The Philadelphia Film Society puts on two film festivals each year. The main festival, the 35th! will be October 15-25th, 2026. Last week was the Philly SpringFest; a week of film presentations that spanned soon-to-be-released features, a couple of horror films, a documentary or two, and a remarkable FIVE Short Programs. Many of the films screened twice to allow film lovers easier access.
Opening Night
There were a few audience-challenging films but much of the festival was popcorn fare; entertaining, light, and even uplifting. Opening night was a good example of that—four film programs that could satisfy most audiences. I enjoyed the Montreal setting and female body positivity in the Rom-Com, Mile End Kicks. The lead actress (Euphoria), Barbie Ferreira is delightful as the aspiring writer. Spunky but awkward, confident but hopelessly unhip, her character falls for the wrong member of the angsty boy band. Though the story tests your patience with cringey love-sick scenes, her portrayal feels honest and true.
Programming in the second screening room was a series of shorts titled IN OUR SKINS and some of the filmmakers and crew dressed up for their premieres. That energy was also present in the Philly premiere of These Are My Friends. The theater was packed with excited friends and family. There was even a printed program with stills from the shot and headshots of the actors. A sweet hang-out film ably tied together by the deadpan humor of actor/cowriter, Will DiNola. Hosting a Philly premiere of a Philly-made film that even had a scene filmed outside the theater it’s screening on…now that’s festival programming done right.
There was a horror film screening in the other theater at Film Society East, Hokum, starring Adam Scott. When I asked my friend, fellow film critic, Dan Scully about it, he said he found it “unsettling”. Read his review here…b/c you know I’m not going to see it!
Opening Weekend
Saturday, I managed to see three films while also squeezing in late lunch with friends (Thanks, Jeremy & Bud).
Jane Elliott Against the World is an eye-opening documentary. Not because of an unusual style, it’s a pretty straightforward doc with interviews and archival footage. No, it’s jarring because after so many years of Elliott’s crusade to teach America about racism and bias, she’s still out there fighting for change. If you don’t know about this feisty grandmother, an educator and crusader that should by all rights be enjoying retirement, you must see this film. She’s a marvel. It was nice to leave a film with people applauding and feeling good as they left the theater.
Many of the big Hollywood films in the program looked to be straight forward rom-coms, action films with romance, or sexy thrillers. Delightfully, those expectations were met with surprising heart or charm or some story twist that added nuance to a trite plot. Carolina Caroline has a trailer that presents a sexy heist film. I should’ve known to expect more from actor Samara Weaving. She also stars in Over Your Dead Body w/Jason Segel also screening at the festival with director Jorma Taccone in attendance. Daughter of British legend, Hugo Weaving, Samara also stars in the Ready or Not films.
Opening in a small town, where Caroline stocks groceries and has enough savings to purchase lots of matching lingerie sets. When she figures out the con pulled by a charming grifter (Kyle Gallagher), sparks fly. It doesn’t take long for the life of crime to wear on Caroline’s conscience though. Once violence erupts, she must make some hard choices. With her expressive face and keen emotional timing, Weaving elevates the role. She’s not just a thrill seeker with a gun. She provides Caroline with the psychological scarring that makes the plot believable.
Most of us went into I Want Your Sex, Gregg Araki’s new film, expecting outrageousness. Araki’s films celebrate queerness and sexuality. I found this one to be more on the silly side. Olivia Wilde gets to sport some fabulous Dominatrix outfits as the gallery owner/artist that finds a vanilla Sub, Cooper Hoffman. If you know Hoffman as the sweet suitor in Licorice Pizza, this role may startle you.
The sets are fun. The supporting characters feel like real characters you might meet in the art world of LA. And I enjoyed the twist at the end of the film. For all the playful, raunchy sex, the film has a sweetness. Hoffman’s character may be sodomized but he’s learned confidence and has learned to play the game.
Closing Night
I was sidelined with a sick little one and missed many evenings of screenings. I was so glad I mustered up the energy to make the drive to Philly for one last SpringFest screening.
I’m a big fan of Sing Street (currently streaming on Netflix), an earlier film by director John Carney. That film has a scrappy, DIY feel and a great local Irish cast. and featured 80’s New Wave music. Carney’s films all seem to revolve around music (see Once) but Power Ballad goes Hollywood.
Now with a bigger budget and a couple of Hollywood stars, Carney’s film is a love letter to wedding bands, the choices made to raise a family, and the power of friendship. Power Ballad stars Paul Rudd as the long-in-tooth lead singer in Bride & Groove. Married to an Irish gal he met on tour (a sketchy plot point), he’s still touring but he’s given up his dream of playing his own music.
When he meets Nick Jonas (in a lightly fictionalized version of himself), he catches that spark of creativity again. Together, they craft a few songs for a new album. What was an evening of joyful productivity turns to betrayal. Will the slightly obsessed Dad Rocker go on a revenge trip to LA? Oh, you know he will. What saves this film from bubblegum fare is the charm of Rudd. He’s also a good musician. The premise may strain credulity a few times, but it’s a feel-good film that left the audience happy. It was a great Closing Night Film for the Philly SpringFest.
I’ve only attended SpringFest for a few years, but I would say this was the most successful. Staff mentioned that there was a record number of badges sold. Trey Shields did his usual masterwork on the trailer for the festival. As my friend Mario mentioned, it was fun to watch it over and over and note all the references you could now get having seen the films. A huge thanks to Betsey & Steve Filton who sponsored SpringFest.
I appreciated the nearby lounge stocked with free sodas, alcoholic beverages, and occasionally, snacks (never got to partake of those). It was great to be able to slip into the space to use the restroom or for a post-screening meet-up to discuss the films. I would say the Philadelphia Film Society did itself proud this year.
Drinks with films 