Filmmaker Rob Rice‘s incredibly uncomfortable Tribeca 2026 film Ponderosa follows Zeke, a young man targeted by a wealthy patron as his mother’s restaurant chain falters. George thinks he’s mentoring Zeke, but the reality is a collection of bizarre, forced encounters.

As George involves Zeke in cartoonishly masculine scenarios, the audience feels more and more unwell. Each interaction is slightly exaggerated, making you feel increasingly off-kilter. Deadpan delivery may tip you off, but good luck. Ponderosa is a film that begs patience from its audience. It is a gross societal mirror. The script is deeply and intentionally awkward, highlighting the extreme differences in communication styles between generations.

Alexis Bledel plays Sandra with a morose indifference that she pretends to curb with dark humor. Bill Camp‘s George is anxiety-inducing. His discomfort is palpable. His fear of rejection pushes his efforts to woo Zeke into overdrive. Jack Dylan Grazer gives Zeke an alarming aloofness with Camp, but a genuine care for his mother’s emotional state. Grazer’s often clipped and quirky responses to George make for a fascinating study in human connection, and the combination of vapidity and nonchalance you want to strangle. It’s a genuinely great performance.

Visually striking, it compels you to explore each new frame. Barton Cortright offers juxtaposed imagery that both baffles and hypnotizes. Creative transitions stick in your brain. I cannot stop thinking about this film. I walked away feeling simultaneously dumber and entranced. I honestly feel like I got probed, but with my permission. And that’s weird. Do not move during Ponderosa’s credits. One more f*cked up hit is coming.

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