Philip Colbert’s got his fingerprints all over some of the wildest corners of recent cinema. Timestalker (2024) is this crazy, genre-bending ride where time’s got no respect for rules—think love, loss, and a heap of cosmic déjà vu. The story whips you through centuries, and Colbert’s flair for surrealism is everywhere: costumes that punch you in the face with color, visuals that feel like a fever dream, and dialogue that’s as sharp as a tack. It’s messy in the best possible way, with characters chasing after what they want (or think they want) while history basically refuses to cooperate. Flip over to She Will (2021), and the vibe just sours in the most deliciously unsettling way. This one’s all about revenge, trauma, and the ghosts we drag around. There’s a slow-burn quality here—almost hypnotic. Colbert leans into the psychological horror, crafting scenes that creep up on you and won’t let go. The visuals are almost gothic, but with a modern bite, and the story keeps you guessing whether the real terror is supernatural or just human nature gone sideways. Then you’ve got Daliland (2022), which is just a full-on plunge into the madness of Salvador Dalí’s world. Colbert’s approach here is bold, irreverent—he’s not afraid to mess with your head. The whole film feels like a hallucination: glitter, ego, and art colliding at every turn. There’s this constant tension between genius and chaos, and you’re never quite sure where reality stops and myth kicks in. Honestly, it’s a wild ride through obsession, creativity, and the sheer weirdness of being famous.
