Walking into SXSW this year, it did not take long before The Peril at Pincer Point started coming up in conversation. The black and white visuals. The off-kilter humor. The strange, deceptively simple premise that slowly unravels into something far more unhinged. You could feel the curiosity spreading from theater lobbies to sidewalk chatter, people leaning in and asking, what is that?

Some movies don’t just age. They change shape. They quietly gather history around them, waiting for the moment when people are finally ready to meet them where they are. That feels especially true of Randy and the Mob and The Accountant, two deeply personal, defiantly Southern films from Ray McKinnon that are now getting a new life thanks to meticulous restorations and their first-ever Blu-ray release.

There are interviews you do because they’re on the calendar, and then there are interviews that feel like a hang. Talking with James Paxton landed firmly in the second category. Yes, he’s Bill Paxton’s son. Yes, that matters.

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.