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.
SXSW 2026 Watchlist
In Cold Light
Hellbent on backsliding into her old ways, Ava’s tough exterior hides a chasm of wounds. As her brother softens to her requests for drug connections, all hell breaks loose when she becomes a target and scapegoat for murder. Now, with the innocent lives of her family members in harm’s way, Ava must decide who she can trust and how far she will go to bargain for their safety.
Oscar winner
While the “why” takes longer to get to than I would have liked, and feels somewhat disjointed, In Cold Light is a definitive, gritty crime thriller. Helen Hunt briefly appears, and introducing her sooner would change everything. Both the editing and handheld camerawork are hypnotic. But it’s the visceral father-daughter dynamic that gets under your skin and stays there. Screenwriter Patrick Whistler delivers unresolved trauma on an astonishing level. Monroe and Kotsur make an undeniably compelling duo. I would love to see them back together, doing anything literally.
Mimics
Calling Mimics a light horror is anything but an insult. It is a genre-bender: a sweet love story, a character study in ambition, passion, and an eerie warning about the trappings of fame, all wrapped in culty folklore that wouldn’t surprise me if it were ripped straight from the bowels of Scientology. It’s a breezy genre film that twists in unexpected ways and one that puts Kristoffer Polaha’s underrated talents in the spotlight.
Untitled Home Invasion Romance
Jamie Napoli and Joshua Paul Johnson cleverly wrap comedy around Suzie’s unknown childhood trauma, introducing friends from her past. They place Kevin entirely out of his depth socially. Suzie grew up in incredibly affluent circles, and clues about her life before Kevin reel the audience into the twisty narrative. You’re laughing and questioning everything you see. Each scene reveals something new. When the tension builds to a peak, here comes Biggs to make you laugh out loud.
Anna Konkle, who I miss with my whole heart on PEN15, plays Heather, Suzue’s childhood best friend and current chief of police. Konkle is down to Earth, incredibly charming, and inarguably the most competent member of her force. Her micro-expressions speak volumes. 
The location is stunning. The lake house is the stuff of dreams, with tennis courts, a multilevel dock, and floor-to-ceiling windows. Mollie Goldstein‘s editing is top-notch. Camerawork from Zach Kuperstein is a phenomenal mix of styles, keeping the audience thoroughly engaged. After years in the industry, Biggs easily slides into the director’s chair. I am excited to see what he chooses next. 
Seth Breedlove explores the lore behind a Michigan cryptid in Dawn of the Dogman. The film plays out in chapters. Editing from Santino Vitale and Seth Breedlove is fast-paced and endlessly intriguing. History buffs will instantly connect with the style, as eyewitnesses and journalists expound while the viewer is treated to maps, archival footage, and so much more. 
One witness suggests these creatures are government assets, detailing his unsettling encounter and the aftermath. Linda Godfrey‘s extensive career in cryptozoology speaks for itself. But her work solidified for her the moment she came face to face with a mysterious creature alongside the insight of a Native American game warden. 
The opening credits give Spielberg‘s Amazing Stories meets Ripley’s Believe It or Not! vibes (a huge compliment). Cinematographers Zac Palmisano, Courtney Breedlove, and Tyler Hall beautifully captured the variety of Michigan landscapes. Brandon Dalo provides an original score that balances mystery and lightness.
Overall, Dawn of the Dogman is a solid entry into the cryptid genre. There is most certainly a built-in audience for the film. Don’t believe me? Just look at the number of Kickstarter backers in the closing credits. Cryptid lore is big business and great entertainment for all ages. 
For more documentary coverage, 
100 NIGHTS OF HERO
Religious and political parallels are undeniable magic. The dialogue is a modern version of a bawdy Shakespeare comedy, cleverly tongue-in-cheek and playing right into toxic masculinity. Even our three main characters’ names are pure, double-entendre delight. 100 NIGHTS OF HERO weaves fable, witchcraft, and feminism seamlessly. 
Xenia Patricia
Maika Monroe
![The Merchants of Joy - Prime Video - [press.amazonmgmstudios.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/The-Merchants-of-Joy-Prime-Video-press.amazonmgmstudios.com_.png?resize=678%2C379&ssl=1)
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 
The plot is disorienting. Filled with time hops and something else supernatural, Carl finds himself both haunted by the past and stalked by some harassing force. Repeated aggressive and toxic interactions from strangers and others in Carl’s sphere throw the viewer’s understanding of the truth into utter chaos. 
Carl’s exes are beyond livid that he has inserted himself into the festivities. As the plot thickens, Lawrence and co-writer Matthew Mourgides insinuate that we are missing large pieces of the puzzle as the former fiend group offers an alternative version of what we have witnessed thus far with their dialogue. This off-kilter effect gets an assist from Lawrence’s editing. 
Sam Daly owns this film. His emotional swings are simultaneously relatable and unhinged. Daly is riveting. THE DISINVITED mashes up relationship drama and psychological horror in a mind-bending way. The final third is wild as hell. Jacob Fatoorechi and Jaco Caraco‘s classically string-heavy score is a perfect match. You must pay attention to every frame, and do yourself a favor: watch the credits. Even better, watch it again.
Alanna Ubach plays Emily’s mother, Sam. A former addict seeking redemption, Ubach is a pro, settling into a weighty role. For me, Ubach created some of the most memorable sidekick roles of the ’90s and early 2000s, carrying a Lili Taylor vibe with her comedic timing. It is a dramatic departure that is phenomenal.
Brittany O’Grady owns this role. Emily is in almost every shot, and O’Grady powers through unresolved trauma with ferocity. This fearless portrayal of a daughter dying for answers will pull you in. There is an undeniable gravity to this performance.
The mostly handheld camerawork subconsciously forces the audience to participate in the mystery and the emotional turmoil. Beyond the genre fare, IN OUR BLOOD also acts as a viewfinder for the vibrant yet desolate aspects of Las Cruces, New Mexico. Screenwriter Mallory Westfall provides clues, if you pay attention, so I suggest you do. Even with that said, the twists are absolutely clutch. Currently boasting a rare 100% Rotten Tomatoes score, IN OUR BLOOD is a gripping mix of horror and thriller. True crime fans will eat this up for dinner. I’m demanding a franchise from Kos and Westfall, ASAP.
Genre: Thriller/Horror
SCARED SHITLESS
Chelsea Clark (
Daniel Doheny plays Sonny with perfect manic energy. He is one panic attack away from implosion. Doheny handily glides through Sonny’s arch as the gross factor increases. He nails this genre. Steven Ogg (
Steven Kostanski serves as both Executive Producer and FX goo god. The amount of physical ick in the film should come as no surprise to fans of Kostanski’s work. 
SHE LOVED BLOSSOMS MORE
The boys flitter between trials, doing whatever drugs they can procure, speaking with utter nonchalance about their intentions. Hedgehog, clearly consumed by sadness, eagerly claws his way towards his ultimate goal. Obsession takes hold.
Cinematographer Christos Karamanis brings the viewer inside their drug trips, of which there are many, blurring the lines of reality. Fair warning: if you are sensitive to light or sound, the film can be overwhelming, but inarguably hypnotic. Performances, particularly Panos Papadopoulos, are fantastic.
Sci-fi extravagance aside, Veslemes takes audiences on a visceral and emotional ride into darkness. There is no denying SHE LOVED BLOSSOMS MORE is a WTF, jaw-dropping watch.
COYOTES
Brittany Allen plays sex worker Julie. Her ability to steal scenes is magic. 
This is essentially an ensemble survival horror. The CGI coyotes are a bit Twilight-y, but the practical FX are legit. The kills are super creative, and one is particularly gnarly and incredibly satisfying for genre fans. Scott’s occupation is a graphic novel artist. Director Colin 
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 (
LONDON CALLING
Rick Hoffman is a master at searing delivery. His performance as Benson is unforgettable. Jeremy Ray Taylor gives Julian a spitfire energy. He is an undeniable star. His performance from the 2017 IT remake still haunts me. In this role, Taylor has a Michael Cera innocence and comic timing. Josh Duhamel plays a Tommy with comfort that few leading men genuinely possess. His swagger is only matched by his vulnerability and sardonic wit. Taylor and Duhamel’s chemistry is something I would watch over and over.
Upon first glance, Julian seems like a lost cause, but his love of video games makes him a crack shot. Tommy continues to fumble as his eyesight fails him. The two oddly balance one another out in talent and emotional needs as they delve deeper into crime shenanigans and plenty of character-driven redemption. Omer Levin Menekse, Quinn Wolfe, and Ungar’s script is laugh-out-loud funny. The only true cringeworthy moment is the repeated use of the “R” word, which felt lazy and offensive in 2025. 
The action sequences are incredibly entertaining. The final fight scene is nothing short of celebratory. LONDON CALLING has the same energy as The Other Guys or 21 Jump Street. Taylor and Duhamel’s father-son energy is an unexpected bonus, making for an entirely unexpected buddy comedy that earns your attention and melts your heart.
NIGHT OF THE REAPER
Opening credits are fantastic. The production design team covers homes with classic ’80s Halloween decorations, and the repeated VHS static filter is chef’s kiss. Every single slasher trope we’ve come to love is utilized to build that creeping sense of dread. The synth score is fantastic. Homages to franchise favorites are endless. Everything from Poltergeist to Halloween, Max’s outfit looks like it’s straight out of Pet Sematery or a nod to Chucky, and the “Kimble, R” buzzer might just be a reference to Australian director Kimble Rendall. 
Casting is delicious. Ben Cockell is outstanding as Chad. Summer H. Howell (
Brandon Christensen, alongside his co-writer brother Ryan, understands how to build suspense while giving horror fans the kills they seek. As a fan of SUPERHOST, I am impressed by this narrative shift again and again. Christensen nails the element of surprise, flipping the script on their head when you least expect it. NIGHT OF THE REAPER is another solid addition to Shudder’s stacked catalog.
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.
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