) witnesses her family’s increased anxieties about their future as the people of Rhodesia (the nation we now call Zimbabwe) begin to decide their path forward following their long-fought struggle for independence. At 8 years old, Bobo is an inquisitive young person, peppering her family’s housekeeper (and servant), Sarah (Zikhona Bali) with questions. Sarah explains the customs and cultures prior to white colonization. During this fraught time, Bobo begins to wonder about her own place in the world and the choices being made around her.

Bobo (Lexi Venter) in “Don’t Let’s Go to the Dogs Tonight” | Sony Pictures Classics

Outside of Sarah, Bobo has largely dysfunctional adults to look up to. Her father, Tim (Rob Van Vuuren) is largely absent. And when he is present, he can be quite distant. Her mother, Nicola (Davidtz), is a racist alcoholic who feels entitled to the land stolen just a few generations before her. Nicola is cold, abrasive, and, at times, downright abusive. For those familiar with Davidtz in “Matilda,” it’s the polar opposite of Ms. Honey. Nicola has also experienced immense tragedy, losing several children. What the film does so well is contextualize these people, most notably Nicola, without condoning their actions or attitudes. It gives layers and nuance to exceedingly complicated people without excusing their behaviors.

With a tight runtime that doesn’t quite reach 100 minutes, there are some elements that feel a little underdeveloped, particularly when analyzing the history of the region. Much of the film comes from the perspective of an 8 year-old which means out understanding of events are explored at that level. Nevertheless, there are hints here and there which aim to paint a fuller picture, but don’t quite encapsulate that history. That said, if you are a researcher, the film does inspire a great Wikipedia deep dive into the history of the region.

Behind the camera, Davidtz has a clear and strong vision. It is evident that she understands Fuller’s story and aims to honor her truth, especially for who she was at that point in time. Davidtz is not shy in her depictions of racism, prejudice, and moments of pure evil, at the hands of the white adults we see in the film. It is largely critical of those who fought to continue to benefit from the disenfranchisement of others, on land stolen by their ancestors.

“Don’t Let’s Go to the Dogs Tonight” is a coming of age film during a tumultuous period of Southern African history. While the film has some underdeveloped ideas, as a filmmaker Davidtz clearly understood Fuller’s truth and the need to critique white colonialism from the not-so-long-ago past.

Grade: B
Pair This Film With: “Dahomey” (2024) dir. Mati Diop; “Mississippi Masala” (1991) dir. Mira Nair; “White Material” (2009) dir. Claire Denis

Tribeca Film Festival 2025 Review: “Maintenance Artist”

By Morgan Roberts

Director: Toby Perl Freilich
Runtime: 95 minutes
Year: 2025

How can trash be transformed into art? Mierle Laderman Ukeles has been one of New York City’s longest serving Artist in Residence. In 1977, she became the Artist in Residence at the New York City Department of Sanitation, and in the process began to reframe what sanitation, essential work, and community truly mean. In Toby Perl Freilich’s documentary, “Maintenance Artist,” Ukeles’ decades-spanning career as an artist was in full focus. Prior to her work with the sanitation department, Ukeles was making feminist art, highlighting the service and labor of women, thus creating a larger art form of “maintenance” art.

Her work with the NYC Department of Sanitation began at a critical time. The department had their budget slashed, staffing cut, morale amongst sanitation workers was decimated while the public lost trust in the department. Ukeles took this opportunity to begin to humanize the workers from the sanitation department, and understand how their labor impacts society.

Ukeles’ work has always focused on labor, particularly the underpaid and/or underappreciated. Essential work such as parenting, sanitation, restoration, preservation, that largely goes unnoticed when it’s operational but becomes an area of contention when it isn’t. It is a fascinating perspective to take. And it is also pertinent. Especially as work that is needed for our society to operate, work that is largely ignored or undervalued by people as a whole.

Still from “Maintenance Artist” | Tribeca Film Festival

All art is political, and there is nothing more political than interrogating the work we belittle while relying so heavily on the labor of others. As the film unfolds, we witness the lengths Ukeles took to really dig into what sanitation workers’ realities were like. Her approach is deeply human and deeply invested in their experience. Her art then transforms into a manner which bears witness to these realities far from the gaze of society. The film progresses in the same fashion - exploring Ukeles, her art, and her passion through interviews and through bearing witness to her art itself.

Freilich understands the totality of Ukeles, exploring the many facets and identities which weave together the tapestry of her humanness. It is through those identities we come to know Ukeles’ passion. Her art stems from her own experience as a mother, as a caregiver, as a misunderstood art student. As a feminist, a Jewish woman, as an artist, the way she moves through the world has informed the truths she has connected with, and in turn, the stories she wishes to tell. As we watch her meet with largely men who work in sanitation, her openness allows these tough exteriors to fade. Men begin to talk about their frustrations, their fears, their struggles. We learn many veterans began working for the city due to the yearning for the stability. Particularly for the Vietnam veterans of the group, once left behind by the U.S. government, they once again feel abandoned by New York City. Her art may not always be the tactile pieces such as the photographs and videos, but the magic that comes with being seen and heard.

“Maintenance Artist” is a stunning portrait of one woman who gave voice to thousands of underseen, undervalued, and underappreciated essential workers. Through her desire to highlight the most crucial work throughout society, Ukeles has managed to piece by piece transform how others view maintenance. Freilich’s keen eye and dedication to Ukeles’ work and vision ensures this documentary film feels insightful, inspiring, and powerful.

Grade: A
Pair This Film With: “All the Beauty and the Bloodshed” (2022) dir. Laura Poitras; “Maudie” (2016) dir. Aisling Walsh; “Showing Up” (2023) dir. Kelly Reichardt

Tribeca Film Festival 2025 Review: “Birthright”

By Morgan Roberts

Director: Zoe Pepper
Writer: Zoe Pepper
Stars: Travis Jeffery, Maria Angelico, Linda Cropper, Michael Hurst
Runtime: 90 minutes
Year: 2025

Zoe Pepper’s “Birthright” is a dark comedy that tackles every millennial’s worst fear: having to move back in with your parents. Expectant parents Cory (Travis Jeffery) and Jasmine (Maria Angelico) are down on their luck. Losing their housing in an already strained housing market, they turn to Cory’s parents, Lyn (Linda Cropper) and Richard (Michael Hurst). But Cory’s wealthy Boomer parents aren’t particularly thrilled to have their grown son and daughter-in-law move into their home unexpectedly. Soon, the cohabitating couples find themselves at odds, with tensions quickly rising.

Jasmine (Marie Angelico), Cory (Travis Jeffery), Lyn (Linda Cropper) and Richard (Michael Hurst) in “Birthright” | Tribeca Film Festival

Currently, given the stark financial differences between generations, this scenario is realistically nightmarish. The idea of having to go back to the affluent life you were raised in with nothing to show. And as millennials begin to enter their 40s, that widening gap is only more striking. Just two to three generations ago, someone in their 40s had moved into a more permanent home, had several children, job stability. Cory, like many in his generation has not been afforded the same luck. Despite having wealthy parents, he does not have work, he is just now starting his family, and it comes at the worst time when he and his wife had just been evicted from their home. It is a horror that is a reality for many.

Nevertheless, the film is rather unrelenting, showing the divide between the young couple and Cory’s parents. From the get-go, we are introduced to Richard and Lyn as controlling, conceited, snobbish, and inflexible. Right out of the gate, the actions of Lyn and Richard feel more appropriate for a final act of a film, and not the start of understanding interpersonal dynamics. This choice makes it quite difficult for the film to sustain that level of discomfort. By the last act, the antics have been so exaggerated and grating, that the end of the film could not come fast enough.

“Birthright,” while grounded in a really interesting and timely premise, the overall film feels a bit too much. The stakes are seen as high for so long that by the end, it is hard to care how any of these characters will come out of this. With everything heightened for so long with no real change, it makes it difficult to remain invested in the same cycle this family has found themselves in.

Grade: C
Pair This Film With: “Fish Tank” (2009) dir. Andrea Arnold; “Hatching” (2022) dir. Hanna Bergholm; “Run Rabbit Run” (2023) dir. Daina Reid

Tribeca Film Festival 2025 Review: “Tow”

By Morgan Roberts

Director: Stephanie Laing
Writers: Jonathan Keasey, Annie Weisman, and Brent Boivin
Stars: Rose Byrne, Octavia Spencer, Dominic Sessa, Ariana DeBose, Demi Lovato, Simon Rex, Elsie Fisher, Bree Elrod, Corbin Bernsen
Runtime: 105 minutes
Year: 2025

Amanda Ogle (Rose Byrne) is down on her luck. In desperate need for some form of employment, Amanda goes from interview to interview in her car, which also happens to be where she currently resides. Her job search is upturned when her car is stolen. Soon recovered, the car was brought to a tow lot. But in order to get her car back, she must pay a fee. That is money she does not have. Stephanie Laing’s “Tow” is based off an inspiring (and downright infuriating) true story of one woman’s tenacity and gumption to fight a corporation exploiting poverty.

Amanda (Rose Byrne) in “Tow” | Tribeca Film Festival

The film opens up with the following statistic: The number of people who live in their cars is between 1 and 3 million people. Amanda was not simply residing in her vehicle for the flexible lifestyle, but out of necessity. After struggles with alcohol usage, Amanda was forced to move into her 1991 Toyota Camry. Her car was her home. According to the National Alliance to End Homelessness, over 650,000 people were unhoused on a given night in January 2024. So when she is slapped with a several hundred dollar fee for a car that was stolen, she attempts to use every means possible to get her car back, leading her to eventually recruit the help of pro bono lawyer Kevin (Dominic Sessa) as they square off against a bullying corporate lawyer.

“Tow” does something quite special. It aims to humanize those experiencing homelessness. While not all shelters are built the same, we witness Amanda’s recollections and encounters with other residents and shelter director, Barb (Octavia Spencer). With our current political and societal climate, as well as the growing misconceptions and fear-mongering surrounding homelessness, it is refreshing to watch a film squarely in Amanda’s corner. Amanda is largely self-reliant, resilient, and resourceful. But even she is no match against a system designed for her to fail. The realty that countless unhoused folks are in similar situations. Fines, adding up, unable to pay, but seeking employment. Unable to find employment due to unstable housing and lack of transportation. Rinse and repeat.

“Tow” is a film with a lot of heart, centered on restorative justice, individual perseverance, and the power of community. Byrne gives a grounded and incredibly empathetic performance as Amanda as she fight back against a system which exploits poverty and further disenfranchises vulnerable members of our society.

Grade: B-
Pair This Film With: “Nomadland” (2020) dir. Chloe Zhao; “North Country” (2005) dir. Niki Caro; “Wendy and Lucy” (2008) dir. Kelly Reichardt

Tribeca Film Festival 2025 Review: “A Tree Fell in the Woods”

By Morgan Roberts

Director: Nora Kirkpatrick
Writer: Nora Kirkpatrick
Stars: Alexandra Daddario, Daveed Diggs, Josh Gad, Ashley Park, Kevin Pollack
Runtime: 96 minutes
Year: 2025

In Nora Kirkpatrick’s “A Tree Fell in the Woods,” two couples begin to confront their relationships in a secluded house during a New Year’s Eve snow storm. Mitch (Josh Gad) and Melanie (Ashley Park) meet their friends Debs (Alexandra Daddario) and Josh (Daveed Diggs) at a rental to pass the time between Christmas and New Year’s. Debs and Mitch go way back, knowing one another since childhood. One day, after the two are nearly killed by a tree falling in the woods, they return to find more than they had bargained for with their spouses.

From L to R: Josh (Daveed Diggs), Debs (Alexandra Daddario), Mitch (Josh Gad), and Melanie (Ashley Park) in “A Tree Fell in the Woods” | Tribeca Film Festival

The film plays out, at times, as a Comedy of Errors, with everyone harboring some secret that is closely revealed through the course of the film. It is claustrophobic, particularly as the setting begin to shrink during a snowstorm. “A Tree Fell in the Woods” then becomes a pressure cooker as they four people navigate their frustrations, their personal failings, and their desires under one roof. A benefit to the film is the cast, with some of them having particularly strong chemistry - Daddario and Diggs are incredibly believable in their roles. Having a history with comedy, Gad and especially Park know how to play to the mezzanine with the latter adding impeccable nuance and layers to her performance. It is a delicate dance between anger, resolute, and hope these actors have the play into, with some solid performances to show for it.

Unfortunately, some of the twists and turns do not the film’s bare foundation. The plot begins to wear thin and it becomes hard to retain traction for a good portion of the second act. By the third act, the film certainly rebounds, but has problems reaching the heights it was intending to explore. The film may have benefited from additional conflict or utilizing some devices from the third act sooner, and then building off of those.

Editor Henry Haynes swoops in as MVP with some moments in the third act truly standing out - in particular, a dance montage that was surprisingly and genuinely fun to witness. While “A Tree Fell in the Woods” is a bit of a rocky ride, there are certainly some amusing and touching moments found in this film.

Grade: C
Pair This Film With: “Friends with Money” (2006) dir. Nicole Holofcener; “I’ll Take You There” (1999) dir. Adrienne Shelly; “The Intervention” (2016) dir. Clea DuVall

Tribeca Film Festival 2025 Review: “Oh, Hi!”

By Morgan Roberts

Director: Sophie Brooks
Writer: Sophie Brooks
Stars: Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds, Polly Draper, David Cross
Runtime: 94 minutes
Year: 2025

Iris (Molly Gordon) and Isaac (Logan Lerman) go on their first trip as a couple. In idyllic Upstate New York, the pair enjoy the scenery, the solitude, and time together. That is, until the definition of their relationship becomes the topic of discussion. Soon learning the two are on completely different wavelengths, Iris goes to great lengths to show Isaac what defining their relationship could mean for him. As her tactics begin to get out of hand, she calls Max (Geraldine Viswanathan) and Kenny (John Reynolds) for some assistance. “Oh, Hi!” from writer/director Sophie Brooks is an audacious, cerebral, and deeply empathic rom dramedy that tackles the current state of dating.

“Oh, Hi!” explores what happens when two individuals are confronted with their disparate viewpoints. What lengths would one go to in order to maintain their current relationship? And what does it say about the state of interpersonal relationships that the ante feels so high?  Nevertheless, “Oh, Hi!” manages to walk a fine line between humor, horror, surrealism, and It is really tricky to balance the film’s wit and charm with the twists and turns that it takes. But those shifts are executed seemingly effortless fashion.

Gordon and Lerman are tasked with having to make both these characters seem deeply in love - or lust? - as well as land the catalyst shift. And it is truly easy to believe both, especially as the film progresses. If Lerman played Isaac as a stereotypical ass, oozing with arrogance, hubris, and knowing he absolutely owns a “Saturdays Are For The Boys” flag, it would be difficult to buy into the spiral we witness Iris descend through. Likewise, if Gordon has chosen to go to “Fatal Attraction” on steroid levels of unhinged, it might be hard to sympathize with her. Both actors walk a fine line, and do so brilliantly to ensure the humanness, no matter how off the walls the circumstances become, shines through.

Isaac (Logan Lerman) and Iris (Molly Gordon) in “Oh, Hi!” | Sony Pictures Classics | Tribeca Film Festival

Male characters in films directed by women are always quite interesting to me; there is a grace that many male filmmakers do not give to themselves. Lerman took those facets of Isaac, sometimes contradictory elements to his character, and ran with them. He could be utterly charming one moment and patronizing the next. Lerman ensures the messy culminations of characteristics undermines one another. There is a reflective quality to his performance that is truly striking.

Meanwhile, Gordon has to allow Iris’ murky messiness to be big and bold - which is always entertaining and exciting to see women on film be brash and plucky. I think in lesser hands, both on the page and in the performance, Iris could have been reduced to a caricature of unwell, unhinged, “crazy women,” I know I saw regurgitated in media throughout much of my own youth. And while the film certainly plays with how diminutive that can be, they never allow Iris to embody it. The same way Isaac is allowed to be layered and nuanced, so does Iris. But Gordon gets to add those in really subtle ways. Iris is a character who wears her heart on her sleeve, and her vulnerabilities are really cared for in Gordon’s performance.

With a film as bold as “Oh, Hi!” the stakes have to rise, and cleverly the film uses the full introduction of Max and Kenny to add further dynamics to the situation. Max and Kenny as a couple give an interesting comparison point for Iris and Isaac, especially with the latter pair being at odds. Max and Kenny are very supportive of one another, there is a very clear mutual respect, and as they come to support Iris, they work really well together to problem solve. Moreover, having Max come into story adds to Iris’ journey. Seeing Iris in an unhealthy dynamic with Isaac then contrasting it with her healthy friendship with Max gives depths to Iris interpersonal relationships we wouldn’t have been able to see otherwise. Max is a pragmatic ride-or-die, never condoning Iris’ lengths, but never dismissing the feelings and vulnerabilities that led her to those moments. She shows up in tangible ways - some bordering on more drastic than others - giving both practical solutions and emotional support. “Oh, Hi!” reteams Gordon and Viswanathan after first appearing in the 2020 film, “The Broken Hearts Gallery.” Their friendship in the film adds levity and solidarity in truly impactful ways.

The film is a refreshingly rich text, one with layers that come forth in exciting ways upon each rewatch. Subsequent rewatches give the audience to the space to dig deep into the facets you originally absorbed subconsciously. Much of that is due to Brooks’ script which feels razor sharp from frame one. Then, as director, she has a keen eye on when to utilize the visual medium of filmmaking to play around with the tone. “Oh, Hi!” is an original and deeply human exploration of how we navigate our relationships. With captivating performances, a razor sharp script, and subversive contextualizations, “Oh, Hi!”is an audaciously fun roller coaster of a film.

Grade: A
Pair This Film With: “Band Aid” (2017) dir. Zoe Lister-Jones; “The Heartbreak Kid” (1972) dir. Elaine May; “Ruby Sparks” (2012) dirs. Valerie Faris and Jonathan Dayton

Tribeca Film Festival 2025 Review: “On a String”

By Morgan Roberts

Director: Isabel Hagen
Writer: Isabel Hagen
Stars: Isabel Hagen, Dylan Baker, Ling Ling Huang, Karen Blood, Frederick Weller, Jamie Lee, John Kroner
Runtime: 78 minutes
Year: 2025

In her directorial debut, “On a String” Isabel Hagen explores the life of one musician as she tries to reignite her passion. Violist Isabel (Hagen) is at a crossroads in her life. Still living with her parents (Dylan Baker and Karen Blood) in their New York apartment. A Juilliard graduate, she spends much of her time playing gigs - weddings, funerals, dinner dates, galas, you name it - as part of a quartet with her friend Christine (Ling Ling Huang). Even though she is playing regularly, there is still something missing. Her life gets more complicated after meeting Carl, a man who she originally thinks is attracted to her but soon learns he’s interested in hiring her to tutor his daughter. As her lessons continue, Isabel and Carl’s professional relationship gets complicated.

Isabel (Isabel Hagen) in “On a String” | Tribeca Film Festival

The lives of professional musicians, especially in a city like New York, is a very particular journey. Some elements are relatable such as the continued uphill battle of existing as a millennial in a capitalist society or the power dynamics at play amongst men and women (in a more binary lens of gender). But there remain eccentricities only a working musician knows. The mental strain, the physical strain, the inconsistent work, and the clawing to keep any forward momentum. The film certainly highlights the array of work professional musicians can do; from film scores, paid events, teaching, professional musicians have a number of opportunities but when the next job is never guaranteed, it can create a debilitating grind.

“On a String” has a lot of charm, but outside of our central character, there are a plethora of thinly written characters. It does not always feel like a well-worn world we’re inhabiting with her. Isabel is a compelling character as she maintains her work while a New York Philharmonic audition looms over her. However, the film feels very isolating - maybe that was the intention. But given how many people populate her world, and knowing how creative spaces attract all kinds, it would’ve felt more fleshed out if our supporting characters were given a little more substance.

“On a String” certainly feels fresh and original with Hagen’s voice clearly shaping the film from only a perspective a professional musician can. Given its tight timeframe, the film sacrifices some opportunities to build some interesting layers through delving a touch deeper into the supporting characters. Nevertheless, its reminiscent feel and charm allow for the film to stand out.

Grade: C+
Pair This Film With: “As of Yet” (2021) dirs. Chanel James and Taylor Garron; “Goodbye, Petrushka” (2022) dir. Nicola Rose; “Guinevere” (1999) dir. Audrey Wells

Tribeca Film Festival 2025 Review: “Natchez”

By Morgan Roberts

Director: Suzannah Herbert
Runtime: 86 minutes
Year: 2025

“Behind the big house is the rest of the story.”

Natchez, Mississppi is a small Southern town rich with history. Its garden clubs have turned Natchez into a pilgrimage site tourists particularly interested in the American Antebellum era can visit. Homes dressed up like the first half of “Gone with the Wind,” homeowners in period-appropriate costumes, which until very recently included Confederate regalia. Despite the pomp and circumstance, the layered history of the region is in full view in Suzannah Herbert’s “Natchez,” as residents and tourists must choose to reckon with the painful past of this Mississippi town.

The documentary film begins dream-like, a “Stepford Wives” air wafts through these opening sequences. Yet, just as quickly as we are introduced to the idealized version of Natchez, the picture-perfect begins to crack, revealing its imperfect and harmful history. After we are introduced to the garden clubs and their rose-colored view of the Antebellum past, we begin to interrogate the accuracy and depth of that view with Rev. Tracy Collins is a local reverend and when he is not in the pulpit, he is giving tours to those visiting Natchez, providing them with the history of enslavement, Reconstruction, and white supremest systems of oppression which are still in place today. It is far from the glamour and grandeur of the big, beautiful homes, many of which house altered recollections of the histories they hold. For example, enslaved people are usually called “servants” by tour guides and home owners; the treatment of enslaved people are often equated to a great employer, with, hopefully, audiences knowing too well the inaccuracies in that.

If audience members are unsure of these inaccuracies, the film does a brilliant job of pairing those falsehoods with factual examinations of the history of Natchez. Whether it is Rev on his tour, garden club member Deborah Cosby sharing her home during the pilgrimages, the historical preservations championed by Ser Boxley, and the conservation and tours from park rangers Kathleen Bond and Barney Schoby, the film creates a tapestry of the truly complex history of Natchez. “Natchez” is able to expertly use some traditional documentary filmmaking techniques build out how the history of this town has been utilized as a means to cater to white discomfort. There are subtle confrontations throughout the film as many white residents attempt to perform impressive mental gymnastics to satisfy their need to play dress up in the Antebellum period without being associated with the harmful and many times evil history of that era.

Tracy McCartney in a still from “Natchez” | Tribeca Film Festival

One resident, Tracy McCartney, begins to confront her own understandings of this time period. When we meet Tracy, she is getting dolled up, wearing a hooped skirt dress, almost cosplaying Scarlett O’Hara, as she works at one of the Antebellum homes. We see how important her sense of belonging is; how this identity has given her meaning and community. And yet, she is willing to learn more about Natchez from outside of her original worldview and her openness to that journey is a stark contrast to others. Whether it is people at a party cherry-picking what to be concerned about or white tour guides at homes with their cognitive dissonance full on display. One guide in particular, David Garner, is the portrait of the most glaring inconsistencies. Garner, an openly gay man, holds incredibly racist views which he feels emboldened to share. Garner is a perfect example of how some in other marginalized groups will still align themselves to their whiteness to the detriment of others, including peers in their own community.

“Natchez” is a powerful film which investigates how one Southern town reconciles its painful history, whether some community members want to or not. Herbert sheds light on those in that region who fight for the realities of the Antebellum period are not forgotten, and how conservation and preservation truly confront our past. The film empowers its audience to explore how restorative justice can be a tool for confronting our history, healing what we can together, honoring the scars that are there, and learning how we can collectively move forward in these tumultuous times

Grade: A+
Pair This Film With: “Dahomey” (2024) dir. Mati Diop; “Harlan County U.S.A.” (1976) dir. Barbara Kopple; “The Order of the Myths” (2008) dir. Margaret Brown

Tribeca Film Festival 2025 Review: “Honeyjoon”

By Morgan Roberts

Director: Lilian T. Mehrel
Writer: Lilian T. Mehrel
Stars: Ayden Mayeri, Amira Casar, José Condessa
Runtime: 80 minutes
Year: 2025

In “Honeyjoon,” June (Ayden Mayeri), an American, and her Persian-Kurdish mother, Lela (Amira Casar) vacation in the beautiful Azores islands. However, this is more than a mother-daughter trip. Their visit to the Azores islands coincides with the one year anniversary of the death of June’s father. Surrounded by honeymooners at their resort, the pair confront their grief and their desires in life in different ways. In her feature directorial debut, Lilian T. Mehrel explores how grief can take shape in diverging ways and how it can reshape a mother-daughter relationship.

The film presents June and Lela at odds, not in blatant conflict but in only the subtle, nuanced ways mothers and daughters can be. Lela harbors some slight disapproval with her daughter in how she dresses and presents herself to the world. Yet, deeply cares, worrying about her daughter in not always the most helpful of ways. Meanwhile, June is constantly in fear her mother will say something which embarrasses her, especially in front of their attractive tour guide João (José Condessa). June reads her mother’s concerns largely as critiques, frustrating her. Mehrel cleverly embeds the dynamics between these women in her script, exploring the layers of their relationship through this tug of war as June aims to recapture her joy and Lela desperately wants to interrogate how this profound loss has changed them.

Left to right: Ayden Mayeri as June, Amira Casar as Lela | Photo Credit: Inés Gowland

“Honeyjoon” is anchored by two powerful performances. Mayeri, known for supporting roles in films such as “Spin Me Round” or series like “I Love That For You,” shines in the central role. She gives June nuance and layers which allow for all of the messy, vulnerable parts of her grief to come through in a beautiful way. June’s thirst for joie de vivre is made all that more believable by Mayeri’s honest and sensitive performance. Casar, likewise, gives an emotionally charged and deeply moving performance. A veteran of both American and European cinema, Casar feels so effortless as Lela, exuding her grief through her care and concern for her daughter. Casar and Mayeri are a natural fit as mother and daughter, perfectly balancing their characters’ different but parallel journeys.

Mehrel’s voice shines through as this journey unfolds, finding ways to dig deeper into June and Lela’s grief, while also allowing them moments of joy. Mehrel is able to allow Lela and June private moments from themselves, which then add shades and hues to their relationship throughout the film.

The cinematography by Inés Gowland beautifully gives the film an etherial feel. The imagery allows melancholy and magic, heartbreak and happiness, joy and sadness exist in this practically heaven on earth location. Beauty and grief are allowed to exist simultaneously, and how these characters are captured in this settling only accentuates those muddled mix of emotions.

“Honeyjoon” is a stunning depiction of grief, and the reflections found in the mother-daughter relationship. Casar and Mayeri both give such moving and vulnerable performances, it is easy to join them on their journey. Mehrel clearly gives her all in her first feature, laying bare the human experience.

Grade: A
Pair This Film With: “Lady Bird” (2017) dir. Greta Gerwig; “The Meddler” (2015) dir. Lorene Scafaria; “The Persian Version” (2023) dir. Maryam Keshavarz

For more about “Honeyjoon,” you can visit the film’s Tribeca Film Festival page here.

Tribeca Film Festival 2025 Review: “Bird in Hand”

By Morgan Roberts

Director: Melody C. Roscher
Writer: Melody C. Roscher
Stars: Alisha Wainwright, Christine Lahti, James Le Gros, Annabelle Dexter-Jones, Jeffrey Nordling, K. Todd Freeman
Runtime: 87 minutes
Year: 2025

In Melody C. Roscher’s feature directorial debut, “Bird in Hand,” identity, the thorny mother-daughter relationship, and internal reconciliation are explored. Bird (Alisha Wainwright) is at a crossroads. Her partner has just proposed, and in the wake of this life altering moment, she runs to her mother’s, Carlotta’s (Christine Lahti) home. As she begins to look toward her future, Bird must begin to reckon with her past and her history. Through her own confusion and search for self, Bird meets and befriends Dennis (James Le Gros), her mother’s neighbor who is currently renovating - and PR-spinning the history of - a former plantation. As Bird maneuvers through these important relationships, she begins to learn more about herself, confronting her maybe less-than-flattering characteristics and finding ways to give herself grace.

“Bird in Hand” is able to capture the universal flailing many young women encounter at a monumental life precipice while feeling incredibly personal. Bird’s resilience in the face of adversity, especially when self-made, gives layers to her complexity as a character. Wainwright shines, never shying away from Bird’s messiness and imperfections. It makes her performance truly compelling to watch. Wainwright has to balance and navigate Bird’s yearning for sense-of-self with her unflattering coping mechanisms, coping mechanisms which may have previously aided her but currently no longer serve her.

Wainwright has the challenging task of allowing audiences to see Bird’s heart, her insecurities behind her prickly exterior. It is a more interior performance, but Wainwright clearly knows when to let that cracks appear to allow those vulnerabilities, Bird’s nuances and layers, to really come through. Moreover, it is captivating to watch Wainwright and Lahti build a thorny, yet compassionate mother-daughter relationship. The mother-daughter relationship is such a vital and particular interpersonal relationship, these actors give different hues and layers to it. Bird clearly seeks approval from her mother, and Carlotta struggle to balance empathy and tough-love. These two women evidently have a deep bond, however, there are moments they struggle to connect. Is it out of fear of rejection? Fear of disappointment? Fear of not doing the right thing? A murky, muddled combination of that and more? Wainwright and Lahti draw you in to search for the unspoken amongst these two in a really compelling way.

Elevating these performances is the writing and direction from Roscher. In lesser hands, the exploration of these layers would unravel. But not here. Roscher instead allows the film to breath, take shape in surprising ways, while always returning to Bird and her truth. The film feels grounded, real, and personal, which I truly find incredibly compelling in cinema. When a filmmaker’s voice is so central to the story coming to life, I find myself far more invested than when a filmmaker feels so far removed from their characters and what unfolds. Roscher manages to find subtleties in her actors' performances that shed light later on in the film. These characters come to life in such a natural, organic way. You can reflect on people you know or encounter who have similar traits or share some part of their journey with Bird, especially when sense of self, belonging, and longing are so woven into the fabric of the film.

“Bird in Hand” is a reflection of one woman confronting the precipice of change. While feeling deeply personal, the film manages to expand the universalities at this particular stage of life, in contention with where someone finds themselves and where they want to be. Roscher’s vision is quite clear, and her confidence in her feature directorial debut makes the future of her career feel quite exciting.

Grade: A-
Pair This Film With: “The Diary of a Teenage Girl” (2015) dir. Marielle Heller; “Miss Juneteenth” (2020) dir. Channing Godfrey Peoples; “Petite Maman” (2021) dir. Céline Sciamma

For more on “Bird in Hand,” you can visit the film’s Tribeca Film Festival page here.

Tribeca Film Festival 2025 Review: “An Eye for an Eye”

By Morgan Roberts

Directors: Tanaz Eshaghian and Farzad Jafari
Runtime: 84 minutes
Year: 2025

In Tanaz Eshaghian and Farzad Jafari’s documentary film, “An Eye for an Eye,” Tahereh, an Irani woman who was convicted of murdering her husband, but negotiate with her in-laws who, under Sharia Law, have the legal right to either execute her or forgive her. But forgiveness comes at a high cost. After serving 14 years for the murder of her husband, Tahereh is conditionally released. Moving in with her son and daughter, she attempts to re-enter society. However, she does not get too comfortable.

In Iran, her in-laws, specifically her brother-in-law, gets to decide if he will have her executed or choose to forgive her, conditional if she can meet his financial demands, something that is called blood money. Her family seeks help from agencies who oppose execution and assist with fundraising money. Nevertheless, Tahereh’s case is complicated. Despite reportedly enduring years of abuse, Tahereh is not seen as a victim. Domestic abuse is rarely, if ever, documented properly or believed. And some actions she took before the killing makes her even less sympathetic to the ultra-religious judicial system and society at large.

“An Eye for an Eye” is a truly harrowing watch as you witness family members, anti-execution activists, and Tahereh herself try to negotiate for her life. The film tackles a number of moral quandaries, such as the death penalty, religious zealotry, and justice. There has always been a heightened awareness of Sharia Law, especially for Americans propagandized to fear Muslim communities and countries. There is truth to those fears, but where that occurs, how it is imbedded into a judiciary system is far outside of Western audiences’ viewpoint. “An Eye for an Eye” takes an honest look at those realities and what they truly mean for women like Tahereh and her family.

Still courtesy of Unchained Productions.

What is additionally striking about the film is not just Tahereh’s fight, but that of her son, Mohsen. Her son, who was only six years old when his father was killed, becomes more of an advocate for Tahereh than she is for herself. He is the one who seeks guidance and support. He is the one who, after a blood money price has been named, does everything in his power to raise the funds. When films explore the blight of women, so often, they are relegated only to the person or to the community of women around her. “An Eye for an Eye” takes a larger look at how this law and system impacts families. It adds layers to this already fraught situation in surprising ways.

The film does have some conventional elements to it, balancing footage with talking heads from the subjects. Moreover, there are some moments the film takes a more true crime approach, particularly when talking about the murder itself. Those shifts can take some getting used to, but become more natural as the film progresses.

“An Eye for an Eye” is a haunting examination of Iran’s approach to Sharia Law and how scripture can be twisted in ways which can further victimize survivors of domestic violence. It takes a critical look at Iran and its relationship with oppression. As anti-execution activist Ms. Jabarazdegan states in the film, “Whatever we do in Iran, it seems there is a price to pay.” And that could be the ultimate price to pay.

Grade: B+
Pair This Film With: “The Perfect Victim” (2012) dir. Elizabeth Rohrbaugh; “Persepolis” (2007) dirs. Vincent Paronnaud, Marjane Satrapi; “Widow Champion” (2025) dir. Zippy Kimundu

For more on “An Eye for an Eye,” visit the film’s page for the Tribeca Film Festival here.

Tribeca Film Festival 2025 Review: “Widow Champion”

By Morgan Roberts

Director: Zippy Kimundu
Runtime: 95 minutes
Year: 2025

Imagine you are recently widowed. Your in-laws (father-in-law, brother-in-law, nephews) now own the land you live on. And in a moments notice, they take it all away. This is the reality for countless women in Kenya, and explored in Zippy Kimundu’s latest documentary, “Widow Champion.”

The film follows Rodah, a widow who lost her home, after her in-laws demolished her house while she was at church. What followed was seven years of homelessness with her three children as she fought to reclaim her home. Through countless hours of mediation with the elders of her community, she was able to return to the land where she and her husband lived. After her own personal experience, Rodah began volunteering as a Widow Champion, a small group of women tirelessly working with widows and their families in hopes of reconciliation and restorative justice to bring peace and security to the women facing their next of kin stripping away their homes, uprooting their lives. The law of ‘widow inheritance’ was originally designed for widows to receive support from their extended family; in practice, it became a land grab, boiling down to systemic oppression based on gender.

Much of the film joins Rodah as she works with two widow: Mary and Theresa. Both women are at odds with their brothers-in-law, men who are threatening to kick the women out of their homes. Theresa and her brother-in-law have a particularly contentious relationship, with law enforcement occasionally being called. Meanwhile, Mary’s brother-in-law wants her to leave as he blame her for her husband’s death as her husband was HIV-positive. Kimundu and her editors were able to strike an important balance in the mediations and conversations had with and behalf of Mary and Theresa. Mediations usually take hours, can be several meetings before a resolution is found. Kimundu was able to dig deep on the sources of conflict, to shed light on this process that is so meaningful to Rodah. This is clearly a process Rodah deeply believes in, and Kimundu is able to provide just enough of a glimpse to the process, that you can understand why Rodah champions this, even with its imperfections.

But the work to be had is not always linear nor seamless. It is a truly honest depiction of the events and struggle these women endure. Moreover, we witness the toll it takes on Rodah. It is evident that Theresa and Mary are not her only clients. And further complicating Rodah’s work is her own fight for the title to her home. It is a marvel how Kimundu and her post-production team were able to take six, seven years of events to layout the scope and insidiousness of this reality.

While it is heartbreaking to bear witness to these fights, the film manages to find joy. “Widow Champion” is able to paint a portrait of community, especially amongst women, in such an earnest and beautiful way. Their resilience also makes them joyful.  It is this focus on community that also makes the film so powerful. These realities are not just faced by women in Kenya, but other parts of Africa and the world. How we humanize this reality will also empower us to seek justice and reconciliation with all women encountering this type of oppression.

“Widow Champion” is a film which wears its heart on its sleeve. It is so deeply reflective of the systems of oppression Rodah and millions of women face, without devolving into complete despair. The humanity at the center of this film shines from its first frame, and never really fades, even in the most harrowing moments.

Grade: A
Pair This Film With: “An Eye for an Eye” (2025) dirs. Tanaz Eshaghian, Farzad Jafari;  “No Other Land” (2024) dirs. Rachel Szor, Hamdan Ballal, Yuval Abraham, Basel Adra; “Seeds” (2025) dir. Brittany Shyne

For more about “Widow Champion,” you can visit the film’s Tribeca Film Festival page here.

Review: “The Phoenician Scheme”

By Morgan Roberts

Director: Wes Anderson
Writer: Wes Anderson
Stars: Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis
Runtime: 102 minutes
Year: 2025

Filmmaker Wes Anderson returns to cinemas with his latest film, “The Phoenician Scheme” which follows businessman Zsa-Zsa Korda (Benicio del Toro) as he attempts to set into motion the greatest project of his life. Enlisting his only daughter and current nun-in-training, Lisel (Mia Threapleton), Korda weaves through the country in hopes of securing the financing for his latest endeavor. Things are made more complicated by constant assassination attempts made by an unknown enemy.

Anderson has long been known for his stylized filmmaking, with color palettes and camera movements largely associated with his work. “The Phoenician Scheme” similarly employs the same look, but feels hallow in comparison to some of his other works such as “Moonrise Kingdom” or “The Royal Tenanbaums.” Over the last decade, Anderson has become more of a cameo churning machine rather than a storyteller with rich, engaging characters. The past ten years, the characters in his films have begun to feel like caricatures of who once occupied a good Wes Anderson film.

It does not help that the film is littered with cameos. From Hope Davis to Riz Ahmed, Tom Hanks to Scarlett Johansson, there are a plethora of big names all portraying single note characters. “The Phoenician Scheme” suffers from this who’s who of appearances and leaves little substantive for his central characters. Korda is a businessman with a horde of children, equal to the amount of schemes he is working on. But there are no layers. Every moment feels one note and surface level, which makes it baffling anyone should care if this man succeeds or fails, lives or dies. We know very little about him nor is much revealed throughout the sluggish runtime of the film. If this is how Anderson anchors his main character, there is not much to go off of.

From L-R: Benicio del Toro as Zsa-Zsa Korda, Michael Cera as Bjorn, and Mia Threapleton as Lisel in “The Phoenician Scheme” | Focus Features

Likewise, his daughter Lisel is so devoid of personality or character traits, she feels useless a majority of the time. Even as she tries to determine who killed her mother and uncover her lineage, there is nothing to suggest this is a meaningful endeavor. It feels more like a time-filler than anything substantial. Even Bjorn (Michael Cera), a tutor Zsa-Zsa, wears thin after a number of misadventures. And this is no criticism of the film’s actors. They were all given thinly written characters. If there is no base for them, they are fighting an uphill battle to cobble some performance of substance.

Moreover, the revelations during the film feel endlessly predictable. And doing the predictable thing isn’t always wrong, but when it is served on the same plate as a decade’s worth of films, it is far from appetizing. Much of the plot feels regurgitated ideas from a viewpoint that does not feel invested in its own story. It is largely uninspired which is quite a disappointing place to be, after seeing the heights Anderson can soar to when humanity and the otherness of that humanity are the focus of his films.

While Anderson remains a technical marvel as a filmmaker, “The Phoenician Scheme” lacks any nuance or breadth. There are certainly moments where the prior brilliance of Anderson’s filmmaking and storytelling shines through, but it makes few appearances to garner similar praise to his previous works. At times, the film becomes mindless entertainment, but if you are looking for a film full of heart and whimsy, “The Phoenician Scheme” severely lacks it.

Grade: C-

Pair This Film With: “Ishtar” (1987) dir. Elaine May; “Kajilionaire” (2020) dir. Miranda July; “Seeking a Friend for the End of the World” (2012) dir. Lorene Scafaria

“The Phoenician Scheme” is currently in limited release and will be widely released 06 June 2025.

Review: The Assessment

By Morgan Roberts

Director: Fleur Fortuné
Writers: Mrs. & Mr. Thomas, John Donnelly
Stars: Alicia Vikander, Elizabeth Olsen, Himesh Patel, Minnie Driver, Indira Varma, Nicholas Pinnock, Charlotte Ritchie, and Leah Harvey
Runtime: 114 minutes
Year: 2025

In her feature film debut, “The Assessment,” filmmaker Fleur Fortuné explores parenthood, the climate crisis, and an overreaching government. Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) want to start a family, but in a dystopian future, where reproduction is monitored, requiring hopeful couples to be assessed, determining whether they can have a child. Assessments are shrouded in mystery, so when Virginia (Alicia Vikander) arrives, she turns the couple’s world upside down.

As of late, a pull towards dystopian cinema has been a draw to contemplate our current world. In the film, Fortuné roots much of the reality to present day circumstances. Climate change, food scarcity, toxicity have shaped the world, and in order for life to carry on, Aaryan and Mia live in a scientifically adapted and supported society, away from the ravages of what humankind was doing to Mother Nature. With the decision to remain in society, they are subjected to the rules to retain order. One of those structures surrounds reproduction. In order to keep society functional, controlling how many people are using resources in said society is imperative. It is a truly striking element of the film particularly as for many Americans, their own reproductive healthcare has been radically dismantled over the last few years.

Himesh Patel and Elizabeth Olsen in THE ASSESSMENT, a Magnolia Pictures release. Photo credit: Magnus Jønck. © 2024 Number 9 Films Assessment Limited, TA Co-Production GmbH, ShivHans Productions, LLC, TA2022 Investors, LLC, Tiki Tāne Pictures, LLC. Photo courtesy of Magnolia Pictures.

While the film has science fiction elements, “The Assessment” is grounded in the humanness of its characters. The film, even with its expansive sets, feels claustrophobic. With Virginia’s arrival, the mood completely shifts. What once was a loving couple hoping to start a family, turns almost nightmarish as these three individuals are essentially trapped together with one individual holding immense power over the other two. Mia and Aaryan seem genuinely eager to please Virginia. From offering their bedroom when their original accommodations are not deemed worthy of her to allowing Virginia to witness intimate moments between the couple despite their reservations. However, the stoic and judgmental watch of Virginia from the first day feels less extreme than her tactics in the days that follow. By day two, Virginia begins to act like a child, getting a rise out of first Mia, and then Aaryan. This shift is where Vikander shines. She fully imitates children and childhood in an authentic manner, while also giving hints to Virginia’s true age, intellect, and motives. Vikander manages to capture the extremes of children: their uninhibited expressions, their boisterous personalities, and their precociousness. Too often, when an actor acts like a child, it becomes mimicry which borders on belittlement. Contrarily, Vikander is earnest in her work. Yes, she is clearly having fun, but never at the expense of children. Having kids is hard, but there is a reason people are drawn to parenthood. If Vikander was only the Veruca Salt mixed with Dennis the Menace type caricature, it would be hard to justify how hard Aaryan and Mia are fighting to become parents. Vikander understands the big emotions children have. Her performance is assiduous, whether she is putting on this act or portraying Virginia herself.

Alicia Vikander in THE ASSESSMENT, a Magnolia Pictures release. Photo credit: Magnus Jønck. © 2024 Number 9 Films Assessment Limited, TA Co-Production GmbH, ShivHans Productions, LLC, TA2022 Investors, LLC, Tiki Tāne Pictures, LLC. Photo courtesy of Magnolia Pictures.

This shift then alters the dynamics between Mia and Aaryan. Watching Patel and Olsen walk a delicate balance with their characters is fascinating. With Aaryan clearly being favored by Virginia, you understand Mia’s frustration and isolation, while Aaryan has sympathy, there is some delight in feeling as if one is doing everything “correctly.” It feels like an indication of figuring out the rules you have never been given. Olsen, coming off of her latest indie film “His Three Daughters,” has some of the more difficult work. Many times, she serves as an audience stand-in, voicing the absurd circumstances, while also allowing Mia’s prickliness to shine through. Her apprehension and exasperation never make her unworthy of our time and attention; nor does it minimize her desire for the journey of motherhood. When we are introduced to Mia, we see her drawn to her mother and we later learn her mother was sent outside of the society for some of her own radical beliefs. Early on, one can’t help but question her motives. Is motherhood truly something she wants or does she feel it will heal something in her after her own mother left? As the film progresses, you begin to sense the answer to both is likely yes, but it remains an earnest answer.

You begin to understand that particularly in later scenes between Olsen and Vikander, adding an interesting layer to the characters and an engaging topic of conversation about the film. The way these two actors interact is special. They are able to share glances and minimal dialogue to speech real volumes. The last twenty minutes of the film would not work if either actor was not tuned into the material. Luckily, Vikander and Olsen clearly are invested in these characters and their truths, making the final act of the film stirring and unforgettable.

Elizabeth Olsen in THE ASSESSMENT, a Magnolia Pictures release. Photo credit: Magnus Jønck. © 2024 Number 9 Films Assessment Limited, TA Co-Production GmbH, ShivHans Productions, LLC, TA2022 Investors, LLC, Tiki Tāne Pictures, LLC. Photo courtesy of Magnolia Pictures.

The film delicately balances these themes and largely conversations about society and humanity. There is a dinner scene which perfectly captures those ruminations as the couple of forced to confront their pasts while planning for their future. Moreover, as the film explores and plays with power dynamics, it is done so in a sensitive and thoughtful manner. Most of the film feels not just an exploration of the human experience but a philosophical quandary with no clear answers. That said, there are a few scenes which feel very specific and concrete in their messaging. Intimacy coordinator Katarzyna Szustow in partnership with Fortuné makes very clear the events of these interactions without feeling a need to dwell or blur the understanding of those scenes. The tactful handling of these scenes ensures the entire audience can engage and journey with this film.

“The Assessment” is a captivating science fiction drama which manages to confront our understanding of the human experience and how that journey can mirror our current circumstances. Olsen shines as a steady force throughout as Vikander gives an audacious and wild performance. As a work of cinema, the way in which “The Assessment” explores the precipice of motherhood and the different child-rearing expectations when exploring parenthood through a gender binary, the film manages to authentically capture the female experience. It allows for the desire of motherhood to meet the confluence of doubt, self-preservation, and discomfort, never minimizing the experiences of the women at the center of the film. It is refreshing and rare to find a film so honest in its depiction.

Grade: A-

Pair This Film With: “Advantageous” (2015) dir. Jennifer Phang; “The Pod Generation” (2023) dir. Sophie Barthes; “Tank Girl” (1995) dir. Rachel Talalay

You can now see “The Assessment” in U.S. theaters Friday, 21 March 2025

Review: “Ramona at Midlife”

By Morgan Roberts

Director: Brooke Berman
Writer: Brooke Berman
Stars: Yvonne Woods, Alysia Reiner, Joel de la Fuente, April Matthis, Rosemarie DeWitt, Zarah Mahler, Robert Beitzel, Catherine Curtin, Brian Slaten, Yetta Gottesman, Kristen Vaganos, David Alan Basche
Runtime: 1hr 16min
Year: 2025

Men have always been afforded the chance to have a midlife crisis - on screen and in life - and have that moment be seen as pivotal in their growth as a person. Yet women are required to everything figured out before they turn 30. Life is not linear which requires women of all ages to struggle, adapt, and grow with each change thrown in our direction. The film “Ramona at Midlife” is able to articulate that crossroad and reflects a real human experience.

Written and directed by Brooke Berman, “Ramona at Midlife” captures the rediscovery and existential ennui that occurs as women grow older. Ramona (Yvonne Woods) is a writer who hasn’t written anything in years. Recently separated from her actor husband Carlos (Juan de la Fuente), her deepest insecurities and quandaries are relegated to the letter she writes to Patti Smith but never sends. However, her discomfort at her stalled life becomes something she is determined to protect when filmmaker Jonah Mansbach (Robert Beitzel) plans to turn her midlife crisis into a film.

Yvonne Woods in “Ramona at Midlife” | Gravitas Ventures

Ramona is an extraordinary central character.  She has achieved commercial and critical success with her first book, but found her writing sidelined after kids and marriage and creative insecurity took hold. Whether or not you are at that stage in your life, you can absolutely see parts of yourself in Ramona. She is so unabashedly herself while holding trepidation and guilt at desiring more for herself and for her life. As we get older, with the responsibilities we’ve inherited over the years, it becomes more difficult, particularly for women, to start anew. Even if starting over isn’t a complete fresh beginning, it is trying to understand where one can venture out that can be tricky.

Additionally, as Ramona tries identify that balance during that time of change, the responsibilities she still has to attend to are also ever-present. Many things don’t stop: the kids, work, social obligations, co-parenting. There is an unattainable perfection that she and the women in her life are held too. She is expected to manage all of this while rediscovering who she is. It is this balancing act that is so recognizable for many women.

It is not necessarily fair to compare films, but “Ramona at Midlife” feels akin to a Lynn Shelton feature. Berman captures the same attention to humanness that oozed through Shelton’s work. The film is incredibly grounded, while taking the mundane or ordinary feel extremely important. How often do we look past women like Ramona and not wonder the world inside their heads, the trials and tribulations they might be enduring. We lose our sense of wonder and empathy with each other. Yet, “Ramona at Midlife” reignites that intrigue. Berman brilliantly drops us into Ramona’s life and allows us to exist with her in her lived-in reality. Whether it is a reflection of yourself or women in your life, Ramona’s humanness shines throughout the film.

“Ramona at Midlife” is a refreshing film about reinventing yourself after others may have underestimated you. At the center of the film, we have a layered, nuanced woman worthy of our compassion and attention as she navigates this precipice in her life.

Grade: A

Pair This Film With: “Friends with Money” (2006) dir. Nicole Holofcener; “Take This Waltz" (2011) dir. Sarah Polley; “Touchy Feely” (2013) dir. Lynn Shelton

You can now watch “Ramona at Midlife” streaming on VOD on Prime Video and AppleTV.