An Australian director stuck making corporate videos pitches himself to direct a dinosaur movie for The Asylum, the studio behind Sharknado. They actually say yes. What could go wrong?

MOCKBUSTER drops July 10 in theaters and on digital, just in time for shark week. It’s a documentary about Anthony Frith’s wild six-day shoot of The Land That Time Forgot in suburban Adelaide on a budget he describes as “aspirational.”

Here’s the twist: Frith is directing both the B-movie and the documentary about making it. So you get the full beautiful chaos, rubber dinosaurs, last-minute rewrites, demanding LA execs, and his own self-doubt included.

The Asylum might get mocked, but they’ve built a global empire over two decades. Sharknado became a phenomenon. Their mockbuster model actually works.

What starts as a chronicle of chaotic production becomes something more. It’s about chasing the dream through the absurd hustle of genre filmmaking and finding success where you didn’t expect it.

The doc got competitive national funding from Screen Australia, proving the country’s documentary scene is thriving. Executive producers include Tickled filmmaker David Farrier.

Opening night includes a red carpet screening July 9 at Laemmle Glendale, plus runs in Philly, Indy, Toronto, and Portland.

For indie filmmakers wondering if they should take the shot, this one’s for you.

A documentary about one of the world’s most visible performing arts companies is finally getting a wide release. UNBROKEN: The Untold Story of Shen Yun drops on major streaming platforms June 12.

Director Fiona Young got rare access to follow an American family of Shen Yun dancers during training and on tour. The result is the first documentary ever made about the classical Chinese dance company, which tours eight companies globally and sells out theaters in major cities every year.

The film follows brothers Jesse and Lucas Browde, both principal dancers, as they navigate life in a company that’s become a target. According to the doc, Shen Yun has faced years of pressure and alleged interference from the Chinese Communist Party, campaigns that escalated sharply in 2022.

The company was founded in 2006 by artists looking to revive traditional Chinese culture outside modern China’s political restrictions. That mission has apparently made them a persistent target.

“When art, freedom, and truth are being challenged, the most important thing you can do is make sure people can see the full picture,” said executive producer Steve Lance.

UNBROKEN already streamed for free on NTD TV and GJW+ for two months, pulling over a million views. Now it’s available in 14 languages and has over 100 theatrical screenings lined up across five countries.

For indie filmmakers, it’s a reminder that docs about cultural resilience and creative freedom still find massive audiences when the access is real and the stakes are high.

Picture a football league where grass won’t grow because it’s too cold, roads don’t connect towns, and icebergs loom as constant reminders that winter never really ends. That’s Greenland, home to the world’s shortest football season, just one week long.

No Place For Football follows B67, a club from Nuuk, as they journey north to compete for the national championship in Ilulissat. Led by captain Patrick Frederiksen and head coach Nicolai Nielsen, the team battles brutal conditions, injury struggles, and a fierce rivalry with hometown club N48.

Directors Brandon Scott Smith and Derek Sullivan Smith secured rare access to capture the Arctic Circle football experience. The 91-minute doc premiered at DocLands earlier this month and hits digital platforms worldwide May 29th, just ahead of the FIFA World Cup.

The timing’s pointed. Greenland still isn’t part of FIFA, meaning its players compete purely for love of the game, not global glory or sponsorship deals.

For indie filmmakers chasing authentic sports stories, this one’s got all the elements: remote location shooting, cultural specificity, and a David vs. Goliath setup that doesn’t need Hollywood polish to connect.

A trippy 35mm fever dream is bringing its hairy monsters to Canadian screens. “Lucid,” the debut feature from directors Deanna Milligan and Ramsey Fendall, kicks off its theatrical run May 29 in Vancouver before expanding across North America this summer.

The film follows Mia, an art student facing expulsion, who downs a magical elixir to break through creative block. It works, but also unleashes dark creatures from her subconscious, including her mother transformed into a hairy beast. Shot on 35mm and Super 8 in Victoria, it’s got strong 90s art-punk energy.

“Lucid” made waves at Fantasia, where Ebert.com called it one of their 10 most anticipated films and dubbed it “darkly psychedelic.” It went on to screen at Brooklyn Horror, Sitges, and Fantaspoa, then took home Best First Canadian Feature at Victoria Film Festival.

The cast includes Caitlin Acken Taylor, Georgia Acken, and Vivian Vanderpuss from RuPaul’s Drag Race, who also designed and wears the hair monster costume. Acclaimed genre producer Peter Phok (Pearl) joined as executive producer earlier this year.

Filmoption is handling the Canadian release, while Dark Star Pictures will bring it to U.S. theaters and digital platforms. For indie filmmakers shooting on film stock and practical effects, this is what breaking through looks like.

A time-loop thriller is heading to UK cinemas for special screenings after its European premiere at SCI-FI-LONDON FILM FESTIVAL. “Voidance,” directed by Marianna Dean, will hit select theaters in June with cast and crew Q&As.

The film follows Alana Toro, a trainee for the elite ATIC Guard who must stop a simulated terrorist attack inside a space station bar. She gets multiple attempts to prevent the attack, but each failed try reveals new information and forces her to question who she can trust.

James Cosmo (“Game of Thrones,” “Braveheart”) leads the cast alongside Zoe Cunningham, Neil Bishop, Mim Shaikh, Billy Price, and Chris Charles.

Special screenings kick off June 5 at Cambridge Picturehouse with cast and producer Q&A, followed by Bristol Scott Cinemas on June 11, and London Genesis Cinema on June 19. The London event includes networking with The Filmmakers’ Podcast plus a director Q&A.

“We’re living in a time where the public are becoming increasingly distrustful of those in power,” said producer Tom Taplin. “Sci-fi is an amazing genre to explore those sort of urgent moral questions without our biases from earthly politics.”

The film drops digitally May 25 in the UK and Ireland, May 26 in the US and Canada, and May 27 in Australia and New Zealand. For indie filmmakers, it’s a reminder that festival buzz can still translate into theatrical opportunities.

A Canadian program that trains underrepresented animators just announced 45 finalists for its next cohort, and one of its graduate films is heading to France.

Netflix Canada and the Animation Career Excelerator (ACE Canada) Society revealed the shortlist for ACE 5, selecting from 126 applicants across six provinces. The program focuses on animation professionals who identify as women, non-binary, and Two-Spirit, training them for senior creative roles.

The 45 shortlisted candidates will go through workshops and training before presenting to a final jury, which will select nine participants for the fifth cohort. Positions include writer, director, producer, head of story, art director, animation director, editor, composer, and production manager.

Meanwhile, ACE 4’s completed short film Rocketship Mai will screen at Annecy Film Festival on June 24 at the Imperial Palace. The private screening will include a panel on mentorship in animation and networking opportunities for the filmmakers.

“This shows how meaningful support and mentorship can elevate underrepresented filmmakers,” says founder Rose-Ann Tisserand.

ACE gives participants hands-on experience creating their own short films while receiving mentorship. The program is backed by Netflix Canada, Canada Media Fund, Telefilm Canada, Creative BC, Toon Boom, and others.

For mid-level animators trying to break into key creative roles, this is one of the few programs built specifically to get them there.

Patrick Kindlon and EPHK’s exploitation thriller Tigress Island is heading back to press for the fourth time. Image Comics announced they’re fast-tracking a new printing of issue #1 after selling out at the distributor level again.

The series drops washed-up starlets onto a jungle island run by a ruthless warden. Their only way out? Team up, break free, and survive the double-crosses coming from every direction. It’s grindhouse meets survival story, packed with action and attitude.

“Thank you to everyone who made word of mouth on this title as strong as it is,” Kindlon said. “We created a comic we’d want to read and were happy to learn there’s many people who share our passions.”

The fourth printing hits shops June 17, while issues #2 and #3 are already available. Issue #4 drops June 10, followed by #5 on July 15. Each comes with multiple cover variants, including NSFW polybagged editions.

This is what happens when creators swing for the fences with a bold concept and readers show up. The book’s success proves there’s still appetite for unapologetic genre storytelling that doesn’t play it safe.

A documentary about the Philippines’ most legendary rock band is coming to Netflix on May 30, and it’s not just a music story. It’s about what happens when friendships implode, egos clash, and decades later, everyone has to figure out if reconciliation is even possible.

“Eraserheads: Combo on the Run,” directed by Maria Diane Ventura, follows the four-piece from their 1989 college days at University of the Philippines Diliman through their meteoric rise in the ’90s, when they became the first Filipino band to win an MTV International Award. Their raw lyrics and fearless originality made them the Beatles of Filipino music, releasing albums nearly every year and soundtracking a generation.

Then came the breakup. The doc doesn’t shy away from the fallout, the bittersweet nostalgia, or the fans who discovered them years after their peak. But it finds its heart in their 2022 “Huling El Bimbo” reunion concert, where 75,000 people watched four old friends reconcile in a politically divided landscape.

Ventura says the film goes beyond band history. “It’s about finding ways back to each other, and about the possibility of healing, especially in a time when the world feels increasingly divided.”

The doc drops in over 190 countries. For indie filmmakers telling deeply personal cultural stories, that’s a win worth celebrating.

A woman eats human ashes to lose weight. Then things get weird.

That’s the setup for “Saccharine,” the latest from Natalie Erika James, the filmmaker behind “Relic” and “Apartment 7A.” It follows Hana (Midori Francis), a medical student desperate enough to try an obscure weight loss trend, only to find herself terrorized by something far worse than the scale.

James uses supernatural horror to dig into the toxic messaging around body image that saturates everything from casual conversation to Instagram feeds. It’s body horror with a queer perspective, tracking one woman’s spiral through shame, self-worth, and compulsion.

The film stars Francis alongside Danielle Macdonald and Madeleine Madden. Early reviews call it “sharply menacing” (The Wrap) and praise its take on “the destruction we inflict on ourselves and others” under the banner of self-improvement.

James made waves with “Relic” at Sundance 2020, earning a Gotham nomination and multiple AACTA nods. Her latest continues that momentum, made in partnership with Carver Films, XYZ Films, and Screen Australia.

“Saccharine” hits select theaters May 22. For indie horror fans watching how the genre tackles modern anxieties, this one’s worth catching.

A jilted girlfriend hacks MI6, burns it to the ground, and finds herself a getaway car that doubles as a weapon of mass destruction.

That’s the setup for Yumi: 00EX, a new four-issue series from Image Comics hitting shelves this August. Writer Doug Wagner (Plastic, Narco) teams up with artist Hoyt Silva for what sounds like Kingsman meets Fast and Furious with a K-Pop twist.

The story follows Yumi, whose MI6 boyfriend vanishes without a trace. Instead of waiting around, she storms the agency, hacks their systems, takes out their operatives, and torches everything in sight. Her only ally? A fully AI Lamborghini that’s more weapon than vehicle.

“Part The Kingsman, part K-Pop Demon Hunters, all attitude,” Wagner told Popverse. “We even tossed in an AI Lamborghini sidekick that’s built like a WMD, because with Hoyt and I involved, subtlety never really had a chance.”

The series launches August 12 with four variant covers, including work from Mirka Andolfo (Sweet Paprika) and Nicoletta Baldari. Digital versions drop the same day on Kindle, Apple Books, and Google Play.

Wagner’s built a reputation for wild, violent stories that don’t pull punches. This one looks like more of the same, just with better cars.