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2026 Tribeca Festival (June 3th - June 14th)




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        Hannah (Ella Beatty), a teenager who aspires to become an actress, agrees to be the student of Melanie (Ari Gaynor), an acting instructor with a hidden motive in Act One. The less you know about the plot beforehand, the better because the screenplay by writer/director Sophia Takal has a few twists along the way. Takal isn't afraid to go into dark and squirm-inducing territory as Hannah spends more time with Melanie instead of her family who aren't very supportive of her acting dreams. What follows is a taut and intelligent psychological thriller that can also be seen as a cautionary tale. Ella Beatty should be commended for giving a raw and convincingly moving breakthrough performance. She's a natural talent who knows how to find the truth of her role without hamminess. The provocative ending, which won't be spoiled here, will provide audiences with a lot to talk about. At a running time of 1 hour and 44 minutes, Act One is currently seeking distribution.  

Number of times I checked my watch: 1







      In Breeder, Russell (Daniel Doheny), a college student, gets more than he bargained for when visits Patti (Dot-Marie Jones), a poodle breeder who agrees to fund his research project. Writer/director Ellie Alex Goyette has made a darkly comedic horror thriller that doesn't earn any points for originality nor does it offer any surprises, but it does have wickedly funny The second that Russell sits down with Patti and her daughters at their dinner table, it's obvious where the plot will be headed and the true meaning of the title. This is the kind of horror film that checks off most of the clichés of the genre. Isolated house in the middle of nowhere? Check! Hidden rooms in the house? Check! A clueless police officer? Check! A villain who knows how to easily deceive his/her victims? Check! A victim who's easily deceived? Check! Breeder is lucky to have Dot-Marie Jones because without her wickedly funny performance as Dottie, it wouldn't be as entertaining. Bravo to her for making the most out of her underwritten role. The third act takes a nosedive, though, with an ending that leaves too many questions unanswered which leads to frustrating plot holes that diminish the film's internal logic. At a running time of 1 hour and 37 minutes, Breeder opens TBA via Independent Film Company and Shudder.

Number of times I checked my watch: 1







      Bob and David Climb Machu Picchu is a hilarious, profound, heartfelt and crowd-pleasing documentary about Bob Odenkirk and David Cross, two comedians and friends, who travel to Peru to hike the Inca Trail together which will lead them to Machu Picchu. Director Michael LaHaie first follows Bob and David as they say goodbye to their loved ones in NYC before embarking on their voyage to Peru. What starts as a funny, witty and amusing travelogue with picturesque scenery turns into so much more as it explores Bob and David's friendship, their insecurities and even little bit about their traumatic childhoods. You'll also learn about their comedy sketch series Mr. Show with Bob and David which they collaborated on in the 90s. There's plenty of humor throughout Bob and David Climb Machu Picchu, though, so it would be ideal to see it with a large crowd. The best way to describe it without giving away any of its surprises is that it hits the same notes as the "documentary" The Trip with Steve Coogan and Rob Brydon. You don't have to be a fan of Odenkirk or Cross to enjoy it. Moreover, you might even be inspired to hike the Inca Trail yourself some day if you haven't done so already. At a running time of only 1 hour and 20 minutes, Bob and David Climb Machu Picchu is one of the best films of Tribeca Festival. It's currently seeking distribution.

Number of times I checked my watch: 1





 

      Kevin (Zach Braff), a narcotics officer, tries to help his daughter, Brooke (Esther McGregor), who's battling drug addiction in Clean Hands. Despite a clunky and contrived screenplay by writer/director Jake Allyn, this turns into a heartfelt story that's fundamentally about a father's unconditional love and compassion for his troubled daughter. It's a parent's job to protect his or her child from harm both from themselves and from others. Kevin wants to help her, but struggles to find the right solution which includes finding a rehab that has a bed for her. One of those rehabs accepts her on the condition that she arrives there clean and sober. That task turns out to be easier said than done for her. It's heartbreaking to watch as Brooke spirals from opiate addiction to heroin addiction. The moving performances by Zach Braff and, especially, Esther McGregor ground the film in humanity and poignancy while breathing life into their roles. Kudos to Allyn for showing empathy for Brooke and not asking the audience to judge her. To be fair, though, the third act feels a bit contrived and sappy, but that's a forgivable flaw.  At a running time of 1 hour and 48 minutes, Clean Hands, based on a true story, opens TBA via Vertical.  

Number of times I checked my watch: 2





 

       Did you ever wonder what dictators like to eat? Now's your chance. How to Feed a Dictator is an equally disturbing and mouth-watering documentary about five world dictators, Saddam Hussein, Idi Amin, Pol Pot, Augusto Pinochet and Kim Jong-il, and their private chefs. Director Andrew Neel  interviews the chefs along with scholars who discuss the dictators' atrocities.  He asks them tough questions, at times, which require introspection and critical thinking. The scrumptious sights of most of the dishes leads to tonal whiplash when juxtaposed with the graphic images and descriptions of the atrocities. There's also discussion of cannibalism including archival footage of Idi Amin clearly lying about not being a cannibal by saying that he doesn't eat human flesh because it tastes too salty. Neel also interviews one of Idi Amin's daughters who praises him as a good man and father. This is the kind of documentary that will make you sick to your stomach one minute and hungry the next when there's a shot of a delicious-looking pepperoni pizza. It's not easy to sit through, but it's rewarding for audiences who don't mind being reminded of harsh truths about history and the scary fact that dictators still exist today.  At a running time of 1 hour and 435 minutes, How to Feed a Dictator is currently seeking distribution.  

Number of times I checked my watch: 1





 

      IX XI is an occasionally poignant and well-shot, but only mildly engaging documentary about how 12 different people experienced 9/11.  Director Sean Wilsey doesn't choose any of the 9/11 survivors; just people who witnessed it that day and whose lives were shaped by it.  There's nothing new or revealing in terms of insights, and the use of film clips from films like After Hours are distracting. Also, Wilsey doesn't get to know his subjects enough to make this a powerful and profoundly moving documentary. There are too many subjects on-screen to achieve that kind of emotional depth. However, their candidness and vivid recollections of that tragic day along with the archival footage keeps the film somewhat engrossing. At a running time of 1 hour and 26 minutes, IX XI is currently seeking distribution.  

Number of times I checked my watch: 1







      Jean-Michel is captivating, well-edited, illuminating, warts-and-all documentary about legendary artist Jean-Michel Basquiat. Co-directors Quinn Whitney Wilson and Viridiana Lieberman do more than just introduce the audience to Basquiat's artworks: they allow the audience to get a glimpse of what he was like behind-the-curtain, so-to-speak, to understand what his thought process was like, his emotional battles, and his influences. They interview his friends, artists Kenny Scharf and Maripol, as well as his sisters, Lisane and Jeannine, and Jeffrey Wright, the actor who portrayed Basquiat in Julian Schnabel's 1996 biopic. He was also friends with Madonna back in the 80s. It's equally sad and enraging how much criticism Basquiat faced from art critics when he first entered the art world. He took the criticism to heart and became depressed from it. His struggles with drug addiction and his subsequent death from a drug overdose after the death of Andy Warhol are also discussed. In a powerful moment, one of Basquiat's sisters has an epiphany about her brother in an interview. That moment alone, which comes near the end, is a testament to both the documentary's strength and the filmmakers' terrific interviewing skills. They do a great job of finding the right balance between entertaining the audience and provoking them emotionally as well as intellectually while concurrently humanizing Basquiat. At a running time of 1 hour and 35 minutes, Jean-Michel is one of the best documentaries of Tribeca Festival. It will be released via Netflix.

Number of times I checked my watch: 1





 

      In The Last Day, Julia (Alicia Vikander), a single mother, copes with the death of her father and struggles with writer's block while bumping her former lover, Peter (Wagner Moura), and crossing paths with Taylor (Victoria Pedretti), a frustrated mother who's dealing with postpartum depression. Writer/director Rachel Rose has made a poetic, understated and gently moving character study loosely based on Virginia Woolf's Mrs. Dalloway.  The story unfolds non-linearly as it jumps back and forth between Julia's perspective and Taylor's perspective, but it never feels convoluted or confusing. Rose should be commended for knowing how much exposition to incorporate without overexplaining anything. Moreover, the exquisite cinematography adds a sense of lyricism and style to the film that makes it feel more cinematic. Even though there's no big Spectacle, Rose manages to find the intrinsic Spectacle found within the film's many Truths a.k.a. its humanity. Kudos to her for trusting the audience's patience, intelligence and emotions which is quite refreshing and a testament to her skills as a writer and director. The talented ensemble cast breathes life into their roles, especially Alicia Vikander who anchors the film with her radiant and heartfelt performance. At a running time of 1 hour and 39 minutes, The Last Day is currently seeking distribution.  

Number of times I checked my watch: 1







      In The Long Haul, CJ (Margo Martindale), a truck driver still grieving the death of her daughter, Starling, struggles to cope with the fact that Starling's murderer, Wayne (Jefferson White), will be eligible for parole after serving 25 years in prison. Meanwhile, she seeks advice from her good friend (Stephen Root), and befriends Junior (Cole Sprouse), a much younger truck driver who wants to film her talking about her experiences and wisdom as a female truck driver. Writer/director David Drake has made a captivating, warm, tender and engrossing character study with a genuinely heartfelt, Oscar-worthy performance by Margo Martindale. Her courtroom scene in the third act, which won't be spoiled here, feels powerful and heartbreaking. Don't be surprised if it'll make you shed a tear.

      The plot begins on a simple, breezy and lighter note and gradually becomes increasingly complex and darker as the truth about CJ's traumatic past comes to the foreground. The sensitive screenplay handles exposition very effectively without relying on voice-over narration or even flashbacks. There's also just the right amount of comic relief to counterbalance the more serious moments. Drake knows how and when to trust the audience's emotions, patience, imagination and intelligence which is quite a feat for a first-time director. It's refreshing to see a movie about a truck driver that's not an action thriller or horror film. Hopefully, a smart distributor will pick this wonderful film. At a running time of 1 hour and 31 minutes, The Long Haul is currently seeking distribution.

Number of times I checked my watch: 1





 

      After breaking up with her boyfriend, Lucy (Ellie Sachs) moves in with her overprotective dad (David Cross) and struggles in the dating scene until she meets with James (Thomas Mann) and starts a romance with him in  Lucy Schulman.  Writer/director Ellie Sachs has made a funny, tender and honest romantic dramedy that doesn't chart new territory, but it's perceptive about the topics of romance, insecurity, self discovery and codependent relationships between a parent and their adult child. It also avoids becoming cheesy, clunky or cringe-inducing.

      Lucy's father treats her as though she were still a child. Case in point: she spends a night walking around with James until sunset and he gets worried sick when she arrives back home in the morning after calling her cell phone repeatedly. She and James initially experience their "honeymoon phase" where they're very much into each other, but once they remove their rose-tinted glasses, that's when their relationship gets more complicated and complex. He removes those glasses before she does, though, so he comes across as more emotionally mature than she does. However, there are signs in the third act that provide some hope that she wants to go on a journey of self discovery much like Shirley from Shirley Valentine.

      To be fair, the ending wraps everything up with on-screen texts a little too neatly, though, while spoon-feeding the audience without trusting their imagination. That's a minor flaw, though. Ellie Sachs and Thomas Mann have palpable chemistry together and give convincingly moving and charismatic performances. David Cross is also well-cast as Lucy's father. Ultimately, Lucy Schulman isn't quite as brilliant and imaginative as (500) Days of Summer, but it comes close and would make for a great double feature. At an ideal running time of 1 hour and 34 minutes, it's currently seeking distribution.  

Number of times I checked my watch: 1





 

      In Ponderosa, George (Bill Camp), a mysterious older man, forces his way into the life of a young man, Zeke (Jack Dylan Grazer), as his father figure after Zeke' mother, Sandra (Alexis Bledel), loses her job at a restaurant that closed down. Writer/director Rob Rice has made a creepy, unnerving and provocative dark comedy with shades of psychological horror. The plot becomes increasingly bizarre and even a bit surreal with interesting use of symbolism through lighting and use of color. Rice has a great handle on exposition without revealing too much about George or Zeke. It's clear from the start, though, that George must have a hidden motive, especially given how controlling he behaves with Zeke. Ponderosa doesn't offer easy answers and leaves a lot to the audience's own interpretation. Rice trusts the audience's intelligence, imagination and patience. Jack Dylan Grazer gives a breakthrough performance, and Bill Camp gives an effectively eerie, yet charismatic performance as George. At a running time of 1 hour and 30 minutes, Ponderosa is currently seeking distribution.  

Number of times I checked my watch: 1





 

       Joan (Sasha Frolova), an audio engineer, returns to the New England home of her estranged father, Lawrence (Xander Berkeley), a former artist who's bedridden and been badly burned after an accident in Recluse. Writer/director Henry Chaisson has made a consistently atmospheric, grim and creepy gothic horror film. It's obvious that something supernatural has take place after Joan arrives at father's home. Does it have something to do with her family's dark past? Perhaps it's related to the disappearance of her mother? Perhaps it's something else? The answers to those questions get answered in the twisted third act which suffers from over-explaining, but until then, Recluse remains suspenseful, intelligent and intriguing. A lot happens during the last thirty minutes or so that will disturb and shock audiences. Fortunately, Chaisson doesn't rely on gore to scare the audience; most of the horror remains psychological, so he wisely relies on the imagination of the audience to provide most of the scares. Everything from the lighting (or lack thereof) and the production design creates a foreboding, chilling atmosphere. That said, what's missing here the most is much-needed comic relief or any other form of levity to counterbalance the very serious and dark tone. If you like your horror film served like black coffee, though, without cream or sugar, Recluse will be right up your alley. At a running time of 1 hour and 46 minutes, Recluse is currently seeking distribution.  

Number of times I checked my watch: 1





 

      Nawal (Mila Al Zahrani), a receptionist at a Riyadh police station, gets recruited to investigate the murder of an unidentified teenage girl whose body was found in the middle of the desert in Unidentified. Writer/director Haifaa al-Mansour and co-writer Brad Niemann have woven a consistently gripping and intriguing crime thriller. It begins by introducing the audience to Nawal before she rides along with the police to the scene of the crime in the desert. The only conclusion that they draw from mere observation is that the body must've been dumped there after she was attacked and killed. Nawal will stop at nothing to find out her name so that she won't receive a nameless burial. She visits high schools to inquire about missing students, but reaches obstacles when the school administration refuses to cooperate with her. What lengths she takes to solve the mystery and to determine who killed her won't be spoiled here, but it's worth mentioning that the plot gets increasingly complex as it progresses. The filmmakers have a terrific handle on exposition because they don't reveal too much information right away. They also provide Nawal with a backstory involving an abusive husband and a miscarriage which has traumatized her.

       To be fair, perceptive audience members will probably be able to predict the twist ending about 15 minutes before it gets revealed because of something that one of the characters says that can only imply a hidden motive. That's a minor and forgivable flaw, though, and the twist might even make you tempted to rewatch the movie from a new perspective. The pace moves slowly, so don't expect any edge-your-seat suspense; the suspense builds very gradually. This isn't the kind of crime thriller that relies on action sequences and gore to be engaging, nor is it afraid to get into dark and gritty territory. In other words, it's a movie for grown ups who appreciate an intelligent, slow-burning and grounded crime thriller. At a running time of 1 hour and 39 minutes, Unidentified opens June 19th, 2026 at Angelika Film Center via Sony Pictures Classics.   

Number of times I checked my watch: 2 





 

      In  The Wedding Entertainer: The Tale of Moishe Badhan,  Moishe Striker (Shuli Rand), a badchan whose as a badchan, a.k.a. a Jewish wedding MC, was ruined because of his alcoholism, needs to raise $20,000 for the wedding of his daughter, Sarah-Leah (Malky Goldman). He gets a chance to resurrect his career when he accepts a gig as being a co-badchan with a younger badchan, Meshulam  (Elon Gold), for the wedding of the son of his best friend, Bomchik (Tal Friedman. Director Gidi Dar and screenwriter Shuli Rand have made a funny and delightful comedy with a terrific ensemble cast. The humor is often witty and tongue-in-cheek without pandering to the lowest common denominator or becoming mean-spirited. The filmmakers grasp the concept that comedy often derives from tragedy and, most importantly, deftly balance the film's comedy and seriousness while avoiding tonal unevenness. It doesn't have any big surprises nor does it go over-the-top with its humor---this isn't The Mad Adventures of Rabbi Jacob or a Kuni Lemel film---but it's nonetheless a lighthearted, wise and amusing comedy that will lift your spirits. At a running time of 1 hour and 42 minutes, The Wedding Entertainer is one of the best films of Tribeca Festival. It's currently seeking distribution.  

Number of times I checked my watch: 1



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