HONEY BUNCH – Review by Liz Braun

Viewers of a certain age will be thrown back in time at Honey Bunch, a clever horror entry with subversive things to say about long-term commitment. The film is steeped in the sights and sounds of the early 1970s —real life and reel — and some of the dread on tap is rooted in movie nostalgia. The story begins as a recovering accident victim and her earnest husband drive to an elegant private care facility set in a secluded spot off the main road. Shades of Hill House and Horror Hospital. Please … don’t go down to the basement. As cinematic sleight-of-hand goes, Honey Bunch manages to be simultaneously disturbing and delightful — no mean feat. The movie wraps up in a way that makes one keen to see what writers-directors Dusty Mancinelli and Madeleine Sims-Fewer do next.

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HONEY BUNCH (TIFF 2025) – Review by Rachel West

Honey Bunch aims for a 1970s psychological comedic thriller, but its ambition far outweighs its execution. Writing and directing duo Madeleine Sims-Fewer and Dusty Mancinelli’s second feature is a muddled mess of style over substance. Though there’s ambition and style here, Honey Bunch never finds its footing. For all its visual flair, the film collapses under the weight of its own ideas.

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DEAD LOVER (Sundance FF 2025) – Review by Alexandra Heller-Nicholas

Grace Glowicki’s Dead Lover champions and celebrates outsider femininities with a spirit that is equally ribald, horny, celebratory and deeply, deeply weird. These are no manic pixie dream girls, cutely sanitized for male consumption. They are, instead, exactly what we need right now: femmes in front and behind the camera who are defiant, proud, and aggressively non-conforming.

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BOOGER (Fantasia Fest 2023) – Review by Alexandra Heller-Nicholas

While perhaps an unusual point of reference, Booger feels like the indie body horror equivalent of Lars von Trier’s Melancholia, doing for grief what the latter did for depression; both are portraits of human experience that at their core reject preconceived notions of how some emotional experiences should be depicted in favour for how, for some of us, they actually are.

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UNTIL BRANCHES BEND (TIFF 2022) – Review by Jennifer Green

Until Branches Bend is billed as a psychological drama, but it’s made to feel a lot like a horror film. Unsettling a cappella chants and flute music crescendo at odd times, infusing the action of this Canadian-Swiss co-production with a growing sense of tension even as characters engage in otherwise everyday-looking activities. The main character’s increasing social isolation, unwanted pregnancy and the stress of being painted as a villain in a small, rural town appear to be making her go mad, and actor Grace Glowicki captures this in an extremely physical performance.

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