Blind Willow, Sleeping Woman (Saules aveugles, femme endormie’) (2023)

Director Pierre Földes is not an artist prone to just giving us something that’s easily digestible and worthy of leaving us dangling. “Blind Willow, Sleeping Woman” is probably one of the most uncommercial movies of the year, and the fact that it’s fully animated also works in its favor. The animation style that is used along with the often intentional drabness of it all allows for an almost ethereal aesthetic; it’s one that feels so dream like. It’s almost like someone just ripped random imagery from someone’s subconscious and manifested it through some pretty good rotoscoping and 3D animation.

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Nightmare on 34th Street (2023)

Like clockwork every year a studio releases a Christmas themed anthology for the masses, and almost always it’s a big letdown. It’s not really enough to inject the whole Christmas aesthetic. A genuinely scary story helps, too. “Nightmare on 34th Street” is a rambling, often nonsensical, unscary Christmas anthology movie that is literally all over the place. It re-uses actors, garners a whole cast that spend their time obviously reading from cue cards off screen, and director Crow doubles down a shoddy editing job that makes his film more confusing and jarring than scary.

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10/31: Part III (2022)

Director and writer Michael Ballif’s anthology series “10/31” has been a mixed bag of mostly treats that’s done well in celebrating the Halloween season. It’s been way too overlooked in a barrage of indie horror films out on the market, and that’s a shame. “10/31” as a whole is a movie series that deserves a bigger audience, in spite of “Part III” never quite sticking the landing. I’d say it has a lot of good ideas, but never manages to be as good as the first two films, when all is said and done.

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