SICK (2026, Poland)

September 19, 2026

Fantastic Fest 2026

Greetings again from the darkness. My decision to review this movie was based on one thing: it’s the feature film directorial and screenwriting debut of Agata Trzebuchowska, who starred in Pawel Pawlikowski’s excellent IDA (2013). That was the extent of my research for this film from Poland, and now after watching it, I am at a loss on how to review without spoiling anything about it. Simply stating that the twists will surely surprise you is not enough – and it helps if you are unaware, as I was, of the film’s genre prior to watching.

It starts out as a ‘normal’ family situation. Sixteen-year-old Maks (Konrad Kakol) travels to a rural home to care for his ailing grandmother (Monica Niemczyk). Maks is a typically awkward teenage boy who spends his time reading comic books and looking at girls online. He is soon joined by his nineteen-year-old sister, Emma (Katarzyna Lubik). She’s perturbed she has to be there and spends entirely too much time drinking and sunbathing, leaving much of the work to Maks.

Emma’s tough façade hides the depression she’s fighting, while Grandma appears to be battling multiple ailments – both physically and mentally. All I can add here is that things get creepy. And then things get creepier. The film takes us in a couple of different directions initially and then stuns us with a twist that shifts everything. The climax is something else totally (with only a few subtle hints along the way). It’s a summer Maks will never forget. Any deeper description would take away from your own bewilderment at the progressions. The twists are such that most will not ‘figure out’ where it’s headed, and viewers are better off just letting it unfold. It will be interesting to see where Ms. Trzebuchowska takes her next feature film.

The film has its World Premiere at Fantastic Fest on September 18, 2026

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Posted by David Ferguson

THE MARCHING BAND (2026, France)

August 26, 2026

Greetings again from the darkness. Circumstances. Fate. Luck. Determination. It’s been said that what we make of our lives is up to us. Still, it seems likely that these factors play a role- often a significant role. Writer-director Emmanuel Corcol and co-writers Irene Muscari, Oriane Bonduel, and Khaled Amara have delivered a film that’s touching, funny, and grounded in emotional sincerity. The film never moves too quickly or too slowly, instead allowing the characters to guide the pace.

Benjamin Lavernhe (THE FRENCH DISPATCH, 2021) plays Thibaut, a world-renowned orchestral conductor. The film opens with him conducting to the point of apparent exhaustion. We (and he) soon learn it’s leukemia that has drained his energy. A bone marrow transplant is his only hope, and his sister Rose (Mathilde Courcol-Rozes) readily volunteers to be tested. The surprise is not that she’s no match, but rather that they aren’t true brother and sister. Thibaut was adopted long ago. Soon, he’s tracked down a biological brother he was previously unaware of. Jimmy (Pierre Lotin, THE STRANGER, 2026) is a working class divorced dad employed in a school kitchen.

The two brothers had been separately adopted at an early age, and when Thibaut learns that Jimmy also has a love of music, the flashing lights of ‘nature vs nurture’ cannot be ignored. Thibaut quickly realizes his own privilege, having been classically trained from an early age, and Jimmy can’t help but feel envious of the life his brother has led, while still accepting his own. After the procedure, Thibault discovers Jimmy is in a local marching band filled with townspeople who are striking against the town’s largest employer. The band is its own community with friends and history … oh, and music. It doesn’t take long for Thibaut to offer his talents when the band is in need, and it becomes a razor thin line on whether Jimmy is grateful or angry with the development.

Watching these two newfound brothers struggle through a relationship with no actual history is made believable thanks to the script and the actors. Sabrina (Sarah Suco), who plays the trumpet and is attracted to the oblivious Jimmy, is actually instrumental in keeping the two men moving forward. The contrast between the world of Thibaut and the world of Jimmy is obvious as the two men search for connection. Both men ask ‘what could have been’ without uttering a word. At the center of this fine film is the power of music, and those involved ensure it never devolves into the sentimental hogwash we too often see in American movies.

Nationwide theater expansion begins August 28,2026

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Posted by David Ferguson

THE STRANGER (2026, France)

August 18, 2026

Greetings again from the darkness. It has been quite a while since the last film adaptation of Albert Camus’ 1942 novel “L’Etranger”, and filmmaker Francois Ozon (behind one of my favorites, SWIMMING POOL, 2003) went to Albert’s daughter Catherine to get approval for this project. Previous adaptations include THE STRANGER (1967, Italy) and FATE (2001, Turkey). Ozone and Phillippe Piazzo collaborated on this updated screenplay (including some variations from the source material).

Ozon opted to film in black and white, and after some flashbacks to ‘old’ Algiers, we jump to the 1930’s where we find Meursault (a terrific Benjamin Voisin) as what’s often described as an indifferent man. Taciturn and/or withdrawn would also be properly descriptive, yet he’s typically quite direct during his limited times of speaking. Meursault is mysterious because he’s handsome and doesn’t spill his emotional guts over everything that happens. That everything includes the notice that his mother has died.

While most of us would be deeply affected by the news, we are unsure about Meursault. He spends time in the Baths of Algiers with Marie (Rebecca Marder), along with drinks in the pub, a Fernandel film at the cinema, and an evening of intimacy. At his mother’s funeral, his stoic demeanor confuses the attendees, and soon enough he and Marie are facing questions of love and marriage. As usual, he remains emotionally detached, willing to go along.

Things change during a beach visit with friends, and Meursault finds himself imprisoned on murder charges. We witness the act and it feels quite surreal. The trial takes up a chunk of the film and among those speaking on his behalf are a couple of neighbors: an old man  (Denis Levant) who states Meursault was kind to him and his mangy dog, and another (Pierre Lottin) who may have abused his own girlfriend. Meursault manages to spurn God and a Priest while in his cell, and he does question the meaning of life. Ozon’s use of black and white are reminders of the French New Wave of the 50’s and 60’s, and plays right into Camus’ existentialism. The character of Meursault and the story leave us much room for reflection, thought, and discussion … despite appearing fairly simple on the surface.

On DVD/Blu-Ray August 18, 2026, available on digital nationwide

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Posted by David Ferguson

OLMO (2026)

August 6, 2026

Greetings again from the darkness. Olmo is like most fourteen-year-old boys. His visual fantasizing about the girl of his dreams requires nothing more than a toy car and a glimpse of her walking outside. Yet, Olmo is also different than most his age because he shares caregiving responsibilities for his disabled dad, who is stricken with Multiple Sclerosis. It’s been more than a decade since he last directed a feature film, and writer-director Fernando Eimbcke delivers one of his best. He and co-writer Vanesa Garnica also collaborated on this year’s FLIES, which is currently making the festival rounds (including Cannes).

Alvan Uttapa stars as Olmo, and he perfectly captures the essence of a teenage boy trying to figure things out in Las Cruces, New Mexico in the late 1970’s. He and his older sister Ana (Rosa Armendariz) have a never-ending argument that goes like this, “Your turn.” “No, your turn.” This is in reference to whose turn it is to help their father Nestor (Gustavo Sanchez Parra) with the many things he is unable to do on his own now that the disease has rendered him mostly helpless to control his body.  Their mother Cecilia (Andrea Suarez Paz) takes as many double shifts as possible at the diner so that the family can fight the near-eviction notices that arrive frequently.

When Nina (Melanie Frometa), Olmo’s object of desire, invites him and his best buddy Miguel (Diego Olmedo) to a big party, she has only one condition … bring the stereo. Olmo is giddy with excitement, and only has two obstacles: first, it’s ‘his turn’ to care for dad, and second, the stereo needs repair. This leads to a tremendous scene with Nestor talking the boys through how to troubleshoot and fix the (era-specific) stereo. It’s here where we get the full impact of Nestor wanting so much to be the father he was before the disease. The once proud man hears the bickering over whose turn it is, and feels the frustration of being a lesser dad who can’t even stop his daughter from smoking. But the stereo repair restores some of that feeling … even if only for a moment.

Olmo and Miguel together are a hoot, and the comedic touches elevate the film from generic coming-of-age to a multi-dimensional story of a family grounded in real life issues. Olmo has the desires of a normal teenage boy, Ana wants to be part of the “in crowd” (she spends much of the movie in bright white roller skates), Nestor wants to be an involved father, and Cecilia wants to take care of the family while tending to her own needs. This is an era before cell phones, and a backyard grill becomes a (further) point of contention between Nestor and Uncle Julio. Even Walter Murphy’s disco classic, “A Fifth of Beethoven” has a place in this story.

Immigrant parents (Nestor and Cecilia) raising Americanized kids (Olmo and Ana) means both English and Spanish are spoken at home … often in the same conversation. Sometimes everyday life creates huge tensions and stress for all family members – and sometimes it’s a specific event. This time, that specific event awakens Olmo. Director Eimbcke gives us a shot near the beginning of the film that is actually the film’s ending … a smooth move for the filmmaker. This feels like it could have been a documentary, which is a testament to how family life is so well captured.

In theaters nationwide beginning August 7, 2026

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Posted by David Ferguson

SHEEP IN THE BOX (2026, Japan)

July 23, 2026

Greetings again from the darkness. Most of us would do just about anything for a grieving loved one. Kepsuke (Daigo Yamamoto) proves this when he accompanies his wife Otone (Haruka Ayase) to a presentation at ReBirth, a company specializing in humanoids meant to replace a lost child. An accident two years ago cost this couple their 7-year-old son Kakeru (Rimu Kuwaki), and the husband, though skeptical of the whole thing, hopes this is what his wife needs to move on.

The film is written and directed by the ultra-talented Hirokazu Kore-eda (THE TRUTH, 2019; SHOPLIFTERS, 2018; OUR LITTLE SISTER, 2015), who has utilized his remarkable insight into human nature to bring us several memorable films. This one may lack the emotional depth of his previous work, yet it has plenty to say about technology and artificial intelligence. Otone is an architect and Kepsuke is a builder, and for much of the film, she is working on designing a unique house for another couple. Of course, the real story here is how humanoid Kakeru fits with this new family. Otone is initially quite accepting of this new being, while Kepsuke takes a bit longer.

Could you love a robot? Is an emotional bond even possible? Does this constitute life and should the new Kakeru even be considered a ‘real’ boy? Filmmaker Kore-eda throws in a twist since there are two sides to this story … and Kakeru’s side is easily the most fascinating. As it/he bonds with his true peers, the story takes on a much different and much larger picture than the intimate family drama we initially expected. We are told we are “a product of your own past”, and it’s Otone and Kepsuke who believe they are deciding whether to keep it or not. The obvious comparison here is Spielberg’s AI: ARTIFICIAL INTELLIGENCE (2001), but Kore-eda takes a different approach and leaves us pondering whether technology is serving us or will technology ultimately serve itself?

Opening in theaters July 24, 2026 and expanding through August 7, 2026

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Posted by David Ferguson

READING LOLITA IN TEHRAN (2026)

July 9, 2026

Greetings again from the darkness. Other than basic decency and human connection, there are few things that define a person and their life more than education. Whether gained in a classroom or through daily experiences, understanding people and history is what provides our perspective and our foundation of humanity. A common strategy of small-minded authoritarians who seek only more power is to limit educational opportunities for others … as if holding one group down will lift up said power-monger. This is on full display in this film based on the experiences Azar Nafisi detailed in her 2003 memoir. The film is directed by Eran Riklis (LEMON TREE, 2008), who co-wrote the screenplay with Marjorie David.

Golshifteh Farahani (PATERSON, 2016, EXTRACTION, 2020) stars as Azar Nafisi, a literature professor at Tehran University, whom we first meet just after the 1979 Islamic Revolution. In very little time, we learn Azar is a passionate and dedicated teacher, while also being a fierce defender of personal rights – to teach and to learn. Director Riklis divides the film into four chapters, each using the name of a classic literature piece. F. Scott Fitzgerald’s 1925 “The Great Gatsby” is where we begin, and the professor structures a classroom courthouse, putting the novel on trial … on the heels of Ayatollah Khomeini instilling hijab laws as a way to hold women back and stifle feelings.

Part 2 jumps ahead 15 years to 1995 in the section named “Lolita” for Nabokov’s 1955 novel. At this point, most every move is a risk for Azar, and she finds herself wistfully daydreaming of the days when she could browse the many titles at Hamida’s independent bookstore, which no longer exists. Moving forward to 1988, it’s Henry Miller’s 1878 novella “Daisy Miller”, as well as the peak of the Iran-Iraq border war. In this section, Azar looks over her students and concludes, “They have nothing to remember.” It’s the most poignant line of the film and perfectly captures the importance of a cultured and open society. The final chapter takes place in 1996 and takes its title from Jane Austen’s 1813 novel, “Pride and Prejudice”. This also coincides to Azar’s final year in Iran, before she moved to the U.S. Azar is quite fortunate to have married Bijan (Arash Marandi), an engineer who was so patient and understanding.

Azar became a U.S. citizen in 2008 (as a young woman, she earned her Ph.D. from the University of Oklahoma) and has carried forth as an esteemed academic professional since. Perhaps her most rewarding and risky days were the regular sessions she held at her house in Iran, inviting women to learn and discuss the literature that had been forbidden by the regime. Filmed in Italy (not Iran), Azar Nafisi’s story is one of courage and determination, and it reminds us of the societal importance of equality, free speech, and open learning. In contrast, Azar, the filmmakers, and lead actors are forbidden from returning to Iran.

Opens July 10, 2026 in New York and July 17 in Los Angeles and Nationwide

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Posted by David Ferguson

UNIDENTIFIED (2026, Saudi Arabia)

June 18, 2026

Greetings again from the darkness. Writer-director Haifaa Al-Monsour (MARY SHELLEY, 2017; WADJA, 2012) will always be referred to as a trailblazer, and the label was earned by becoming the first female filmmaker in Saudi Arabia to direct a feature length film. She has since influenced and inspired other women to pursue the art. Her latest film was co-written with her husband Brad Nieman, and it opens coldly with a woman’s dead body discovered in the desert.

Nawal (Mila Alzahrani) is an administrative assistant who is hooked on a podcast titled “Unsolved Crimes from Around the World”. Incredibly, the podcast blends crime stories with make-up tips, and Nawal just can’t get enough of either. When she hears about the unidentified body, she offers her assistance to the police who initially want nothing to do with her. However, she continues her own investigation, and the police recognize that she can ask questions and meet with people that they can’t. In the meantime, we get some of Nawal’s backstory, and as we see from the flashbacks and nightmares, there is quite a bit of unpleasantness and even tragedy.

We have become accustomed to crime thrillers with a tangled web of leads and evidence, so we recognize that this one isn’t especially well done or unique. Many aspects are included here: religion, family, pride, and dignity. Nawal claims her goal is for the family to claim the body for peace, despite the defense mode they seem to hide behind. The funniest use of a shopping mall train is a nice touch, but the big twist at the end feels unearned. Anytime a film uses the final ten minutes to lay out what really happened, it’s a big clue that the storytelling was less than admirable. I simply chuckled at the presumption that we should accept this. Haifaa Al-Monsour does include commentary on the social and cultural treatment of women even in modern times, and that’s likely the most important aspect of the film.

Sony Pictures Classics will release the film on June 19, 2026

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Posted by David Ferguson

BLUE HERON (2026)

May 7, 2026

Greetings again from the darkness. The first feature film from writer-director Sophy Romvari has been well received on the festival circuit, and it’s easy to see why so many have been drawn in by this Canadian- Hungarian production. It’s a deeply personal film with autobiographical elements from the filmmaker. The best family dramas often deliver a gut-punch, and this one certainly does … yet it’s the storytelling structure that provides hope for future gems like this.

It’s the 1990’s and a family is moving into a new place on Vancouver Island. Mom and Dad (Inringo Reti, Adam Tompa) have three sons and a daughter. Eight-year-old Sasha (Eylul Guven) is the youngest and we view the story and the family through her eyes. Even this opening sequence dishes out an ominous feeling, yet there are no specifics that cause this. Soon, Sasha is paying particular attention to oldest brother Jeremy (Edik Beddoes), whose physical appearance offers a clue … although it’s his increasingly worrisome behavior that mark him as a troubled teen and one that the parents must be concerned about. This ‘ordinary’ family becomes not so ordinary.

Being the parent of a troubled teen is a no-win situation, just as being that troubled/confused kid is tough to navigate. Dad spends a great deal of time with a camcorder, while mom carries the emotional blame. None of them can make sense of their situation, and the parents want to protect their other kids while also being supportive of Jeremy. In addition to young Sasha being our eyes, filmmaker Romvari uses a creative device to generate brilliant storytelling. We watch as a grown Sasha (Amy Zimmer) conducts a case study on the family of her childhood. This works exceptionally well for making this story extremely personal through creative filmmaking.

Other than an initial voiceover, the past is presented as the present, and we become so engrossed that the second half feels more like the future than a look back at the past. Much of this deals with memories – often quick clips of past moments where the full story is beyond recollection. The closest comparison for this film is Lynne Ramsay’s terrific WE NEED TO TALK ABOUT KEVIN (2011), yet Sophy Romvari uses her own life experiences to grab and hold our attention. Mental illness is more openly addressed these days, and this talented filmmaker pulls back the curtain on the effects it can have on a family.

Opened April 17, 2026 in NYC and April 24 in Los Angeles, and will expand nationwide in May.

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Posted by David Ferguson

MISPER (2026)

April 24, 2026

Greetings again from the darkness. Thoreau famously wrote, “The mass of men live lives of quiet desperation.” That quote may overstate the being of the staff at The Grand, a 100-year-old hotel that once provided service for royalty, but now the seaside inn is crumbling at the seams and desperate for guests. The feature film directorial debut from writer-director Harry Sherriff and co-written by Laurence Tratalos is quite a pleasant surprise.

Leonard (Samuel Blenkin, “Black Mirror”) is the young man who covers the front desk and makes the rounds. He has a bit of a Bud Cort vibe to him … friendly enough, yet just a bit off. Leonard spends each morning gazing out the window as Elle (Emily Carey, young Diane in WONDER WOMAN, 2017) strolls from the bus stop to her station in the hotel’s restaurant. Elle is bright-eyed and cheerful, and shy Leonard has a quiet crush that he can’t bring himself to admit. In fact, Elle is a favorite of the guests and the staff.

Gary (Daniel Ryan, “The Bay”) is the hotel’s manager and he’s constantly worried about the hotel’s poor reviews and limited guests. He fears for the future – both his and the hotel’s. One morning, Elle doesn’t show for her shift. Gary assumes she has quit, while Leonard fears for the worst. Tragically, Leonard is correct, and the film’s tone shifts from the daily mundane life of the staff to the ongoing grief and guilt and confusion. Leonard is hit especially hard as his friend – and the one beacon of light in his life – is missing.

It’s fascinating to watch each of the staff have their moment. Pam (Christine Bottomley, “Domina”) replays her drive home and wonders if she could have helped. Maintenance man Khalid (Sunil Patel) and housekeeper Vivian (Rosalind Adler) also miss Elle’s smiling face. Leonard even pays an awkward visit to Elle’s father (Oliver Ryan) as an attempt to make sense of what’s happened. What makes the film unique is the dashes of humor blended with grief and regret. Cinematographer Bart Bazaz works wonders with the characters and the setting in the old building. It’s a terrific little film that explores grief in a different way, and reminds us to treasure those who bring light and hope into our lives.

Screening at the Dallas International Film Festival on April 24 and April 26, 2026

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Posted by David Ferguson

KANGAROO ISLAND (2026, Australia)

April 23, 2026

Greetings again from the darkness. Learning that Lou’s life is a bit of a mess becomes clear in the first few opening scenes. It’s early morning and she sneaks out after a one-night stand, noticing missed calls from Steve, her ex that she’s living with temporarily (along with his new partner). Soon, she’s dumped by her agent and is adamant that she won’t fly home to see her dad, despite holding the ticket he purchased for her. This is the feature film directorial debut from Timothy David, and the screenplay comes from Sally Gifford, who also has a small role in the film.

Rebecca Breeds (“Pretty Little Liars”) delivers a terrific performance as Lou, in this smart drama filmed in Australia. Of course, after a drinking spree in the airport lounge, Lou ends up on the flight and the reunion with her family is every bit as awkward as she imagined. Lou had some early success as a TV actor, but her career has hit a rough patch. Lou and her sister Freya (Adelaide Clemens, “Justified: City Primeval”) have what could be termed a strained relationship … due to the fact that Freya married Lou’s ex-boyfriend, surfer/astronomer Ben (Joel Jackson). The sisters’ dad (Erik Thomson) has beckoned her to return home so that he can deliver significant news.

It’s actually a bit of guilty fun watching Lou and Ben dodge the past, while Freya tries to convince Lou that God is the path to a better life. Flashbacks to ten years prior – before Lou left Australia to pursue stardom. We see the early days of Lou, Ben, and Freya … along with mention of another tragedy. This flashback allows us to join in the uncomfortable moments these three share in modern times. In fact, family dynamics are such that we realize stress has been an ongoing element for these folks, right along with dishonesty and lack of transparency. The transfer of the family home and talk of euthanasia create even more strife … almost to the breaking point for some.

What we learn is that frayed bonds do not necessarily mean broken bonds. Can the family come together … or at least be honest with each other? This drama is well done and handled exceptionally by the cast, especially Rebecca Breeds (whom I was not familiar with). The scenery of this island in Australia is often breathtaking, and the running ‘lost luggage’ gag is one for the ages.

Opening in theaters on April 24, 2026

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Posted by David Ferguson

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