The Serpent’s Skin
Alice Maio Mackay has established herself as a powerhouse in indie filmmaking, cranking out stylized horror films that capture your attention from the very first frame. In her 6th feature film, the 21-year-old trans director tackles queer horror romance. The Serpent’s Skin follows Anna, a young trans woman who finally left her judgmental parents and moved in with her sister in the city. But Anna’s meek exterior hides secret supernatural abilities she shares with her new lover and tattoo artist, Gen. Their passion accidentally summons a demon, making relationship building way more complicated.
Jordan Dulieu (Danny) gives us an emo rocker heartthrob and villainous mayhem with equal fire. He is genuinely mesmerizing. Avalon Fast (Gen) is great. Her delivery is so natural, you might think she’s in a documentary. Alexandra McVicker (Anna) brings innocent ingénue energy. The three have stellar chemistry. I not-so-secretly wanted a threesome scene between them. Shout out to Intimacy Coordinator, Zoe Taylor, for the overall hotness. 
MacKay has a neon-saturated visual calling card and always provides a kick-ass soundtrack. Another genius collab with The Adams Family in H6LLB6ND6ER. Iris Mcerlean‘s costumes are all effortless cool girl. Mackay tackles self-harm, identity, sex, and magic; it’s a lot to balance. If I’m being nitpicky, the film’s pacing slows slightly in the second act, making it feel a bit long before the momentum picks up again in the final Act, which cooks. High five to my girl, Vera Drew, for her editing. Can we discuss the connection between power and orgasm? Yes. The final two lines of The Serpent’s Skin are smirkworthy perfection.
The Serpent’s Skin Trailer:
Opening in:
New York, March 27 | Los Angeles, April 3
** With filmmaker and special guests in attendance **
More dates below & to be announced
85 mins / Australia / 2025
Directed by: Alice Maio Mackay
Written by: Alice Maio Mackay, Benjamin Pahl Robinson
Produced by: Alice Maio Mackay, Louise Weard
Starring: Alexandra McVicker, Avalon Fast, Jordan Dulieu, Scott Major, Charlotte Chimes
Edited by: Vera Drew
Cinematography by: Aaron Schuppan
Composers: Alexander Taylor, Eduardo Daniel Victoria
Music by: H6LLB6ND6ER
Festivals: Beyond Fest, BFI Flare: London LGBTIQ+ Film Festival, Brooklyn Horror Film Festival, Fantasia Film Festival, Frameline: San Francisco International LGBTQ Film Festival, Frightfest, Melbourne Queer Film Festival, NewFest – The New York LGBTQ+ Film Festival, SXSW Sydney, and more
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Dark Star Pictures has released the new theatrical trailer for Alice Maio Mackay’s The Serpent’s Skin ahead of its upcoming North American theatrical release, which kicks off on March 27 in New York City and on April 3 in Los Angeles.
At only 21-years-old, the trans Australian filmmaker has announced herself as a talent to watch, and her latest film had a celebrated world premiere at San Francisco’s LGBTQ+ film festival Frameline and enjoyed a buzzy run with stops at Beyond Fest, Fantasia Film Festival, London’s Frightfest, NewFest, and more.
The Serpent’s Skin is Maio Mackay’s most ambitious film to date, combining her distinct filmmaking voice—known for channeling genre tropes through a trans lens, her innovative approach to aesthetics, and a unique wit—with a larger scope that leans into a darker storyline and a loving influence of 90s cult television like Buffy the Vampire Slayer and Charmed.
The film will open in New York at the Alamo Drafthouse Downtown Brooklyn on March 27 and in Los Angeles at the Alamo Drafthouse DTLA on April 3—as part of a special Fantastic Fest Presents showcase—with Mackay and special guests in attendance for opening nights.
Additional screenings with director Q&As include the Roxie Theater in San Francisco on April 2 and Vidiots in Los Angeles on 4/4, with further cities and dates to be announced.
Few films have been able to pull off the one-shot feat. SCURRY owns it. Here is a team that has total trust, impeccable timing, and chemistry between the cast and crew, leading to cinematic magic. The element of enveloping darkness, a small, unpredictable light source, and the blurry infrared of a camcorder create relentless dread.
Jamie Costa and Emalia (
It becomes clear early on that fear and unresolved trauma impede Mel’s release. He lashes out to prolong his release. Getting polar opposite advice from Mark and Warren, Mel enters a quiet tailspin of decision-making as the clock runs down. 
Guy Pearce is a legend. Warren’s goal is emotional redemption for past transgressions, but reality outside forces him to save the only soul he can on the inside. Pearce is a quiet storm. His masterful ability to speak volumes with nothing but a breath proves vital to Warren’s arc. He is an unconventional guardian angel. Vincent Miller captivates as our young leading man. He comes with an unusually mature sense of self, and his comfort in front of the screen and alongside other screen titans is beyond impressive. 
Credits
BIRDEATER
Secrets, awkward first meetings, hyper-toxic masculinity, and ketamine collide in one of the most one of the most tension-filled narratives I’ve seen. A stag week, including Irene, goes off the rails when the past and present come to light.
The script is a complex push and pull of who knows what and when. Forty minutes in a massive cloud of mystery looms over this bachelor weekend. Clark and Weir deliver characters that crawl under your skin and burrow into your brain whether you like it or not. This is what happens when a control freak loses control. 
Aggressive straight-to-camera looks feel like an invasion of the audience. Each one is more jarring than the next. The camera work is dizzying and immersive. The upbeat, celebratory soundtrack comes off as sinister amongst the feral behavior. The editing deserves an award. 
Performances are extraordinary. The ensemble cast nails every beat. Each character is loathsome in their own way, either because they are self-righteous, weak, or revenge-driven. The final 30 minutes are explosive. BIRDEATER will f*ck you up. 
Joseph Sims-Dennett brings BAAL to Beyond Fest 2024. Upon hearing the news of her father’s death, Grace finds her estranged brother missing from their hometown. Following a strange lead and ignoring the ominous warnings from her remaining family members, she takes a journey into the wilderness, only to be tested mentally, physically, and spiritually in the worst ways possible. 
BAAL explores the devastating effects of unresolved trauma and guilt. As the film ended, I found myself scratching and shaking my head. Even after the final scene, I am unsure what was real and what wasn’t. I have so many questions. Sims-Dennett combines multiple tropes but never quite makes a cohesive product.
Kate Walsh (Grey’s Anatomy) is outstanding as a woman on the brink. Her physical performance is seeped in anguish. Walsh is such a pro in tackling characters in the emotional trenches. 13 Reasons Why introduced her to a younger, perhaps even broader audience than Grey’s, and she continues to select roles that showcase her dazzling abilities. 
For more short film reviews, 
Graphic novel animation serves as visually delightful childhood memories surrounding Lola’s backstory with the villain. The poster is undoubtedly an homage to Black Christmas, and the classic trope of a killer in a Santa suit plays, ala Silent Night Deadly Night, still rules.
Jeremy Moineau gives Lola an effortlessly badass persona but beautifully balances toughness with authentic vulnerability. Her monologue about the town’s history is perfection. 
For all things Fantasia 2024, 
Tribeca 2024 Shorts
Short | United States, France | 18 MINUTES | English, French | English subtitles
The film takes place in a single location where The Interviewer records her podcast. The secluded and expansive modern mid-century estate allows her to wander, but most of the action happens at a desk or in front of the wall of windows that contain her discoveries. Our journalist creates an episode of her first phone calls. Editing the calls at her will, the audience questions her culpability. This small moment puts your morality compasses in a tailspin. It is a slick move from writer Lucy Campbell. Podcasts are my nightly ritual, cleaning motivation, and my travel companion. Since SERIAL, the industry has exploded. In MONOLITH, the story goes viral. People begin contacting her directly with their stories, always warning her to stop.
At some point, the danger reaches the front door of our journalist’s secluded location when she receives a package related to the mysterious story. The darkness attached to the object feels slightly Faustian and not of this planet. No one remembers how they received their object, but each reaches a point in questioning where they feel compelled to hang up out of fear.
Is this a case of mass hysteria? In many ways, the plot mirrors today’s conspiracy groups like QAnon. Our leading lady goes down the rabbit hole, and the audience follows. MONOLITH boasts a jaw-dropping final ten minutes. This is one hell of a sci-fi thriller. It is a must-see.
Lewi Dawson plays Spencer, Sophie’s best friend and colleague. They are undeniably fantastic in this role. Stanley Browning is Adam, blind date and lead carrier of the infected alien hate worm. Etcetera Etcetera is our hostess with the mostess and hypnotizes with her spooky charm. Lauren Last gives us everything we need to feel grounded, permitting us to laugh at the premise. I would love to see her in more stories. I would welcome a sequel about Spencer and Sophie’s forthcoming shenanigans. 
2023 has been a step in the right direction for trans, queer, and nonbinary representation with films like 
Pure O
Raging Grace (United Kingdom)
Another Body
The thrill of taking the otherworldly hand becomes like a drug to the group. This shockingly dangerous behavior throws me back to my teen years, forcing this horror fan to wonder if I would suffer the same fate. A goody two shoes concerning drugs and alcohol does not negate my risky excursions in the New England woods in the pitch black of summer nights. As Mia and her friends battle the typical parental control and need to fit in, their heightened chase of danger spells nothing but doom. Writers Bill Hinzman and Daley Pearson, with concept by Danny Philippou, give us all the background we need to get sucked into this wild scenario, leaving just enough mystery to keep us salivating. 
The practical fx are solid. The film’s special effects makeup team does a remarkable job of creeping the audience the fuck out. The work becomes more elaborate as the story progresses. It is spectacular. 
The ending of the film is a double twist. The first had me yelling at the screen. The second was so shocking I audibly exclaimed, “Okay, that’s AWESOME.” Writer-director-producers 
*Let me begin their review by stating that I have not seen the original Wyrmwood. I can only comment on Wyrmwood: Apocalypse as a stand-alone film.*
This cast is gold. The commitment to these characters is commendable. The fight sequences and choreography are damn entertaining. These actors go hard into the action. Bravo, to 
Witness the downward spiral of an already unwell young man as he slowly travels down the rabbit hole of complete darkness. When Nitram finally connects with a reclusive heiress named Helen, his world appears brighter. Helen provides the comfort and emotional shelter his parents could not. When the sadness becomes too much, his anger and anxiety manifest in violence and unfathomable tragedy. Inspired by actual events, 
Caleb Landry Jones
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