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On this page: BRIDES | GOOD BOY

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See also: SHADOWS FILM FESTIVAL | Last update 28.Sep.25

Brides
Review by Rich Cline | 4/5

dir Nadia Fall
scr Suhayla El-Bushra
prd Nicky Bentham, Marica Stocchi
with Ebada Hassan, Safiyya Ingar, Yusra Warsama, Cemre Ebuzziya, Aziz Capkurt, Ali Khan, Derya Durmaz, Leo Bill, Susku Ekim Kaya, Arthur Darvill, Sinead Matthews, Maimuna Memon
release UK 26.Sep.25
25/UK 1h33

SUNDANCE FILM FEST

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A thorny situation is explored with sensitivity and deeply personal emotions in this impressive debut from British director Nadia Fall. Stirring intimate flashbacks into a compelling narrative about prospective Daesh brides, the film gets under the skin of its central characters to add layers of nuance to a moral issue that the media tends to present in shockingly blunt ways. So we vividly feel for these young women.

In 2014 England, teen Doe (Hassan) has embraced Islam against the wishes of her Somali immigrant mother (Warsama). Now she and best pal Muna (Ingar) sneak out early in the morning to London, where they catch a flight to Istanbul. Things don't go as expected on arrival, but they continue with their plan to head for Syria, spurred on by Doe's memories of her boyfriend Samir (Khan), who travelled there earlier to help refugees, and the hopeful encouragement of social media star Hasan (Memon), who promises a perfect Muslim life for them when they arrive.

Amid the girls' intrepid journey into Turkey, there are flickers of flashbacks that reveal both the trajectory of their close friendship and the realities of life in each of their families. This approach tells their story in a way that helps us understand how they are thinking and feeling. And to lighten the tone, there's some fun along the road as they meet helpful people and have various adventures.

As the thoughtful Doe, Hassan has a wonderfully calm magnetism that reveals both her determination and emotional commitment to this mission. Her faith is woven into everything she does, so she finds it perplexing when people ridicule how she spiritualises everything. Muna pokes fun at her too, calling her a much better Muslim than she is. Ingar is a blast of energy as this feisty young woman who is running away from an awful situation at home, but perhaps isn't so sure where she should go.

Their bond is sorely tested along the road, right to the chilling final scenes, which are followed by a telling flashback coda. Pointed events take place along the way that highlight Doe's earnest hope and Muna's rebel spirit, plus an overriding sense of irony because the audience knows what they are heading into. This makes the film somewhat unnerving, even when they aren't in any danger and are allowed to simply be kids. But the truth of what happened to these Daesh brides makes this film both subliminally harrowing and vitally important.

themes, language, violence 2.Sep.25

Good Boy
Review by Rich Cline | 3.5/5

dir Ben Leonberg
scr Alex Cannon, Ben Leonberg
prd Kari Fischer, Ben Leonberg
with Indy, Shane Jensen, Arielle Friedman, Larry Fessenden, Max, Stuart Rudin, Anya Krawcheck, Hunter Goetz
release US 3.Oct.25,
UK 10.Oct.25
25/US 1h12

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Apparently, it took director-cowriter Ben Leonberg three years to shoot this film, simply because it required so much from a single dog performer. Indeed, Indy gives an Oscar-worthy (and Palm Dog-winning) canine performance in this horror thriller, which unfolds through his perspective. His expressive face makes the entire movie instantly engaging. So even if the demonic nastiness feels somewhat familiar, it's his emotional reaction that wins us over.

Recovering from surgery, Todd (Jensen) takes his faithful pooch Indy to live in the isolated cabin in the woods where his grandpa (Fessenden) lived with his dog Bandit (Max). As they settle in, Todd watches home movies of Grandpa and Max, which feature in Indy's dreams at night. But Indy can sense a dark presence in this house, as if death itself is stalking Todd, making him ill again and preparing to drag him to hell. So as Indy's nightmares become ever more vivid, he sets out to save his human from this terrifying fate.

Incidents play out with fascinating dog's-eye details, including sights, sounds and smells that alert Indy to menace. This may sometimes be a red herring, such as a neighbour in hunting camouflage, but there's also a slimy black figure lurking in a corner with a stretched-out hand. The creepy atmosphere is augmented by nearly constant deluge-style rainstorms and an unreliable power generator. Not to mention Todd's incessantly ringing phone as his girlfriend Vera (Friedman) checks on him.

All of this is inventively shot to never provide a clear view of human actors' faces. Just enough is seen in blurred backgrounds to be recognisable, but we quickly learn to recognise Jansen's Todd by his legs as he rants loudly through most scenes, deeply frustrated by his recurring illness. Friedman is seen on video calls, while Fessenden appears in both home videos and Indy's astonishingly terrifying dreams. But it's Indy's incredible performance that makes this movie unforgettable.

Cameras capture Indy with a variety of expressions on his face, from bliss to wide-eyed terror, while his physicality further reveals his thoughts and feelings. This alone makes the film a remarkable achievement. And it helps that the story is so compelling, a superb exploration of loyalty beyond all reason. The movie reminds us just why a dog is considered a human's best friend. So even if the whole thing is utterly preposterous, heightened almost to the breaking point, it remains surprisingly endearing right to the subtle final shot.

themes, language, violence 4.Sep.25

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See also: SHADOWS FILM FESTIVAL