The Independent Film Festival Boston is upon us, and once more the Boston Hassle is on the scene! The Hassle’s Oscar Goff and Kyle Amato have been deeply entrenched in the seats of the Brattle and the Somerville to report on the cream of this year’s crop. Keep watching this space for our continuing coverage!

I LOVE BOOSTERS (dir. Boots Riley)

Boots Riley follows up Sorry to Bother You, one of the most wildly inventive films of the 2010s, with an even more bonkers comedy which makes its predecessor look downright austere. The plot, such as it is, pits a trio of small-time fashion thieves (Keke Palmer, Naomi Ackie, and Taylour Paige, all great as always) against a high-powered designer/CEO/futurist visionary (Demi Moore, having even more fun than in The Substance). The story takes a back seat, however, to Riley’s inimitable blend of madcap comedy, strident far-left agitprop, and mile-a-minute bonkers visuals (of particular note are the astounding costumes by Shirley Kurata, some of which look like they took weeks to create yet only appear for less than ten seconds). The film is a lot, and those not on its cockeyed wavelength might find themselves left in the dust. I, on the other hand, adored it, and had a big, stupid grin on my face the entire time. Nobody makes movies like Boots Riley, and I hope we get to return to his anti-capitalist playland for years to come. (Oscar Goff)

MADDIE’S SECRET (dir. John Early)

“Don’t you get tired of being a good girl?”

John Early has always wanted to be a beautiful woman. Here, he finally self-actualizes with the story of Maddie Ralph, an aspiring chef with a hidden, tormented history of bulimia. Early imbues the role with such heart and empathy that much of the film could hardly be considered a comedy. Maddie’s Secret is a modern take on the “women’s picture,” shot with love, care, and plenty of chili crisp. The tightrope Early walks between camp and sincerity is razor thin, but he pulls it off with the help of Kate Berlant, Conner O’Malley, Eric Rahill, and other comedy mainstays. He is the only person I’d trust to tell this story, not treat bulimia as a joke, and perform a spectacular dance sequence all at once. Why does Maddie need to be on camera to develop recipes? Why does she need to post every aspect of her life on social media? Can’t she just stay a loving wife and friend in private? Early isn’t afraid to dive into the horrors of being a woman in the modern world, even if he has to do it himself with one of the best wigs I’ve seen in film in years. Plus that cleavage work – actual special effects wizardry! (Kyle Amato)

I WANT YOUR SEX (dir. Gregg Araki)

Araki’s first narrative film in twelve (!!!) years goes back to basics, or at least, his basics – madcap transgressive sexual escapades, bright colors, manic pacing, and hilarious dialogue. The director of The Living End and The Doom Generation is refreshed and ready to roll with Olivia Wilde and Cooper Hoffman as his newest Barbie dolls. Though the film comes close to complaining about Gen Z “snowflakes,” the cheeky sense of fun keeps it from feeling too scolding of the new sex negative generation. All Araki wants is for the kids to loosen up and get fucked by dommy mommy Olivia Wilde in a variety of minxy leather lingerie sets. The 90 minute runtime keeps things moving at a comical clip, careening back and forth in time to untangle young Cooper Hoffman’s journey into becoming an art mogul’s boywhore. The spirit of New Queer Cinema is alive in I Want Your Sex, proving that Araki isn’t done having fun quite yet. (KA)

CAROLINA CAROLINE (dir. Adam Carter Rehmeier)

Carolina Caroline isn’t technically Adam Carter Rehmeier’s follow-up to his delightful Dinner in America (that would be 2024’s Snack Shack), but it is the first he’s made since Dinner gained a word-of-mouth cult following by way of viral TikTok clips. Caroline once again casts Dinner’s Kyle Gallner as a raffish grifter who falls for a small-town girl (Samara Weaving), the two embarking on a whirlwind romance/cross-country crime spree. In the early outing, I was worried that Rehmeier was tailoring his approach to his newfound TikTok following; the snotty punk energy of Dinner is toned down, and the swoony romanticism veers dangerously close to Colleen Hooverism. But as in his breakout film, Rehmeier has a funny way of sneaking up on you: by the time the film reached its climax, I found myself genuinely caring about these two crazy, doomed kids. The chemistry between Gallner and Weaving is tremendous, and the robberies and car chases are propulsive and thrilling. Rehmeier has proven a knack for big, soppy romance which doesn’t feel like big, soppy romance. I will say, though: if I was a fugitive subject to a multi-state police manhunt, I would maybe invest in a second wig. (OG)

Watch this space in the coming days for the Hassle’s continuing coverage of IFFBoston 2026!