How to Make a Killing (2026), Recollection (2026), A Separation (2011)

Indie Film Weekly
Episode 62: How to Make a Killing (2026), Recollection (2026), A Separation (2011)

Glen Reynolds spotlights several new and engaging independent films playing in theaters, available for purchase or rental, or on a streaming platform. He also shares a classic movie from his favorites which you'll want to revisit or see for the first time.

Additional movies mentioned in this episode include:
Billy Preston: That’s the Way God Planned It (2026)
I Don’t Love You Anymore (2026)

Recorded: 02-06-26
Studio: Just Curious Media
Companies: Circus Road Films & Indie Igniter

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Host:
Glen Reynolds

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Companies:
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Just Curious Media - https://www.JustCuriousMedia.com/

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Transcript

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Welcome back to Indie Film Weekly, your roundup of new indie film releases for the week of February 20th, 2026. I'm your host, Glenn Reynolds. This week in theaters, we've got one sharp modern crime setup that keeps reframing what you think you saw. One intimate indie that lives inside memory, regret, and the stories we tell ourselves to survive. And one music documentary about a talent so undeniable he kept showing up in the middle of other people's legends. We've also got a T-Vod pick that turns a death in a backyard pool into a pressure cooker interrogation. And an indie classic turns a marriage into a courtroom, a living room, and a moral maze. Now, after you hear this lineup, do yourself a favor and actually go to the theater. Pick a showtime, put your phone in airplane mode, let a room full of strangers do the breathing with you because these movies hit different when the screen is big and the silence is shared. This episode of Indie Film Weekly is brought to you by Circus Road Films, helping independent filmmakers find their audience since 2006. Learn more at circusroadfilms.com. Let's dive in. Our first Indie Film in theaters this week is How to Make a Killing, directed by John Patton Ford. It follows Beckett Redfellow, a guy who learns he is the lone heir to an outrageous fortune after his estranged grandfather dies. The problem is that the Redfellow family has been playing a long, mean game, and Beckett is the new piece on the board. Suddenly everyone around him has an angle, and the polite world of wealth starts to look like a murder manual written in cursive. The tone is bright, almost friendly, right up until it's not. Expect inheritance meetings with fixed smiles, private notes that read like dares, and helpful advice that feels suspiciously like a setup. The plot keeps snapping into new shapes, with clues, betrayals, and tight reversals that reward you for paying attention. Glenn Powell plays Beckett with the right mix of confidence and barely contained panic, and Margaret Quali brings a slippery warmth and makes every conversation feel like it could be a flirt or a trap. One fun fact, the script made noise years ago on the blacklist, and you can feel why, is a clean engine and a wicked sense of escalation, where each decision creates the next mess. If you like dark crime stories that move fast but still land their jokes, this is the trip. Our second film in theaters this week is Recollection. Written and directed by Caden Butera, it imagines 2033 when memory cleansing is mainstream and pain is treated like a file you can delete, stamp resolved, and never open again. Kate thinks she has done exactly that until a glitch floods her with what was erased and turns her into a liability that the tech company behind the procedure wants to silence. Rosalind Luke plays Kate with a steady lived-in panic because the terror here is not monsters. It's realizing your own mind has been edited without your consent. On the run, she teams up with Teddy, a recluse, who believes his wife was killed to protect the company's secrets, and the key proof is buried inside one missing memory. That search becomes a chase movie built out of therapy language, corporate pressure, and the question Buttero is clearly obsessed with: do you heal by letting go or by remembering? An underground clerk played by Eric Roberts tilts the story into conspiracy mode, and the film never loses the human stakes underneath the twists. A quick brag for the team, it won Best Feature at Spiff 2025, and also took Best Sci-Fi feature at the Orlando Film Festival. If you like sci-fi that stays character first, this one has real bite. Our last indie film in theaters this week is Billy Preston, That's the Way God Planned It. Directed by Paris Barclay, it gives Preston the full spotlight he rarely got when he was alive, even though his plane is all over the soundtrack of the late 60s and 70s. He was a gospel-bred prodigy who could sit at a keyboard and make a room feel saved, then walk into a session and quietly steal the song without ever making it about ego. The film traces how he went from child performer to essential collaborator, including his work with the Beatles during the Get Back Era, where his keys helped lift the mood and the music at the same time. It also tracks his solo run when the voice matched the chops, and he finally got hits that belonged to him, plus the whiplash of fame, money, and an industry that loves you most when you are useful. Barclay's approach is less museum exhibit and more human story, showing the charisma, the hunger, and the cost that followed him off stage. If you only know the name from a credit line, this fills in the why, and it will probably send you back to those records with fresh ears. See it in a theater if you can, because music stories land harder when the room is vibrating together. So in theaters this week, that's How to Make a Killing, Recollection, and Billy Preston, that's the way God planned it. Our spotlight indie film on T Vod this week is I Don't Love You Anymore, directed by Mitch Marcus. It kicks off with a body floating in a pool and a couple who insist they do not know how it happened, which is the kind of calm statement that makes a detective sit down and start asking the same question ten different ways. The hook is the structure. The detective interviews them separately, and the movie replays the night through competing versions that line up just enough to feel plausible, then drift apart in the details that actually matter. One memory emphasizes friendship, another emphasizes secrecy, and every time the story resets, you start noticing new tells, a pause, a sidestep, a word chosen a little too carefully. Paul McCrane brings a worn-in patience to the detective, like a guy who has heard every lie, but still wants to give you one last chance to save yourself. Henri Estev and Hope Lauren do the harder job, playing people who are both defensive and wounded, so you keep flipping between sympathy and suspicion. It's a slow burn crime puzzle that treats the truth like something you earn, not something you were handed. Available to rent on Amazon, Apple TV, and Google Play. Our indie film classic this week is A Separation, celebrating its 15th anniversary. Directed by Asgard Farhadi, it starts with a marriage breaking apart and ends up as a moral labyrinth where every choice creates a new consequence you did not see coming. A couple argues over leaving Iran, and when the husband hires a caretaker for his father, a single moment in an apartment stairwell triggers an accusation that spreads outward like ink in water. From there, the film becomes a chain reaction. You watch people negotiate truth, pride, and survival, not in big courtroom speeches, but in tiny decisions, what they admit, what they omit, what they say to their kids, and what they say to themselves. For Hottie's genius is that he never lets you sit comfortably on one side. Just when you think you have a villain, you learn a detail that changes the temperature, and the whole story rebalances. The tension comes from the way everyone is trying to be decent while also trying to win, and those goals keep colliding. It's also a masterclass in how to build suspense with nothing more than dialogue, deadlines, and the fear of being judged. If you want a reminder that drama can be as propulsive as any thriller, this is the one. Available to rent on Apple TV, Google Play, and Amazon. Thanks for listening. If Indie Film Weekly helps you find one movie worth your time, please subscribe, share the episode, and leave a rating and a review. That's how more people find the little films that deserve a bigger life. Until next week, keep it curious, keep it sharp, and keep it indie.