Richard Green’s I Know Catherine, the Log Lady is an intimate and deeply affectionate portrait of Catherine E. Coulson, the actress who brought to life one of television’s most enigmatic and beloved characters. Best known as the Log Lady in Twin Peaks, Coulson’s life and final days are explored in a documentary that’s as much about love and resilience as it is about legacy. Told through a blend of archival footage, personal recollections, and an impressive roster of interviews—including Oscar-winner David Lynch and Pulitzer Prize-winner Robert Schenkkan—the film showcases Coulson's unwavering devotion to storytelling.
Read MoreThe Comic Shop (2025)
The Comic Shop, directed by Jonathan L. Bowen and co-written with Scott Reed, aims to be a quiet, character-driven meditation on second chances, artistic rediscovery, and the enduring power of community spaces—specifically those nostalgic, fluorescent-lit comic shops that feel like home to so many. Set in a fading Las Vegas strip mall, the film follows Mike D’Angelo, a once-promising illustrator now struggling to keep his comic store afloat after the pandemic forces him to lay off his only employee and best friend, Alex. On the surface, the premise is universal: who hasn’t looked back on their past ambitions and wondered, “What if?” When Brandon walks into Mike’s life, he becomes the unexpected catalyst for creative renewal.
Read MoreSwamp Dogg Gets His Pool Painted (2024)
Swamp Dogg Gets His Pool Painted is one of those rare documentaries that feels more like a hangout than a historical overview—and that’s largely the point. Like its subject, the cult icon Swamp Dogg, the film is unapologetically loose, unexpectedly moving, and bursting with character. While it may not offer the deepest dive into music history, it provides something arguably better: an intimate portrait of an artist who never stopped creating, even as the world changed around him.
Read MoreA Desert (2024)
With A Desert, first-time feature director Joshua Erkman plunges audiences into a sun-scorched fever dream of Americana decay, blending the grit of neo-noir and the bite of horror with impressive precision. What begins as a slow burn with shades of Cheap Thrills soon mutates into a gnarlier beast—something akin to a marriage between The Devil’s Rejects and The Hills Have Eyes. But make no mistake, A Desert is its own animal: haunting, bold, and oddly beautiful.
Read MoreAll the Lost Ones (2024)
In All The Lost Ones, director Mackenzie Donaldson delivers a lo-fi dystopian thriller that’s as much about survival as it is about the slow erosion of trust in a fractured America. Set in a near-future where climate change has catalyzed a government crackdown and subsequent civil war, the film explores the lives of a small group of resisters trying to outrun a brutal militia force. At the center of the story are Nia, her sister Penny, and her boyfriend Ethan, who find themselves hiding in a remote cabin—until their sanctuary is disrupted by a militia leader named Conrad.
Read MorePocket Princess (2024)
Growing up with a deep love for stop-motion animation, I’ve always considered it a gift anytime a new project in the medium lands in my queue for review. Olivia Loccisano’s Pocket Princess is no exception—this beautifully unsettling short film is a dark little gem that reminds us just how powerful animation can be when paired with weighty, real-world themes. The visual style is instantly nostalgic, calling to mind the charming simplicity of vintage bumpers from Pee-wee’s Playhouse or the surreal elasticity of Gumby.
Read MoreThe Killgrin (2024)
Killgrin, written and directed by Joanna Tsanis, delivers a unique blend of horror and psychological drama, but its uneven pacing and somewhat predictable execution may leave some viewers longing for more. The story centers on Miranda, a woman grappling with personal tragedy, who turns to unconventional self-help methods after a spiritual healer informs her that her aura is infected by a malevolent force known as a "Killgrin." This dark entity, which feeds off her misery, begins to have a horrifying effect on those around her.
Read MoreThe Ugly Stepsister (2025)
From the very first frame of Emilie Blichfeldt’s feature directorial debut, The Ugly Stepsister, it’s clear that we’re in for something far removed from the polished perfection of Disney’s animated fairy tales—or the chaos of whatever’s happening in The Twisted Childhood Universe. What Blichfeldt delivers instead is a brutal, beautifully crafted, and unsettling reimagining of Cinderella filtered through a lens of body horror, biting satire, and feminist fury. Set in a lush, live-action world that mimics the meticulous detail of a Disney production, The Ugly Stepsister feels like it’s been plucked from a dream—or a nightmare.
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