October Cinejournal Watchlist
By Chloe Hampton Hawkins
Happy October, everyone. Last year I wrote a lot of cinejournal entries for the “monthly movie list,” and I wanted to bring it back! However, as film lovers and makers, especially this time of year, I know a lot of us are busy with endless projects. I know from my time as a film majorin’, sometimes the enjoyment and love of film can get lost on you in these moments, but it is vital to RESIST. This list is October-themed, I suppose, but furthermore, it’s a list I specially curated to inspire and educate. I don’t think there is one way to enjoy or create great films, so there is a spectrum of selections below, and of course if you’re looking for more recs, follow me on Letterboxd duhhhh.
THE LIST
Leviticus (2026) dir. Adrian Chiarella
This is probably my favorite film of 2026, and to me, a sign that Australian horror is on the come-up!! While most of the films I hope to include are more so with specific takeaways you can keep in mind, I also just think it’s important to highlight new films that deserve more attention. The story follows two teenage boys who find themselves hunted by an entity that takes the form of the person they desire most. The concept itself is already terrifying; the real horror stems from the shame, fear, and alienation surrounding that desire. October is LGBTQ+ History Month, so when I reflect on the history of portrayal in cinema, tropes, and snubs queer characters often get (without spoilers), I was so happy to see the path this film took, and how it diverged from those expectations.
District 9 (2009) dir. Neill Blomkamp
Science fiction is my favorite genre probably EVER. The reason for that is because I love getting lost and invested in another world. Sci-fi films typically get a huge budget to pull that off, but this film proves you don’t need an enormous budget to make an impact (okay, it was 30 milly but that's modest for sci-fi). It’s set in a version of Johannesburg where extraterrestrial refugees are segregated from humans. I wish I could say more, but it would be far too easy to spoil. One of my favorite things in film is genre bending, subverting conventions, and blending genres, something this film does spectacularly. While it’s sci-fi, it also brings into account political allegory, body horror, and action. The monumental format, handheld work, and news footage all result in a world that feels disturbingly real and raises stakes immensely. Anyone who's interested in making genre films, even if it’s 180’d from sci-fi, should check this one out.
Leviticus (2026)
It Happened One Night (1934) dir. Frank Capra
I considered adding On the Waterfront for my pick to talk about screenwriting and directing, but my old directing professor assigned that, and I’m not giving that guy props. All that to say, as filmmakers, I think we can get caught up in the spectacle, rather than the substance of things. This film literally just follows two people talking essentially, but that doesn’t mean it’s not entertaining. It Happened One Night follows an heiress who runs away from her family, but ends up hitchhiking with a newspaper reporter who sees her as his ticket to a big story. The dialogue is FANTASTIC, the situations the characters are forced in are well crafted, and the relationship facilitated by the director and viewed on screen is amazing. What’s crazy is this won all FIVE major Academy Awards (Best Picture, Director, Actor, Actress, and Screenplay); it was the first film to do that for a reason. Granted the time, this film didn’t need elaborate sets, expensive effects, or a complicated premise to succeed. The story is very simple, and the directing could have made or broken it.
The Cook, the Thief, His Wife & Her Lover (1989) dir. Peter Greenaway
Probably one of the most stylish films I’ve ever seen. In terms of being costumed by Jean Paul Gaultier, and in the sense of just how daring I think a lot of the shots are. The film follows a gangster at an extravagant restaurant, where his wife begins an affair with a regular patron. What follows is a story of excess, cruelty, obsession, and revenge, all with a backdrop of some of the most elaborate production design I’ve ever seen. As a filmmaker, it is often told to you, ‘make everything intentional’, and every second of this film feels that way. The set always feels like a stage, and It’s almost theatrical, but never in a way that makes the world feel small. I’m pretty sure my Letterboxd review says this should be a mandatory screening for all film majors, and I meant that. Just please do not eat while watching… trust me.
Poison (1991) dir. Todd Haynes
Warning: this is like Alan Wu type shi, take that as you will (I like it!!). If you want to watch a film that will challenge your expectation of what a film is even supposed to look like, I’d immediately direct you to Todd Hayes, but furthermore, to Poison. This film weaves together three separate stories, each with their own visual style, narrative structure, and genre conventions. One is like a documentary, another like a grimy sci-fi horror, and the last a stylized prison drama. They all paint a larger picture of alienation, social rejection, lost sexual identity, and the ways society constructs its own monsters. It’s a fascinating example of why it’s important that independent films take risks, and a reminder you don’t have to follow conventional storytelling rules to make something engaging.
Poison (1991)
Opal (2020) dir. Jack Stauber
As a kid my parents did NOT play, and I had a crisp 8:00-8:30PM bedtime. However, on the weekends, I could stay up to my heart's desire. So I decided no better way to spend my time than watching WWE Smackdown on Fridays or Cartoon Network… and wait for the GOOD STUFF to come on Adult Swim once the clock struck 9:00 PM. That’s where I got introduced to Jack Stauber. I love claymation and really like how disjointed & eerie some of the movements felt as a child, so Jack Stauber's shorts accompanied by his fire music was epic to me. The best part is his animation style fits the stories he told so well, especially Opal. A lonely child, in a home with scary adults, looking through the window, and imagining a happier life. The style feels nostalgic, even on your first watch, and that, mixed with the catchy tunes and childish presentation, makes the meaning underneath even more horrifying. This is a story about neglect, escapism, and coping with childhood depression, in a way an animated medium only could. I always try to shout out awesome animation because I love it so much, and this short is a great example of why.
It Ends (2025) dir. Alexander Ullom
I love seeing young filmmakers take big swings, especially when they don’t have the resources of major studios. With Obsession and Backrooms popularity, I feel a lot of young filmmakers have a fire lit within them now that they don’t have to wait half their lives to make the films they want to make. This film, while being Alexander Ullom’s feature directorial debut, was such an awesome watch!! A group of friends who accidentally turn onto a seemingly endless road during a late-night drive get stuck in an existential nightmare. I find a lot of films that try to portray Gen Z to just feel extremely off or unreal, but this film does a nice job integrating language a younger generation would use, without it feeling too comical. It’s a central location (one car), and a very simple premise. The world feels intentionally small, and if it felt any bigger, the story would become lost. It’s a great film, and I don’t have much more to say other than support up-and-coming directors!!
Creep (2014) dir. Patrick Brice
I grew up watching a lot of horror movies, so I like to pride myself on them, barely scaring me. One thing that will always get me, however, is found footage. In this story, we follow a seemingly chill guy who starts off looking a little quirky, but ends up sinister. He hires a guy online to film him (NEVER do freelance work, I guess), and it becomes the worst job he's ever signed up for. Usually in horror movies, we’re with the protagonist; we experience the horror only when they do, but this film puts you directly in the protagonist’s perspective, directly next to the horror. The film understands the scariest thing about this ‘creep’, is how long one is willing to convince themselves it’s all fine, that he has to be joking, until it’s too late.
SLC Punk (1998)
Psiconautas, Los Nińos Olvidados (Birdboy: The Forgotten Children) (2015) dir. Alberto Vázquez, Pedro Rivera
I’m not going to lie. I have no idea where you can even watch this; I saw it at UMass Amherst’s only film club, and when I did, it was with no subtitles. But even still, it was a CRAZY experience. First off, it’s animated, and I love animation!! More importantly, I love when a style of animation contrasts with the subject matter. The story is visually set out in the beginning nearly like a quirky fairytale, but quickly turns into a fairytale positioned by environmental ruin. Each character is a different animal, representing different backgrounds of addiction, alienation, childhood trauma, and a desperate attempt to escape. The creator uses the backdrop of a children’s story to simplify a story that can only be described as horrific.
SLC Punk (1998) dir. James Merendino
More so a personal pick. As a wee middle schooler in small-town Texas who did NOT like their surroundings, I gravitated to punk music & culture a lot in a way of rebelling. Kinda cringe, sure. Bigger question: who in small-town Texas is into punk subculture? Take that logic and apply it to UTAH. Even worse (sorry Ramona). In this film, two college graduates, who happen to be the ‘only punks in Salt Lake City’ do everything they can to rebel against the establishment they reside in. Even better, one of them is Matthew THE GOAT Lillard (I rebuke Quentin Tarantino). The film tackles for me an internal philosophical debate I struggle with. When you’re young, you have so much passion in your beliefs; you want to rebel, you want to be progressive, and then somehow, as people get older, they become more close-minded, they assimilate into society cause well, if you want to work, you have to, and they lose that sense of rebellion. So when these guys who have dedicated their being to rebelling against all that's around them, what will they do when they have to go out in the ‘real world’. Lots of yapping to say this film means a lot to me, and as deep as I’m making it sound, it’s mostly just really funny too.
Army of Darkness (1992) dir. Sam Raimi
Surprise surprise I sneak in a zombie movie, but tis the season! Many know Sam Raimi for Tobey Spider-man, many know him for the original Evil Dead’s. But following Evil Dead, audiences and Raimi alike both LOVED Ash Williams as a character so much, he had a whole spin-off film that was insane. Something that stands out to me about Raimi as a filmmaker is it feels like he never stops having fun. With recent films like Send Help, you know it's not gonna be a blockbuster that makes all the money in the world, but you watch it, and it’s so good!! This film is what confirmed that for me. This character, from a wholeee different universe, goes into a medieval land overrun by the undead, whilst wielding a chainsaw, shotgun, and insanely fire one liners. You don’t even have to watch Evil Dead to really get the plot (but you should anyway… just not the first one… However, I think this film made such an impact on me because it serves as a reminder I think many forget. You should be making art you ENJOY!!
Honorable Mentions:
Nowhere (1997), The Fifth Element (1997), The Blair Witch Project (1999)
Follow me on Letterboxd for more fuego recs!
@cloverfed