Kamala Alchemis

Kamala Alchemis is one of those filmmakers you probably haven’t heard enough about—criminal, honestly. Her filmography is a wild little ride. Kikori (2016)? It’s this dreamy, tangled story where the lines between reality and fantasy keep blurring till you’re not sure what’s up anymore. She tosses you right into a world that feels both familiar and completely off-kilter, almost like stepping into someone else’s memory. The visuals? Wild. The storytelling? Doesn’t hold your hand, but if you stick with it, you’re in for a trip. Fast forward to 2024, and she drops not one but two films—Snakes and Ladders and The Smile Man. Snakes and Ladders kind of does what the title suggests: life’s ups and downs, sudden jolts, and those moments when you think you’re climbing just to slide right back down. But it’s not all doom and gloom; there’s this odd sense of hope and dark humor woven through, like she’s winking at you from behind the camera. Then there’s The Smile Man, which is honestly a little unsettling in the best way. It pokes at what people hide behind their smiles, how folks can look happy but be falling apart inside. The tension just simmers under the surface, and you’re never quite sure if you should laugh or shiver. Alchemis doesn’t do predictable—her movies are messy, raw, and stubbornly human. If you like films that leave you with more questions than answers, her work’s a goldmine.