Zachary Weil

Zachary Weil isn’t exactly a household name—yet. But honestly, if you’ve been poking around the indie film scene, you’ve probably caught his work, even if you didn’t clock the name in the credits. The guy’s got a weird knack for picking projects that stick with you. Take Dead Mail (2024), for example. It’s got this offbeat vibe, all about the tangled mess of undelivered letters, secrets that should’ve stayed buried, and people chasing ghosts in all the wrong mailrooms. Think: a little bit noir, a little bit “how did we get here?”, and suddenly you’re glued to the screen, rooting for a protagonist who maybe doesn’t even want to be found. Rewind a couple years and there’s When We Were Shuttle (2022). Now, this one’s way different—kind of a love letter to the end of an era, you know? Diving deep into the lives of workers who poured their guts into the Space Shuttle program, it’s a story about nostalgia, loss, and the weird ache of watching your world shrink. Not exactly a popcorn flick, but it hits hard for anyone who’s ever watched something big slip away. And then BAB (2020) is just… odd in the best way. It’s got this raw, almost chaotic energy. Don’t expect clean lines or easy answers—just a messy, honest look at people stumbling around, trying to find meaning, connection, or maybe just a little bit of peace. Zachary Weil keeps showing up in these projects that refuse to let you look away, even when things get strange or uncomfortable. That’s kind of the point, isn’t it?