Masaki Nishiyama’s feature debut, The Invisible Half, is an atmospheric, conceptually rich J-horror entry that offers chilling visuals, a fractured soundscape, and genuine thematic weight—but also struggles with its pacing and payoff. While it's tense, well-crafted, and often fascinating, it doesn’t always make the most of its considerable potential. Elena, a "hafu" teen, is isolated at her all-girls Japanese school and begins to experience eerie phenomena tied to her smartphone—only visible through the screen and audible through her earphones.
Read MoreSnatchers (2025) #raindance
Snatchers is a bold, genre-mashing debut that blends absurdist comedy, supernatural horror, and social satire into something that feels a little like The Autopsy of Jane Doe by way of Shaun of the Dead—if you filtered it through a meat grinder and set it to dance music. On paper, it sounds like a recipe for a cult hit. In practice, though, it's a mixed bag that never quite finds its footing, despite a clearly committed cast and some standout technical elements.
Read More.ask (2024)
At its core, .ask is a microbudget mind-bender that taps into the existential dread of the digital age with eerie precision. Anchored by a fully committed performance from writer-director Chris Vander Kaay, the film begins with sharp self-awareness and veers into increasingly surreal and unsettling territory. Vander Kaay plays a version of himself: a 40-something YouTuber desperate for validation, clout, and success through his channel Put It Out There.
Read MoreBury Me When I'm Dead (2025)
At its core, Bury Me When I’m Dead is a meditation on grief, regret, and the quiet ways we haunt ourselves. Director Seabold Krebs crafts a moody, slow-burning character piece wrapped in the skin of a supernatural thriller, delivering something that feels as intimate as a confession and as unsettling as a whisper in an empty room. The film follows Henry, a man buckling under the weight of guilt after failing to keep his wife Catherine’s final wish: to be buried in the woods of her childhood home.
Read MoreHero Borneo (2023)
Hero Borneo, directed by Singaporean filmmaker Lee R., is a stirring Malaysian drama that bridges personal ambition and generational expectation with subtlety and heart. Set in the coastal villages of Sabah, the film tells a familiar story—but one not often seen through this cultural lens: a young man's pursuit of his dreams in conflict with a father's wish to preserve tradition. The story follows Aman, a young boy who dreams not of casting nets or mending boats, but of composing music and auditioning for RTM in Kuala Lumpur.
Read MoreEddington (2025)
Ari Aster’s Eddington is a cinematic fever dream—an apocalyptic Western where cowboy hats are traded for face masks, and six-shooters for smartphones. Equal parts satire, horror, and political cartoon, it is the first major American film to tackle the COVID-19 era with both comedic bite and dramatic heft. While it’s definitely too long and sometimes too pleased with its own chaos, it’s also a rich, immersive, and often hilarious pressure cooker of a movie.
Read MoreNyctophobia (2024)
Nyctophobia is less a conventional horror film than a slow, surreal dive into the subconscious—a cinematic anxiety spiral wrapped in dream logic and drenched in atmosphere. Written and directed by Seayoon Jeong, the film follows Liz, a young woman struggling with the titular fear of the dark. As insomnia eats away at her sanity, Liz slips into a dream world where childhood memories and nightmares blur, and nothing—especially not time or space—feels safe or linear.
Read MoreThe Days Ahead (2025)
In The Days Ahead, writer-director Terry Winnan delivers a gripping, thought-provoking indie anthology that imagines a nuclear strike on the United Kingdom and follows the lives of ordinary citizens as they scramble to survive the unimaginable. Composed of three interconnected short films, this low-budget British drama offers a sobering meditation on preparedness, panic, and the fragility of social order when the systems we take for granted vanish overnight. What makes The Days Ahead especially striking is its unflinching realism.
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