As this year’s Tribeca Festival wraps, we’re reflecting on a lineup that brought plenty of highs, a few lows, and everything in between. Below, Rachel and I dive into our festival favorites, as well as the films that didn’t quite resonate with us.
ACT ONE
(Written by Rachel Wagner) Read the full review here.
AMERICAN ZOO
(Written by Allison Brown) Read the full review here.
CAITY
(Written by Allison Brown) Read the full review here.
CLEAN HANDS
(Written by Allison Brown) Read the full review here.
CROOKS
(Written by Allison Brown) Mickey Keating’s Crooks is a major step down from Offseason, abandoning the atmosphere and restraint that made that horror effort effective in favor of an exhausting collection of gangster clichés, melodramatic twists, and unintentionally funny dialogue. The story opens with Faye (Angela Trimbur) double-crossing her robbery partner before becoming entangled in a web of mobsters, criminals, and stolen money, but the constant betrayals, shootouts, and shifting alliances quickly become tiresome. A lengthy black-and-white flashback detailing how Faye met original robber Johnny (Chase Williamson) adds some visual distinction, while stylized framing devices, period-inspired music, and a diner anchored by a vintage jukebox create an old-fashioned aesthetic that often leaves the timeline feeling oddly ambiguous. Unfortunately, these touches cannot compensate for a script filled with groan-worthy one-liners, cartoonish gangster stereotypes, and performances that frequently veer into exaggerated caricature. Characters are gunned down so often that the violence loses all impact, making it difficult to invest in anyone’s fate. Themes of misogyny and female exploitation surface throughout as women are routinely objectified, patronized, abused, or treated as prizes to be fought over, while Faye initially appears positioned as a capable femme fatale with agency of her own. Around the midpoint, however, the story unexpectedly shifts its attention to Blanche (Melora Walters), a diner waitress who gradually emerges as the central figure, further contributing to a sense of narrative drift. The increasingly convoluted story becomes buried beneath an avalanche of familiar crime-movie tropes, making it difficult to care about where any of it is headed. By the increasingly absurd final act, complete with ridiculous character names, over-the-top villains, and what feels like the hundredth repetition of “Dream a Little Dream of Me,” Crooks becomes more frustrating than entertaining. Keating remains a far stronger horror director than crime filmmaker, making this disappointing detour feel like a patchwork of secondhand mobster stereotypes and crime-thriller formulas rather than a compelling tale in its own right.
DEEPFAKE
(Written by Allison Brown) Writer/director Matt Earmes’s Deepfake is an unexpectedly misogynistic and vapid tragedy. Billed as a comedy, this soul-sucking, nosedive drama feels quite the opposite. Tragic Jane (Jessica DiGiovanni) breaks up with commitment-phobic Tyler (Nick Cabot Rodriguez), and feels stuck in life. After a failed excursion to the dating world and disconnect from her baby-making friend group, she stumbles upon BFFer online. This strange app promises a new best friend, only a click away. New connection Zoe (Sophia Lucia Parola) is wholly supportive, perhaps too much so, until she manipulates Jane into signing up for another service, that then becomes another service, and so on. Camp clearly reigns over the script, but a male director at the helm of such a female-led project leaves a bad taste one’s mouth. Jane is portrayed as a naive idiot so desperate for breezy companionship that she falls deeper and deeper into a scheme at the expense of her job, real social life, and comfort. Where is her family? Who knows. Obviously hyperbole is intended here, but her choices are entirely unbelievable and painful to watch. Jane continues to get taken advantage of, and character growth is nonexistent. The production team seemingly does not understand what a deepfake actually is, as the concept is never meaningfully incorporated. If using stand-ins now qualifies as a deepfake, then Hollywood would be built on deception. Jane’s plight takes a style of self loathing in the realm of Rachel Bloom’s Crazy Ex-Girlfriend to an offensive, deadpan extreme. The only takeaway successfully imparted to the audience is that influencers are emotionless shells of people, and women are too dim-witted to avoid their exploitation. Instead of offering any meaningful commentary, a regressive and deeply sexist perspective agenda is reinforced.
DOC MEETS WORLD
(Written by Rachel Wagner) Read the full review here.
GAIL DAUGHTRY AND THE CELEBRITY SEX PASS
(Written by Allison Brown) It seemed difficult to understand how Gail Daughtry and the Celebrity Sex Pass could rack in such mediocre reviews at Sundance with such a stacked ensemble, bolstered further by even bigger uncredited cameos. After witnessing the chaos for myself, I get it. What did writer/director David Wain have on these actors to compile such a talented roster for this catastrophe? The hyperbolic, parody style matches earlier hit, Wet Hot American Summer, but despite the level of stupidity there, jokes did actually land. Not one laugh was uttered during my screening until the final scene, and even that was merely one person. That clearly is not a good sign for a comedy. I became growingly frustrated with each moment that transpired, continually checking my watch with each fleeting opportunity. Early on, a bright and colorful wardrobe and fresh naiveté set the scene for a silly, adult coming-of-age comedy akin to Unbreakable Kimmy Schmidt. Unfortunately Gail Daughtry drops the ball, veering further away from this endearing tone with each passing minute. Attempts to shoehorn in a Wizard of Oz allusion by compiling a ragtag group of misfits including small town fiancé Gail Daughtry, (Zoey Deutch), failing screenwriter/paparazzo Vincent (Ken Marino), naive CAA assistant Caleb (Ben Wang), stereotypical bi hairdresser Otto (Miles Gutierrez-Riley), and has-been actor John Slattery (as himself), as they search for a problem-solving wizard in Jon Hamm (also playing himself), is expertly developed but quickly grows tiring. It is hard to grasp Sony’s thinking behind this acquisition for anything other than a passive watch on a streaming platform. Nevertheless, Gail Daughtry and the Celebrity Sex Pass is getting an unearned, theatrical release in July. Unless one adores the director’s earlier work, avoid this stinker like the plague.
HOLO
(Written by Allison Brown) As someone who rarely catches shorts, Alexander Desouza’s premise for Holo struck me as extremely intriguing. Thankfully this singular sci-fi skillfully executes on this concept, thoroughly deserving to be fleshed out into a full length feature. Perhaps an anthology would be most effective, where several customers explore their history with late loved ones, or we watch a pair escalate their interaction over the course of several visits, in the vein of 2015’s Ex Machina. The proposition to pay a company, Looking Glass Technologies, to essentially provide verbal abuse is controversial, but worth reflecting on if it helps unresolved grief dissipate. Omnipresent thriving greenery in an otherwise sterile setting creatively highlights the company’s mission to make those who have passed become figuratively alive again. 90s’ heartthrob Shane West is talented as ever, depicting the digitally-simulated, yet still very abusive ex-boyfriend in a believably threatening manner. Furthermore, Zelda Williams ability to match his vitriolic expressions and language, acting as his counterpart, is uncanny and deeply unsettling. Polished world-building sets the scene for a service that could really exist in the near future, utilizing nicely designed UI/UX in fake modeling software on screen. Easily fitting in the style of a Black Mirror episode, Holo stands out as one of the most memorable Tribeca entries yet.
HOW TO FEED A DICTATOR
(Written by Allison Brown) While How to Feed a Dictator is a well constructed psychological study behind the culinary professionals feeding notorious historical dictators, it is too graphic, depressing, and wide cast to be entirely enjoyable. We travel internationally between five chefs: Coco Pacheco, who served Augusto Pinochet in Chile; Keo Samoun, who cooked for Pol Pot in Cambodia; Ermanno Furlanis, who made pizza for Kim Jong-il in North Korea; Otonde Odera, who prepared meals for Idi Amin in Uganda; and finally, under a veiled alias and voice changer, Abu Saif, who catered to Saddam Hussein in Iraq. An abundance of archival footage, photographs, and historical context behind each featured world leader feels unnecessary based on the likely knowledge of its intended audience. History buffs are already well aware of how despicable these villains were, making extended accounts of their rise and fall feel superfluous unless directly tied to a particular firsthand experience. The cooks’ upbringings, often outlandish meals they prepared, and vastly different circumstances that led them into positions of extraordinary privilege prove far more compelling than the documentary’s broader biographical digressions and accounts of political violence from torture survivors. Particularly striking is the way many still speak about these infamous dictators with surprising admiration, despite now living in deeply impoverished conditions and fearing murder. Stunning cinematography in cooking preparation and final plating juxtaposed with graphic shots depicting piles of dead bodies and starving populations are haunting. Even the contrast between culinary language and famine-stricken citizens describing the need to consume leaves, grass, tree bark, and eventually cockroaches, rats, and lizards to survive is profoundly jarring. Perhaps because it is so desolate, How to Feed a Dictator feels far longer than its 95-minute runtime. Neel gradually eases viewers into increasingly horrifying atrocities, with the graphic subject matter escalating until one eagerly awaits an end.
ICONOCLAST
(Written by Allison Brown) An unsettling blend of incel culture, parasocial obsession, and mental illness, Iconoclast follows Connor (Gabriel Basso), a man so detached from reality that he spends his life fixated on livestreaming influencer Nika (Courtney Eaton). The premise is intriguing, particularly in its examination of how digital relationships can distort perception and bleed into everyday life, but the execution is frustratingly slow. Much of the runtime consists of Connor sitting alone in his barren apartment, watching Nika casually talk to anonymous followers while he reacts to a concealed computer screen. The repetitive nature of these scenes leaves the narrative largely stagnant, with very little occurring until the final act. The eventual revelation is undeniably shocking and disturbing, but feels insufficiently earned. With little groundwork laid for the story’s larger storylines, the climax arrives almost entirely out of left field. Even subtle hints through news reports, online articles, or background details could have better prepared the audience for where the narrative ultimately leads. Morgan’s (Rain Spencer) role is equally perplexing. The nature of their prior relationship remains frustratingly vague, with little explanation beyond Connor’s visible unease when he discovers they will be working together at the used electronics store. A scene in which she fakes an emotional reaction to a lost earring in order to trick him into a date feels contrived, existing largely to suggest she is nearly as unstable as he is. Her attraction to someone so visibly unraveling never feels entirely convincing, particularly given the lack of concern shown toward his obvious self-inflicted injuries. Pacing suffers from multiple false endings and extends beyond a natural stopping point, an issue stronger editing could have improved. Meanwhile, Kiernan Shipka and Noah Centineo are wasted in glorified cameos, with their appearances feeling more like favors to writer/director Basso. Uncomfortable, cringe-inducing, confusing, and occasionally compelling, Iconoclast ultimately delivers a powerful final sequence, but it takes far too long to get there.
I SPY WITH MY LITTLE EYE
(Written by Allison Brown) Read the full review here.
KILLING CASTRO
(Written by Rachel Wagner) There are times when attending any festival one wonders what the selection committee was thinking allowing a weak film into the lineup. This will be most people’s thoughts while watching Eif River’s new film Killing Castro. Unfortunately it is weak on almost every level feeling like a cheap made for TV movie about the attempt to kill Fidel Castro during his 1960 visit to the United Nations. The acting is poor throughout (even a briefly seen Al Pacino can’t save it), the filmmaking is amateurish across the board and the script isn’t even true to the historical events so what’s the point? This one is a definite skip.
KINGSTON
(Written by Allison Brown) Read the full review here.
THE LAST DAY
(Written by Allison Brown) Cinema centered on motherhood nearly always sparks my interest, and with the addition of two of my favorite working actresses, Victoria Pedretti and Alicia Vikander, leading the cast, The Last Day seemed like an absolute home run. Intentions are undeniably admirable, as writer/director Rachel Rose could not have appeared more passionate while introducing her debut feature. However, this subdued and deliberately paced drama proves difficult to fully engage with, often feeling as though it might have been better suited to the stage. There is simply too much conversation and not enough narrative momentum. A new spin on Virginia Woolf’s Mrs. Dalloway, Rose’s own experiences with maternal struggles are clearly embedded in her work. Through their portrayals of Taylor and Julia, Pedretti and Vikander deliver performances of their usual high caliber, conveying a wealth of emotion through intimate close-ups that capture every subtle expression. Combined with slow-motion movement and soft lens flares, the visual style emphasizes the emotional exhaustion of mothers navigating the relentless routines of daily life alongside largely absent husbands. The central message ultimately resonates, culminating in a powerful and shocking final moment. Unfortunately, the journey there is weighed down by an overabundance of mundane movement through life, making the path to that payoff feel considerably longer than it needs to be.
THE LEADER
(Written by Allison Brown) Average people with extraordinary charisma are far rarer than exceptional people who possess the same gift. Perhaps that is why stories about figures like Fyre Festival founder Billy McFarland and WeWork co-founder Adam Neumann continue to fascinate. The story of Heaven’s Gate, the cult whose members carried out a coordinated mass suicide believing they would ascend beyond the human plane, all while wearing identical Nike sneakers, has long occupied a similar place in popular discourse. What writer/director Michael Gallagher’s The Leader highlights so effectively is just how profoundly mediocre its founder, Marshall Herff Applewhite (Tim Blake Nelson), actually was. Before launching the movement that would ultimately claim dozens of lives, Applewhite had already attempted suicide himself. Gallagher examines how such an unremarkable figure could inspire such unwavering devotion. Both dissatisfied with life and searching for greater meaning, Applewhite and Bonnie Lu Nettles (Vera Farmiga) manipulate an entire community of similarly lost souls. Their organization, which prohibits any form of hedonism, demands strict celibacy and adopts absurdly genderless bowl cuts as a prerequisite for ascension, targets the vulnerable and disillusioned, as cults so often do. Nelson and Farmiga’s palpable chemistry anchors the ensemble. Simon Rex and Jim Parsons are equally strong in supporting roles, with Parsons contorting his face in an unsettling manner and Rex descending into a chilling, childlike shell of himself. Functioning equally well as a thriller and dark comedy, The Leader explores the extraordinary lengths people will go to support deeply incompetent leaders in pursuit of belonging. Followers become so detached from their humanity that their physical bodies are reduced to mere “vehicles” to be discarded on the journey to the “Next Level.” The notion that extraterrestrials might arrive to rescue people from their troubles is difficult to comprehend, though many approach religion in a similar way, looking to a higher power to solve life’s problems. That parallel helps explain why organized religion can feel unsettling at times. Both religions and cults can offer meaning, yet also become mechanisms of mass control. The Leader raises uncomfortable questions about where one ends and the other begins.
LUCY SCHULMAN
(Written by Allison Brown) Millennial girls like 29-year-old Lucy Schulman are a dime a dozen on the Upper East Side, where I reside, and throughout the city. Hopeless romantics who lose themselves in their partners, disappear off the face of the earth, coast by underemployed, and treat dating like a second job are omnipresent. As a fellow curly-haired member of the tribe myself, this commitment to finding one’s person feels especially prevalent in the Jewish community. Our protagonist’s last name itself is even a pun, as “schul” is a Yiddish word for synagogue. The details in the script are culturally recognizable, from Chinese takeout during difficult times and catered bagels and lox at celebrations, to Floridian grandparents, mysterious bruises, minimal cooking, and chronic oversharing. Ellie Sachs’s debut feature, which she stars in, writes, and directs, seems rooted from personal experience. After being dumped by someone she thought she would marry for being overly “nice” and too invested, our daddy’s-girl heroine throws herself into dating apps in an attempt to find her footing. Her father, Peter (David Cross), babies her, and the two share a dangerously codependent relationship. Frankly, this is another Jewish stereotype I recognize all too well, as I am often codependent with my own mother. While neither the cinematography nor story breaks significant new ground, this quarter-life-crisis comedy is a lot of fun and very candid. Sachs and Cross have terrific chemistry and make for an adorable father-daughter duo. An internal monologue helps move the story along, and Sachs’s self-deprecating narration is consistently endearing. Real local establishments like Bernie’s and Edith’s Sandwich Counter make Lucy’s experiences appear authentically New York. Outside of Peter, best friend Eden (Annabelle Attanasio), and love interest James (Thomas Mann), supporting characters are largely one-dimensional. Most are so unmemorable that I did not even catch their names until the epilogue. A brief detour into an adorable rom-com plot may convince viewers that meet-cutes and unexpected love are real, but Sachs ultimately embraces reality. You do not always get the guy or the job, but you keep moving forward. Focus on yourself, value longstanding friendships, and you will find a way to progress. I am excited to see what Sachs does next. She could make a terrific showrunner, crafting flawed, female-centric stories in the vein of Mindy Kaling.
NEXT LIFE
(Written by Rachel Wagner) Read the full review here.
NEVER CHANGE!
(Written by Allison Brown) Ever had that nightmare where you realize you never really graduated high school? Hulu’s upcoming comedy, Never Change!, brings that fear to life. The combination of Sofia Black-D’Elia as Katie Cartwright and John Reynolds as Sunny Football, following their standout work in Single Drunk Female and Search Party, positioned this as one of the festival’s most promising titles on paper. Unfortunately, the slight narrative, lazy recurring jokes, and one-dimensional characters are so relentlessly vapid that even its brisk pacing becomes an exercise in frustration. Good intentions lead to unforeseen consequences when a new law called the “Education New Deal” is passed. Members of the 2008 graduating class of North Meadows High School, whose school year was interrupted by a tornado, are forced to return and complete the final two weeks to satisfy a new 180-day graduation requirement. This means 35-year-old students who have moved on with their lives and relocated elsewhere must return home to relive their high school years. In many ways, this suffers a fate similar to another festival selection, Gail Daughtry and the Celebrity Sex Pass. While the premise has potential, the execution quickly devolves into a barrage of hyperbolic, lowbrow humor. An early scene in which a random bar patron laps up beer like a dog, while a bartender distractedly holds a mug sets the tone, eliciting little beyond eye rolls. Side plots involving serial killers and alien abduction only compound the problem, transforming an already flimsy concept into something increasingly absurd. The cast is undeniably impressive, featuring Patti Harrison, John Early, Topher Grace, Zach Cherry, Sunita Mani, and Ana Gasteyer. Unfortunately, the writing fails to capitalize on that talent. Characters presented as intellectual standouts seldom come across as particularly intelligent, while several actors meant to be playing thirtysomethings appear considerably older, further straining an already tenuous storyline. With an ensemble this this strong, the resulting mess is all the more disappointing.
PONDEROSA
(Written by Rachel Wagner) There are times when randomness can work in an indie film if performances are engaging or the visuals are special. Unfortunately the new film by Rob Rice, Ponderosa, has none of those assets to boost it above mediocrity. It tries to tell a story of friendship between a teen named Zeke (Jack Dylan Grazer) and an older man named George (Bill Camp- in an aggressively quirky performance that gets old quick.) The problem is none of the characters feel authentic and the dialogue is unmemorable. It makes the experience of watching Ponderosa a bit of a slog leaving the audience wondering what Rice is going for with this tedious film.
RECLUSE
(Written by Allison Brown) Tension built by sound is one of the most effective tools in the horror genre. Writer/director Henry Chaisson stresses this importance in his feature debut, Recluse, by setting up protagonist Joan (Sasha Frolova) as an audio engineer. Her sensitivity to sound and use of industry technology reveal the subtlety in vibration and barely inaudible whispers that form the piece’s soundscape. Oftentimes spooky, discordant noises play amplified before we are introduced to the item or person making them, creating a potent sense of dread. Rather than simply presenting an average haunted house tale, Chaisson chases the narrative with an assumed Wyatt family curse that is dissected with each major reveal. Despite plainly foreshadowing the danger in the opening sequence, one will still be caught off guard by the twists as they unfold. Cinematography featuring eerie extended hallways and staircases as a recurring visual motif amplifies a fear of the unknown in what may be lurking beneath the shadows. A voyeuristic camera perspective is used from time to time, making it appear as if an outside observer, whether living or dead, is spying on the subject from a distance. Though its foundations may not be novel, Recluse steadily builds up anxiety and discomfort, setting the stage for a stunning conclusion that justifies the investment.
THE REVISIONIST
(Written by Allison Brown) A stunning cast including Academy Award winner Dustin Hoffman and Golden Globe nominee Alison Brie, paired with a layered synopsis setting up a twisty thriller, makes The Revisionist a highly anticipated selection. Unfortunately, writer/director Alex Vlack’s incoherent script wastes this elite ensemble. Snappy dialogue moves a mile a minute, regularly overacted with exaggerated inflection and tone. Oftentimes, this messy setup becomes convoluted. Sturridge frequently mumbles his lines, making it difficult to hear delivery. Obviously designed similarly to Soderbergh’s The Christophers, estranged children essentially trick their dying father to get something out of him, with the endeavor eventually blowing up in their face. What separates the two most is this film’s lack of the heroes and villains necessary to support storytelling. No one here possesses redeeming qualities, leaving each one-dimensionally bitter and selfish. Elise (Brie) is presented as the main protagonist, but really John (Holland) gets more screen time, which makes deciphering the hero evermore confusing. Vlack intends Elise to be the choreographer of chaos, yet it feels as if others are more to blame. Elise and Jacob’s (Sturridge) children are throwaway characters lacking nearly any purpose at all, except to relay products of a “perfect” marriage. Transitions become repetitive each time a variant of quirky jazz is played over some combination of three cuts. These include one of John running in a park or visiting David (Hoffman), one of Elise writing pensively at a computer, and a final of Jacob deeply conflicted and contemplating life. Replays while Elise writes and edits her work may be intentionally unclear, but instead come off as murky, ultimately without resolution. By the end, it will be hard for anyone to entirely grasp what happened. Reality and fiction are so blurred that there is no truth left to retain. Without an articulate throughline to hold everything together, what is the point? The story is all over the place. Incompetent writing leaves the audience feeling as though their time was wasted trying to make sense of it all.
SAD GIRLZ
(Written by Allison Brown) Debut feature Sad Girlz ultimately focuses more on form than substance. Stunning cinematography is Tovar’s focus here, with metaphorical significance in every sequence. Vivid blues reinforce the swimming theme, while also alluding to the emotionally “blue” melancholy tone.Paula (Darana Alvarez) and La Maestra (Rocio Guzman) color a sidewalk with chalk, blow bubble wands and play with stuffed animals, juxtaposing their continued childlike curiosity with the starkly opposing mature content of adolescence at the center. Motion blur and light flares outside the girls’ car window portrays Paula’s scrambled mind; everything is distorted, both literally and figuratively. Broken glass on cement reflecting the two dancing and playing while under the influence visually sums up the introspective, pondering nature. Tovar’s work reads more as a collection of stimulating shots than any kind of compelling overall film. Plot progression is exceptionally slow; nearly a third of the runtime passes before the word “rape” is even addressed. Coupled with predictable character choices, viewers may feel detached from Paula’s plight. Sexual assault content will almost always strike a nerve, but Sad Girlz’ artsy approach detracts from any sense of urgency, leaving only numbness and nary a takeaway.
SHE KEEPS ME YOUNG
(Written by Allison Brown) As a woman who has sometimes befriended others slightly below an appropriate age bracket, She Keeps Me Young had an exciting premise. Unfortunately, execution is far too surface level to warrant developing beyond its 2018 inception as a short. Notable actors like Patti Harrison and John Early almost feel thrown in solely as a way to entice sales attention and festival buzz. Maya and Daniel respectively are throwaway roles without much significance in the plot and barely provide any comic relief. Kate Berlant is not even given the opportunity to function as a real character, instead appearing only in a very short TED Talk-style video clip designed to teach Michelle (Blair Beeken) about ghosting. Although described as deadpan comedy, this plays more like a quirky drama. The relationship between high schooler Bridget (Shay Rudolph) and middle aged lead Michelle takes a back seat to Michelle’s complicated dynamic with frenemy Kelly (Katy Fullan). Bridget is one-dimensional, merely serving as a metaphor for Michelle’s suppressed confidence. Kelly is extremely unlikable in every way, which is likely intentional satire for this kind of stereotypical person. However, her manipulative nature just gets more annoying as time goes on. Michelle becomes a shadow of herself in an effort to satisfy what Kelly molds her to be. Substance really lacks here, and the day to day mundanity of their simple lives feels like filler to expand from its origination as a short.
STEALING MAGIC
(Written by Allison Brown) In the curious vein of Netflix’s Don’t F**k with Cats, Stealing Magic tracks an unlikely trio of quirky magicians who go to extraordinary lengths of sleuthing to reveal the identity of a criminal pirate. Operating under the alias Erdnase, an anonymous reseller acquires rare illusionist texts, often representing the culmination of creators’ life work, with malicious intent. By scanning and distributing counterfeit versions at a fraction of their original price, Erdnase siphons revenue from both retailers and authors alike. The future of the community hangs in the balance, as up-and-coming magicians are discouraged from producing new material when the financial return is so severely undercut. Storytelling from director Matthew Testa is irresistibly fun, albeit silly, with cheesy reenactments, high stakes zoom calls, strange social media messages, and laughably threatening emails filling the runtime. This niche subculture rarely garners respect from the general public, and Testa clearly strives to overcome this stigma. By connecting mysticism with popular true crime media, attention is brought to this underrepresented, yet surprisingly profitable industry. Piracy of what most would deem frivolous tricks is taken much more seriously than one would expect. Including interviews from some of the most well known names in the field, particularly Penn and Teller, brings legitimacy to the subject matter. Similar to the film critic world, everyone here with some level of success seems to know one another; a small pool of talent exists worldwide. Over the course of eight years, Andi Gladwin, Joshua Jay, and George Luck of impacted shop Vanishing Inc journey across the globe, tapping into their network within the magic world and beyond, while placing themselves in extreme situations far outside the comfort zone of the average person. The sheer dedication these three exhibit in defending their craft must be seen to be believed. Stealing Magic could easily find a home streaming on a platform like Paramount + or Peacock.
SPIN WARS
(Written by Allison Brown) Spin Wars chronicles the rise of boutique cycling from early spinning classes to the dominance of SoulCycle, Flywheel, and eventually Peloton. Filled with vintage footage and stylishly staged interviews, it effectively demonstrates how group fitness evolved into a culture built around community, exclusivity, instructors with celebrity-like followings, and near-cultlike devotion. The most compelling material explores the business side of the industry, particularly the bitter fallout between SoulCycle co-founders Ruth Zukerman, Julie Rice, and Elizabeth Cutler, as Zukerman’s contributions were gradually minimized before she was pushed aside and eventually launched rival company Flywheel. The documentary also highlights the blurred professional boundaries that emerged as instructors were encouraged to cultivate personal relationships with riders, creating an environment fueled by ego, status, and social climbing. However, despite interesting insights into branding, exclusivity, and the surprising decision by Flywheel to pass on partnering with future Peloton founder John Foley, much of the runtime becomes bogged down in petty interpersonal drama involving wealthy founders and socialites whose conflicts feel closer to The Real Housewives than a business documentary. The absence of participation from many of the key figures further limits the depth of the story. While cycling enthusiasts will likely find plenty to enjoy, those without a personal investment in the industry may struggle to find enough substance here to justify a feature-length examination of what is ultimately a niche corner of fitness culture.
PASSING THE TORCH BETWEEN THE PAST AND FUTURE OF THE HANDMAID’S TALE
(Written by Allison Brown) Executive producer and star Elisabeth Moss joined cast members Chase Infiniti and Lucy Halliday to talk about their incredible spinoff, The Testaments, at Vulture Festival at Tribeca Festival’s Passing the Torch Between the Past and Future of The Handmaid’s Tale. Moderated by Vulture critic Catherine VanArendonk, the conversation explored how the new series expands the world of Gilead through the eyes of a younger generation who have only ever known life within its confines. Much of the panel focused on the relationship between Agnes (Infiniti) and Daisy (Halliday), which serves as the story’s emotional core. The actresses discussed how their characters’ vastly different upbringings shape their views of Gilead, while emphasizing themes of trust, found family, and sisterhood that distinguish The Testaments from its predecessor. Moss noted that unlike her character, June, who rarely experienced lasting connections, Agnes and Daisy’s bond has the potential to become a powerful force for change. One of the most fascinating portions centered on costume design and how clothing informs character. Infiniti described Agnes’s plum-colored attire as feeling like armor, while Halliday explained that Daisy’s restrictive Pearl Girl uniform affected everything from her posture to the way she moved through the world. The costumes reinforced Gilead’s rigid expectations of young women, with Halliday joking that even eating a snack became stressful while dressed entirely in white. Both spoke about how the physical limitations of the costumes helped them better understand their characters’ perspectives and daily lives. Throughout the evening, a recurring theme emerged: hope. While The Handmaid’s Tale often focused on survival, The Testaments examines how this younger cohort can challenge entrenched systems from within. In a political climate where women’s rights remain under constant debate and protections such as Roe v. Wade have already been overturned, the drama feels as relevant as ever. This franchise remains among the most compelling and essential works of dystopian storytelling on television.
UNIDENTIFIED
(Written by Allison Brown) Read the full review here.
VIA NEGATIVA
(Written by Allison Brown) Read the full review here.
YOUNG WASHINGTON
(Written by Rachel Wagner) Read the full review here.
With this year’s Tribeca now behind us, we’re already looking ahead to what comes next. Among my standout favorites were Act One, The Accompanist, Breeder, Caity, Clean Hands, Death Boom, The Leader, Lucy Schulman, and Playing POTUS (Rachel’s favorite was Young Washington)—a slate that speaks to the range and unpredictability of the festival itself. We look forward to returning next year to see what new voices and stories emerge.