Indie Film Weekly [EP 39]: Plainclotes (2025) Predators (2025) La Haine (1995)
Welcome back to Indie Film Weekly, star date Sept 19, 2025. I’m Glen Reynolds, your host. This week, we’ve got three theatrical releases that dive deep into desire, deception, and documentary drama. Plus, a Spanish TVOD gem featuring an unexpected dinner guest, and a French classic that still hits like a riot grenade. As always, please support these films in a real theater if you can. Your ticket purchase keeps indie cinema alive.
As always, this podcast is sponsored by Indie Igniter — the platform helping indie filmmakers find their audience, fund their dreams, and maybe even figure out what to post on Instagram.
New in Theaters
Plainclothes sneaks into theaters with a story set in the 1990s, where an undercover officer is tasked with a troubling assignment: entrap gay men for arrest. But when he becomes emotionally entangled with one of his targets, the operation spirals into something far more intimate and dangerous. First-time director Carmen Emmi delivers a confident, emotionally layered debut inspired by real-life “vice squad” operations.
It’s part thriller, part queer coming-of-age reckoning. Plainclothes has earned comparisons to Cruising and Moonlight—which is kind of a wild combo—but it works. Emmi reportedly developed the story after discovering his uncle’s old NYPD files. Lead actor Zachary Latham, mostly known for his stage work, gives a breakout performance full of restraint and turmoil. This one might rattle you—but it also stays with you.
Also in theaters, Predators is the kind of documentary that forces you to squirm—and question your own appetite for justice. The film unpacks the rise and fall of the NBC show To Catch a Predator, diving deep into the ethics and chaos of turning criminal stings into primetime spectacle. Director David Osit goes beyond just the internet chat transcripts to explore the show's real-world impact—on the arrested, the audience, the producers, and the law itself.
Turns out when you mix law enforcement with reality TV, things get murky fast. The doc includes never-before-seen behind-the-scenes footage and interviews with former producers who reflect—sometimes with regret—on what they helped build. Osit doesn’t pull punches, but he also doesn’t preach. This is a tough, layered, and thought-provoking ride. Just maybe don’t watch it with your parents.
Finally in theaters, Megadoc lifts the curtain on one of the most ambitious, chaotic, and maybe cursed film productions in recent memory—Francis Ford Coppola’s Megalopolis. The incomparable director Mike Figgis takes us inside the madness with footage from the set, interviews with key crew, and an unfiltered look at what it means to chase greatness (and maybe bankrupt yourself in the process).
There’s something kind of thrilling about watching a living legend go full Icarus—and the crew try to keep up. Megadoc balances reverence and skepticism, reminding us that passion projects can be both brilliant and baffling. Rumor has it that one of the film’s camera operators wore a GoPro for 100 consecutive days. If you like your docs messy, operatic, and full of wild ambition, this one’s for you.
So in theaters this week, that’s Plainclothes, Predators and Megadoc!
Films to Rent or Download
On TVOD, check out Waiting for Dalí which serves up a whimsical mix of art and gastronomy set in 1970s Spain. Talented chef Fernando arrives in the seaside town of Cadaqués—the surreal stomping grounds of Salvador Dalí himself. What begins as a culinary internship morphs into a fever dream of melting clocks, sensual seafood, and artistic awakening.
Directed by David Pujol and starring José García, this charming oddity was overshadowed last year by another film about the artist, but it stands on its own as a warm, food-forward fable. It’s less biopic, more magical realism. There’s even a sequence inspired by Dalí’s famed cookbook that borders on the psychedelic.
Indie Classic
And for our classic indie film this week, we revisit the 30th anniversary of La Haine, a film that’s lost none of its punch. Mathieu Kassovitz’s black-and-white masterpiece follows 24 explosive hours in the lives of three friends—Vinz, Said, and Hubert—in the Parisian slums after a riot. It’s electric, angry, and heartbreakingly relevant. Vincent Cassel’s performance as Vinz remains iconic, equal parts swagger and desperation.
Behind the lens, Kassovitz famously insisted the film be shot in real Paris suburbs during real riots to preserve its raw, unscripted truth. The film won Best Director at Cannes in 1995 and helped define a generation of French cinema. Newly restored in 4K, it’s now available on TVOD via Amazon or AppleTV—so if you missed it the first time, now’s the moment. And if you did see it in the ’90s, prepare to be stunned by how little has changed.
And that’s a wrap for the September 19 edition of Indie Film Weekly. Whether you're going undercover in 1990s NYC, questioning the ethics of tabloid justice, or chasing Coppola's cinematic white whale—this week’s lineup isn’t playing it safe. And if you're just here for the tapas and Dalí mustache wax, we’ve got you covered too.
If you enjoyed the show, please subscribe, share it with a fellow film nerd, or drop a rating wherever you listen. Every little bit helps us keep spotlighting these bold, beautiful, sometimes batshit indie films. Until next time, keep it daring, keep it unfiltered, and keep it indie.
Indie Film Weekly [EP 38]: Spinal Tap II-The End Continues (2025) Motherland (2025) Slacker (1990)
Welcome back to Indie Film Weekly for September 12. This week, we’re reuniting the world’s loudest fake band, wandering around a mystical Minnesota lake, rebelling against dystopian parenting policies, and learning how a certain New Yorker begins his long, strange climb to power. Plus, we revisit a cult classic that captured a city in mid-drift — where conspiracy theorists, anarchists, and pop culture prophets collide on every street corner. Whether you’re a film lover, filmmaker, or just someone wondering how you’re still not the protagonist of your own life, we’ve got something for you.
Indie Film Weekly is sponsored by Indie Igniter — helping indie filmmakers find their audience with smart, scrappy marketing campaigns. Learn more at theindieigniter.com
New in Theaters
First up in theaters, Spinal Tap II: The End Continues dares to ask: what if the band actually did turn it up to eleven... again? Rob Reiner returns as Marty DiBergi, the documentarian brave enough to once again follow the most questionably legendary band in rock history: Spinal Tap. After years apart, David St. Hubbins, Nigel Tufnel, and Derek Smalls reunite for one more show — and one more search for a drummer who hopefully won’t explode. As they gear up for a New Orleans reunion concert, they wrestle with age, ego, and actual musical guests including Paul McCartney and Elton John.
This sequel leans all the way into the meta, with a knowing wink to aging rockers and aging fans alike. Christopher Guest, Michael McKean, and Harry Shearer slide back into their roles with uncanny ease, and Reiner keeps the laughs flowing. It’s a tribute, a roast, and a reminder that parody can age surprisingly well. If you’re wondering whether the band’s legacy is real or just incredibly loud fiction, well… it’s both. Just don’t ask them about Stonehenge.
Next, Sunfish (& Other Stories on Green Lake) marks the quietly stunning debut of writer-director Sierra Falconer. Set in and around a lakeside town in Minnesota, the film unfolds in lyrical chapters: a girl learns to sail, a boy competes for first chair, two sisters run a B&B, and a fisherman chases his white whale.
Falconer weaves these lives together with the lightest of touches, letting emotion emerge in glances, gestures, and the lapping of water on dockwood. Shot on 16mm with local musicians and non-actors, the film evokes the mood of a lake at golden hour — hushed, reflective, full of memory. You can practically smell the sunscreen and hear the cicadas. It’s about small awakenings: independence, excitement, grief, joy. If Boyhood had taken place over one summer and never left the water’s edge, it might look something like this.
Finally, in Evan Matthews’ dystopian sci-fi Motherland, the state has decided to fix parenting by… eliminating it. In this near-future society, children are raised communally, parents are unburdened, and no one has to sit through a PTA meeting again. But when a by-the-book enforcer stumbles upon a buried truth, her loyalty begins to fracture.
With sleek visuals and a deeply unnerving tone, the film echoes Gattaca, Children of Men, and yes, a few pages from your worst parenting handbook. Star Talia Ryder grounds the film with a performance that’s equal parts cool resolve and rising panic. Matthews builds a textured world where bureaucratic control meets moral decay — and asks the hard question: What happens when you wake up in a system you helped build? The answer is bleak, riveting, and disturbingly plausible.
So in theaters this week, that’s Spinal Tap II: The End Continues, Sunfish (& Other Stories on Green Lake) and Motherland!
Films to Rent or Download
On TVOD this week, director Ali Abbasi goes full biopic-meets-cautionary-tale, with The Apprentice, tracing a young Donald Trump’s climb from outer-borough daddy’s boy to Manhattan dealmaker. It’s the ’70s, and with Roy Cohn whispering in his ear, Trump begins laying the foundations for the brand that would one day take over buildings, magazines, and — unfortunately — governments.
Sebastian Stan plays Trump with icy ambition and a pout that could melt gold leaf. The film doesn’t go full parody but leans hard into the origin myth, unearthing formative moments with the same giddy horror as watching a villain get their mask in Act One. And Jeremy Strong’s Cohn slithers through every scene with oily menace. It’s not parody, not homage — just a cautionary tale that unfolds like a slow-motion train crash. Available now on Amazon, Apple, and Google.
Indie Classic
And for our indie classic this week, Slacker turns 35 this year, and if you’ve never seen it… you’ve probably still lived it. Richard Linklater’s breakout film is a meandering, conversation-fueled journey through a version of Austin where no one has a job, everyone has a theory, and time is mostly optional.
There’s no central character, just a loose chain of moments — a guy pontificating in a cab, a woman trying to sell Madonna’s used Pap smear, a conspiracy nut reading too much into JFK. But somehow it adds up to something enduring and even profound. Slacker didn’t just launch Linklater’s career — it defined a new kind of American indie: lo-fi, lo-budget, and radically character-driven. Now streaming on HBO Max, it’s worth revisiting for its humor, its insights, and its pre-gentrification weirdness. It remains a sacred text for the meanderingly motivated and a love letter to aimlessness.
That’s a wrap for the September 12 edition of Indie Film Weekly. Whether you’re sailing across a poetic lake, watching rock legends reunite (again), or examining the moral cost of parental outsourcing, this week delivers a wide range of cinematic flavors. Support these filmmakers and keep independent cinema thriving. Go see a movie in a theater.
If you dig what we’re doing, subscribe to the pod, leave a review, or better yet—share it with a friend who still owns a DVD player. It helps us spread the indie gospel far and wide. We’ll be back next week with more releases, more rewatches, and more reasons to avoid the algorithm. Until then, keep it loud, keep it weird, and keep it indie.
Indie Film Weekly [EP 37]: A Little Prayer (2025), Love, Brooklyn (2025), Atlantic City (1980)
Welcome back to Indie Film Weekly, your roundup of new indie releases for the week of August 29, 2025. I’m Glen Reynolds, here to guide you through this week’s crop of three new films hitting theaters – ranging from a heartfelt Southern family drama to a sultry Brazilian thriller – plus an indie romance on VOD and a classic crime romance celebrating its 45th anniversary.
Let’s dive in – and remember, if any of these pique your interest, please support these films by seeing them in theaters (nothing beats that big-screen experience for indie cinema!).
New in Theaters
From writer-director Angus MacLachlan (best known as the writer of Junebug), A Little Prayer is a quietly powerful drama that centers on a Southern patriarch who suspects his son is cheating on his daughter-in-law. What follows is an emotional tightrope walk through family loyalty, moral clarity, and the unexpected ways love can break or bind us. David Strathairn imbues it with the gentle gravity only he can, while Jane Levy brings compass. The supporting cast includes Anna Camp as Bill’s own daughter and Dascha Polanco as a possible other woman, adding depth to this small-town Southern ensemble. Shot in Winston-Salem—MacLachlan’s hometown—the film has an authenticity and intimacy that feel earned, not staged. It also happens to feature some of the best porches in indie cinema this year.
Next up in theaters is Love, Brooklyn, a smart and sincere story about friendship, ambition, and gentrification. It follows three lifelong friends navigating love and creative burnout in a rapidly changing borough. Director Rachael Holder weaves the threads of community, class, and nostalgia without losing sight of the individual human stories. The always-excellent Nicole Beharie, André Holland, and DeWanda Wise carry the emotional weight with warmth and humor. The film was shot in real Brooklyn locations—often guerrilla-style—which gives it the lived-in texture of the city’s indie golden era. It’s like Frances Ha, but with jobs. Fun fact: executive producer Steven Soderbergh stepped in to help finance the film when it struggled to get off the ground—proof that good stories find champions, even in the indie trenches.
Finally in theaters this week, Motel Destino is an erotic thriller pulses with heat—literal and emotional. Set on a remote coastal highway, this feverish thriller from director Karim Aïnouz takes place in a seedy roadside motel where desire, violence, and class tension collide. When a young drifter named Heraldo checks in, he disrupts the power games already in play, and things quickly spiral into the surreal and sinister. Aïnouz delivers a stylized, visually arresting film that blends neo-noir with social critique, soaked in sweat, sea spray, and sex. The film was shot in the director’s home state of Ceará and premiered at the Cannes Film Festival, where it made waves for its daring, neon-soaked style. Think Y Tu Mamá También meets Bad Times at the El Royale, but with more mosquitoes.
So that’s A Little Prayer, Love, Brooklyn, and Motel Destino—in theaters this week!
Films to Rent or Download
On VOD this week, check out A New York Story, a sharp, beautiful social drama follows Annabel, a young woman caught between loyalty to her high-society clique and the pull of an outsider—a charming photographer who sees the real her. As her friends circle like hawks, trying to pull her back into their rarefied bubble, the story becomes a subtle takedown of modern class anxiety with echoes of Metropolitan and The Talented Mr. Ripley. The cast includes Logan Miller and veteran actress Annabella Sciorra, but it’s Fiona Robert’s show all the way – pulling triple duty as director, co-writer, and lead actress, she delivers a breakout performance. Robert fills every frame with Gilded Age elegance and downtown energy, and the film’s stunning NYC visuals make it one of the prettiest indies of the year. Keep an eye out for the acronym PLU—People Like Us—and a Whit Stillman cameo that ties it all together.
Indie Classic
Finally, our classic pick of the week is Atlantic City, which turns 45 years old (and remains as intoxicating as ever). Directed by the great Louis Malle, this 1980 crime drama/romance stars Susan Sarandon as a woman trying to reinvent herself with Burt Lancaster himself as a fading mobster desperate for one last taste of glory. The story is melancholic but hopeful, with Malle capturing the decay and romance of a city on the edge. We literally see old buildings being demolished as new casinos rise, a visual metaphor for the film’s themes of decay and renewal. You can almost smell the salt air and cheap perfume of the boardwalk. The film was nominated for five Oscars, and Lancaster’s performance—world-weary, sly, and quietly heartbreaking—still ranks among his best. Plus, Sarandon’s lemon-scrubbing scene remains one of the most iconic food moments in cinema. No notes.
You can find the film streaming on Amazon Prime and MGM+.
That wraps it for the August 29 edition of Indie Film Weekly. Whether you’re eavesdropping in the Carolinas, strolling through brownstone Brooklyn, sweltering in coastal Brazil, or navigating Upper East Side drama—there’s something indie for you this week. Don’t forget to subscribe to the Indie Igniter newsletter at theindieigniter.com. And hey—if you liked the pod, share it with someone who thinks “indie” means Wes Anderson or nothing.
Until next time: keep it soulful, keep it surprising, and keep it indie.
Indie Film Weekly [EP 36]: Splitsville (2025), Relay (2025), Tommy (1975)
Welcome back to Indie Film Weekly, the podcast that tracks new indie film releases so you don’t have to scroll through 900 thumbnails and still end up watching The Office again. I'm Glen Reynolds, and as always, this episode is brought to you by Indie Igniter—helping independent filmmakers build audiences, one honest click at a time. Check it out at theindieigniter.com
Let’s dive in.
New in Theaters
First up, Splitsville is now in theaters. When his wife asks for a divorce, a bewildered husband turns to his married friends for support, only to discover that the secret to their happiness is—you guessed it—an open marriage. It’s a funny, uncomfortable, and sharply observant dramedy about modern love, directed by Michael Angelo Covino. Dakota Johnson stars as one-half of the unraveling couple, bringing her trademark blend of charisma and chaos to this comedy about modern love and its many, many loopholes. If you’ve ever said “we’re just redefining our relationship” and meant it, this one’s for you.
Also in theaters this week is Lurker, a psychological thriller set in the art-meets-pop-music scene. A low-level retail worker gets dangerously close to a rising music star, infiltrating her inner circle under increasingly shady pretenses. As the stakes climb, so do the body count and the stylistic flourishes. It’s creepy, slick, and has a bit of that Single White Female energy but with synth beats and gallery openings. Rising star Alex Russell, who also directed, keeps the tension simmering beneath the surface in this intimate thriller where fame, obsession, and identity collide. This one earns its title in every way.
Then we have Relay, a smart, tense thriller also opening in theaters. Our protagonist is a professional bribe broker—yes, that’s a thing—who arranges deals between corporations and the people trying to take them down. But when one client needs protection rather than corruption, he has to violate his cardinal rules. That small ethical hiccup throws his carefully constructed world into chaos. Riz Ahmed anchors the film with a cool, coiled intensity that makes you question everyone’s motives, including his own. Directed by David Mackenzie, it’s a sleek, morally murky dive into the business of compromise.
So that’s Splitsville, Lurker, and Relay—in theaters this week!
Films to Rent or Download
On TVOD this week is Remembering Gene Wilder, a warm, heartfelt documentary about the man who brought us Willy Wonka, Dr. Frankenstein, and that heartbreaking rendition of “Pure Imagination.” Directed by Ron Frank, the film weaves interviews and never-before-seen footage into a portrait of a gentle genius whose comedy had an unmatched twinkle. The film features loving reflections from Mel Brooks and Carol Kane, adding personal warmth to the legend’s legacy. Available now to rent or buy on all major platforms—maybe bring a tissue or three.
Indie Classic
And for our classic pick, Tommy is celebrating its 50th anniversary, and you can stream it on the Roku Channel. Directed by Ken Russell and featuring music by The Who, Tommy is the original rock opera fever dream. It follows a boy rendered deaf, dumb, and blind after childhood trauma, who grows up to become a pinball savant and, naturally, the spiritual leader of a cult. The cast is a wild ride in itself—Roger Daltrey, Ann-Margret, Tina Turner, and Jack Nicholson all show up to turn the volume (and the chaos) to 11. If you’ve ever thought, “You know what this needs? More glitter, more trauma, and Elton John in platform shoes,” Tommy is calling your name.
Check it out on The Roku Channel.
That wraps it for the August 22 edition of Indie Film Weekly. Whether you're fumbling through an open marriage, creeping toward fame with questionable motives, or playing moral limbo with bribe money—or you’re celebrating a curly-haired legend or vibing with The Who’s loudest fever dream—there’s something indie for you this week. Don’t forget to subscribe to the Indie Igniter newsletter at theindieigniter.com. And please leave us a review or share the pod—preferably with someone who’s still quoting Zoolander.
Until next time, don’t be afraid to get weird, get niche, and get loud about what you love.
Indie Film Weekly [EP 35]: East of Wall (2025), Checkpoint Zoo (2025), Joe (1970)
Welcome to Indie Film Weekly for August 15. I’m Glen Reynolds from Circus Road Films, and this podcast is brought to you by Indie Igniter—the behind-the-scenes hustle your indie film didn’t know it needed. If your project could use more eyeballs, better buzz, or just some digital TLC, go check them out.
And now, as always, a gentle but firm reminder: go see a movie in a theater this week. Indie films live or die based on word-of-mouth and box office. You could single-handedly save cinema—no pressure.
New in Theaters
Starting with something gritty and heartfelt, East of Wall opens in theaters this week and follows Tabatha, a tough, tattooed horse trainer in the Badlands grappling with the death of her husband, the disrepair of her ranch, and the wild-hearted teens she’s taken under her wing. Director Kate Beecroft brings together grief, survival, and community in a story that somehow smells like hay, engine oil, and second chances. If The Rider and Short Term 12 had a baby and raised it on Marlboros and pep talks, this would be it.
Also in theaters, the slow-burning gothic thriller Went Up the Hill takes us deep into a remote New Zealand town, where a young man travels to scatter his estranged mother’s ashes—only to uncover secrets, an unsettling widower, and maybe the ghost of his own identity. Directed by Samuel Van Grinsven, this one’s moody, atmospheric, and full of fog—the emotional kind and the literal kind. A perfect pick if you’re in the mood for slow dread, beautiful scenery, and unresolved trauma.
Rounding out this week’s theatrical trio is the unforgettable documentary Checkpoint Zoo, which revisits Kharkiv’s Feldman Ecopark in the early days of Russia’s invasion of Ukraine. The zoo—home to over 5,000 animals—was caught in the literal crossfire. With supplies cut off and bombs falling, a few brave souls risked their lives to care for the creatures left behind. Directed by Joshua Zeman, this is one of those documentaries that sneaks up on you, hits hard, and reminds you what humanity looks like when it’s being humane.
So that’s East of Wall, Went Up The Hill and Checkpoint Zoo—in theaters this week!
Films to Rent or Download
If the theater isn’t in the cards this weekend, fire up your TVOD platform of choice (Amazon, Apple, or Google) and check out Dawn Dusk, a quiet but powerful story about a leather bag artist named Chelli Look whose world comes undone after the murder of her sister. Directors Jason Gerber and Sarah Blue Winslow Gerber turn a story of grief into one of creative resurrection. The film gently explores the moment when mourning gives way to meaning—and maybe even art. It’s a soft-spoken indie with sharp edges and a big heart.
Available now on all major platforms.
Indie Classic
And for your spotlight classic this week: Joe, which turns 55 and is still as unsettlingly relevant as ever. Streaming now on Amazon and Tubi, this 1970 gem features Peter Boyle as a rage-filled factory worker who latches onto an executive’s confession of murder with a little too much enthusiasm. Also notable: it was one of Susan Sarandon’s first screen roles and one of John G. Avildsen’s early films—before Rocky, before Karate Kid, before we all knew what a montage was. If you like your cinema sweaty, seedy, and still a little too on-the-nose about America, this is a must-watch.
That wraps it for the August 15 edition of Indie Film Weekly. Whether you're corralling troubled teens in the Badlands, whispering with ghosts in New Zealand, or saving tigers and turtles in a war zone—or you’re diving into artistic grief or revisiting a gritty classic about vigilante rage—there’s something indie for you this week.
Don’t forget to subscribe to the Indie Igniter newsletter at theindieigniter.com. And please leave us a review or share the pod—preferably with someone who thinks documentaries are just PowerPoint with music.
Until next time, support your local arthouse, call your weirdest friend, and bring snacks.
Indie Film Weekly [EP 34]: It’s Never Over, Jeff Buckley (2025), Hola Frida (2025), Faster, Pussycat! Kill! Kill! (1965)
Welcome back to Indie Film Weekly, the podcast that throws a lasso around this week in indie film and drags it straight into your ears. I'm Glen Reynolds from Circus Road Films, your loyal hype-man for arthouse, edge-case, and microbudget brilliance.
Friendly reminder: Indie film only exists if people go see it. So grab a friend, find your nearest theatre, and go support these stories while they’re still glowing on the big screen. Also brought to you by Indie Igniter—our newsletter and toolkit for filmmakers trying to get seen without selling their soul. Sign up at theindieigniter.com.
New in Theaters
First up, It’s Never Over, Jeff Buckley, a musical documentary from Amy J. Berg. You might know her from West of Memphis or Janis: Little Girl Blue. This time she turns her lens on Jeff Buckley, the ethereal rock poet who dropped one perfect album, Grace, before drowning tragically in 1997. This is more than a biopic—it's a resurrection of an artist whose voice still makes people cry in their cars. Expect rare performance footage, emotional interviews, and a portrait of a talent too huge for the time he had.
Next: Hola Frida, an animated feature from Level 33, following young Frida Kahlo as she battles polio and discovers the power of imagination. This isn’t the tragic romance era Frida; this is the curious kid stuck in bed with nothing but her creativity. Co-directed by Karine Vézina and André Kadi, this is a tender and inspiring take on Frida’s childhood, rich in Mexican color, folk magic, and emotional honesty. A must for families and future artists.
And finally, By the Stream from the ever-enigmatic Hong Sang-soo. Plot? Vibes. Resolution? Maybe. What you will get: a story about a woman, her uncle, a school play, and a scandal by a stream. As usual with Hong, it’s less about what happens and more about how it drifts: like wine at lunch, awkward conversations, and fate dressed in beige. If you know, you know.
So that’s It’s Never Over, Jeff Buckley, Hola Frida, and By the Stream — a mix of memory, imagination, and melancholy for your weekend cinematic soul-food.
Films to Rent or Download
On TVOD this week, check out Ghostlight, directed by Kelly O’Sullivan and Alex Thompson. It’s about a grieving construction worker who accidentally wanders into a small-town theater rehearsal and slowly gets drawn into the world of Shakespeare, strangers, and self-expression. Heartfelt, hilarious, and painfully true. Ghostlight was one of the quiet breakouts from Sundance earlier this year, and now it's finally on TVOD—giving you the perfect excuse to see what the quiet buzz was about (or pretend you always knew).
Available now on all major platforms.
Indie Classic
This week we salute a wild 60-year-old: Faster, Pussycat! Kill! Kill! Directed by Russ Meyer, this 1965 cult classic is still one of the most deliriously anarchic things ever committed to celluloid. Imagine if Mad Max: Fury Road was shot in the desert on a shoestring and starred three go-go dancers with vengeance in their veins. Tura Satana’s Varla remains an icon of cinematic rage and swagger. The film is equal parts exploitation and empowerment, and it’s aged into something mythic. It’s currently on the Roku Channel, and it’s a rite of passage.
That wraps up this edition of Indie Film Weekly. This week, you can stare at ruins, race through Paris, or disappear into metaphor—and maybe even revisit a night that shaped American history. Go see a movie in a theater if you can. Indie film survives on your curiosity and your ticket stub. Subscribe to Indie Igniter for more weekly picks and smart strategies. And if you’re loving the pod, leave us a review—or better yet, tell your favorite local arthouse usher.
Until next week, keep it thoughtful, keep it bold, and keep it indie!
Indie Film Weekly [EP 33]: Architecton (2025) & Didi (2020)
Hey indie film fans, welcome back to Indie Film Weekly—the podcast that skips the sequels and dives straight into the daring. I’m Glen Reynolds from Circus Road Films, and I’m here to guide you through the indie films worth seeing this week—in theaters, on demand, and from deep in the cinematic vault.
This episode is powered by Indie Igniter—your one-stop newsletter and strategy toolkit for building a real audience for your indie film. Subscribe now at theindieigniter.com.
And a reminder: nothing supports indie filmmakers more than showing up in person! So go see movies in theaters if you can—it’s the best way to help keep these stories alive.
New in Theaters
First up this week is Architecton from director Victor Kossakovsky. It’s a slow-burn stunner—a visually ravishing, philosophical deep dive into the ruins of human civilization and the hope buried within its foundations.
Filmed over several years across dozens of countries, Kossakovsky explores how buildings reflect our dreams, failures, and resilience. It’s part travelogue, part elegy, and 100% cinematic—if Terrence Malick studied concrete and steel, this is what he might come up with.
Next, Souleymane’s Story, from French filmmaker Boris Lojkine (loh-KEE-nuh), offers a sharply observed, emotionally urgent portrait of a food delivery cyclist in Paris facing a life-altering immigration interview.
Souleymane, played by Abou Sangaré, has 48 hours to gather documents, prepare his case, and fight for the right to stay. The camera follows him in near real time as he pedals through the city, delivering food, dodging traffic, and navigating bureaucratic indifference. It’s a powerful reminder of how much humanity exists in the margins.
And finally, Harvest from Athina Rachel Tsangari is a mysterious, haunting allegory set in a disappearing village with no name, during seven feverish days.
It’s part fable, part nightmare, all atmosphere. If you like your cinema strange, sensual, and soaked in metaphor, Harvest is for you. You might not understand everything you see—but you’ll feel it in your bones.
So that’s Architecton, Souleymane’s Story, and Harvest—a week for thinking, feeling, and maybe even zoning out in the most artful way possible.
Films to Rent or Download
On TVOD this week, check out Dìdi, the breakout Sundance hit from director Sean Wang. It took home both the Audience Award and the U.S. Dramatic Jury Prize, and for good reason.
Set in the Bay Area in 2008, it follows 13-year-old Taiwanese-American Chris as he grapples with middle school, skateboarding, and the awkward push-pull of adolescence. It’s a tender, funny, and remarkably specific coming-of-age story that balances cultural specificity with universal teenage chaos.
Available now on all major platforms.
Indie Classic
Our classic this week is One Night in Miami…, celebrating its 5th anniversary. Directed by Regina King, the film imagines what happened the night Cassius Clay, Malcolm X, Sam Cooke, and Jim Brown got together after Clay’s heavyweight victory in 1964.
Adapted from the play by Kemp Powers, this chamber drama feels intimate yet monumental. It’s about friendship, legacy, and the burden of Black excellence. With standout performances and razor-sharp dialogue, it remains one of the most confident directorial debuts of the past decade.
Fun fact: Though made for a relatively high indie budget of $16 million, Amazon acquired it before its Venice premiere, signaling the streamer’s investment in socially conscious prestige cinema. You can watch it now on Amazon Prime.
That wraps up this edition of Indie Film Weekly. This week, you can stare at ruins, race through Paris, or disappear into metaphor—and maybe even revisit a night that shaped American history.
Go see a movie in a theater if you can. Indie film survives on your curiosity and your ticket stub.
Subscribe to Indie Igniter for more weekly picks and smart strategies. And if you’re loving the pod, leave us a review—or better yet, tell your favorite local arthouse usher.
Until next week, keep it thoughtful, keep it bold, and keep it indie!
Indie Film Weekly [EP 32]: Folktales (2025) & Tangerine (2015)
Hey there, indie film fans—welcome back to Indie Film Weekly, where the multiplex is optional but the movies still matter. I’m Glen Reynolds from Circus Road Films, here with your weekly rundown of what’s new in theaters, on demand, and a classic worth rediscovering.
Before we jump in—please, if you can, go see these films in theaters. Indie filmmakers live and die by box office turnout, and your ticket can make the difference between momentum and obscurity. Stream later, sure—but show up first. Okay, soapbox done.
New in Theaters
First up is Folktales, from Magnolia. Directed by Heidi Ewing and Rachel Grady, this immersive documentary drops you into a folk high school in the Arctic north of Norway—where teenagers spend their gap year living communally, bonding over sled dogs, folk music, and frozen solitude. It’s a coming-of-age tale that swaps angst for introspection and reminds us how formative community and nature can be.
Next is 2000 Meters to Andriivka, a gripping frontline documentary by Mstyslav Chernov, the Ukrainian filmmaker behind 20 Days in Mariupol. Here, he follows a platoon attempting to retake a key village from Russian forces. Embedded with them is a journalist, observing the tactical maneuvering, human toll, and emotional wear on soldiers who wonder if victory is even possible. It’s harrowing and essential.
And then there’s Diciannove, from Oscilloscope. This Italian feature follows Leonardo, a teenager from Palermo, as he leaves home for the first time to study in Siena. What unfolds is a messy, tender, and sometimes brutal ride through academia, self-doubt, and identity. Think early Bertolucci meets Frances Ha—with more espresso and less dancing.
That’s Folktales, 2000 Meters to Andriivka, and Diciannove—an unusually international trio of indies that all dig deep into place, purpose, and personal reckoning.
Films to Rent or Download
On TVOD this week, I’m flagging a personal favorite—18½, directed by Dan Mirvish. Set during the Watergate era, it follows a White House transcriber who stumbles onto the only copy of Nixon’s infamous missing 18½ minutes.
With vibes of The Conversation and a dash of Dr. Strangelove, it’s a tense, twisty political thriller shot on 16mm and stacked with delightful indie cameos. Part conspiracy, part absurdist farce, all rooted in one of the most fascinating what-ifs of American political lore. You can rent it now on major platforms.
Indie Classic
And finally, our classic this week: Tangerine, celebrating its 10th anniversary.
Directed by Sean Baker, this film exploded onto the scene in 2015 not just for its vibrant story but for how it was made—shot entirely on iPhones. But don’t let the tech gimmick fool you. It’s an electric, kinetic, and deeply human film about two trans sex workers navigating the streets of Los Angeles on Christmas Eve, searching for a cheating boyfriend-pimp.
It’s funny, heartbreaking, and buzzing with authenticity. Available on Hulu, Amazon, and Netflix. A must-see if you missed it—or even if you didn’t.
That wraps it for the July 25 edition of Indie Film Weekly. Whether you’re trudging through snow with sled dogs, dodging bullets in Ukraine, or just trying to get your act together in college—or, hey, you just want to dig into Nixon-era scandal or celebrate a landmark in trans representation—there’s something indie for you this week.
Don’t forget to subscribe to the Indie Igniter newsletter at theindieigniter.com. And please leave us a review or share the pod—preferably with someone who thinks documentaries are boring. Until next time, keep it heartfelt, keep it unpredictable, and keep it indie!
Indie Film Weekly [EP 31]: Eddington (2025) & Exit Through the Gift Shop (2010)
Welcome back to Indie Film Weekly—the podcast that champions the brilliant, the bizarre, and the barely distributed. I’m Glen Reynolds from Circus Road Films, here with your July 18 rundown of new theatrical releases, fresh TVOD picks, and one classic you’ll want to revisit (or finally get around to).
Before we dive in: please go see these movies in theaters. Indie films only survive when you show up, buy a ticket, and bring a friend. Streaming can wait. Let’s keep this ecosystem alive!
New in Theaters
First up, Eddington from A24, directed by Ari Aster. Yes, that Ari Aster—known for Hereditary and Midsommar—now turning his lens on small-town America during the COVID-19 pandemic. The film chronicles the standoff between a sheriff and mayor in Eddington, New Mexico, as neighbor turns against neighbor and paranoia replaces protocol. It’s claustrophobic, character- driven, and eerie in the way only Aster can make everyday rage feel mythic.
Next, from Japan’s Kiyoshi Kurosawa (Cure, Pulse) comes Cloud, a minimalist psychological thriller with a Kafkaesque edge. Ryosuke Yoshii, a quiet man who supports himself by selling goods online, slowly becomes the target of vague and escalating hostility from the people around him. As tensions mount, Kurosawa builds dread out of polite smiles and misdelivered packages. It’s eerie, elliptical, and pure Kurosawa.
Then we have Shari and Lamb Chop, a heartfelt documentary from Lisa Dapolito (Love, Gilda). Before Mister Rogers and Jim Henson, Shari Lewis was revolutionizing children’s TV with her sock puppet sidekick, Lamb Chop. This doc chronicles her career as a magician, dancer, and ventriloquist—and how she paved the way for future generations of educational entertainers. Full of archival footage and surprising insights, it’s a loving tribute to a trailblazer often left out of the puppeteer pantheon.
So, that’s Eddington, Cloud, and Shari and Lamb Chop—three totally different films, all demanding your eyeballs on the big screen.
Films to Rent or Download
Our TVOD pick this week is It’s a Disaster, a 2012 indie gem from director Todd Berger. Four couples gather for a Sunday brunch that quickly goes off the rails when they learn that the world may be ending outside their door.
This comedy of manners meets apocalyptic farce stars Julia Stiles, David Cross, and America Ferrera, all playing people who are wildly unprepared to confront mortality—or even each other.
Smart, claustrophobic, and darkly hilarious, it’s perfect if you’re in the mood to laugh nervously while clutching a mimosa.
Indie Classic
This week’s classic is Exit Through the Gift Shop, Banksy’s genre-defying 2010 documentary—or is it a prank? Or maybe a self-portrait disguised as satire?
Narrated by Rhys Ifans, the film follows Thierry Guetta, a Frenchman living in LA who obsessively films underground street artists, eventually trying to become one himself under the name Mr. Brainwash. The result is a meditation on fame, authenticity, and whether any of this modern art stuff is real—or matters.
On its 15th anniversary, Exit Through the Gift Shop still sparks debate and earns laughs. Whether you think it’s a hoax or not, it’s one of the most entertaining films ever made about creativity and con artistry.
It’s available to stream on YouTube. Yes, the whole thing. Legally.
That’s it for July 18. As always, I’m Glen Reynolds, reminding you to seek out the films that challenge, charm, and change you. And if you loved the pod, send it to a friend, tag us online, or shout it into a sock puppet. Just don’t keep it to yourself.
Until next time—keep it smart, keep it strange, and keep it indie.
Indie Film Weekly [EP 30]: Abraham’s Boys (2025) & Hustle & Flow (2005)
Hey there, indie film fans! Welcome to another edition of Indie Film Weekly, the podcast that champions the small and strange stories keeping cinema alive.
I’m Glen Reynolds from Circus Road Films, and every week I highlight the best new indie films in theaters, what’s worth renting at home, and a classic that deserves another spin.
Quick reminder: indie film survives when you show up. If something good is playing in a theater near you—go see it. It matters.
New in Theaters
First up this week is Abraham’s Boys: A Dracula Story from IFC Films. Horror fans, this one’s for you. Directed by Natasha Kermani and based on a short story by Joe Hill, the film imagines what happens after Dracula… but not for the vampire—this is about his hunter. Abraham Van Helsing is now a paranoid father, raising two sons, Max and Rudy, who have no clue about his violent past. That changes when they uncover the truth about their legacy—and let’s just say garlic and holy water suddenly become household essentials. Titus Welliver plays Abraham like he’s one missed nap away from madness, and the kids—played by Brady Hepner and Judah Mackey—bring both heart and horror. It’s family trauma with fangs, and one of the more clever spins on the Dracula mythos we’ve seen in years.
Next, To a Land Unknown, directed by Mahdi Fleifel. Two Palestinian cousins, Reda and Chatila, are scraping by in Athens, dreaming of reaching Germany. What starts as a street-level survival story escalates into something more desperate and emotionally charged, as a last-ditch scheme tests their loyalty and resilience. It’s gritty, empathetic filmmaking that never veers into sentimentality. Fleifel’s camera captures both the thrill and cost of chasing freedom. One of the most urgent films of the summer.
And finally, Sovereign, a fictional take on a very real subculture. Nick Offerman stars as Jerry Kane, a father indoctrinating his son (played by Jacob Tremblay) into the Sovereign Citizen movement—a deeply anti-government belief system. As they cross the country preaching self- made legal theories, they butt heads with Dennis Quaid’s Police Chief, triggering a collision of ideology and authority. Directed by Christian Swegal, Sovereign is part road movie, part cautionary tale. It’s unnerving, tragic, and thought-provoking, with a trio of terrific performances.
That’s Abraham’s Boys, To a Land Unknown, and Sovereign—a horror, a drama, and a political parable. Hit the theaters and support the stories that take risks
Films to Rent or Download
On TVOD this week: Portraits of Dangerous Women, a haunting indie drama from Pascal Bergamin.
Three strangers crash into each other—literally—after a surreal car accident involving a dog. What unfolds is a strange, poetic trip through grief, connection, and unexpected sisterhood. It’s a film that asks you to lean in, not explain everything, and maybe embrace a little bafflement.
If you like your indies a little off-kilter with emotional payoff, rent it now on Amazon or Apple.
Indie Classic
This week’s classic is Hustle & Flow, celebrating 20 years.
Directed by Craig Brewer, this breakout 2005 hit follows DJay (Terrence Howard), a Memphis pimp with a dream of becoming a rapper. With help from a ragtag crew—including DJ Qualls and Anthony Anderson—he lays down tracks in a makeshift home studio, trying to grab a shot at music stardom before time runs out.
It’s gritty, sweaty, and full of heart. Howard gives the performance of his career, and the film won Best Original Song at the Oscars for "It’s Hard Out Here for a Pimp." Bonus trivia: I worked on a film written by Craig Brewer before Hustle & Flow and knew right then the guy was going places.
Watch it on Paramount+ or Tubi and see where it all began.
That’s a wrap on the July 11 edition of Indie Film Weekly. Whether you’re battling vampires, chasing freedom, or just trying to get your demo in the right hands, there’s an indie film waiting for you.
Be sure to check out the Indie Igniter newsletter for more release picks and indie survival tools. If you liked the pod, drop us a review—and tell your film-loving friends. The more eyes on these films, the better chance we keep them coming.
Until next week: stay curious, stay bold, and stay indie.
Indie Film Weekly [EP 29]: 40 Acres (2025) & Requiem for a Dream (2000)
Hey indie film lovers, welcome back to Indie Film Weekly—the podcast that skips the fireworks and celebrates the cinematic sparks flying in the world of independent film. I’m Glen Reynolds from Circus Road Films, here with your weekly rundown of what’s new in theaters, on demand, and from the vault.
And look, this is a holiday weekend, and I know barbecue and beach chairs are calling—but if you care about indie cinema, show up for it. Go to the theater. Buy a ticket. Bring a friend.
Because the only way we keep this ecosystem alive is if we actually show up. Streaming is fine. But indie theaters need bodies, not just good intentions.
Let’s get into it.
New in Theaters
First up is 40 Acres, a moody, apocalyptic thriller that imagines a world where animal life has been wiped out and humanity is unraveling. The Freeman family is hanging on—farming their ancestral land, defending against raiders, and trying to preserve a scrap of decency in the ruins. It’s gritty and raw, but never gratuitous. Think The Road meets A Quiet Place with fewer monsters and more moral reckoning. It’s not just about surviving—it’s about what we lose in the process.
Next: Kill the Jockey, directed by Luis Ortega. And let’s be honest—this one’s off the rails in the best way. Remo Manfredi is a washed-up jockey in debt, addicted, and spiraling. When he’s concussed by a rogue horse, he reinvents himself as Dolores, slipping into the Buenos Aires underground in heels and a mink coat. It’s a dizzy, gender-bending trip through identity, desire, and desperation. Imagine Black Swan but for the racetrack—and with more horse tranquilizers.
And finally, Pretty Thing. Alicia Silverstone is back and better than ever, playing Sophie, a confident, child-free career woman who falls into a hot-and-heavy affair with a younger man. But what starts sexy slowly gets weird, then kind of unhinged. Directed by Justin Kelly, this is not your mom’s midlife crisis movie. It’s sharp, stylish, and a little sinister—like if Fatal Attraction got Botox and a WeWork membership.
So that’s 40 Acres, Kill the Jockey, and Pretty Thing—proof that indie cinema still pushes boundaries and buttons.
Films to Rent or Download
On TVOD this week: Guitar Lessons, directed by Aaron James Sorensen. A 15-year-old Métis boy inherits a beat-up guitar from the father he never knew and decides to learn to play. His reluctant teacher? A grumpy, whiskey-soaked oilman with baggage of his own.
This one’s a slow burn with a big heart. It’s The Karate Kid meets Tender Mercies by way of Alberta. Bring tissues and maybe a worn-out Neil Young record. Available now wherever you rent movies.
Indie Classic
This week’s classic is not light summer fare, but it is unforgettable. Requiem for a Dream, directed by Darren Aronofsky, turns 25 this year. It’s a masterpiece of descent—following four people as they chase their dreams, only to spiral into addiction, delusion, and tragedy.
Jared Leto, Jennifer Connelly, Marlon Wayans, and Ellen Burstyn (who should’ve won that Oscar, by the way) deliver career-best performances. The editing is manic, the score by Clint Mansell is iconic, and that final montage? Burned into the brains of every film student since 2000.
Fun fact: Aronofsky shot this for just $4.5 million. It premiered at Cannes and earned an NC-17 rating without flinching. Because sometimes, art shouldn’t be easy to watch.
It’s currently streaming on Tubi. But maybe watch it with a blanket and a support group.
That’s it for the July 4 edition of Indie Film Weekly. While the rest of the world is staring at fireworks, I hope you’ll be staring at a screen—indoors, AC cranked, popcorn in hand.
Don’t forget to subscribe to the Indie Igniter newsletter for strategy tips, release rundowns, and tools for making and marketing your own indie project. And hey—if you like the pod, leave us a review. It helps more than you know.
Until next week, keep it heartfelt, keep it weird, and keep it indie.
Indie Film Weekly [EP 28]: Sorry Baby (2025) & Welcome to the Dollhouse (1995)
Hey indie film fans, welcome to Indie Film Weekly—the podcast that champions heartfelt debuts, poetic docs, and the cinematic fever dreams Hollywood wouldn’t dare release in July.
I’m Glen Reynolds from Circus Road Films, back with your end-of-month batch of theatrical, on-demand, and classic indie goodness.
This episode is brought to you by Indie Igniter—your secret weapon for smarter film releases. Subscribe now at theindieigniter.com.
New in Theaters
First up is Sorry Baby from Eva Victor, best known for her viral comedy shorts—and now for making everyone cry. It’s the story of Agnes, a young woman going through something unthinkable while the world around her carries on. The grief is quiet, the humor sly, and the emotions sneak up on you. Like if Noah Baumbach wrote a eulogy and let Phoebe Bridgers score it.
Next is Afternoons of Solitude, a hypnotic bullfighting documentary from Spanish auteur Albert Serra. Yes, that Albert Serra—the man who brought you Liberté and Pacifiction, now somehow making a slow cinema sports movie about a matador’s inner life. Following famed bullfighter Andrés Roca Rey from hotel prep to arena glory, it’s as mesmerizing as it is unsettling. Think of it as The Wrestler meets Cave of Forgotten Dreams, with more glitter and blood.
And from IFC, Hot Milk, based on the novel by Deborah Levy and directed by Rebecca Lenkiewicz. A young woman and her ailing mother seek healing on the Spanish coast, but instead, the daughter finds sun, sex, and personal awakening—while her mother clings to control. With a surreal tone and elliptical storytelling, Hot Milk explores generational resentment, liberation, and sunscreen. It’s strange and sticky in all the best ways.
That’s Sorry Baby, Afternoons of Solitude, and Hot Milk—a triple feature for anyone who likes their cinema gorgeous, painful, and just a little bit weird.
Films to Rent or Download
On TVOD this week is Thirsty, a grounded political dramedy about a bold public defender running for mayor of Oakland while trying to keep her family together.
It’s scrappy, warm, and driven by a killer lead performance. If City Hall and A Thousand and One had a baby—and it ran a grassroots campaign—this would be it.
Check it out on all major platforms.
Indie Classic
This week’s classic turns 30—Todd Solondz’s Welcome to the Dollhouse. It’s the middle school movie that’s not for kids. Heather Matarazzo stars as Dawn Weiner, an outcast navigating bullies, crushes, and domestic chaos with deadpan resilience.
Equal parts cruel and compassionate, it made Solondz a Sundance legend and reminded us all that being 13 is a horror show. It also gave us one of the great teen anti-heroines of the ’90s—and possibly the most awkward first kiss in indie film history.
Streaming for free on Tubi, with tissues and cringe fully stocked.
That’s a wrap on this episode of Indie Film Weekly. Whether you’re grappling with grief, confronting bulls, or channeling your inner Dawn Weiner, there’s an indie film for you this weekend.
Sign up for Indie Igniter to stay ahead of the curve—and if this pod gave you something to watch or talk about, pass it on to a friend who needs a break from billion-dollar sequels.
Until next week: keep it raw, keep it bold, and always keep it indie.
Indie Film Weekly [EP 27]: Marlee Matlin: Not Alone Anymore (2025) & Truly Madly Deeply (1990)
Welcome back to Indie Film Weekly, your Friday fix for what’s new, bold, and a little bit weird in indie cinema. I’m Glen Reynolds from Circus Road Films, your film festival sherpa and distribution whisperer, bringing you this week’s theatrical gems, digital finds, and a classic worth revisiting.
Powered as always by Indie Igniter—the newsletter and toolkit built for indie filmmakers who want to build an audience, not just collect laurels. Sign up at theindieigniter.com.
New in Theaters
First up: Marlee Matlin: Not Alone Anymore. Directed by Shoshannah Stern and distributed by Kino Lorber, this intimate portrait of Oscar-winning actress and activist Marlee Matlin goes beyond the glitz to explore her experience growing up Deaf, navigating Hollywood, and fighting for representation in an industry that still has a long way to go.
It’s also historic—this is the first feature documentary about Matlin, directed by a Deaf filmmaker, with full access to her archives. If you’ve ever seen CODA or Children of a Lesser God and wanted more, this delivers. Prepare to cry, and maybe punch the air.
Next: Familiar Touch, directed by Sarah Friedland. This quiet powerhouse follows Ruth, an elderly woman living with dementia in an assisted living facility. What begins as a film about aging and memory becomes a sensory experience in shifting identity and desire.
With its lyrical visuals and nonlinear storytelling, the film asks: who are we when our memory goes, but our body still remembers touch, intimacy, and longing? Bonus: Friedland developed the film while researching somatic therapy and elder care—so yeah, bring tissues and your philosophy degree.
And finally, the indie comedy Don’t Tell Larry drops this week from Level 33. Susan lies to get ahead at work. Larry, her awkward coworker, becomes the unwitting fall guy. Then—whoops—there’s a death, and Susan’s lie spins into absurd office noir.
It’s part workplace farce, part moral thriller, and all anchored by pitch-perfect performances and escalating cringe. If The Office mated with A Simple Plan, you’d get this.
So that’s Marlee Matlin: Not Alone Anymore, Familiar Touch, and Don’t Tell Larry—your ticket to emotional catharsis, existential dread, and deadpan disaster.
Films to Rent or Download
On TVOD this week: Fall Is a Good Time to Die. Don’t let the title fool you—this meditative Western drama is more elegy than bloodbath.
Shot in South Dakota and directed by Dalton Coffey, the story follows a young ranch hand seeking justice for his sister. As he rides through vast prairie landscapes and crumbling family ties, he crosses paths with a sheriff grappling with her own haunting past.
The film has quiet grit, long silences, and that rare sense of restraint that lets emotion bloom slowly. Think Hell or High Water with fewer gunshots and more moral fog.
Indie Classic
This week’s classic pick turns 35: Truly Madly Deeply, directed by Anthony Minghella (yes, the English Patient guy—but way before that).
The film stars Juliet Stevenson as a grieving woman whose dead lover (played by Alan Rickman, pre-Snape) suddenly returns as a ghost—and promptly moves back in. But instead of some dreamy reunion, it turns out he hogs the remote, sings out of tune, and brings ghost friends over.
It’s part rom-com, part haunting, and a full exploration of grief, memory, and letting go. This was Minghella’s directorial debut, and the film was a surprise indie hit in the early '90s, thanks to its wit, warmth, and uncanny realism in the supernatural.
Fun fact: It was shot on a shoestring budget for the BBC and wasn’t supposed to have a theatrical run—but audience love pushed it to cinemas internationally.
You can stream it on Amazon Prime, and yes, you will laugh and sob.
That’s your latest Indie Film Weekly! Whether you’re revisiting the ghost of a lover, trying to outrun office consequences, or unraveling a mystery on the prairie, remember: indie films do more with less—and usually leave a bigger mark.
Sign up for the Indie Igniter newsletter for more insights, and if you liked this podcast, share it with a friend who still uses their library card.
Until next week—stay curious, stay courageous, and stay indie.
Indie Film Weekly [EP 26]: Materialists (2025) & After Hours (1985)
Hey indie film lovers, welcome back to Indie Film Weekly—the podcast that ditches blockbusters for the movies you actually want to talk about. I’m Glen Reynolds from Circus Road Films, here with your weekly rundown of what’s new in theaters, on demand, and buried treasure from the past worth digging up.
This episode is powered by Indie Igniter—the newsletter and toolkit for filmmakers trying to connect with their audience, not just their hard drive. Sign up at theindieigniter.com.
New in Theaters
First up is Materialists, the new film from Past Lives director Celine Song. This time, she trades reincarnated romance for a sharply observed rom-com about matchmaking, ambition, and the heartache of choosing between your fantasy and your past.
Set in New York City, the story follows a successful young matchmaker whose lucrative business hits turbulence when her messy, very imperfect ex reappears just as she’s on the verge of her own perfect match. Song brings her signature warmth and clarity, but adds a stylish gloss and screwball energy. Think Nora Ephron meets Wong Kar-wai with better lighting.
Next, Meeting with Pol Pot, from Cambodian auteur Rithy Panh. Based on a real-life visit in 1978, three French journalists are invited to meet the Khmer Rouge leadership and tour Cambodia. What begins as a rare diplomatic opportunity turns into a surreal descent into fear, surveillance, and unspoken horror.
Panh, whose past work includes The Missing Picture and S21: The Khmer Rouge Killing Machine, is no stranger to reckoning with trauma through cinema. This film blends historical recreation and dread-soaked docudrama, offering both a journalistic thriller and a searing reminder of the cost of bearing witness.
And finally, Prime Minister offers a rare political documentary with actual optimism. Directed by Michelle Walshe and Lindsay Utz, the film chronicles Jacinda Ardern’s rise and leadership as New Zealand’s PM through crises including the Christchurch shooting and the pandemic. It captures her poise, clarity, and compassion—without turning her into a saint.
With a tone somewhere between The Final Year and Knock Down the House, Prime Minister feels like a refreshing portrait of what leadership can look like when grounded in empathy.
So that’s Materialists, Meeting with Pol Pot, and Prime Minister — a well-rounded lineup for anyone looking to be charmed, chilled, or inspired.
Films to Rent or Download
This week on TVOD, we get One to One: John & Yoko, a documentary that revisits Lennon and Ono’s post-Beatles years through the lens of love, activism, and music. Directed by Sam Rice-Edwards and Kevin Macdonald, the film weaves archival footage and intimate interviews into a portrait of a couple creating together and coping with fame, scrutiny, and personal evolution.
If you think you know everything about John and Yoko, this doc will surprise you. And if you don’t, it’s a great introduction to the raw, political, sometimes chaotic world they built around each other. Available now on Apple, Amazon, and Google Play.
Indie Classic
This week’s classic is turning 40—Martin Scorsese’s After Hours. It’s a dark comedy, a descent into downtown Manhattan madness, and one of the best “one bad night” films ever made.
Griffin Dunne stars as Paul, a mild-mannered word processor who follows a woman to SoHo and ends up on an odyssey of surreal encounters, existential dread, and neon-lit paranoia. A flying $20 bill sets off the chain of events, and from there it’s a maze of bizarre characters and escalating chaos.
Fun fact: After Hours was Scorsese’s indie rebound after his disappointment that Paramount pulled the plug on The Last Temptation of Christ. Frustrated and creatively adrift, he took on this small, edgy project—and it helped reinvigorate his love for filmmaking. The film went on to win Best Director at Cannes and became a cult favorite.
Another fun detail: Catherine O’Hara drives an ice cream truck—just one of many wonderfully absurd touches that turns a bad night into a cult classic fever dream.
It’s available to rent on Amazon Prime and well worth your insomnia.
That wraps it up for this edition of Indie Film Weekly. Whether you’re chasing a ghost of a relationship, facing political horror, or just trying to make it home before sunrise, there’s something indie for you this week.
Don’t forget to subscribe to the Indie Igniter newsletter for more picks and strategy tips. And if you enjoyed the pod, share it with a friend or leave us a review—preferably not during a surreal cab ride downtown.
Until next week, keep it heartfelt, keep it unpredictable, and keep it indie!
Indie Film Weekly [EP 25]: The Life of Chuck (2025) & Return of the Secaucus 7 (1980)
Welcome back, indie adventurers! You’re tuned into Indie Film Weekly, where we skip the billion-dollar box office and head straight into the soulful, strange, and stunning world of independent cinema. I’m Glen Reynolds from Circus Road Films, and as always, I’m your guide for this week’s theatrical highlights, digital discoveries, and one indie classic that still hits.
This podcast is brought to you by Indie Igniter—where indie filmmakers go to learn how to connect their work with the audience it deserves. Sign up at theindieigniter.com.
New in Theaters
First up is The Life of Chuck, directed by Mike Flanagan and released by Neon. Based on a short story by Stephen King, this genre-bending drama unfolds across three surreal chapters in the life of one ordinary man, Charles Krantz.
Flanagan, best known for horror hits like Doctor Sleep and Midnight Mass, shows a more introspective side here—though the existential weirdness remains. It’s poignant, ambitious, and full of life-affirming melancholy. Fun fact: I actually sold one of Flanagan’s earliest films, Absentia, back in the day. It’s been amazing watching his evolution from DIY horror to poetic multiverse architect.
Next, I Don’t Understand You, from directors David Joseph Craig and Brian Crano, follows an American couple on the verge of adoption who find themselves stuck on an ill-fated Italian vacation. Lost in translation (literally), their emotional baggage unpacks itself in unexpected ways.
It’s like Scenes from a Marriage meets Eat Pray Panic. With the scenic backdrop of Italy and the pressure cooker of parental anxiety, this one delivers the relationship drama with humor, heartache, and a healthy dose of confusion.
And finally, The Ritual, directed by David Midell, drops us into a spiritual battle where two very different priests must team up to perform exorcisms on a possessed young woman. Naturally, the demons aren’t the only ones causing friction.
This one’s got Catholic horror vibes, some unexpected heart, and a few classic jump scares for good measure. Think The Exorcist meets a buddy-cop film where no one’s laughing and everyone’s haunted.
So that’s The Life of Chuck, I Don’t Understand You, and The Ritual in theaters this weekend—three wildly different windows into belief, breakdowns, and big questions.
Films to Rent or Download
On TVOD this week is A Different Man, directed by Aaron Schimberg. This unsettling character study follows Edward, an actor who undergoes a radical procedure to change his face and start a new life. But when he sees someone else playing a version of his old self in a play, things take a turn.
Sebastian Stan stars in this eerie, darkly funny meditation on identity, envy, and the shifting line between self and performance. Schimberg, who also made Chained for Life, digs deep into the body horror of transformation—and not just the physical kind.
A Different Man is now available to rent or download.
Indie Classic
For our Indie Classic, we’re heading back 45 years to Return of the Secaucus 7, the debut film from John Sayles. This low-budget ensemble drama follows seven former antiwar activists as they reunite for a weekend in New Hampshire and confront who they’ve become.
Often cited as the precursor to The Big Chill, Sayles’ film is all character, dialogue, and unvarnished emotion. The cast includes David Strathairn in his first film role and Sayles regular Maggie Renzi. Shot for under $50,000, it helped launch the American indie boom of the 1980s.
It’s streaming now on AMC+, and still feels deeply resonant—especially if you’ve ever wondered what happened to the idealists after the protests ended.
That’s a wrap for this edition of Indie Film Weekly! Whether you’re in the mood for spiritual battles, existential transformations, or just some sharply written group therapy disguised as a reunion, this week delivers.
Subscribe to the newsletter at theindieigniter.com, and if you’re enjoying the podcast, leave a rating or share it with your favorite film nerd.
Until next week, keep it soulful, keep it surprising, and keep it indie!
Indie Film Weekly [EP 24]: The Phoenician Scheme (2025) & Picnic at Hanging Rock (1975)
Hey there, indie film voyagers! Welcome back to Indie Film Weekly, where we skip the multiplexes and dive headfirst into the strange, the bold, and the beautifully bizarre. I’m Glen Reynolds from Circus Road Films, and every week I bring you the freshest theatrical indies, on-demand gems, and a classic to keep your cinephile cred intact.
We’re proudly brought to you by Indie Igniter—the newsletter and platform that helps indie filmmakers find their audience and light a fire under their distribution strategy. Subscribe at theindieigniter.com.
New in Theaters
Let’s start with The Phoenician Scheme, a stylish new caper from none other than Wes Anderson. A wealthy tycoon named Zsa-zsa Korda appoints his daughter—a nun, naturally—as the sole heir to his empire. But when Korda launches a mysterious new business venture, the pair become targets of terrorists, assassins, and conniving rivals.
This is Anderson in full maximalist mode: pastel palettes, ticking clocks, dry narration, and characters who never blink. Think The Royal Tenenbaums crossed with a Cold War spy thriller. And yes, it includes a puppet show, a miniature oil rig, and probably someone narrating from a submarine.
Next up is Bring Her Back, directed by the Philippou brothers (yes, the duo behind Talk to Me). This time, they're back with another horror nail-biter. A brother and sister are placed with a mysterious foster mother, only to stumble upon a terrifying ritual at her secluded estate.
The Philippous know how to wring dread from domestic spaces, and Bring Her Back dials up the folklore and family trauma to eleven. Expect scares, tension, and a slow-burn descent into madness that asks: what if your new home came with an ancient curse and a guest list from hell?
And rounding out this week is Tornado, from John Maclean (Slow West). This genre-blending tale follows a fierce young woman who takes vengeance into her own hands after her father’s traveling puppet samurai show is attacked by outlaws. She sets out to steal their gold and rewrite her story.
It’s part Western, part revenge flick, and part fever dream. Think Tarantino meets Studio Ghibli by way of spaghetti Western. Puppet violence, by the way, has never felt this cathartic.
So this week’s theater run gives you nuns with inheritance issues, cursed foster homes, and puppet-based vengeance. That’s The Phoenician Scheme, Bring Her Back, and Tornado.
Films to Rent or Download
This week on TVOD, we’ve got Memoir of a Snail, directed by Adam Elliot. It follows an aspiring actor who undergoes a radical medical procedure to dramatically change his appearance. But instead of newfound confidence, he finds himself trapped in a spiral of obsession and identity loss.
This dark fable is a claymation trip into vanity, regret, and surreal introspection. Adam Elliot, the mind behind Mary and Max, once again proves that animation can be just as emotionally devastating as live-action—if not more.
Equal parts funny and heartbreaking, Memoir of a Snail is now available on demand.
Indie Classic
Our classic this week is Peter Weir’s Picnic at Hanging Rock, celebrating its 50th anniversary. Released in 1975, this haunting mystery tells the story of a group of schoolgirls and a teacher who vanish during a Valentine’s Day picnic at an eerie rock formation in the Australian countryside.
With dreamlike cinematography, haunting pan flutes, and an atmosphere so thick you could slice it with a corset, Picnic at Hanging Rock is less about answers and more about vibes. It influenced everything from Sofia Coppola to David Lynch and basically invented the term "aesthetic dread."
Streaming now on HBO Max, it’s perfect for those who like their mysteries unsolved and their visuals softly glowing.
And that’s a wrap for this time on Indie Film Weekly. Whether you're chasing down gold with a puppet, investigating spiritual rot in suburbia, or losing time on an Australian rock, there’s something this week to make you feel gloriously off-kilter.
Be sure to subscribe to our newsletter at theindieigniter.com, and if you dig the show, drop us a rating, tell your friends, or leave an anonymous note in a color-coded file folder under a fountain.
Until next week, keep it strange, keep it smart, and keep it indie!
Indie Film Weekly [EP 23]: The Surrender (2025) & Repulsion (1965)
Hey there, indie explorers! Welcome back to Indie Film Weekly, your friendly neighborhood signal flare for what’s new and wild in independent cinema. I’m Glen Reynolds from Circus Road Films, here with your weekly download of theatrical releases, digital finds, and one unforgettable throwback.
This podcast is brought to you by Indie Igniter—helping indie filmmakers connect their art to their audience. Get tools, strategy, and good vibes at theindieigniter.com.
New in Theaters
Let’s kick things off with The Surrender, a fierce supernatural drama directed by Julia Max. When the family patriarch dies, a mother and daughter turn to an ancient resurrection ritual that involves blood, bone, and a terrifying amount of commitment. It's grief, trauma, and horror wrapped in a muddy, candlelit séance.
Julia Max makes her feature debut with confidence, creating a tactile world of grief and desperation. It’s gritty, emotionally raw, and not for the squeamish. Critics have compared it to Hereditary, but more feral. You’ll want a blanket, a crucifix, and maybe a tetanus shot.
Next up: The New Boy, from acclaimed Australian director Warwick Thornton. Set in 1940s rural Australia, the story follows a mysterious Aboriginal boy taken to a Christian orphanage run by a conflicted nun, played by Cate Blanchett. The arrival of a wooden crucifix sets off a quiet but powerful spiritual clash.
Thornton, who won the Camera d'Or at Cannes for Samson and Delilah, blends lyrical naturalism with sharp colonial commentary. Blanchett delivers a hushed, haunted performance, and newcomer Aswan Reid steals scenes with wordless intensity. It’s part ghost story, part meditation on belief systems in collision.
And finally, cheating slightly on release dates (don’t tell the film calendar police), Ghost Trail opens May 30, but it's too strong to skip. Directed by Jonathan Millet, it follows Hamid, a Syrian exile who joins a secret organization dedicated to hunting down war criminals. His mission takes him to France, where his past returns in the form of a man who once tortured him.
A tense psychological thriller with the soul of a political reckoning, Ghost Trail is taut, timely, and unflinchingly human. Millet crafts a journey through trauma and justice, where personal vengeance dances dangerously close to moral collapse.
So that’s The Surrender, The New Boy, and Ghost Trail – bringing you blood rituals, sacred relics, and underground justice this week in indie film.
Films to Rent or Download
On demand this week is At Her Feet, directed by Nadya Wynd. A group of archaeology students on a Hawaiian dig team up with a local guide as they try to rescue ancient artifacts from an impending volcanic eruption. But this isn’t just geology class with lava. Mystical protectors and ancient spirits get involved, and soon it becomes a full-on spiritual survival story.
Shot on location in Hawaii Volcanoes National Park, the film blends indigenous folklore, adventure storytelling, and environmental urgency. It’s Indiana Jones meets Moana with an indie sensibility. Think less whips and more respect for cultural heritage.
At Her Feet is now available on TVOD.
Indie Classic
This week marks the 60th anniversary of Roman Polanski’s Repulsion, his first English-language film and arguably one of the most influential psychological horrors ever made. Catherine Deneuve stars as Carole, a young manicurist left alone in her London flat, where isolation and unresolved trauma unravel her psyche.
As the walls close in—literally and figuratively—the film pulls us deep into Carole’s mental spiral. There are no jump scares here, just creeping dread, surreal visions, and a building sense of unease that still holds up today.
Whether you’re revisiting it or watching for the first time, Repulsion remains a masterclass in tension, minimalism, and the horror of the mind. It’s streaming now on Amazon Prime and Tubi.
And that wraps up this week’s Indie Film Weekly. Whether you’re into ritual horror, cultural reckonings, volcanic quests, or classic psychodrama, there’s something waiting to shake up your screen.
Don’t forget to subscribe to the newsletter at theindieigniter.com. And if you love the podcast, leave a comment, share it with your film crew, or whisper it to a ghost on a hiking trail.
Until next time, keep it bold, keep it weird, and keep it indie!
Indie Film Weekly [EP 22]: Sister Midnight (2025) & Joe (1970)
Hello again, film lovers! Welcome to Indie Film Weekly, your curated escape from the algorithm and into the land of the bold, the offbeat, and the quietly brilliant. I’m Glen Reynolds of Circus Road Films, and I’m here to guide you through this week’s freshest indie releases in theaters, on demand, and from the vault.
As always, we’re powered by Indie Igniter, your go-to toolkit for indie film marketing. Head over to theindieigniter.com and get on the list.
New in Theaters
First up is Sister Midnight, a bold and eerie descent into domestic chaos from Mumbai-based director Karan Kandhari. When a passive husband finds himself in an arranged marriage, he watches helplessly as his wife transforms into a feral, unforgiving force of nature. It’s horror, it’s feminism, it’s marriage therapy by way of a fever dream.
Kandhari, best known for his short Bye Bye Miss Goodnight, makes his feature debut here with style and swagger. It’s part Cronenbergian nightmare, part Indian Gothic, and all edge. Pro tip: do not see this one with your in-laws.
Next, slow things down with Love, a meditative relationship drama from Norwegian director Dag Johan Haugerud. It begins with a ferry ride and a quiet chat between two healthcare workers, Marianne and Tor. What unfolds is a philosophical tug-of-war over love, ethics, and personal freedom.
Haugerud, whose film Beware of Children earned critical acclaim, has a knack for turning conversations into cinematic tension. Love is like a two-person chess match stretched across long silences and subtle glances. It might sound quiet, but it packs a sharp emotional punch.
And for something very different: The Damned, from Italian director Roberto Minervini, transports us to a snowbound 1862 during the American Civil War. A volunteer company is dispatched into unknown western territory, only to be confronted not by enemies but by questions of purpose and identity.
Minervini, known for blurring the line between doc and fiction, casts non-actors and shoots in natural light. The result is hauntingly immersive and unnervingly real. Think Malick meets Dead Man, with frostbite.
So, that’s Sister Midnight, Love, and The Damned. Three very different paths into the indie wilderness.
Films to Rent or Download
This week on TVOD, we have Scooter LaForge: A Life of Art, a documentary portrait of the iconic queer painter and provocateur. Directed by Ethan H. Minsker, this film dives into LaForge’s career, from his DIY roots to his ascendance in the fashion and art worlds.
The film covers his creative process, the cultural battles he’s navigated, and the personal toll of carving out space in a world that doesn’t always reward authenticity. LaForge is punk rock meets high art with a splash of glitter and fury.
If you’ve ever walked through a gallery and thought, “Why don’t I see more acid unicorns and postmodern Jesus?”—this is for you.
Scooter LaForge: A Life of Art is now available on demand.
Indie Classic
For our Indie Classic this week, we’re going way back for the 55th anniversary of Joe, directed by John G. Avildsen. Yep, the same guy who later gave us Rocky started out with this gritty, violent culture-clash drama.
The film stars Peter Boyle as Joe, a blue-collar bigot who bonds with an uptight exec (Dennis Patrick) after a barroom confession to murder. What begins as a shared sense of outrage quickly spirals into a blood-soaked journey through America’s ideological fault lines.
It’s raw, messy, and deeply uncomfortable—but in a good way. Also notable: a young Susan Sarandon makes her film debut here. It’s streaming now on Amazon Prime and Tubi.
That wraps up this week’s Indie Film Weekly. Whether you’re craving war-time introspection, Norwegian ferry-flirtations, or subversive art documentaries, there’s something out there with your name on it.
For more insights, subscribe to our newsletter at theindieigniter.com. And if you liked the show, tell your friends, comment down below, or shout us out during your next psychedelic gallery tour.
Until next week, keep it strange, and keep it indie!
Indie Film Weekly [EP 21]: Clown in a Cornfield (2025) & The Other Lamb (2020)
Hey everyone, welcome to another episode of Indie Film Weekly—your compass for navigating the indie film landscape without falling into a franchise sequel pit. I’m Glen Reynolds of Circus Road Films, here to highlight this week’s finest indie films in theaters, on demand, and from the vault.
This podcast is powered by Indie Igniter. Want your indie film to reach its audience without breaking the bank? Subscribe at theindieigniter.com for weekly wisdom.
New in Theaters
First up is Friendship, directed by Andrew DeYoung and starring Tim Robinson and Paul Rudd. What begins as a quirky suburban bromance quickly spirals into full-blown cringe chaos. When Craig Waterman (Robinson), a socially awkward dad, meets his effortlessly cool new neighbor Austin Carmichael (Rudd), their budding friendship kicks off with a night of urban exploration, punk rock, and an odd fixation on Paleolithic antiquities.
DeYoung, whose credits include PEN15 and Our Flag Means Death, creates the perfect cringe comedy pressure cooker, allowing Robinson to slide brilliantly between boyish vulnerability and nuclear-level awkwardness. Rudd, oozing rugged charisma with a soft edge, is the perfect foil. Bonus: there's a psychedelic fast-food trip that would make Cronenberg proud. Kate Mara also shines as Craig’s long-suffering wife Tami, in a hilariously deadpan turn.
Next is Caught by the Tides, the latest poetic opus from Jia Zhangke. This film is part romance, part elegy, following Qiaoqiao as she drifts across China looking for her lost lover Bin. Through haunting images and dance sequences, the film becomes a portrait of emotional and economic change in a rapidly shifting country.
A Jia film is never just about one person. Shot over two decades using a mix of archival and narrative footage, Caught by the Tides is a haunting reflection on modernity, memory, and resilience. Its layered storytelling invites viewers to slow down and absorb the quiet, fleeting moments that shape a life.
And finally, we veer sharply into genre with Clown in a Cornfield, directed by Eli Craig. Yes, it’s exactly what it sounds like—a sinister clown stalking small-town teens in rural America. But don’t be fooled: this isn’t just slasher paint-by-numbers. It’s sharp, stylish, and surprisingly self-aware.
Craig, who directed the cult zombie comedy Tucker & Dale vs. Evil, brings the same horror-meets-humor sensibility. The clown here isn’t just scary—he’s a symbol of the town’s fractured identity. That, or he’s just really mad about crop insurance. Either way, it works.
That’s Friendship, Caught by the Tides, and Clown in a Cornfield – three radically different reasons to go to the movies this weekend.
Films to Rent or Download
Our TVOD pick this week is Pratfall, directed by Alex Andre. Set over one sleepless night in New York City, the film follows a jittery insomniac who meets a mysterious French tourist in Central Park. What follows is a madcap, dreamlike wander through a city that never shuts up.
Equal parts rom-com and existential drift, Pratfall embraces chaos and connection in equal measure. It’s Before Sunrise by way of Buster Keaton, with surreal interludes and offbeat charm. Shot mostly guerrilla-style in the city, it’s got that authentic indie texture and a ton of heart.
Rent Pratfall now on your favorite platform.
Indie Classic
This week’s Indie Classic is The Other Lamb, celebrating its 5th anniversary. Directed by Małgorzata Szumowska, the film centers on a teenage girl raised in an all-female cult led by a single male messiah figure. As cracks appear in her worldview, she begins to question everything.
With eerie visuals and a haunting score, The Other Lamb blends psychological horror with feminist allegory. Raffey Cassidy gives a magnetic performance as Selah, the girl caught between blind belief and rebellion. The film premiered at TIFF and quickly became a favorite among arthouse horror fans.
It’s like Midsommar's quiet, more introspective cousin. Streaming now and perfect for anyone craving something moody, mysterious, and loaded with metaphor.
And that’s a wrap for this week’s Indie Film Weekly! For more insights, trailers, and festival updates, subscribe to our newsletter at theindieigniter.com.
If you liked this episode, drop a comment or text it to your favorite film nerd. Until next time, keep your popcorn weird and your cinema independent. See you next week!
Indie Film Weekly [EP 20]: Swamp Dogg Gets His Pool Painted (2025) & It Follows (2015)
Hey folks, welcome back to Indie Film Weekly: your detour off the Hollywood freeway and into the backroads of indie cinema. I’m Glen Reynolds of Circus Road Films, your guide to the wild, weird, and wonderful world of independent film.
Every week we hit the trail with new theatrical releases, an indie gem to rent or stream, and a classic that deserves another spin. Powered, as always, by Indie Igniter – your DIY marketing toolkit for indie films. Subscribe at theindieigniter.com and let’s get into it.
New in Theaters
First up is Vulcanizadora, directed by Joel Potrykus. This slow-burn psychological thriller follows two friends through a Michigan forest with a grim pact in mind. When their dark plan unravels, one returns home to face strange and spiraling consequences.
Potrykus, the Michigan maestro of lo-fi horror (Buzzard, Relaxer), is back in peak form, once again blending dread, humor, and working-class existentialism. The title refers to an old term for a tire repair shop, but this time, the only thing getting patched up is your sense of reality. Bonus: it features some of the most unsettling forest sound design you’ll hear this year.
Next is Pavements, directed by Alex Ross Perry. It’s part concert film, part fictional narrative, part stage musical, and entirely about the beloved indie rock band Pavement. This hybrid doc blurs the lines between reality and performance with footage of the band, surreal reenactments, and a musical based on their discography.
Ross Perry, known for Her Smell and Listen Up Philip, goes full art-house here, channeling his inner Todd Haynes. If you love Pavement, great. If you don’t, this is your weird gateway drug. And yes, Stephen Malkmus is still the king of nonchalant genius.
Finally, Swamp Dogg Gets His Pool Painted might win best title of the year. Directed by Isaac Gale, Ryan Olson, and David McMurry, this film is a colorful, chaotic portrait of cult funk legend Swamp Dogg. Set in a funky LA home-turned-commune, the doc is as much about friendship, legacy, and oddball joy as it is about music.
Swamp Dogg, who once cut records with John Prine and released albums in the nude (no joke), opens his life to the camera in this joyful, eccentric chronicle. It also features Moogstar and Guitar Shorty, who deserve documentaries of their own. It’s like Grey Gardens with more rhythm.
So that’s Vulcanizadora, Pavements, and Swamp Dogg Gets His Pool Painted – all in theaters this week.
Films to Rent or Download
On demand this week is The Stones Are Speaking, a documentary from Dallas-based filmmaker and journalist Olive Talley. It follows archaeologist Mike Collins as he uncovers one of the oldest human settlements in North America—right in the heart of Texas.
The film is more than an archaeological dig; it’s a story of perseverance, activism, and rewriting history. Collins risked everything to protect the Gault Site, and in doing so, uncovered 20,000-year-old evidence that changes the timeline of human life in the Americas.
This is a documentary that blends adventure with academic rigor, and Collins is a compelling figure—part Indiana Jones, part tenacious Texan. It’s streaming now via TVOD and should be required viewing in every science class that ever snoozed through ancient history.
Indie Classic
And this week’s Indie Classic is celebrating its 10th anniversary—David Robert Mitchell’s It Follows. A modern horror landmark, the film centers on Jay, a teenager who inherits a curse through a sexual encounter. The catch? A shape-shifting presence now stalks her—slowly, always walking, and always coming.
With its retro synth score, suburban dread, and relentless sense of doom, It Follows became an instant classic, elevating Maika Monroe to scream queen status and inspiring a new wave of stylish indie horror. Director Mitchell cited influences ranging from John Carpenter to Japanese ghost films, and the result is pure nightmare fuel.
Also worth noting: the film’s ambiguous time period and dreamlike Detroit setting make it feel like a horror movie trapped in its own haunted VHS tape.
It Follows is streaming now and still one of the best indie horror films of the 21st century.
That does it for this week’s episode of Indie Film Weekly. Thanks for listening and diving deep into the strange, smart, and surprising corners of indie cinema.
For more film picks, subscribe to our newsletter at theindieigniter.com. And if you liked what you heard, leave a comment, check out our Indie Film weekly podcast, or tell a friend—your support helps indie film thrive.
Until next week, keep watching, keep wandering, and always support indie film!