ANNOUNCES 2026 FILM & TV FESTIVAL OPENING NIGHT TV PREMIERE AND INITIAL LINEUP
David E. Kelley’s Apple TV Series Margo’s Got Money Troubles Opening Night TV Premiere
Feature and Episodic Highlights Include Jorma Taccone’s Over Your Dead Body; Jonás Cuarón’s Campeón Gabacho; Victoria Strouse’s Seekers of Infinite Love; Kyra Sedgwick and Kevin Bacon’s Family Movie; Deon Taylor’s Drift; Doug Blush and Piero F. Giunti’s Los Lobos Native Sons; AMC’s The Audacity
Austin, Texas, January 14, 2026 – South by Southwest® (SXSW®) Conference and Festivals unveiled today an extensive wave of programming for the highly anticipated 33rd edition of the Film & TV Festival, which for the first time will open on a Thursday evening and conclude on a Wednesday, spanning March 12–18, 2026. Featuring a momentous Opening Night TV Premiere alongside an equally stellar slate of Feature Films, TV projects, and XR projects, the Film & TV Festival draws thousands of fans, creators, press, and industry leaders to celebrate inventive storytelling, cultural discovery, and boundary-pushing screen experiences.
The 2026 SXSW Film & TV Festival’s Opening Night TV Premiere is the eagerly anticipated Apple TV series Margo’s Got Money Troubles from Emmy-winning producer David E. Kelley.
Based on the best-selling novel by Rufi Thorpe, Margo’s Got Money Troubles is a bold, heartwarming and comedic family drama featuring an all-star cast including Elle Fanning as Margo, a recent college dropout and aspiring writer who is forced to make her way with a new baby, a mounting pile of bills and a dwindling amount of ways to pay them, Michelle Pfeiffer and Nick Offerman as Margo’s ex-Hooter’s waitress mom and ex-pro-wrestler dad, alongside Nicole Kidman, Thaddea Graham, Oscar winner Marcia Gay Harden, Oscar and Emmy Award-winner Greg Kinnear, Michael Angarano, Rico Nasty and Lindsey Normington. The series will premiere at SXSW ahead of its global debut on Apple TV on April 15, 2026.
“David E. Kelley’s Margo’s Got Money Troubles has pure SXSW energy and is the perfect match for our Opening Night TV Premiere slot,” said Claudette Godfrey, VP Film & TV. “Elle Fanning is absolutely magnetic as Margo, and Michelle Pfeiffer delivers a performance that reminds you why she’s an absolute legend. The mother-daughter dynamic these two create together is going to really get people talking. Nick Offerman will catch people completely off guard, as will the rest of the incredibly impressive cast. With its killer soundtrack, genuine heart, and sharp attitude and edge, this show captures the exact spirit that makes SXSW special and the bold, distinctive storytelling we love to open with!”
Feature films in the SXSW 2026 lineup screen in the following categories: Headliner; Narrative Feature Competition presented by Kickstarter; Documentary Feature Competition; Narrative Spotlight; Documentary Spotlight; Visions; Midnighter; Global presented by MUBI; 24 Beats Per Second, and Festival Favorite.
The TV program consists of TV Premiere and the Independent TV Pilot Competition. The SXSW 2026 Shorts Film Program will present six competitive sections: Narrative Short Competition, Documentary Short Competition, Animated Short Competition, Midnight Short Competition, Texas Short Competition, and Music Video Competition. XR Experience Competition, XR Spotlight and XR Special Event programming round out the Film & TV Festival program. All Categories will be eligible for section-specific Audience Awards.
Thus far, the 2026 Film & TV lineup includes 58 Features including 49 World Premieres, 3 North American Premieres, 3 U.S. Premiere, 2 Texas Premieres + 52 Short Films and 20 Music Videos. The TV Program includes 9 TV projects, with 3 TV premieres and 6 Independent TV Pilots. There are 29 projects in the XR Experience Program, including 17 in XR Experience Competition, 11 in XR Experience Spotlight and 1 XR Experience Special Event. The rest of the Film & TV Festival lineup will be announced in mid-February.
“We’re thrilled to unveil the first round of exciting projects joining our Opening Night Film, I Love Boosters for SXSW 2026!” said Claudette Godfrey, VP Film & TV. “From bold indies and can’t-miss studio events to genre-bending thrillers and sharp comedies, from revelatory documentaries and innovative series to immersive XR and international discoveries—this year’s program is packed with the kind of storytelling our audiences love. We can’t wait to welcome filmmakers and movie lovers to Austin for another remarkable year of screenings at SXSW!”
FILM PROGRAM
SXSW Announced Initial 2026 Lineup
HEADLINER
Big names, big talent featuring red carpet premieres and gala film events with major and rising names in cinema.
I Love Boosters
Director/Screenwriter: Boots Riley, Producers: Aaron Ryder, Andrew Swett, Allison Rose Carter, Jon Read, Boots Riley
A crew of professional shoplifters take aim at a cutthroat fashion maven. It’s like community service. Cast: Keke Palmer, Naomi Ackie, Taylour Paige, Poppy Liu, Eiza González, LaKeith Stanfield, Will Poulter, Demi Moore (World Premiere)
Mike & Nick & Nick & Alice
Director/Screenwriter: BenDavid Grabinski, Producers: Andrew Lazar
A hilarious, stylized, R-rated action-comedy about two gangsters and the woman they love trying to survive the most dangerous night of their lives. As if that wasn’t enough, there’s one wild ingredient added to the mix: a time machine. Cast: Vince Vaughn, James Marsden, Eiza González, Keith David, Jimmy Tatro, Stephen Root, Lewis Tan, Ben Schwartz, Emily Hampshire, Arturo Castro (World Premiere)
Over Your Dead Body
Director: Jorma Taccone, Producers: Kelly McCormick, David Leitch, Lee Kim, Guy Danella, Nick Spicer, Aram Tertzakian, Screenwriters: Nick Kocher, Brian McElhaney
A dysfunctional couple head to a remote cabin to supposedly reconnect, but each has secret plans to kill the other. Cast: Samara Weaving, Jason Segel, Timothy Olyphant, Juliette Lewis, Paul Guilfoyle, Keith Jardine (World Premiere)
Ready or Not 2: Here I Come
Directors: Matt Bettinelli-Olpin, Tyler Gillett, Producers: Tripp Vinson, James Vanderbilt, William Sherak, Bradley J. Fischer, Screenwriters: Guy Busick, R. Christopher Murphy
After surviving the Le Domas attack, Grace faces the next level of the deadly game – now with her estranged sister Faith. With four rival families hunting them, Grace must survive, protect her sister, and claim the High Seat that rules it all. Cast: Samara Weaving, Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, Néstor Carbonell, David Cronenberg, Elijah Wood (World Premiere)
They Will Kill You
Director: Kirill Sokolov, Producers: Andy Muschietti, Barbara Muschietti, Dan Kagan, Screenwriters: Kirill Sokolov, Alex Litvak
A high-octane horror-action-comedy in which a woman must survive the night at the Virgil, a demonic cult’s mysterious, twisted death-trap, before becoming their next offering in a uniquely brazen battle of epic kills and wickedly dark humor. Cast: Zazie Beetz, Myha’La, Paterson Joseph, Tom Felton, Heather Graham, Patricia Arquette. (World Premiere)
NARRATIVE FEATURE COMPETITION Presented by Kickstarter
World premieres showcasing the art of storytelling by emerging voices. Read More →
Combined, the location and camerawork are extraordinarily immersive. Fans of the Silent Hill gaming franchise will be in heaven. Viewers will find their eyes darting to every point on the screen. The wide angles from the security cameras keep you on high alert. INFIRMARY delivers the goods. 
The oldest generation speaks about the legacy of Emmett Till and the importance of passing on that history from one generation to the next. Glendora created the Emmett Till museum in 2005 as a way to apologize to the Till family for their lack of engagement. They recount the abhorrent entitlement of white people and the aggression and violence they brought to the doorsteps of the African American community members.
Glendora is a snapshot of America’s authentic history of racial atrocities and economic disparity, but the strength of Black culture, excellence, empathy, and community shine brightest in Glendora. Their genuine pride is infectious. This country can learn from its relentless spirit to equally honor the past and change the future.
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The film is a collection of personalities all jockeying to outdo each other. Greg looks like Santa and is happy to dress as such for the local kids. His son, Little Greg, is poised to take over the family business as his father battles cancer. Brooklynite George (who used to work for Greg) hopes to find love this season and brings bravado to the group. Heather is nine years sober. You will find her supporting those struggling on a similar path. Ciree takes the reins from her parents after 30 years. All of them find themselves under the thumb of the mysterious Kevin Hammer. Think of him as the Christmas Tree Mafia Boss.
The film is a countdown to Christmas, tracking the complicated and expensive logistics of purchasing trees, trucking them sometimes across the country, bidding on street corner permits, setting up shop, all while navigating weather, workforce, and the economy. It’s a risky business that can be rewarding in the end. The job is physically taxing and emotionally exhausting, but its impact on building family traditions is worth its weight in gold. 
Aniskovich intersperses sit-down interviews with action on the ground. The pièce de résistance are the scenes mimicking the stop-motion animation in Christmas classics like 
Ian Kimble brings a laugh-out-loud murder mystery, DEAD GIVEAWAY, to the Philadelphia Film Festival. After waking up hungry, with a hangover and a murdered stranger in her bed, Jill’s (Ruby Modine) day spirals into chaos as she navigates a tied-up man in her closet, an unconscious roommate, and a knife to her best friend’s neck. The goal? To get to brunch by 3:00 pm.
Mikaela Hoover is Lia. Her disgust with both her current predicament and the rather gross crime scene is only outdone by her aserbic wit. She has a familiar energy, something we have seen in classic comedy duos of the most successful sitcoms. Hoover’s distinct look matches that tangibility. Ruby Modine is hilarious. Jill, like Lia, is generally messy and self-assured. Modine harnesses a manic energy that nails the genre. The two share unhinged chemistry. It is a delightful pairing. 
I ONLY REST IN THE STORM
Portugal-born, Brazil-based filmmaker Pedro Pinho tackles racism in an unfiltered, confrontational manner. The dialogue is no-holds-bar and yet entirely calm in its honesty. Alongside Sergio, the audience is thrust into a lively group of queer friends, who argue among their own ranks about blackness and identity. It feels very intimate to witness. It’s a head-on white savior complex reckoning. The longer you watch and learn, white behavior feels very self-congratulatory, regardless of true intentions. 
Performances are spectacular. The immersive cinematography is a character all its own. The film often feels like a documentary with elders casually dropping facts about colonialism in social settings. I ONLY REST IN THE STORM captures you in its boldness, if you can hold on for the three and a half hour runtime. While it would undoubtedly benefit to cut that time in half, you cannot deny the meandering plot points. Each is strong, but as a whole, the film is a five-course gluttonous meal. 
Before we were married, my husband and I abandoned our lives in New York and moved to Hyderabad, India, so that he could work for a local microfinance institution. He and I, both white, served more as a spectacle, fully owning our privilege as we navigated endlessly intrusive questions and the knowledge of our ability to leave the city on our own accord. To be the minority was an eye-opening experience. I ONLY REST IN THE STORM plays for a predominantly white NYFF audience. I would have loved to be a fly on the wall after yesterday’s premiere. One can only imagine the justifications over cocktails.
Best Picture: CAMP, directed by Avalon Fast
FANTASTIC PITCHES 
The Hairbrained Salon’s owner is a bawdy broad named Laverne. Martini Bear is one hell of a force, slinging f-bombs on top of the already kitschy, 60s-inspired dialogue. John Waters and Mario Bava are all over this film; think 
The costumes, hair, and makeup are spectacular. The vivacious colors and sparkles pop on the 35mm film. The hyper-augmented sound editing will make you cringe. The script cleverly weaves in menstruation shame, medical gaslighting, and consent, while also playing into the adage that a period is a monthly curse. The ending is perfection. THE CRAMPS: A Period Piece has midnight madness cult classic written all over it. 
Zahra asserts herself as a savior in Noor’s life, flattering her, consoling her, and even intimidating her school bullies. But quickly, Zahra pushes boundaries. Noor’s hobby is photography, specifically of dead animals. Zahra talks her into a picture no one should take. While Amani flails to piece the ensuing madness together, Noor falls back on Zahra’s sway. THE VILE comes to a head as a simple birthday celebration brings darkness to the entire family.
Bdoor Mohammad creates a tangible desperation as Amani. You will easily root for her, particularly when it comes to the emotional dynamics between her and her husband. His oppressive hand will likely infuriate the audience, but it is clear Al Ansari did his research. Mohammad captivates at every turn.
This heartwarming doc has some amazing personalities. Audrey is Sound. Her infectious wonder is the epitome of SILVER SCREAMERS. David is Special Effects. With his puppeteering skills, the film’s villain comes alive. Diane is in charge of Makeup. Her theatre background is key to her role. Sonny is the Camera Operator. He is reactivating the dreams of his youth.
The team takes on their jobs with a refreshing enthusiasm. Watching each one tackle their assignments is like a boot camp into the complexities of filmmaking. Editor Lee Walker delivers an incredibly engaging montage of their initial endeavors. The opening credits are integrated into the film’s storyboards. It’s a brilliant device.
SILVER SCREAMERS acts as an advocacy pitch for art therapy at every age. Wait until you hear the ADR session. It’s a riot. The horror homage final scene is the cherry on top. Fantastic Fest audiences are in for a real treat.
Parts Two & Three: now wandering the land, the animals in tow, Gaspar’s existential crisis continues as he meets spirits, resides in a manor, converses with religious icons, all while Ogre and his minion pursue him. The film is A LOT. Green continues his signature style with static cameras capturing 4th wall-breaking deadpan delivery. Honestly, it will either be a winner for audiences or a total miss. The complexity of satire is laugh-out-loud funny, but outside intellectual circles, it might be a tough pill to swallow.
HAPPYEND
This predominantly young cast is incredible. Yukito Hidaka is captivating as Kou. His brooding aura and genuine wonder are the perfect foil for Hayato Kurihara‘s intense Yuta. Each actor wears their heart on their sleeve.
Based in part on her 2017 film BIRTH OF A FAMILY, Tasha Hubbard brings her scripted narrative debut to TIFF 50. MEADOWLARKS stars Michael Greyeyes, Carmen Moore, Alex Rice, and Michelle Thrush as four Cree siblings who were separated by the Sixties Scoop, who are meeting for the first time as adults.
Performances are fantastic. Each character is incredibly nuanced. Four siblings with varying goals for the trip and vastly different personalities. But what links them is far deeper than the ways in which they were raised by white families.
For more TIFF coverage, 
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