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Film Fest News

Top picks of the 2025 Asian Film Festival of Dallas coming in July

Teresa Gubbins
Jul 3, 2025 | 11:27 am
Baby Assassins: Nice Days

Asian Film Festival's Baby Assassins: Nice Days

AFFD

The annual Asian Film Festival of Dallas — a nonprofit dedicated to celebrating Asian and Asian-American filmmakers — returns in 2025 with more than two dozen films including action movies, comedies, thrillers, and short films.

The four-day festival will take place July 24-27 at the Angelika Film Center Dallas, 5321 E. Mockingbird Ln. #230, and will include award-winning films, premieres, and red carpet action.

Highlights include:

  • Opening Night July 24: Shinji Araki's Japanese thriller Penalty Loop
  • Centerpiece July 25: Johnny Ma’s comedy-drama The Mother and the Bear (Johnny Ma will also be in-person at AFFD to participate in the post-screening Q&A.)
  • Women's Showcase July 26
  • Closing Night July 27: Yugo Sakamoto's Japanese action-comedy Baby Assassins: Nice Days

AFFD will also host a special Saturday Women’s Showcase spotlighting female filmmakers from across Asia—South Korea, India, Singapore, and Vietnam—as well as the U.S.

"For the festival as whole, while fans can still count on the high-energy action films we’re known for, a deeper theme emerged as I programmed the lineup — the power of connection," says Programming Director Paul Theiss in a release. "This year’s festival explores the deep human need to reach out, be seen, and never go it alone. And what better place to celebrate that spirit of connection than at a film festival, which brings us together through the shared experience of storytelling.”

Women's Showcase
Highlights include:

  • Mye Hoang's 25 Cats From Qatar. Film about an American flight attendant and cat cafe owner who reacts to a homeless cat crisis in Qatar by coming up with a plan to fly 25 cats to Milwaukee, with her cat cafe providing the way for people to adopt them.
  • Dương Diệu Linh’s Don’t Cry, Butterfly. Focuses on a wedding venue staffer who learns of her husband’s affair while watching live TV. Instead of confronting him, she uses a voodoo spell to reclaim his love.
  • Nelicia Low’s Pierce. Thriller follows the push and pull between a young fencer and his estranged older brother, recently released from juvenile prison after serving time for killing an opponent during a fencing match.

All three filmmakers will be in Dallas to participate in Q&As following their screenings.

Sunday will feature films with attending filmmakers leading up to the Closing Night screening of Yugo Sakamoto's Japanese action-comedy Baby Assassins: Nice Days, including:

  • Jeff Mann’s Paper Marriage finds comedy and drama in the story of a Chinese immigrant facing deportation, who pays an unemployed and directionless man to marry her.
  • Lee Jong-min and Yeum Moon-kyoung’s South Korean comedy The Last Woman on Earth looks at a female screenwriter who finds tension with her fellow film students due to her script’s anger toward men.

Also noted for its singular party presentations, this year the Asian Film Festival of Dallas will complement the screenings and filmmaker appearances at AFFD with Opening Night, Centerpiece, and Closing Night parties at the Angelika Film Center with Asian cuisine and crafted drinks by George Kaiho, featuring Suntory Japanese Whisky, as well as themed presentations, filmmaker meet-and-greets, and photo opportunities for film fans who have come out to enjoy the great AFFD programming during those evenings.

To purchase badges, tickets, and find a full list of all the films, go to asianfilmdallas.com.

Over the last 20+ years, the festival has provided opportunities for more than 400 Asian and Asian-American filmmakers to share their vision, often providing the only venue for their films to be shown in Dallas. The films have also allowed festival goers a chance to experience other lives and cultures without leaving their seats.

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Movie Review

Shaun the Sheep gets PG-spooky in new movie for the Halloween season

Alex Bentley
Sep 18, 2026 | 11:50 am
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

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Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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