There are interviews you do because you admire the work, and then there are interviews that sneak up on you. This was one of those. I do not get starstruck. I genuinely do not. But sitting down with Clive Russell, someone who has been quietly present across decades of television and film I grew up with, was a different experience entirely.

There is something quietly radical about Gene Gallerano and William Pisciotta deciding that the world simply needed another Yeti movie and then actually going out and making one. Not a wink-wink creature feature. Not a cheap knockoff shoved into the woods pretending to be Bigfoot.

There are films that live and die by spectacle, and then there are films that live and die by the people at their center. Our Hero, Balthazar firmly belongs in the latter category. Director Oscar Boyson has openly said that the movie rises or falls on the tension between its two leads, and after speaking with Jaeden Martell and Asa Butterfield, it is clear that tension was not manufactured. It was earned.

Brandon Christensen has steadily carved out a space as one of the most dependable voices in modern genre filmmaking. From supernatural horror to slashers to experimental format pieces, his films consistently show a director who understands the language of genre and knows when to push against it. Bodycam feels like the natural next step in that evolution, a film that weaponizes realism, perspective, and restraint to deliver sustained, nerve-shredding tension.

The Morrigan is now available on VOD from Cineverse, bringing audiences a film that feels both ancient and immediate. On its surface, it follows an archaeologist and her teenage daughter as they confront a long‑buried Pagan war goddess awakened in the Irish countryside. Beneath that supernatural premise, though, lies a story about parenthood, ambition, and the quiet tensions that shape who we become.

Julie Pacino’s I Live Here Now is more than a debut feature. It is a sensory experience steeped in texture, color, and dream logic, drawing from a lineage of surrealist filmmaking that includes David Lynch, whom Pacino openly cites as a creative north star. After speaking with Pacino and lead actor Lucy Fry, it’s clear this film didn’t just borrow from that tradition.

Baltimore filmmaker Albert Birney has built a career out of making movies that feel handmade, intimate, and just a little bit otherworldly. From The Beast Pageant to Sylvio, which was named one of the ten best films of 2017 by The New Yorker, to Strawberry Mansion and beyond, Birney’s work has consistently embraced the mystical, the tactile, and the defiantly strange. With Obex, he may have crafted his most personal transmission yet.

Talking to Ernie O'Donnell was one of those full-circle moments that sneaks up on you. I grew up on Clerks and Chasing Amy. Chasing Amy, especially, was in constant rotation for me in high school. I used to fall asleep to it more nights than I can count.