Michael Day

Michael Day’s name has been popping up all over the indie film circuit lately, and honestly, it’s no surprise. The guy’s been involved in some pretty wild projects. Take Clawfoot from 2023—talk about a psychological maze. That film just messes with your head in the best way, playing with trust and paranoia until you’re basically doubting your own living room shadows. It’s stylish, gritty, and doesn’t let you off the hook for a second. Then there’s The Kill Room, also from 2023. Now that’s a trip. It’s got this darkly comedic undertone, where the worlds of crime and art collide in the most absurd way. One minute you’re laughing, the next you’re wincing. The writing’s sharp, the pacing’s tight, and the cast just leans into the chaos. Michael Day’s fingerprints are all over it—he knows how to keep things fresh, never too polished, but always engaging. Rare Objects rounds out that year’s trifecta. It’s got a completely different vibe—more introspective, a bit dreamy. It’s about trauma and healing, people trying to find themselves in a world that keeps tossing curveballs their way. There’s a real tenderness to it, like the film’s giving you a hug after a rough day. Day’s approach never feels cookie-cutter; he brings this rawness, a kind of honesty you don’t see every day. All three films, totally different flavors, but they all stick with you. That’s the magic.