Indie Film Weekly [EP 33]: Architecton (2025) & Didi (2020)

Listen to this blog post on the Indie Film Weekly podcast here!

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)

Listen to this blog post on the Indie Film Weekly podcast here!

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)

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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)

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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)

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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)

Listen to this blog post on the Indie Film Weekly podcast here!

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)

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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)

Listen to this blog post on the Indie Film Weekly podcast here!

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)

Listen to this blog post on the Indie Film Weekly podcast here!

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)

Listen to this blog post on the Indie Film Weekly podcast here!

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)

Listen to this blog post on the Indie Film Weekly podcast here!

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)

Listen to this blog post on the Indie Film Weekly podcast here!

 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)

Listen to this blog post on the Indie Film Weekly podcast here!

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)

Listen to this blog post on the Indie Film Weekly podcast here!

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!

Indie Film Weekly [EP 19]: Cheech & Chong’s Last Movie (2025) & Junebug (2005)

Listen to this blog post on the Indie Film Weekly podcast here!

Hey there! Welcome to Indie Film Weekly, your insider guide to new independent film releases. I’m Glen Reynolds of Circus Road Films, where we specialize in helping indie filmmakers get their stories to film festivals and indie film distributors.

Each week, we spotlight new indie films hitting theaters. For these films, I suggest searching for them on Fandango or Google to see if they are showing in your city. And if you have to travel a bit, please do. It's important to support indie films by getting to the theater.

In addition, we highlight recent standout indie films that you can rent or download on platforms like Amazon, AppleTV, YouTube Movies, and Fandango at Home. Supporting indie films on these platforms is crucial, as not every indie film gets a Netflix deal.

Finally, we focus on one classic indie film that you can stream or rent, celebrating the timelessness of independent cinema.

Indie Film Weekly is proudly brought to you by Indie Igniter, your go-to resource for marketing your independent film and reaching your audience. Check them out at theindieigniter.com and subscribe to their newsletter.

New in Theaters

First up is Neighborhood Watch, directed by Duncan Skiles. In this suspenseful thriller, a young man believes he has witnessed a kidnapping and enlists his neighbor—a gruff, retired security guard played by Jeffrey Dean Morgan—to help him investigate. Jack Quaid co-stars as the increasingly obsessed amateur sleuth. The tension escalates as paranoia blurs the line between reality and delusion.

Skiles, known for his chilling debut The Clovehitch Killer, once again explores suburban dread, this time drawing inspiration from Rear Window and true crime forums. The chemistry between Morgan and Quaid brings surprising layers of humor and heart to the mystery.

Next, Magic Farm, directed by Amalia Ulman, is a bold absurdist comedy about a mother and son living on a strange rural commune. Starring Chloë Sevigny and Alex Wolff, the film walks the line between satire and surrealism, blending family dysfunction with cult-like rituals and pop culture references.

Ulman, who made waves with her autofiction debut El Planeta, continues to push boundaries—this time drawing on her own upbringing in Argentina and Spain. The film premiered at Sundance and then Berlin, where it was praised for its chaotic tone and unforgettable costume design.

And finally, Cheech and Chong’s Last Movie, directed by David L. Bushell, brings the iconic duo back together for one final ride. Mixing documentary-style footage with wild sketches and animated sequences, the film explores the pair’s legacy, their highs and lows, and the enduring power of counterculture comedy.

This is the first Cheech & Chong film in over a decade, and fans will be pleased to know it includes footage from their early days, plus new cameos from comedy stars who cite the duo as pioneers.

So check out Neighborhood Watch, Magic Farm, and Cheech and Chong’s Last Movie in theaters now.

Films to Rent or Download

On demand this week is Mad God, a stop-motion descent into madness directed by legendary visual effects artist Phil Tippett. The story follows a figure known as The Assassin as he journeys through a crumbling, grotesque world filled with creatures and industrial horrors.

Tippett, known for his work on Star Wars and Jurassic Park, spent over 30 years making this film, building the sets and animating sequences himself. It’s a labor of love—and obsession—that finally saw release in 2022 after decades in the vault. A truly singular vision, it’s part nightmare, part masterpiece.

You can rent Mad God now on all major VOD platforms.

Indie Classic

Our Indie Classic this week is Junebug, which turns 20 this year. Directed by Phil Morrison, this quiet, intimate drama follows newlywed art dealer Madeleine, played by Embeth Davidtz, as she visits her husband’s Southern family for the first time. Tensions simmer beneath the surface, but the emotional center is Ashley, played by Amy Adams in a luminous, breakout role.

Adams earned her first Oscar nomination for this performance, and the film’s authenticity comes from its balance of humor and heartbreak. Shot in Winston-Salem, North Carolina, it captures the nuances of regional identity, small-town dynamics, and the complexities of marriage.

Junebug is currently streaming on the Roku Channel. It’s well worth a rewatch—or a first watch if you missed it the first time around.

And that’s a wrap for this episode of Indie Film Weekly! Thanks for spending some time with me as we explore the world of independent cinema. You can also read about these films in our weekly email newsletter, which you can sign up for at theindieigniter.com.

If a film we discussed caught your interest, I’d love to hear your thoughts. Don’t forget to subscribe, rate, and review—it’s a great way to support the indie film community. Until next week, keep watching, keep supporting indie film, and I’ll see you back here soon!

Indie Film Weekly [EP 18]: The Ugly Stepsister (2025) & Winter's Bone (2010)

Listen to this blog post on the Indie Film Weekly podcast here!

Hey there! Welcome to Indie Film Weekly, your insider guide to new independent film releases. I’m Glen Reynolds of Circus Road Films, where we specialize in helping indie filmmakers get their stories to film festivals and indie film distributors.

Each week, we spotlight new indie films hitting theaters. For these films, I suggest searching for them on Fandango or Google to see if they are showing in your city. And if you have to travel a bit, please do. It's important to support indie films by getting to the theater.

In addition, we highlight recent standout indie films that you can rent or download on platforms like Amazon, AppleTV, YouTube Movies, and Fandango at Home. Supporting indie films on these platforms is crucial, as not every indie film gets a Netflix deal.

Finally, we focus on one classic indie film that you can stream or rent, celebrating the timelessness of independent cinema.

Indie Film Weekly is proudly brought to you by Indie Igniter, your go-to resource for marketing your independent film and reaching your audience. Check them out at theindieigniter.com and subscribe to their newsletter.

New in Theaters

First up is The Ugly Stepsister, directed by Emilie Blichfeldt. This twisted and surprisingly raw take on the classic Cinderella tale is told from the perspective of Elvira, a stepsister who dreams of Prince Julian and tries desperately to conform to the kingdom’s ideals of beauty. It’s biting, bold, and loaded with social commentary. A definite must-see for anyone who loves fractured fairy tales with a purpose.

The film made waves at the Berlin International Film Festival with its daring style and emotionally vulnerable performance from lead actress Kristine Kujath Thorp, who is quickly becoming a breakout star in European cinema.

Next is The Wedding Banquet (2025), a fresh reimagining of Ang Lee’s 1993 film, this time directed by Andrew Ahn. Hoping to stay in the U.S., a gay man agrees to a green card marriage with a female friend in exchange for covering her IVF costs. But things spiral when his grandmother surprises them with plans for an elaborate Korean wedding banquet. The film blends humor and heart while exploring family, identity, and expectations in immigrant communities.

Andrew Ahn, known for Spa Night and Fire Island, brings a deeply personal lens to this remake, having grown up in a Korean-American household himself—and even used his own family photos as inspiration for several key wedding scenes.

And finally, The Legend of Ochi, directed by Isaiah Saxon, is a magical fantasy adventure about a young girl who discovers a mysterious creature from the forest—an ochi—and sets out on a quest to reunite it with its family. Visually stunning and filled with wonder, this is a family-friendly gem with emotional depth and a rich sense of worldbuilding.

Isaiah Saxon, originally known for his innovative music videos and co-founding the animation collective Encyclopedia Pictura, makes his feature debut here—and spent over a decade developing the visual style and mythology behind the ochi.

So check out The Ugly Stepsister, The Wedding Banquet, and The Legend of Ochi at a theater near you.

Films to Rent or Download

This week’s standout on-demand pick is Newlyweeds, the debut feature from Shaka King. It tells the story of Lyle and Nina, a couple bound by love and marijuana, whose relationship unravels when Lyle can’t decide between his girlfriend and his true love—Mary Jane. It’s a stoner comedy with real emotional bite. It is also a cautionary tale about the importance of choosing the right distribution partner. Newlyweeds was Shaka King’s breakout film, inspired in part by his own experiences as a Brooklyn native balancing creative ambitions with real-world frustrations. In fact, I helped sell this film years ago at Sundance and it was an exciting experience. But the effort behind the theatrical release was a disappointment.  And we later struggled to track payments as the film was transferred from one distributor to another.

The upside? Shaka King went on to direct Judas and the Black Messiah, which was a huge success. 

You can rent Newlyweeds now on major platforms such as Amazon.

Indie Classic

And now for our Indie Classic. This week, we honor the 15th anniversary of Winter’s Bone, directed by Debra Granik. This gripping Ozark noir follows Ree Dolly, played by a breakout Jennifer Lawrence, as she searches for her missing father while trying to keep her family from losing their home. Stark, suspenseful, and deeply human, the film was nominated for four Academy Awards and launched Lawrence to stardom. It remains a masterclass in tone, performance, and regional storytelling.

Winter’s Bone was shot on location in Missouri with local non-actors cast in many supporting roles. The role of Ree was so transformative for Jennifer Lawrence that she received her first Oscar nomination at just 20 years old.

Winter’s Bone is currently available to stream on Amazon Prime. If you haven’t seen it, now is the time.

And that’s a wrap for this episode of Indie Film Weekly! Thanks for spending some time with me as we explore the world of independent cinema. You can also read about these films in our weekly email newsletter, which you can sign up for at theindieigniter.com.

If a film we discussed caught your interest, I’d love to hear your thoughts. Don’t forget to subscribe, rate, and review—it’s a great way to support the indie film community. Until next week, keep watching, keep supporting indie film, and I’ll see you back here soon!

Indie Film Weekly [EP 17]: Warfare (2025) & Memento (2000)

Listen to this blog post on the Indie Film Weekly podcast here!

Hey there! Welcome to Indie Film Weekly, your insider guide to new independent film releases. I’m Glen Reynolds of Circus Road Films, where we specialize in helping indie filmmakers get their stories to film festivals and indie film distributors.

Each week, we spotlight new indie films hitting theaters. For these films, I suggest searching for them on Fandango or Google to see if they are showing in your city. And if you have to travel a bit, please do. It's important to support indie films by getting to the theater.

In addition, we highlight recent standout indie films that you can rent or download on platforms like Amazon, AppleTV, YouTube Movies, and Fandango at Home. Supporting indie films on these platforms is crucial, as not every indie film gets a Netflix deal.

Finally, we focus on one classic indie film that you can stream or rent, celebrating the timelessness of independent cinema.

Indie Film Weekly is proudly brought to you by Indie Igniter, your go-to resource for marketing your independent film and reaching your audience. Check them out at theindieigniter.com and subscribe to their newsletter.

New in Theaters

First up is Warfare, co-directed by Alex Garland and Ray Mendoza. This war drama puts the audience in the middle of a Navy SEAL mission that spirals out of control. The story comes directly from Mendoza’s military background, giving it a raw, personal feel. Garland, known for Ex Machina, brings his signature intensity, making sure every moment lands with impact.

One thing that makes this film stand out: The battle sequences were filmed in long, unbroken takes with real ex-military personnel to capture the unpredictability of combat. Mendoza also ran a boot camp for the cast, pushing them to handle real tactical situations before cameras rolled

Next up is Sacramento, directed by Michael Angarano, starring Michael Cera and Kristen Stewart. It follows two best friends who take a road trip to California’s capital, forcing them to confront the choices that shaped their lives. The mix of humor and heart makes this one feel both light and meaningful.

Something fun about this one: Much of the film was shot with a loose script, letting the actors improvise in real locations. That approach helped capture the awkwardness and spontaneity of reconnecting with someone from your past.

Returning to theaters this week is Pink Narcissus, James Bidgood’s experimental 1971 film. This underground classic explores the fantasies of a young male hustler, creating a surreal dream world of color and movement. It was ahead of its time in its depiction of queer identity and remains a landmark in LGBTQ+ cinema.

Here’s something wild: For years, no one knew who directed it. Some even thought it was an Andy Warhol project. It wasn’t until the late ’90s that Bidgood was officially credited, securing his place in film history.

Films to Rent or Download

Now streaming on Tubi is Hundreds of Beavers, directed by Mike Cheslik. This indie slapstick comedy is a completely bonkers, silent-era-inspired adventure set in the 19th century. It follows a drunken applejack salesman battling an army of beavers, using over-the-top physical comedy, creative practical effects, and a distinct visual style reminiscent of Buster Keaton.

Something you don’t see every day: The film was shot in black-and-white in the middle of a brutal Wisconsin winter, with the cast enduring freezing temperatures for authenticity. And in true indie spirit, much of the beaver "army" was created using homemade puppets, costumes, and stop-motion animation. The film premiered at the Fantastic Film Festival before going on an amazing festival run with beavers attacking the director at Q&As. The theatrical run was a self distribution success story that many indie filmmakers are hoping to emulate.

Indie Classic

Christopher Nolan’s Memento turns 25 this year, and it’s still one of the most inventive thrillers ever made. Told in a fragmented, reverse narrative, it follows a man with short-term memory loss trying to track down his wife’s killer. Every scene reveals another puzzle piece, keeping the audience as disoriented as the protagonist.

Here’s a fascinating production detail: The film’s cinematographer, Wally Pfister, used different color schemes to distinguish timelines—black and white for past events and color for the main storyline. That visual cue helps viewers decode the mystery, even as the structure scrambles expectations.

And that’s a wrap for this episode of Indie Film Weekly! Thanks for spending some time with me as we explore the world of independent cinema. You can also read about these films in our weekly email newsletter, which you can sign up for at theindieigniter.com.

If a film we discussed caught your interest, I’d love to hear your thoughts. Don’t forget to subscribe, rate, and review—it’s a great way to support the indie film community. Until next week, keep watching, keep supporting indie film, and I’ll see you back here soon!

Indie Film Weekly [EP 16]: The Luckiest Man in America (2024) & Before Sunrise (1995)

Listen to this blog post on the Indie Film Weekly podcast here!

Hey there! Welcome to Indie Film Weekly, your insider guide to new independent film releases. I’m Glen Reynolds of Circus Road Films, where we specialize in helping indie filmmakers get their stories to film festivals and indie film distributors.

Each week, we spotlight new indie films hitting theaters. For these films, I suggest searching for them on Fandango or Google to see if they are showing in your city. And if you have to travel a bit, please do. It's important to support indie films by getting to the theater.

In addition, we highlight recent standout indie films that you can rent or download on platforms like Amazon, AppleTV, YouTube Movies, and Fandango at Home. Supporting indie films on these platforms is crucial, as not every indie film gets a Netflix deal.

Finally, we focus on one classic indie film that you can stream or rent, celebrating the timelessness of independent cinema.

Indie Film Weekly is proudly brought to you by Indie Igniter, your go-to resource for marketing your independent film and reaching your audience. Check them out at theindieigniter.com and subscribe to their newsletter.

New in Theaters

First up is The Luckiest Man in America, directed by Samir Oliveros which is a sharp, satirical drama about a man whose lottery jackpot win turns his life upside down. What starts as a dream quickly spirals into chaos as he grapples with sudden wealth, newfound fame, and an unraveling sense of reality. It’s a fascinating look at the double-edged sword of luck.

You might not know this: To prepare for the film, the director interviewed past lottery winners to understand the psychological toll of sudden wealth, and several real-life accounts directly inspired the plot. In addition, the film's cinematography was intentionally structured to shift in tone—starting with bright, expansive shots and gradually becoming tighter and more claustrophobic as the protagonist's life spirals out of control.

Next, we have Eric Larue, marking the directorial debut of actor Michael Shannon. Based on a stage play, the film explores the aftermath of a school shooting from the perspective of the shooter’s mother, played by the amazing Judy Greer. It’s a gut-wrenching drama that examines the weight of facing the families affected by her son’s actions.

Here's an interesting detail: Shannon insisted on shooting several key scenes in real locations rather than on a soundstage. And even though it’s his first film as a director,—he previously directed live theater productions and has been preparing for film-directing for years.

Lisa Cholodenko’s 1998 indie drama High Art is back in theaters for a special re-release. The film follows a young aspiring magazine editor, played by Radha Mitchell, who falls under the spell of an enigmatic and reclusive photographer, played by Ally Sheedy. It’s a deeply atmospheric meditation on art, ambition, and addiction that left a lasting impact on indie cinema.

A lesser-known fact: The film’s cinematography, with its muted tones and dreamlike aesthetic, was inspired by the work of real-life photographer Nan Goldin, whose images capture raw, intimate moments of countercultural life. Additionally, Sheedy’s character was partially based on Goldin, adding another layer to the story.

Films to Rent or Download

This week’s VOD highlight is 3 Day Weekend, a psychological thriller from Wyatt McDill. Told from multiple perspectives like the great Kurosawa film Rashomon, the film follows a weekend getaway gone wrong, where shifting viewpoints reveal new layers of the mystery. The film has almost no dialogue and it’s a mind-bender that plays with audience expectations in every scene.

Something worth noting: The film was shot using only natural light, which not only enhanced the realism but also required the actors and crew to work in carefully scheduled time windows to capture the right mood. And because of its non-linear narrative, actors were often performing scenes out of order without knowing the full story—adding to its sense of confusion and paranoia. The film originally premiered on Showtime but you can find it now on Tubi and for rental on Amazon.

Indie Classic

Richard Linklater’s Before Sunrise turns 30 this year, and it’s back on VOD. This 1995 romance follows Ethan Hawke and Julie Delpy, two strangers who meet on a train and spend one night together in Vienna, exploring the city and their connection before parting ways. It’s a minimalist masterpiece that captures the magic of fleeting moments.

A cool behind-the-scenes detail: Much of the film’s dialogue was shaped through rehearsals and improvisation, but Linklater meticulously mapped out the characters’ walking routes through Vienna to ensure every conversation flowed naturally between locations. And while the film ends on an ambiguous note, fans had to wait nine years for Before Sunset (2004) to find out what happened next.

And that’s a wrap for this episode of Indie Film Weekly! Thanks for spending some time with me as we explore the world of independent cinema. You can also read about these films in our weekly email newsletter, which you can sign up for at theindieigniter.com.

If a film we discussed caught your interest, I’d love to hear your thoughts. Don’t forget to subscribe, rate, and review—it’s a great way to support the indie film community. Until next week, keep watching, keep supporting indie film, and I’ll see you back here soon!

Indie Film Weekly [EP 15]: The Ballad of Wallis Island (2025) & My Beautiful Laundrette (1985)

Listen to this blog post on the Indie Film Weekly podcast here!

Hey there! Welcome to Indie Film Weekly, your insider guide to new independent film releases. I’m Glen Reynolds of Circus Road Films, where we specialize in helping indie filmmakers get their stories to film festivals and indie film distributors.

Each week, we spotlight new indie films hitting theaters. For these films, I suggest searching for them on Fandango or Google to see if they are showing in your city. And if you have to travel a bit, please do. It's important to support indie films by getting to the theater.

In addition, we highlight recent standout indie films that you can rent or download on platforms like Amazon, AppleTV, YouTube Movies, and Fandango at Home. Supporting indie films on these platforms is crucial, as not every indie film gets a Netflix deal.

Finally, we focus on one classic indie film that you can stream or rent, celebrating the timelessness of independent cinema.

Indie Film Weekly is proudly brought to you by Indie Igniter, your go-to resource for marketing your independent film and reaching your audience. Check them out at theindieigniter.com and subscribe to their newsletter.

New in Theaters

First up is The Ballad of Wallis Island, directed by James Griffiths. This British comedy premiered at the Sundance Film Festival this year, and has been charming audiences ever since. The story follows Charles, an eccentric lottery winner living alone on a remote island, who dreams of reuniting his favorite musicians, McGwyer Mortimer—a duo comprised of former lovers Herb McGwyer and Nell Mortimer. Charles invites them to perform a private show at his home on Wallis Island, leading to a series of comedic and heartfelt events as old tensions resurface. Fun fact: The film is based on Griffiths' 2007 BAFTA-nominated short film, The One and Only Herb McGwyer Plays Wallis Island, reuniting the original creators for this feature-length adaptation. Additionally, Carey Mulligan, who plays Nell Mortimer, filmed her scenes while caring for her newborn daughter on set, adding a unique behind-the-scenes dynamic to the production.

Next up is Being Maria, directed by Jessica Palud. This French biographical drama delves into the life of actress Maria Schneider, best known for her role in Last Tango in Paris. The film explores Schneider's experiences during and after the controversial production, highlighting her struggles within the film industry. Anamaria Vartolomei portrays Maria Schneider, while Matt Dillon takes on the role of Marlon Brando, offering a nuanced performance that captures the complexities of the iconic actor. Fun fact: The screenplay is adapted from Vanessa Schneider's 2018 memoir, My Cousin Maria Schneider, providing an intimate look into the actress's life. The film has been praised for centering Maria's perspective, offering a sensitive and unsparing reconstruction of her experiences.

Rounding out this week’s theatrical releases is Viet and Nam, directed by Truong Minh Quy. This Vietnamese drama follows the intertwined lives of two individuals, Viet and Nam, as they navigate personal and societal challenges in contemporary Vietnam. The film offers a poignant exploration of identity, tradition, and modernity, set against the backdrop of Vietnam's rapidly changing landscape. Quy's direction provides a contemplative and visually stunning narrative that has resonated with audiences worldwide. The film was banned in Vietnam due to its sensitive portrayal of a same-sex relationship, yet it garnered international acclaim, premiering in the Un Certain Regard section of the 2024 Cannes Film Festival and being nominated for the Queer Palm.

Films to Rent or Download

Now available on TVOD is In a Violent Nature, directed by Chris Nash. This one premiered at the Sundance Film Festival earlier this year and quickly became a must-see for horror fans. What sets it apart? Well, it’s a slasher film told almost entirely from the killer’s perspective. Instead of following terrified victims, we follow the undead woodsman, Johnny, as he stalks a group of unsuspecting campers deep in the remote Canadian wilderness. There’s almost no dialogue—just the quiet, methodical movements of Johnny through the trees as he calmly, relentlessly goes about his business. It’s been described as Terrence Malick meets Friday the 13th, and honestly, that’s a pretty accurate vibe.

Fun fact: Director Chris Nash wanted to deconstruct the traditional slasher movie by stripping it down to its most primal elements. He storyboarded the film meticulously to avoid falling into standard horror tropes, focusing instead on long, slow takes that build an unsettling sense of inevitability. Another cool detail—the film was shot on location in northern Ontario, and almost all of the gore effects were done practically, not digitally. It’s a throwback to old-school horror craftsmanship, and for fans of the genre, it’s a real treat.

If you’re in the mood for something eerie, violent, and completely different from your typical horror flick, In a Violent Nature is one to watch.

Indie Classic

This week’s spotlight classic is My Beautiful Laundrette, celebrating its 40th anniversary with a special re-release in select theaters. Originally released in 1985, this groundbreaking British film was directed by Stephen Frears, based on his own original story. Set in Thatcher-era London, it tells the story of Omar, a young British-Pakistani man, and Johnny, a white working-class punk played by a then-rising Daniel Day-Lewis, who rekindle a childhood friendship—and romance—while renovating a run-down laundrette into a thriving business.

What makes My Beautiful Laundrette stand out—especially for its time—is how it weaves together themes of race, class, capitalism, and sexuality without ever feeling preachy. It was one of the first British films to portray a gay relationship in a natural, non-sensationalized way, and it did so at a time when both homophobia and racial tensions were high in the UK. Kureishi’s sharp, witty script brought these issues front and center, but through personal, relatable characters rather than overt messaging.

A couple of fun facts: The film was initially commissioned as a low-budget TV movie for Channel 4, but after it premiered at the Edinburgh Film Festival, it got picked up for an international theatrical release—and the rest is history. Daniel Day-Lewis’s performance as Johnny helped launch his career, and in the same year, he also starred in A Room with a View, playing a character that couldn’t be more different. Another little gem: the laundrette in the film was an actual working laundromat in London, which became a kind of cult landmark for fans after the film’s success.

My Beautiful Laundrette remains a vital piece of British cinema history. Whether you’re seeing it for the first time or revisiting it, this 40th-anniversary restoration is a great excuse to experience it on the big screen.

And that’s a wrap for this episode of Indie Film Weekly! Thanks for spending some time with me as we explore the world of independent cinema. You can also read about these films in our weekly email newsletter, which you can sign up for at theindieigniter.com.

If a film we discussed caught your interest, I’d love to hear your thoughts. Don’t forget to subscribe, rate, and review—it’s a great way to support the indie film community. Until next week, keep watching, keep supporting indie film, and I’ll see you back here soon!

Indie Film Weekly [EP 14]: Bob Trevino Likes It (2024) & Monty Python and the Holy Grail (1975)

Listen to this blog post on the Indie Film Weekly podcast here!

Hey there! Welcome to Indie Film Weekly, your insider guide to new independent film releases. I’m Glen Reynolds of Circus Road Films, where we specialize in helping indie filmmakers get their stories to film festivals and indie film distributors.

Each week, we spotlight new indie films hitting theaters. For these films, I suggest searching for them on Fandango or Google to see if they are showing in your city. And if you have to travel a bit, please do. It's important to support indie films by getting to the theater.

In addition, we highlight recent standout indie films that you can rent or download on platforms like Amazon, AppleTV, YouTube Movies, and Fandango at Home. Supporting indie films on these platforms is crucial, as not every indie film gets a Netflix deal.

Finally, we focus on one classic indie film that you can stream or rent, celebrating the timelessness of independent cinema.

Indie Film Weekly is proudly brought to you by Indie Igniter, your go-to resource for marketing your independent film and reaching your audience. Check them out at theindieigniter.com and subscribe to their newsletter.

New in Theaters

First up is Bob Treviño Likes It, directed by Tracie Laymon. It premiered at South by Southwest, where it took home both the Grand Jury Award and the Audience Award for Narrative Feature! The film follows Lily, played by Barbie Ferreira, who finds an unexpected connection with a stranger on Facebook who shares her estranged father’s name. John Leguizamo brings warmth and heart as Bob Treviño, the kind stranger. Fun fact: they shot the film in and around Louisville, Kentucky, showcasing some beautiful local spots. And here’s something interesting—because the film was made outside of the studio system, it received waivers during the 2023 Hollywood strikes, allowing it to finish production when most others were stalled.

Next is Magazine Dreams, directed by Elijah Bynum. This one premiered at Sundance and has had people talking ever since. Jonathan Majors stars as Killian Maddox, a socially isolated bodybuilder with dreams of fame and acceptance. It’s a raw, intense performance, and Majors went all in—he trained for over a year, packed on serious muscle, and stuck to a grueling diet to transform into Killian. Another cool fact: the film dives deep into the world of bodybuilding without glamorizing it, and Bynum worked closely with real-life trainers and athletes to capture the psychological toll of the sport. If you’re up for something that lingers with you, this one packs a punch. It is worth noting, the film's journey to the screen faced challenges due to external controversies. Initially set for a 2023 release by Searchlight Pictures, the film was temporarily shelved following legal issues involving Majors. However, after resolutions, Briarcliff Entertainment, who also released the controversial film The Apprentice, acquired distribution rights.

Third up is Misericordia, directed by Alain Guiraudie (gyro-dee). It had its world premiere in the Directors’ Fortnight section at the Cannes Film Festival. Guiraudie, best known for Stranger by the Lake, brings his signature slow-burn tension to this rural mystery. Jérémie returns to his hometown after the death of his old boss—the village baker—but things quickly get strange. There’s a suspicious neighbor, a creepy priest, and a disappearance that pulls Jérémie deeper into the village’s secrets. A little fun trivia: “Misericordia” translates to “mercy,” which hints at the moral complexities Guiraudie loves to explore. Here’s a different fun fact: Guiraudie actually spent over a year scouting the rural village where they filmed Misericordia, specifically looking for a location that had no cell phone reception. He wanted to emphasize the isolation and timelessness of the story—there’s a sense that this village exists in its own unsettling pocket of reality, untouched by modern life. That eerie stillness becomes part of the tension, making the setting almost a character in itself.

Films to Rent or Download

Now available on TVOD is The Highest Brasil, directed by Jeremy Curl. It premiered at the Austin Film Festival and has sparked plenty of conversation since. Set in Ireland—not Brazil!—the film follows Seamus, a struggling fisherman whose life is in freefall after his marriage collapses. Just when things seem hopeless, he’s offered a chance to join a band of eccentric misfits on a mysterious and increasingly unhinged project. A few fun facts: the film’s title is a reference to a mythical place from Irish folklore called "Hy-Brasil," a phantom island said to appear once every seven years. Jeremy Curl drew from both ancient Irish myths and modern economic anxieties to create a story that feels both timeless and completely contemporary. If you’re into surreal, thought-provoking films with a dark sense of humor, this one’s for you.

Indie Classic

And for this week’s classic spotlight, we’ve got Monty Python and the Holy Grail, celebrating its 50th anniversary. Co-directed by Terry Gilliam and Terry Jones, this one barely needs an introduction. King Arthur, the Knights Who Say “Ni,” the killer rabbit—you know the drill. But here are a couple of fun facts: the film was famously funded in part by British rock legends Led Zeppelin and Pink Floyd, who were huge Python fans and wanted to support their movie. And because the budget was so tight, they couldn’t afford horses—leading to the iconic coconut sound effect gag, which has become one of the most beloved jokes in film history. And here’s a little-known fact: The famous “Bridge of Death” scene—where each knight has to answer three questions or be cast into the Gorge of Eternal Peril—was inspired by John Cleese’s memories of his school days. Specifically, it was a parody of the absurdly difficult and arbitrary oral exams he endured at Clifton College. He and the other Pythons used those experiences to create the hilariously ridiculous logic that makes the bridgekeeper scene such a standout.

And that’s a wrap for this episode of Indie Film Weekly! Thanks for spending some time with me as we explore the world of independent cinema. You can also read about these films in our weekly email newsletter, which you can sign up for at theindieigniter.com.

If a film we discussed caught your interest, I’d love to hear your thoughts. Don’t forget to subscribe, rate, and review—it’s a great way to support the indie film community. Until next week, keep watching, keep supporting indie film, and I’ll see you back here soon!