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This 2025 drama film by Max Silverman explores the human spirit, via the 2018 San Luis Valley area wildfires popularly known as the Spring Creek Fire.. It centered on a recently divorced horse rancher, "Dusty" brilliantly played by Josh O'Connor. This film can be interpreted about material culture versus land and life necessities and needed instructional support. The importance of community and interdependency using its storytelling with beautiful acoustic music by Southern folk guitarist, Jake Fusell. Its visuals are full of vast skylines and stretched landscapes - Mexican cinematographer by Alfonso Herrera Salcedo lends his magic talents to the story. In the story, "Dusty" loses everything from an entire home and it's materiality finding himself in a makeshift community (funded by FEMA) of other people who lost everything as well. This encampment is part of the film's magic where many other characters from elderly, children, married couples to a Native American family.

In actuality since San Luis Valley stretching from Colorado to New Mexican territory, many Latinx families along with indigenous population were ravished and still needing institutional support for them to get value of loss which not really explored with this film.

Another aspect of this poignant story, the relationship between father (Dusty) and daughter, "Lucy" played by Australian actor, Lily LaTorre. This film really can help others to see how a natural disaster can impact people's lives when still no support. Many people are still trying to rebuild since those Wildfires since 2018 other places like California had experience loss due to fires. Interesting enough that the film's director, Walker Silverman is a Colorado native and Amy Madigan played as "Lucy's" grandmother.

Keeper (2025) directed by Osgood Perkins and written by Nick Lepard feels like an art house horror from the 70s like the filmic adaptation of Daphne Du Maurier's "Don't Look Now" (1973) with Donald Sutherland mixed in with bit of sorcery. It could be mistaken for the present Folk Horror trope with a bit of Creepy Pasta. It blends the old atmospheric (cabin in the woods) trope with the present psychological couple anxiety explored by recent films like "Campanion" (2025).

It heads a Canadian cast of Tatiana Maslany (from the She-Hulk TV series) and Rossif Sutherland (Donald Sutherland's son) playing the couple.

Their story of anxiety stays in a house in the middle of the woods. Liz (Maslany) with her doctor boyfriend, Malcolm (Sutherland) leaves the city for the weekend staying in a large house in the woods. Liz eventually starts to see what could be a hallucinating experience, until the story unveils it's horror.

Its strong visual sense of the natural landscape beauty is done by cinematographer, Jeremy Cox. Although this film has been met with mixed reviews, one of the aspects is an interesting use of editing with musical compositions. For some it does not hark a linear narrative but can be interpreted as a surreal device, maybe too much for the average viewer.

But it has other quite fun configurations of this film's monster-making. Ringing like early Millennial fantasies like Guillermo de Toro's Pan Labyrinth and some of the creatures could suggest maybe Creepy Pasta inpsired choices. Nonetheless there's a bit of magic elements with Perkin's usage of Neo-Gothic aesthetics as found in his early films.

This documentary by Alex Ross Perry essentially ttys to recover the idea of the video store experience. This 2+ hour excursion weaves TV commercials with a film survey where the video store is depicted or use as a storyline. Its example sourced from film of the micro budgeted to Hollywood productions.

The film's information is from a 2014 book called "Videoland: Movie Culture at the American Video Store" by David Herbert. It is segmented into 6 parts with narration by Maya Hawke, the daughter of Ethan Hawkes whose film Hamlet is referenced throughout the doc, since its depicts the video store. It gingerly demonstrates factual information but relies on the idolization of the video store experience through cinematic work. How it changed societal depending on entertainment swaying from the cinema theater and the multiplex straight into private home viewing.

Many films are referenced from Clerks (1994) to Iam Legend (2012) and the downfall of Blockbuster video store franchise and their crushing of small storefront video stores. And the evolution of analog media from VHS to Blu-ray, and video rental via machines and mailing service though it lacks factual information but it's entertaining, making the video store as this mythical space, away from the actual depiction of Hollywood machine exploits of the movie go goer.