Cinequest

Cinequest Movies Go On-line Today

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Photo caption: Tommi Korpela and Pihla Viitala in THERAPY. Courtesy of Cinequest.

Beginning today, and thru midnight March 31, select films from this year’s Cinequest are now available to watch at home through Cinequest’s online festival Cinejoy. The price is less than ten bucks per movie for all but two, and you can watch all of them with a $50 pass.

There’s a Spotlight section where, for $14..99, you can join others watching the film at the same time and participate in Q&A with the filmmakers. The Spotlight film I recommend is Adult Children.

Amber Gray in HEARTWORM. Courtesy of Cinequest.

The other films that I recommend are in the Cinejoy Showcase section, so you can watch them whenever convenient, for only $9.99. They include my choices for the very best of the festival:

  • Heartworm: Set in a near future where humans can connect to an AI-generated world indistinguishable from reality, a couple grapples with the heartbreaking death of their daughter. The mom is bravely working through her grief, trying to harness her resilience; the dad, equally shattered, has emotionally shut down. When we see the daughter, is it a flashback or a reappearance? The mom must figure out whether she has experienced a trauma-induced hallucination or a psychotic break – or whether the dad has stepped into an insidious AI pseudo-reality where their trauma didn’t happen? The distinguished Broadway actress Amber Gray, most recently Tony-nominated for Hadestown, soars as the mom, fighting fiercely for her sanity at the moment of her greatest vulnerability. This brilliantly constructed film is a striking debut feature for writer-directors Miriam Louise Arens and Mitchell Arens. World premiere.
  • Therapy: A husband and wife team of therapists have over-invested in a spacious seaside manor, where they are about to host a five-day couples retreat. Trouble is, the splendid but decaying estate has tapped out their finances, and their own marriage is on the rocks. What could possibly go wrong? This very funny Finnish dramedy sends up psychobabble while exploring the topics of grief, loyalty, betrayal, jealousy, disappointment and relationship fatigue. Therapy’s screenplay brims with insight, wit and humanity. Second narrative feature for writer-director Paavo Westerberg. US premiere.

These other films are good, too:

These are all worth your while, but be sure not to miss Heartworm and Therapy.

Ellie Moon in YOUNG FEMALE PLAYWRIGHT. Courtesy of Cinequest.

More good stuff at Cinequest

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Photo caption: Thomas Sadowski and Ella Rubin in ADULT CHILDREN. Courtesy of Cinequest.

Cinequest kicks off tonight, and I’ve already highlighted seven Must Sees in my Best of Cinequest. But there are plenty of good films in this year’s very deep Cinequest program, so I recommend that you check out these movies, too.

  • Adult Children: In this smart and insightful comedy, a couple is heading off on a European vacation just as the troubled son from the wife’s first marriage is wait-listed for a drug rehab bed. He needs supervision to prevent relapse, so his mom enlists his two sisters to fly in and babysit him. The couple’s 17-year-old daughter, twenty years younger than her half-siblings, opts out of the trip so she can finally get to know them. The three adult children fled the nest early after growing up free-ranging in the alcoholic chaos of their late father. The high-achieving, somewhat anxious, teen daughter comes from much more stable parenting. As the four settle in together, they find that maturity, direction and responsibility don’t automatically accompany chronological adulthood. It’s even revealed that the older daughters are posing as altruists to mask their own neediness. By turns funny and poignant, the story benefits from an excellent ensemble cast: Betsy Brandt (Breaking Bad), Thomas Sadowski (The Newsroom, Life in Pieces), Aya Cash (You’re the Worst) and Ella Rubin (Ani’s roommate/sister Vera in Anora). The real star here is the screenplay by seasoned actress Annika Marks; she is married to director Rich Newey, and this is their second narrative feature as a filmmaking team. Bay Area premiere.
  • Young Female Playwright: In this edgy satire, the Canadian National Theatre announces the production of a 26-year-old’s first play. The playwright revels in her surprisingly early success, and the company is smugly self-satisfied with discovering a young female literary voice. But when the play’s dark theme becomes public, the company panics at some blow-back and mischaracterizes the story’s origin, which sends the playwright’s family into their own consternation. Can political correctness and artistic ambiguity turn a Win-Win into a Lose-Lose? First feature for director Pony Nicole Herauf and writer Ellie Moon (who also stars). World premiere.
  • Nancy: This Argentine gem is an intimate portrait of a cleaner/caretaker of vacation beach homes owned by the Buenos Aires affluent. It’s a slow boil, leading to a test of her resilience when she faces a high-stakes decision. With a remarkable performance by Camila Peralta, we are engrossed with Nancy’s story even though most her early actions are mundane. You’ll be thinking about this one afterwards. First solo narrative feature for writer-director Luciano Zito. US premiere.
  • Catane: Eastern European cinema excels in droll absurdist comedies that mock the legacy of Communism, especially the pervasive corruption, mindless bureaucracy and absence of altruism. In the slyly funny Catane, Romanian bureaucrats find that every single person in a remote mountain village is receiving benefits for the disabled and suspect fraud. They head off to investigate, but the locals are alerted and put on a remarkable exhibition of faux blindness, paraplegia, burned off limbs, and even a woman whose back won’t let her lie down, so she sleeps standing up. A pair of ingenious girls don an oversized sweater and braid their hair together, posing as Siamese Twins. All the tomfoolery works flawlessly – up to a point… There’s a very effective running gag of the officials looting souvenirs from the village. Second narrative feature for writer-director Ioana Mishie. US premiere.
  • Holy Meat: In this mostly droll and sometimes outrageous German comedy, a dour priest insists on being assigned to a dying parish. To prevent the church from being shuttered, he leads the parishioners into a fundraising performance of the Passion of Christ. He can’t control the motivations of others, and the performance becoomes an exuberant blasphemy. At the end, there’s a revelation that explains the priest’s own actions. Second feature for German-Vietnamese writer-director Alison Kuhn. US premiere.
  • Hungarian Wedding: Set behind the 1970s Iron Curtain, two Hungarian slackers hit on a mad get-rich-quick scheme to smuggle icons from Romania. Their cover story is an invitation to a wedding in a Romanian village. They’re just not slick enough to pull this off anyway, but one falls fr the bride’s sister, who is trying to get out of an arranged betrothal to the son of the police chief. Antics ensue, which make Hungarian Wedding a cross between a funny thriller and an urgent comedy. As fitting its title, the film overflows with traditional costumes, excessive palinka-drinking and folk dancing athletic enough to become an Olympic event. First narrative feature for Hungarian director Csaba Kael. West Coast premiere.
  • Terra: This is as as searing a war movie as you’ll ever see from a civilian POV. A dad and his daughter scramble through the ruins of a bombed out city (presumably in Kurdish territory in Iraq), dodging air attacks, snipers and checkpoints in a situation where every decision must be made urgently with life or death consequences. The medical staff and patients of an entire hospital have relocated to a covert location, but are still vulnerable still to bombardment. First feature written/directed/photographed/edited/produced by British-Bermudian actor Rory Wilson. World premiere.
  • No Thanks, I Quit Smoking: This gentle Mexican comedy follows recently laid-off Nuria (an endearing Esmeralda Soto) on her 24-hour quest to come up with the rent money. She’s been trying to finish writing her thesis while she’s been ghost-writing those of less motivated students, and navigating her community of friends, possible love interests and intrusive family members, all while trying to quit smoking. First feature for Mexican writer-director Diego Toussaint. US Premiere.
  • Mockbuster: A young director of corporate training films decides to make a now-or-never move to feature filmmaking. He signs up with The Asylum to direct “six-day specials”, ultra-low budget exploitation movies – and films his experience. The world of schlock movie making has its charms, because the guys at The Asylum don’t take themselves too seriously. Movie star Eric Roberts amiably talks about his own career moving between A movies and Z movies. First documentary feature for Anthony Frith (who did actually direct the two exploitation features). Bay Area premiere.

At Cinequest, you can get a festival pass for as little as $199 (a ten-pack for $110), and you can get individual tickets as well. Take a look at the entire program, the schedule and the passes and tickets. Bookmark my CINEQUEST 2026 page, with links to all my coverage. 

Ellie Moon in YOUNG FEMALE PLAYWRIGHT. Courtesy of Cinequest.

IN A WINTRY SEASON: a fairy tale, interrupted

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IN A WINTRY SEASON. Courtesy of Cinequest.

The heartfelt and intoxicating documentary In a Wintry Season starts out looking like a fairy tale, and unpredictably turns decidedly not, as the real world and human behavior intervene. 

Writer-director Mary Posatko tells the increasingly unpredictable story of her parents. I generally resist filmmakers profiling their own parents, but In a Wintry Season won me over with its candor, authenticity and surprises.  It’s a relatable story of two people and their family and their times, but it brings us into a meditation on what is American  Catholicism today.  Very sweet ending.

I screened In a Wintry Season for its US premiere at Cinequest, where I predict it will be a crowd-pleaser.

AMERICAN AGITATORS: social justice doesn’t just happen

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Fred Ross (foreground left) and Cesar Chavez (foreground right) in AMERICAN AGITATORS. Courtesy of Cinequest.

American Agitators is the important story of legendary organizer Fred Ross, the mentor of Cesar Chavez, and essentially a saint of the social justice movement. American Agitators shows Ross being formed by the Great Depression and the left-wing politics, the union movement and the New Deal. As a fully formed organizer, Ross met Chavez; Ross’ organizing resonated with Chavez applied his own imagination to Ross’ tactics and launched his own historically essential movements for farmworker unionization and Chicano Rights.

Director Raymond Telles has sourced the film impeccably. The third act rolls out Ross’ legacy today, not just Chavez the icon and the Farmworkers movement, but the influence of Fred Ross, Jr. and then a more loosely configured compendium of recent and current labor campaigns..

Fred Ross and Dolores Huerta in AMERICAN AGITATORS. Courtesy of Cinequest.

LOCAL SAN JOSE INTEREST: Fred Ross met Chavez at Cesar’s home at 53 Sharff Avenue in San Jose, hired Cesar as his deputy and organized out of McDonnell Hall at Our Lady of Guadalupe on East Antonio Street.  Cesar’s son Paul (of San Jose) appears in the film as does Luis Valdes of Teatro Campesino, who has also had a significant presence in San Jose.

I screened American Agitators for its world premiere at Cinequest.

BURT: irrepressible generosity

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Burton Berger in BURT. Courtesy of Cinequest.

The title character in the affecting dramedy Burt is a an elderly street musician with Parkinson’s Disease. Burt rents a room in the home of his landlord Steve, an ever-suspicious and oppositional guy who is Burt’s age. Nevertheless, Burt is relentlessly upbeat. A young man, Sammy, arrives with a letter from one of Burt’s youthful flames, explaining that Sammy is Burt’s son. Burt jumps into belated fatherhood with both feet, and then discovers that all is not as it seems.

Burt (Burton Berger) may face disappointment and hurt, but he does so with an irrepressible generosity of spirit. This is not a Disease of the Week movie. It’s not about Burt’s Parkinson’s. It’s about Burt, a vital guy who is open about his living with Parkinson’s, but who focuses on what he can still experience.

Oliver Cooper and Burton Berger in BURT. Courtesy of Cinequest.

Oliver Cooper (David Berkowitz in Mindhunter, Levon in Californication) captures the contradictions within Sammy, who’s been incarcerated until recently.  Sammy shares a lot of traits with the average criminal – not smart, not strategic, irresponsible and easily led astray.  I’m guessing that his impulse control and anger management aren’t great, either.  But, somehow, Sammy has a reservoir of empathy that may impede his criminality. Cooper also co-wrote.

A remarkably endearing movie, Burt is just the second feature for director and co-writer Joe Burke. Burke shot Burt in seven days for $7,000 with a three person crew.  He succeeded in getting fine performances from the non-professional actors playing Burt (Berger) and Steve (Stephen Levy)..

Burt was executive produced by indie stalwart David Gordon Green (George Washington, All the Real Girls, Undertow). I screened Burt for its world premiere at Cinequest.

THE UNFIXING: an art film inside a memoir

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Nicole Betancourt in THE UNFIXING. Courtesy of Cinequest.

The mesmerizing The Unfixing is a self-therapeutic memoir, chronicling the filmmaker’s personal journey through her parents’ divorcee, her own sudden disability from chronic fatigue syndrome, and then shockingly, her daughter’s affliction with the same symptoms via Lyme Disease; mom and daughter experiment with a new therapy that purports to rewire their brains.  How will this family story end?

The clever structure (in yearly segments tied to climate change) and repeated motifs (of photography, the beach and grief) make this an art film inside a memoir.  The Unfixing is the first feature for director, writer and subject Nicole Betancourt.

THE UNFIXING. Courtesy of Cinequest.

This unique film may not be for everyone, but it’s that wholly original cinema that people hope to see at a film festival. I screened The Unfixing for its US premiere at Cinequest.

BOUTIQUE: TO PRESERVE AND COLLECT: passion for cult cinema

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Severin Films founder David Gregory in BOUTIQUE: TO PRESERVE AND COLLECT. Courtesy of Cinequest.

Ry Levey’s infectious documentary Boutique: To Preserve and Collect is about passion – passion that fuels the preservation and rejuvenation of cult cinema. We’re mostly talking about exploitation movies that would otherwise be lost. Much the credit for saving them goes to Severin Films and Vinegar Syndrome, which are essentially the Criterion Collection for grindhouse cinema. Both companies evolved from aficionados making bootleg tapes of their favorite obscure films into legitimate catalogues of preserved films.

You may not think that a certain movie is IMPORTANT, but there is probably someone who finds it absolutely ESSENTIAL. Many movies have been made to be disposable, but have inspired loyal fans. One person’s drive-in may be another’s arthouse. What makes Boutique: To Preserve and Collect fun to watch is the contagious enthusiasm of the devotees.

Boutique: To Preserve and Collect takes us from the Dark Ages, back when, once you had seen it in a theater, a film was forever lost to you. No matter how much you wanted to watch it again or share it with others, your only recourse would be to scour TV Guide for when it might show up on late night television. Then, the introduction of the VCR made it possible to collect movies you love and to evangelize for them. The video store and the DVD opened up the possibilities even more.

Boutique: To Preserve and Collect covers a lot of ground, much of it arcane, so it’s fortunate that the editing keeps the film popping. Canadian filmmaker Ry Levey has been to Cinequest before, most recently with his fine LGBTQ pro wrestling doc, Out in the Ring.

[Severin is now selling House of Psychotic Women: Rarities Collection Volume 2 and a Blu-ray set of Fear in the Philippines: The Complete Blood Island Films. Vinegar Syndrome’s current offerings include DVDs of The Possession of Joel Delaney (4K Ultra HD) and The White Cannibal Queen.]

I screened Boutique To Preserve and Collect for its US premiere at Cinequest.

A LITTLE FELLOW: THE LEGACY OF A.P. GIANNINI: underdog makes good

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A. P. Giannini in A LITTLE FELLOW: THE LEGACY OF A.P. GIANNINI. Courtesy of Cinequest.

A Little Fellow: The Legacy of A.P. Giannini: Here’s an underdog story – a boy loses his immigrant father, starts out impoverished and builds the nation’s largest bank, helping to rebuild San Francisco after the 1906 earthquake. This very comprehensive documentary also tells the less well-known story of Giannini as movie financier – backing films like City Lights, Gone with the Wind and Sleeping Beauty.

A Little Fellow is a very by-the-numbers doc and is pretty uncritical of Giannini, but it is impeccably sourced and has a damn interesting subject.

I screened A Little Fellow: The Legacy of A.P. Giannini for its US premiere at Cinequest. The Cinequest audience will note the local interest. Giannini’s childhood began in San Jose, his father was murdered in Alviso, and his first bank branch building still stands, only 1500 feet from the Cinequest screening at the Hammer Theatre.

Best of Cinequest

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Photo caption: Sergio Podeley in GUNMAN. Courtesy of Cinequest.

Cinequest, Silicon Valley’s own major film festival, returns live and in-person March 11, back in downtown San Jose, with screenings March 11-24 at the California Theatre, the Hammer Theater and 3Below. Selected films from the program then move to Cinequest’s virtual platform, Cinejoy, from March 23-30. I’m covering Cinequest for the fourteenth straight year.

I’ve already seen over twenty offerings from Cinequest 2025, and here are my initial recommendations. As usual, I focus on the world and US premieres. Follow the links for full reviews, images and trailers. I’ve also included some tips for making the most of the Cinequest experience under “Hacking Cinequest”. I’m leading off with two neo-thrillers – one set in Buenos Aired and one in Mombasa Kenya – and a haunting sci fi from Italy.

MUST SEE

  • Gunman (Gatillero): This hyper-kinetic Argentine neo-noir kicks off when the small time gunsel Galgo returns from prison and learns that the neighborhood drug gangs find him expendable. He immediately finds himself framed for a gangland assassination and goes on the run in a 75-minute, real-time thrill ride. As the prey in a midnight man hunt, Galgo’s dash for survival is captured by a handheld camera in shots of very long duration. If you liked Run, Lola, Run or Victoria, you’ll love Gunman. Gunman is an amazing first feature for director and co-writer, Cris Tapia Marchiori, and an unforgettable achievement for Marchiori and his veteran cinematographer Martin Sapia. Based on a true story and shot in its actual setting, the drug-plagued Buenos Aires neighborhood of Isla Maciel, Gunman is brimming with verisimilitude. US premiere.
  • The Dog: The electrifying thriller The Dog follows a classic neo-noir premise. A low level hood is assigned to drive a call girl, and he falls for her – against the explicit instructions of their employer and advice from the call girl herself. To stake a new start in a faraway land, he reaches for the big score. Desperation results. What’s unusual about The Dog is that it’s exceptionally exciting and that it’s set in Mombasa, Kenya. There’s a wonderful low-speed tuk tuk chase (on three-wheel taxis) through Mombasa’s open air markets, street performers and herds of goats. And there’s another unforgettable scene that will be particularly uncomfortable for male audience members.
  • The Complex Forms: This visually striking atmospheric is set in a centuries-old Italian villa, where Christian and other down-on-their-luck middle-aged men sell their bodies for a period of days to be “possessed”. Possessed how? By who or by what? As the dread builds, Christian resolves to pry the answers from the secretive masters of the villa. Director Fabio D’Orta unspools the story with remarkably crisp black-and-white cinematography, a brooding soundtrack and impeccable editing. In his astonishingly impressive filmmaking debut, D’Orta wrote, directed, shot and edited The Complex Form. 

MORE INTERNATIONAL CINEMA

  • Alien: This mysterious Russian sci fi tale is set in the unfamiliar, remote Ural hinterlands. Lyosha, the local oddball, has a hearing disability, lives in his grandmother’s cabin on the edge of the settlement, and has built an impressive tower out of trash that he has collected. He has also jerrybuilt a radio system and made giant circles in the fields, all attempts to contact space aliens He is teased pitilessly by the village japesters. We later learn that the long ago disappearance of his mother has affected his psyche. A newcomer suddenly appears at his cabin – most certainly not looking like any space alien that Lyosha has imagined. Is this visitor just a runaway from another village, an emissary from deep in the universe, or a supernatural messenger from his mother? It’s all up in air as hostile villagers close in, all thew way to an unpredictable ending. US premiere.
  • Silent Sparks: In this Taiwanese neo-noir, small time hood Pua is released from prison and checks in with the swaggering, exuberant local crime lord. The boss assigns him to a lieutenant, Mi-Ji, who happens to be Pua’s former cell-mate. But when Pua and Mi-Ji meet again, the encounter is a study in social awkwardness. Pua just wants to start earning money and working his way up in the syndicate, but Mi-Ji is surprisingly unhelpful. What explains Mi-Ji’s behavior toward Pua? As Silent Sparks smolders on, the risks escalate. Promising first feature for writer-director Ping Chu. US premiere.

DOCUMENTARIES

  • The Unfixing: This mesmerizing film is a self-therapeutic memoir, chronicling the filmmaker’s personal journey through her parents’ divorcee, her own sudden disability from chronic fatigue syndrome, and then shockingly, her daughter’s affliction with the same symptoms via Lyme Disease; mom and daughter experiment with a new therapy that purports to rewire their brains.  The clever structured (in yearly segments tied to climate change) and repeated motifs (of photography, the beach and grief) make this an art film inside a memoir.  How will this family story end? This unique film may not be for everyone, but it’s that wholly original cinema that people hope to see at a film festival. US Premiere.
  • American Agitators: This is the important story of legendary organizer Fred Ross, the mentor of Cesar Chavez, and essentially a saint of the social justice movement. American Agitators shows Ross being formed by the Great Depression and the left-wing politics, the union movement and the New Deal. This extraordinarily well-sourced doc rolls out Ross’ legacy today, not just Chavez the icon and the Farmworkers movement, but the influence of Fred Ross, Jr. and organizing campaigns in 2025. LOCAL INTEREST: Fred Ross met Chavez at Cesar’s home at 53 Sharff Avenue in San Jose, hired Cesar as his deputy and organized out of McDonnell Hall at Our Lady of Guadalupe on East Antonio Street.  Cesar’s son Paul (of San Jose) appears in the film as does Luis Valdes of Teatro Campesino, who has also had a significant presence in San Jose. World premiere.
  • In a Wintry Season:  This heartfelt and intoxicating documentary starts out looking like a fairy tale, and unpredictably turns decidedly not, as the real world and human behavior intervene.  I generally resist filmmakers profiling their own parents, but In a Wintry Season won me over with its candor, authenticity and surprises.  It’s a relatable story of two people and their family and their times, but it brings us into a meditation on what is American  Catholicism today.  With its very sweet ending, In a Winrty Season wil be a crowd=pleaser at Cinequest. US Premiere.

INDIE

  • Burt: The title character in this affecting dramedy is a an elderly street musician with Parkinson’s. Burt rents a room in the home of his landlord Steve, an ever-suspicious and oppositional guy who is Burt’s age. Nevertheless, Burt is relentlessly upbeat. A young man, Sammy, arrives with a letter from one of Burt’s youthful flames, explaining that Sammy is Burt’s son. Burt jumps into belated fatherhood with both feet, and then discovers that all is not what it seems. Director and co-writer Joe Burke, in his second feature, succeeds in getting fine performances from non-professional actors playing Burt and Steve. Executive produced by indie stalwart David Gordon Green (George Washington, All the Real Girls, Undertow). World premiere.

COMEDY

  • Time Travel Is Dangerous: In this deadpan British comedy, two ditzy gals who run a vintage shop discover a discarded gizmo from the early VCR era; it turns out to be an operational time machine, which they use to pilfer objects in the past that they can merchandise in the present. “You can’t put a price on nostalgia. Well, we do.” The two are tracked down by a consortium of inventors, and Time Travel Is Dangerous brilliantly sends up organizational behavior and other human foibles (one becomes stuck in her insufferable teenage years. When they carelessly unlock a dangerous vortex, we’re off to another dimension. The filmmakers don’t take themselves too seriously, and the special effects are the best you can find at the Dollar Store If you like Portlandia and Best In Show, but wish they were wackier, you’ll enjoy Time Travel Is Dangerous. Bay Area premiere.

HACKING CINEQUEST

Cinequest resumes its Downtown San Jose vibe, with concurrent screenings at the 1122-seat California, the 550-seat Hammer and the more intimate 3Below – all within 1600 feet of each other (and the VIP lounge at the Continental ). 

At Cinequest, you can get a festival pass for as little as $199 (a ten-pack for $110), and you can get individual tickets as well. Take a look at the entire program, the schedule and the passes and tickets.

As usual, I’ll be covering Cinequest rigorously with features and movie recommendations. I usually screen (and write about) twenty to thirty films from around the world. Bookmark my CINEQUEST 2025 page page, with links to all my coverage. 

Here’s the trailer for The Complex Forms.

TIME TRAVEL IS DANGEROUS: “We’re not scientifically-minded”

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Megan Stevenson and Ruth Syratt in TIME TRAVEL IS DANGEROUS. Courtesy of Cinequest.

In the deadpan British comedy Time Travel Is Dangerous, Megan (Megan Stevenson) and Ruth (Ruth Syratt), two ditzy gals who run a vintage shop discover a discarded gizmo from the early VCR era. Looking suspiciously like a carnival bumper car, it turns out to be an operational time machine, which they use to pilfer objects in the past that they can merchandise in the present. “You can’t put a price on nostalgia. Well, we do.”

It never occurs to them to 1) go back and change history, 2) go back and reveal the answer to a historical mystery or 3) go back and get something crazy valuable, like the Holy Grail, or 4) sneak a peek at the future – they’re just getting stuff for their junk store. “We’re not scientifically-minded“. they’re not ANYTHING-minded,

The two are tracked down by a consortium of inventors, and Time Travel Is Dangerous brilliantly sends up organizational behavior and other human foibles (one becomes stuck in her insufferable teenage years. When they carelessly unlock a dangerous vortex, we’re off to another dimension. The filmmakers don’t take themselves too seriously, and the special effects are the best you can find at the Dollar Store

Jane Horrocks (Little Voice) appears, as does the esteemed Brian Blessed, in his most unrecognizable role. The narrator is Stephen Fry.

If you like Portlandia and Best In Show, but wish they were wackier, you’ll enjoy Time Travel Is Dangerous. I screened Time Travel Is Dangerous for its Bay Area premiere at Cinequest.

TIME TRAVEL IS DANGEROUS. Courtesy of Cinequest.