AWARDS & REVIEWS
This Little Piggy Goes to Market (2026)
“This Little Piggy Goes to Market succeeds because it functions simultaneously as suspense thriller, social commentary, character study, and media critique. It asks difficult questions about modern internet culture without offering simplistic solutions. In doing so, Connor Duff has created a film that is both timely and deeply unsettling.”
-Valerie Milano (The Hollywood Times)
“This Little Piggy Goes to Market is provocatively written and conceived. It hits on the pressure to perform online and the lines we’re willing… or forced to cross, and it’s captured perfectly for the short film format.”
-Alan Ng (Film Threat)
“…it’s honestly the ending that offers one of the most powerful twists to the entire film. I won’t ruin it here, but needless to say, I’m incredibly intrigued by what it means on a larger scale. I want to know the story after the screen fades to black.”
- Chris Jones (Overly Honest Reviews)
“…an entertaining and insightful social satire that successfully examines the cost of turning identity into content. Supported by a clever premise, strong visual storytelling, and an engaging presentation style, the film offers a funny yet uncomfortable look at the realities of internet fame and the fragile relationships that exist behind the screen.”
- Surya Kamol (Just for Movie Freaks)
“Finally, the relevant and outrageous THIS LITTLE PIGGY GOES TO MARKET uses a striking storyline surrounding an OnlyFans foot model and will have viewers hooked by its tongue-in-cheek writing.”
-MoviZark
“Other short highlights include the world premieres of Katherine Connor Duff’s This Little Piggy Went to Market, which explores parasocial relationships, female financial autonomy, and the effect of the insatiable gaze of social media”
-Selig Film News
Pay Deferred (2025)
The Slate (2024)
“This is an artful depiction of what emotional abuse sounds like behind closed doors…it makes the film almost a PSA for verbal abuse.”
-Veronica Angelique, Female Festival Review
Nut to Butt (2022)
The Ninth Door (2021)
“(The play) works because the characters Domenico and Duff have created have stories worth telling, and because the actors who bring these men to life do so with unforgettable force and depth.”
-Steven Stanley, Stage Scene LA
“The play itself serves as an example of what The Foxhole Theater Company is all about – creating an environment where soldiers can openly talk about what they’ve been through, and have it fall on willing ears. “The most valuable thing to take away from the conversations is that veterans will talk and share their burden if you want to listen,” Duff says. “And to the veterans, civilians will listen to you. They want to know. The most valuable thing to take away from our plays is to listen to each other.”
-Julia Stier, Stage Raw
Al Dente (2019)
Over Here, Over There (2019)
Twist, Pull, Smoke, Run-Motherfucker-Run! (2018-2020)
“Which brings us to the third member of the cast: civilian Katherine Connor Duff. Domenico and Duff collaborated on the script, with the goal of achieving something that helps both sides of the equation understand how important it is to not only open up, but also listen.”
—Joel Beers, OC Weekly
Matthew Domenico and Katherine Connor Duff addresses the issue of PTSD in how it effects civilian life and relationships with a slow burn that becomes explosive. Twist, Pull, Smoke is performed by its two authors, along with Brock Joseph, and directed by Ryan Knight... it packs a wallop by its conclusion.”
—Scotty Keister, The Orange Curtain Review
“…Tanya Gorlow, is a returning Fringer. Her recommendations include Foxhole Stories: Twist, Pull, Smoke, Run-Motherfucker-Run!, a drama about military veterans. She says, “Their approach to the subject is very important and powerful. I'm looking forward to seeing it.”
—Lisa Beebe, LA Weekly
“We in the audience become engrossed in the conflict that is not only dramatic but as relevant as today’s breaking news. The setting is in present time…but the depth and scope of the issues addressed are transcendent.”
—Ben Miles, The Beachcomber
One confused moment of aggression and violence threatens to destroy his relationship with Leah (Katherine Connor Duff), but her final decision on how to react is, in the end, a very understandable and welcome one for the audience.
—Blogger, myhauntlife.com
Liz’s Class Act (2020)
If I Were to Speak of War (2019)
“The story has a real feel to it, which might indicate that it was written by someone with a military background or...someone who is very passionate about the...movies of this genre. One could go as far as to say that it might remind them of Clint Eastwood’s movie 'American Sniper'.”
—Filmstrip International Film Festival
