Thrilled, honoured and excited to be able to cover Nashville Film Festival in it’s 52nd year, which ran from September 30 – October 6 and had some lovely films, sadly a few I didn’t get to, some weren’t available virtually, and a few I might be hesitant to recommend. I always find a gem or two though!

That all being said – this was my first time covering this lovely festival in the vibrant city of Nashville – although yes, I did it virtually – though at times I felt I could taste the great food, and feel the vibrancy of the city itself while watching!  While I’ve had some great films to choose from, I am only human and can only review so much – and I will not be doing my usual ‘grading’ system as honestly, while some of these Independent Films might be better than others, they ALL deserve respect for just getting themselves made and created jobs for those doing so. Giving someone 200 million dollars for a film deserves getting rated, giving someone who made a film on a shoestring budget while barely making rent/bills, just out of the sheer love of wanting to put in their heart and soul – just deserves accolades period. And with that being said… here we go!


In this drama from writer/director M. Cahill, we find Audrey (Jena Malone), a seemingly hard working young woman that is just getting fired from her collection agency job. She is also overdue on rent, had her electricity cut off, doesn’t have any friends, and to top it off, a boyfriend who tells her he’s ‘not coming over anymore’. While she doesn’t seem like a screw up, she has lived in 4 different places and had 7 jobs all in a short time period. We aren’t really sure why she doesn’t talk to her parents anymore, but it’s clear this is mutual decision is mostly because as we can see she beats to the sound of her own drum, something we can clearly tell through the one phone call we hear. Basically she went left when they wanted her to go right.

And Audrey does what many end up doing everyday to keep themselves occupied, she watches endless YouTube videos. On one of them she sees an ad for adult adoption and decides to look into it, eventually being matched up with Sunny (Emily Kuroda) and her gruff German husband Otto (Robert Hunger-Bühler) who have their own odd relationship issues already. While the relationship with the three is tentative at first, they do end up warming up to each other.  The way Cahill wrote this story – which is based on a true one – makes it relatable on so many levels and what Malone brings to the character of Audrey makes it feel even more personal.


This decently fun, very campy little horror indie directed by William Bagely is about two guys, Chad (Andrew McDermott), and Eddie (Cooper Bucha), who are wanting to become amateur podcasters. Crazily enough a murder happens in their small hometown and they start investigating it, clearly very badly, and of course become wrapped up in a full on terrifying adventure full of paranormal activity while people keep getting killed. Upon the investigation, we find out this has all happened before.

This movie falls off the rails in parts, but has it’s comical and gory moments and generally, it’s a pretty good watch considering what month we are in.


As noted, I always find a few gems and ‘Green Sea’ was just that for me. Set in a small Greek fishing village, we find Anna (Angeliki Papoulia), who has lost her memory completely and finds herself working in a small tavern ran by Roula (Yannis Tsortekis). It seems that Roula has gone through quite a few terrible cooks, and the regulars think it will be more of the same with Anna. But to everyone’s surprise, including her own, she is a fantastic cook and her meals become experiences that bring memories flooding back of lives lived to each of the regulars, making a bond between herself and them become close. Roula and a few of the wives of these men, aren’t liking it much and while she has flashes here and there of memories, and once the wives see Anna and taste the food, things are better.

There is a lot of story in here and it digs deep into each character lives and most especially Roula’s, which as we find out is not always so pleasant. When Anna has a memory flash and it leads her to a book Roula was reading, is where the complete picture of all her amnesia comes into frame. To give this away would be depriving you of not only a great performance by Papoulia, but an excellent ending to this seaside tale – one that I would highly recommend you take the time to see if possible.

Follow me on twitter: @pegsatthemovies or Instagram: Peggyatthemovies

All virtual screenings courtesy of Nashville Film Festival and their affiliates


  1. I had an opportunity to get a screener to The Green Sea. A fantastic flick. The Murder Podcast, however, slipped by me. Thanks to your post, I’m seeing that one out. Well, making a note of it to keep an eye out for when it hits streaming.

    Are you aware of The Invisible Mother? That was on the festival circuit for a while and finally, it took so long, it just got distribution this month. Try to check it out. Movies like it making being a critic, fun.

    1. I’m not sure when we are talking about Green Sea we are speaking of the same movie. THE Green Sea & Green Sea are two completely different films and as I went to your site (which is great btw) I noticed you focused on almost all horror flix. That would lead me to think you are talking about THE Green Sea vs. what I am here, with Green Sea – not a horror film, but a Greek foreign film. No bigs – it happens to us all, but do check out The Murder Podcast if you can and I will do my best to check out The Invisible Mother and then we can come back round and have a chat about both!!! 🙂

      1. Yes. We get that thought, often. The “horror” end of the site comes as result of us reviewing many Mill Creek box sets and the films that populated the VHS ’80s shelves. We’re very retro-centic. There are, however, a good lot of indie flicks that are non-horror sent to us. So after horror, indies of all genre are a close second in reviews.

        You’ve discovered us — thank you for that! — during an October, which becomes overly (more so than other months) horror-centric, with our “Slasher Month” and the “Scarecrow Video Challenge” converging, along with the horror film fests that pop up during month that we work to expose. Plus, we just came out of a (last) month of “shot-on-video” and “UK Video Nasties” week to gear up for October — and both of those genre’s are lean more to horror.

        This month, I just reviewed A Nomad River (amazing) and Hub City, which are two non-horror indies, a drama and action-comedy. Mistress Maneater, a comedy shot in Chicago, turned out pretty good, as well, considering it’s tight budget. The new festival short, The Ice Cream Stop, a crime-drama, blew me away.

        I’ve been diggin’ through your site after just discovering it. Just wow. LOTS of films I did not know of. Hey, we can’t know ’em all, right? Digital filmmaking and streaming can be critically overwhelming for us. But we are both doing what they can to expose the films, as getting publicity is tough out there for the smaller guys.

        Nice to meet you and become a fan of your site.

      2. Nice to meet you as well – you have loads of amazing good 80’s horror.. I’m more of a scare than gore person – but it will be great to introduce each other to different types of films. 🙂

      3. Yep. Psychological, not gore. Get the “Chucky” out of here! You too, Fredrick K.!

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