ALZA Festival 2026 Review: An Ambitious New Festival That Needs to Find Its Audience

By Justin D. Williams

The film industry continues to evolve, and the inaugural ALZA Festival is attempting to introduce audiences to a different kind of entertainment experience. Held in New York City from October 16–18, 2026, at AMC 19th Street East 6, the festival celebrated vertical filmmaking, microdramas, and short-form storytelling designed primarily for mobile devices. Featuring 35 world premieres alongside filmmaker discussions and industry panels, ALZA presented an interesting opportunity for creators working outside traditional film and television formats. After watching some of the festival's selections, I came away with mixed feelings about the presentation, although I certainly appreciate what the organizers are trying to accomplish. My biggest question is whether bringing these productions into a traditional movie theater is the best way to introduce this emerging medium to audiences.

One of the productions I enjoyed was Layover, a 90-minute romantic comedy directed by Salvador Paskowitz and starring Nicole Mattox and Sam Myerson. The story follows two individuals whose unexpected connection in Las Vegas develops into a charming romance filled with misunderstandings, insecurities, and emotional complications. I found the characters likable, the performances engaging, and the storytelling enjoyable enough to keep me invested throughout the experience. Paskowitz ultimately received ALZA's Best Director award, and I also appreciated learning about his commitment to traditional filmmaking rather than relying on generative artificial intelligence. However, even with my enjoyment of the production, I needed time to adjust to its vertical cinematography. Certain compositions felt restrictive, particularly when establishing environments or showing characters within a larger setting. The intimate framing works during conversations, but there were moments when I couldn't help imagining how certain scenes would have looked in a traditional widescreen presentation.

Another selection I watched was Kyle Has Tourette's, a 26-minute comedic series created and written by Kyle C. Mumford. Inspired by the filmmaker's own experiences living with Tourette syndrome, the story follows an isolated young man attempting to find normalcy and build connections while navigating life in New York City. The series was among five finalists in the festival's Created in NY Showcase, developed in partnership with the New York City Mayor's Office of Media and Entertainment. What interests me about a project like this is the opportunity for independent storytellers to share personal experiences through a format that doesn't necessarily require the resources of a conventional television production. It also demonstrates that vertical storytelling doesn't have to limit itself to exaggerated romance, sensational twists, or familiar social media trends. There is room for personal stories, comedy, and subjects that might otherwise struggle to attract attention in a crowded entertainment industry.

My biggest issue with ALZA wasn't necessarily the films themselves but rather how the format was presented. Vertical productions are designed primarily for smartphones and other portrait-oriented displays, which makes watching them on a much larger horizontal screen an unusual experience. The narrow image occupies only a portion of the available screen space, and the visual composition doesn't always translate comfortably to that environment. I understand why the organizers wanted a theatrical setting, especially when attempting to establish vertical filmmaking as a legitimate storytelling medium deserving of the same recognition as traditional cinema. However, I believe the presentation works against the very format they're trying to celebrate. Watching these productions on a large screen felt strange to me, and I don't think filmmakers should have to abandon the characteristics of mobile storytelling simply to make their work fit a conventional theatrical experience.

Another concern is whether the extremely short runtimes associated with microdramas will appeal to audiences accustomed to traditional filmmaking. Some microdrama episodes last only one to three minutes, often relying on quick developments and cliffhangers to encourage viewers to continue watching. While that structure makes sense for people enjoying entertainment during a commute, a lunch break, or a few spare minutes throughout the day, I can see it becoming frustrating for film purists who appreciate more deliberate pacing, extended character development, and scenes that have time to breathe. That doesn't automatically make microdramas inferior, but it does mean they're serving a different viewing experience. Audiences who already enjoy serialized mobile entertainment may find exactly what they're looking for, while viewers expecting traditional cinema might struggle with the abbreviated storytelling. I don't believe every film or series needs to follow the same formula, but the format must still demonstrate that shorter storytelling can deliver meaningful substance rather than simply relying on constant twists to maintain attention.

For the next ALZA Festival, I would encourage the organizers to reconsider the screening experience entirely. Instead of relying primarily on movie theaters, why not partner with a smartphone or tablet manufacturer and create a dedicated mobile entertainment showcase? Imagine an exhibition or convention-style environment featuring stations equipped with phones and tablets, allowing visitors to experience vertical productions on the devices they were actually created for. Attendees could explore different series, discover filmmakers, sample episodes, and interact with the format in a more natural setting. A technology sponsor could provide the equipment while gaining an opportunity to demonstrate its products, creating a partnership that benefits both the festival and the manufacturer. Filmmaker discussions, networking opportunities, and award ceremonies could still take place in traditional event spaces. I believe this approach would better represent mobile-first storytelling while making the festival feel like something genuinely different from the film festivals we're already familiar with.

Despite my reservations, I don't consider the inaugural ALZA Festival a failure. I appreciate that the organizers are creating a platform for filmmakers, actors, writers, and independent creators working within an emerging form of entertainment. The festival recognized projects such as RelationShiTs, which received Best Vertical Series, and Voicemails From My Neighbor, which earned Best Vertical Short, while also highlighting local talent through its Created in NY initiative. I also think it's important that these productions continue prioritizing genuine storytelling and human creativity instead of treating inexpensive, automatically generated content as the future of filmmaking. The industry should be looking for ways to expand creative opportunities, not eliminate the people responsible for making entertainment possible. There is potential in vertical storytelling, but I believe the medium still has growing pains to overcome before it earns broader acceptance among traditional film audiences.

Ultimately, ALZA Festival is an interesting experiment that deserves an opportunity to develop its identity. I enjoyed discovering productions such as Layover and Kyle Has Tourette's and exploring the different stories being told through this emerging format, even if I'm not completely sold on the presentation itself. I don't believe vertical films will replace traditional cinema, nor do I think they need to compete directly with it. There is an audience that enjoys microdramas, and that audience deserves productions that take their storytelling seriously. However, if ALZA wants to establish itself as something more than another film festival, I believe it needs to embrace what makes mobile entertainment different rather than trying to recreate the conventional theatrical experience. The next edition should concentrate on bringing the format to audiences in the environment where it makes the most sense. Sometimes the best way to move storytelling forward isn't by making the screen bigger, but by understanding why it was designed to be smaller in the first place.